"On strands of light I am hanging poetry like garlands."

These first words of poetry from Nicole Brossard anticipate the vast body of work she has published in the last four decades. The poems in "Mobility of Light" were chosen by Louise H. Forsyth to elicit a sense of these whirling garlands and convey the intense energy--physical, creative, spiritual, erotic, imaginative, playful, ethical, and political--that has carried Brossard to a uniquely significant vision of the human spirit.

Poems are presented in French and English on facing pages, underscoring the density of meaning in each word and line and highlighting the unusual rhythms in Brossard's originals and the extraordinary sonorities with which they beat. Some of the translations in this volume have been previously published, while others are new. In her afterword, Brossard talks about travelling back in time to discover how our most vivid sensations, emotions, and thoughts are nourished and transformed by our enigmatic relation to language.

A bilingual collection of poems that offers a surreal perspective of urban experience. This bilingual edition of Nicole Brossard's lyrical poetry is a sequence of lush, taut cityscapes. Known for her elliptical and materially grounded poetics, Brossard creates an intimate series of poems drawn loosely from urban experience. The poems comprise an evocative distillation of postmodern urban life with a sharp sense of cultural and gendered histories of violence and beauty and struggles for survival and intimacy. The poems capture the emotional and ecological surroundings of each city and its people. The cities in Brossard's poems feel surreal and in them dwell survivors of "misfortunes," living in urban landscapes with their "gleaming debris" and "bridges, ghats, / rivers in a time of peace and torture." These poems gesture toward a transmuted social context and toward a quest "to meet the horizon the day after the horizon."

Carla Carlson is at the Hotel Clarendon in Quebec City trying to finish a novel. Nearby, a woman, preoccupied with sadness and infatuated with her boss, catalogues antiquities at the Museum of Civilization. Every night, the two women meet at the hotel bar and talk - about childhood and parents and landscapes, about time and art, about Descartes and Francis Bacon and writing.

When "Yesterday, at the Hotel Clarendon" appeared in French (as "Hier"), the media called it the pinnacle of Brossard's remarkable forty-year literary career. From its intersection of four women emerges a kind of art installation, a lively read in which life and death and the vertigo of ruins tangle themselves together to say something about history and desire and art.

'Pleasure,' Jennifer Moxley writes in her introduction to this volume, 'is the word that first comes to mind at the mention of Nicole Brossard's poetry.' This volume provides English-language readers with an overview of the life and work of Nicole Brossard, poet, novelist, and essayist, who is widely recognized in her native Quebec and throughout the French-speaking world as one of the greatest writers of her generation. Brossard's poetry is rooted in her investigations of language, her abiding commitment to a feminist consciousness, and her capacity for renewing meaning as a virtual space of desire. The reader enters a poetic world in which the aesthetic is joined with the political, and the meaning of both is enriched in the process. The selections in this volume include translations of some of Brossard's best-known works - "Lovhers", "Ultra Sounds", 'Museum of Bone and Water", "Notebook of Roses and Civilization" - along with short prose works, an interview with Brossard, and a bibliography of works in French and English, and constitute the most substantial English-language sampling published to date of one of Canada's greatest living poets.

All the Feels / Tous les sens presents research into emotion and cognition in Canadian, Indigenous, and Québécois writings in English or French. Affect is both internal and external, private and public; with its fluid boundaries, it represents a productive dimension for literary analysis. The emerging field of affect studies makes vital claims about ethical impulses, social justice, and critical resistance, and thus much is at stake when we adopt affective reading practices. The contributors ask what we can learn from reading contemporary literatures through this lens. Unique and timely, readable and teachable, this collection is a welcome resource for scholars of literature, feminism, philosophy, and transnational studies as well as anyone who yearns to imagine the world differently. Contributors: Nicole Brossard, Marie Carrière, Matthew Cormier, Kit Dobson, Nicoletta Dolce, Louise Dupre�, Margery Fee, Ana Mari�a Fraile-Marcos, Smaro Kamboureli, Aaron Kreuter, Daniel Laforest, Carmen Mata Barreiro, Ursula Mathis-Moser, Heather Milne, Eric Schmaltz, Maïte� Snauwaert, Jeanette den Toonder

Text in English & French. Buttressed by a wealth of new, collaborative research methods and technologies, the contributors of this collection examine women's writing in Canada, past and present, with 11 essays in English and 5 in French. Regenerations was born out of the inaugural conference of the Canadian Writing Research Collaboratory held at the Canadian Literature Centre, University of Alberta, and exemplifies the progress of radically interdisciplinary research, collaboration, and publishing efforts surrounding Canadian women's writing. Researchers and students interested in Canadian literature, Quebec literature, womens writing, literary history, feminist theory, and digital humanities scholarship should definitely acquaint themselves with this work. Contributors: Nicole Brossard, Susan Brown, Marie Carriere, Patricia Demers, Louise Dennys, Cinda Gault, Lucie Hotte, Dean Irvine, Gary Kelly, Shauna Lancit, Mary McDonald-Rissanen, Lindsey McMaster, Mary-Jo Romaniuk, Julie Roy, Susan Rudy, Chantal Savoie, Maite Snauwaert, Rosemary Sullivan, and Sheena Wilson.

'Pleasure,' Jennifer Moxley writes in her introduction to this volume, 'is the word that first comes to mind at the mention of Nicole Brossard's poetry.' This volume provides English-language readers with an overview of the life and work of Nicole Brossard, poet, novelist, and essayist, who is widely recognized in her native Quebec and throughout the French-speaking world as one of the greatest writers of her generation. Brossard's poetry is rooted in her investigations of language, her abiding commitment to a feminist consciousness, and her capacity for renewing meaning as a virtual space of desire. The reader enters a poetic world in which the aesthetic is joined with the political, and the meaning of both is enriched in the process. The selections in this volume include translations of some of Brossard's best-known works - "Lovhers", "Ultra Sounds", "Museum of Bone and Water", "Notebook of Roses and Civilization" - along with short prose works, an interview with Brossard, and a bibliography of works in French and English, and constitute the most substantial English-language sampling published to date of one of Canada's greatest living poets.

First published in French in 1982, this novel of lesbian love among four women takes place between Curacao and Montreal; New York and Paris. The title, taken from Wittgenstein, is a reference to the hologram as a new pictorial model for woman. Like the hologram which is intended to be read from an infinite number of changing conditions, Brossard's work abstracts the image of the feminine so that it can be read from all angles.