2018, January 15 – Book release: Triptych: Selected Fiction of P.K. Page, edited by Elizabeth Popham* (The Porcupine’s Quill).  This collection ‘presents powerful examples of Page’s insightful and provocative fiction. Characterized by the exploration of charged ideas, these works (including a novel, twelve short stories, and a collection of brief linked narratives) take inspiration from experience both lived and imagined. In them, Page meditates on the notion of memory and the process of remembering, delving into themes of imagination and identity, of art and the environment, all the while maintaining the language and lyricism epitomized in her poetry.’

2017, February –Book release: E.J. Pratt: Letters, edited by Elizabeth Popham* and David G. Pitt (University of Toronto Press). pratt-letters‘This edition of E.J. Pratt’s letters is the final volume in the Collected Works series. Because of Pratt’s role in the making of Canadian culture between and after the World Wars, his correspondence highlights key moments in our cultural history and provides a view of the enterprise from its very centre…. Pratt’s correspondence both confirms the public persona of one of Canada’s first literary celebrities and provides glimpses of the private character behind the mask.’

2016, November 30 – Book release: The Art of P.K. Irwin: Observer, other, Gemini by Michèle Racrackham-hallkham Hall* (The Porcupine’s Quill). ‘In The Art of P. K. Irwin, Michèle Rackham Hall investigates the artist’s creative development and examines the exotic locales and the wealth of accomplished peers who helped shape Irwin’s artistic output. With rich biographical detail and extensive reference to Irwin’s lyrical life writing, The Art of P. K. Irwin takes readers along on the artist’s journey toward her own aesthetic, one in which “place was her most potent muse, and exile her most fertile state.”‘

2015, September 15 – Book release:  P.K. Page’s Mexican Journal, edited by Margaret Steffler* (The Porcupine’s Quill). ‘In journal entries spanning the period of March 1960 to January 1964, Page attempts to compartmentalize her various selves as wife of a diplomat, tourist, silenced poet, visual artist and religious novice. Her entries acknowledge troubling phobias and spiritual barrenness, as well as her painful acceptance of the blackness of the Mexican night. They document Page’s study of surrealism and the country’s ‘dark gods,’ and reveal her struggle to overcome her personal dark night of the soul through the mystical teachings of Sufism, which would inform her spiritual life for the rest of her career.’