In an article on the New Yorker online, Coach House's Alana Wilcox weighs in on Pasha Malla's discussion of the changing landscape of publishing English translations of Franco-Canadian writing. Jocelyne Saucier's (trans.

This morning at Coach House we're all giving Brecken Hancock a great big group hug and want you all to join us in congratulating her on her big win last night. Her first poetry collection, Broom Broom, won the 2015 Language Trillium Book Award for Poetry (English Language), which comes with a $10,000 cash prize.

In March, Rachel Zolf sat down with Briane Teare, Assistant Professor of English at Temple University, to talk about her new book, Janey's Arcadia, Zolf's poetic revisionist history of Canada's colonial appropriations.

Ted Landrum's found/erasure poem, "Short Cut Through a City Cemetary," is based on Sina Queyras's poem, "Elegy Written in a City Cemetary," from MxT.

Read the whole poem here.

This April, Coach House author (Clockfire) Jonathan Ball won the Manitoba Writers' Guild and Association of Manitoba Publishers' Carol Shields Winnipeg Book Award for Jon Paiz's Crime Wave.

Congratulations, Jonathan!

 ... in reference, of course, to Robertson's Cinema of the Present.

Here's proof, in case you need it. You likely need Robertson's book more, though. So get it now!

In the weekly Librairie Drawn & Quarterly Books of the Week, the Montreal bookstore recommended David McGimpsey's Absestos Heights among its other picks for the week, writing that "[t]here are a thousand ways to describe McGimpsey's poetry and the brash way it grabs a chuckle from you, and his new poems are as irreverent as expected.

Ben Ladouceur is Jim Johnstone's pick among emergent poetic voices on the Canadian landscape. Johnstone gushes that Ladouceur's Otter "is a kind of rare debut: vital, on voice, and spirited from start to finish," and that it is the poet's "skill with the personal lyric that truly makes him noteworthy."

In "Toronto's Spring (Book) Awakening," Kelli Korducki writes that "Spring 2015 promises a veritable smorgasbord of appealing, Toronto-friendly book titles," and among her favourites is the recently published The Ward, an anthology of essays by writers like John Lornic and Shawn Micallef, about the rise and demise of Toronto's first immigrant neighbourhood.

This is a point that Jordan Tannahill makes emphatically and eloquently in his new book, Theatre of the Unimpressed, a call for playwrights and directors to eschew the security of the well-made play in favour of what he calls "the spectre of failure," moments - and sometimes whole productions - that convince audiences of the vitality of theatre, the necessity of the unique experience of the live performance.