Avant Desire: A Nicole Brossard Reader: A Nicole Brossard Reader

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Product Details

$22.95  $21.11
Coach House Books
Publish Date
5.7 X 8.6 X 1.1 inches | 1.25 pounds
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About the Author

Two-time Governor General's Award winner for her poetry, Nicole Brossard has published more than thirty books of poetry, fiction, and essays since 1965. She has co-founded and co-directed the literary magazine La Barre du Jour (1965-1975), co-directed the film Some American Feminists (1976), and co-edited the acclaimed Anthologie de la poésie des femmes au Québec (1991 and 2003). Her work has been widely translated into English and Spanish and is also available in many other languages. Nicole has won numerous awards, including winning the Trois-Rivières International Poetry Festival Grand Prix Québecor in 1989 and 1999, the Prix Athanase-David in 1991, and the the first Violet Prize awarded by the Blue Metropolis Festival in 2018. One of her novels, Mauve Desert, has been presented as a multidisciplinary creation in 2018 and is slated for an opera adaptation in 2020-21. She is an officer of the Order of Canada, chevalière of the National Order of Quebec, and a member of l'Académie des lettres du Québec. Nicole currently lives in Montreal.

Sina Queyras is the author of My Ariel, MxT, Expressway, and LemonHound, all from Coach House Books. They were born on land belonging to the Nisichawayasihk Cree Nation and live and teach in Tiohtià ke (Montréal).

Erin Wunker lives, works, and teaches in K'jipuktuk (Halifax, Nova Scotia). She is the author of Notes from a Feminist Killjoy: Essays on Everyday Life.


  • (On Notebook of Roses and Civilization) [L]yrical descriptions of lesbian desire coupled with a continued meditation on language. Brossard conflates writing with lovemaking [...] the poems forming a grammar of desire, like a diagrammed body. -- Kate Zambreno, The Believer
  • [T]he nearly hundred poems in Ardour appear as fragments, but their brevity belies their breadth. [...] I feel saved by their intimacy, partly owing to their diminutive size: they feel like whispered truths, or at least consolations. -- Nicole Rudick, The Paris Review
  • (On Baroque at Dawn) The book is studded with long poetic riffs that cry out, even in translation, to be heard. Brossard is the master of the headlong, breathless, involving description. [...] It is an arresting beginning that showcases the talent that won Brossard a Governor General's Award for her poetry, as well as Quebec's Prix Athanse-David for the whole of her work. -- Mary Soderstrom, Quill & Quire
  • (On Selections) [A] text lush with sensuality and sharp angles, precise and lacking fear. Even through translation it's impossible to fail to notice Brossard's control of words: the way they hold together with obvious strength yet create delicate movements as well. -- John Findura, Jacket magazine
  • (On Fences in Breathing) The voices of fiction and truth bleed in and out of each other; relationships ebb and sharpen; portraits are etched and blurred; the summer gives way to "autumn and steel" in one breath. [...] The atmosphere of reverie that mesmerizes the novel's characters and sends them careening into other selves also overcomes the reader - we are taken by the slow eroticism of great masses of language and meaning moving into each other, by the precision of "the dry sound of the piano cover being lifted," the lyricism that Brossard nimbly doles out [...] The English version is suggestive without being overt, and playful without seeming clever; it's the perfect translation of an elegant, complicated book. -- Katia Grubisic, The Globe and Mail
  • Her language moves between sensuality and deconstructionism in a luscious interplay between the abstract and the corporeal. [...] The new translations in Selections are a provocative delight. -- Foreword Reviews
  • (On Fences in Breathing) The language with which their stories are built conceals as much as it betrays, not only about the characters but also about the writer-narrator. Full of tantalizing loose ends and teasing suggestions, this novel invites the reader into a psychological landscape as complex and remote as the chateau in which the action takes place. -- Aparna Sanyal, Montreal Review of Books
  • (On Notebook of Roses and Civilization) Nicole Brossard is a national treasure, and we don't need the Molson Prize and her two Governor General's Literary Awards to remind us of that. [...] Brossard summons up the sorts of words that drive and haunt us: names of places and people, of cherished objects, words of pleasure and pain, words that "shoot up before our very eyes like cloned shadows replete with light and great myths." The word is entangled with civilization and its discontents, but also preserves and exalts the realm of the rose. -- Bert Almon, Montreal Review of Books
  • (On Intimate Journal) [A] a gorgeous, organically coherent and fully formed meditation on the nature of biography, self-reflection, anger, art, friendship and lesbian life. [...] This prose is so eloquent, so precise, you feel privileged to be allowed inside her head. I just wish the book were longer. -- Susan G. Cole, NOW Magazine
  • Nicole Brossard's White Piano dwells along a series of temporal and physical borderlines: between the apocalyptic panic of the future and the archival pleasure of the past, between the body's politics of touch and language's typological risks, and between concrete detail and totalizing abstraction. [...] Brossard works in a space defined by both a worry about the potential violence carried in the body and language and an understanding of the need for story. -- Ryan Fitzpatrick, Canadian Literature