AUDIENCE: for fans of Howard’s debut, Billy-Ray Belcourt, Laurie Graham, and Jordan Abel.
DIVERSE M&S POETRY LIST: Acquired and edited by poetry editor DIONNE BRAND, the list showcases the brightest and most interesting poets in the country. The poets represent an array of experiences, identities, and points of view, and their works are hugely impactful and groundbreaking in terms of approach and style.
IMPRESSIVE SALES: Howard’s debut sold more than 3,500 copies across both formats (Trade paperback and ebook)
Praise for Letters in a Bruised Cosmos and Liz Howard:
“Liz Howard’s Letters in a Bruised Cosmos stands as yet another masterpiece of orality and temporality in the blossoming oeuvre that is her poetic arena. We traverse through webbed histories, a multiplicity of singing bodies: human, non-human, father, lover, lake, land, galactic. Howard’s ability to unearth creation and trickster from beneath the rubble of canonic and catatonic poetics is a miracle in the making. It is no surprise to be met with yet again grace and fury in Letters in a Bruised Cosmos—as Howard has demonstrated time and time again, she is a divining starwalker of a poet.” —Joshua Whitehead, author of Jonny Appleseed
“In Letters in a Bruised Cosmos, Liz Howard makes sentences with the elegance and mystery of a sculptor. Howard’s aesthetic mode is a beautiful synthesis of feminist, anti-colonial, and post-structural traditions of critique and re-imagination that is singularly hers. I read each poem with the faith that I would land somewhere I couldn’t have known existed until I opened this book. That’s the mark of poetic genius. I loved this book with my whole body.” —Billy-Ray Belcourt, author of A History of My Brief Body
“Seeking abandon that is not abandonment, in an age when all ambient temperature seems bleak site of wind not warmth, these poems glow. Liz Howard’s cosmos is yes a difficult ongoingness, yet one that gifts bright with language. She creates poetry I can inhabit, touched by parents and their kilter of wildness, inheritor of caps and nail clippers, where spirit demeanours howl from streets and apartments in verbs from science and secular trees. If poetry’s red coals can’t help but expose life’s ashes, it’s in the light from stars. In Howard’s poems, visibility and viability enact an uncoded, recoded boreality, a DNA renewed. Here poems contain the possibility of all states of affairs. Even as the ‘natural’ of speech de-natures, grates, is rendered as remnant and ruin— with the poet we ‘pursue the future/ pulling dawn through/ through the needle/ point of compass north.’ Reading these poems, we are as rare and beautiful as Howard is, extending them to us.” —Erín Moure, author of The Elements
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