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ISBN 978-1-77171-247-7 So Got Schooled (memoir) 24.95
published 2017 150 pages

Stephen Bett is a widely and internationally published Canadian poet with eighteen books in print. In his first book of (non-fiction) prose, So Got Schooled: in the tower, on the field, we find three memoirs, from the hilarious tell-all account of managing a senior men’s soccer team, to the last-ditch stand of a ‘terribly’ British-style boys’ school in the far west Canadian ‘colonies’ of the early 1960s, to the feudalism of 1970s grad school under supervision of the brilliant, but also petulant, Robin Blaser, before the advent of student grievance rights.

ISBN 978-1-77171-031-2 Breathing Arizona: A Journal (poetry) 23.95
published 2014 134 pages

In this new book of poems, his 15th, Stephen Bett writes with a striking but characteristically subtle power and beauty about the edgy romance of new beginning. The poet’s absorbing interest in a “minimalist” poetics has here met up with his longstanding admiration of the open, ranging “journal” poem.


ISBN 978-1-897430-98-9 Penny-Ante Poems (poetry) 23.95
published 2013 139 pages

An exceptionally compatible marriage lasts for several years and then inexplicably and without warning seems to fall apart. Stephen Bett narrates his own journey of stunned and bewildering pain as the language of poem after poem in this “serial” book of poems shows increasing rupture and fragmentation. Stephen Bett, one of the more recognised of the “minimalist” poets writing in English today, traces the breaking of heart and language in this stunning book of poems.

ISBN 978-1-897430-41-5 Re-positioning (poetry) 21.95
published 2011 116 pages

In this volume, Bett is riffing on language itself. These humorous, self-referential poems are tied to the langue, the argot, not just comic satire. There’s an effort at a more serious humour underlying cultural and philosophical issues that seem to plague us in our increasingly vapid monoculture.

ISBN 978-1-897430-43-9 S PLIT (poetry) 19.95
published 2009 120 pages

Stephen Bett’s new book of poetry, S PLIT, is divided into three sections: “Split-Up” concerns relationship; “Split-All-Over” is fueled by angst and the poet’s customary satire; “Split-Down” makes a tender good-bye to a marriage. This is a deeply personal book: poet “split” all over the emotional map.

ISBN 978-1-897430-28-6 Sass 'n Pass (poetry) 18.95
published 2008 110 pages

Sass ’n Pass takes an unsettling look at the ironies of pop culture and the angst of contemporary life. Bett’s uncanny ear for spoken language tears at society’s shallow facade to expose the tawdry and banal. Bett defies the politically correct and celebrates the gritty truth as only he can speak it, sparing no one — least of all himself.

ISBN 1-894800-90-7 Three Women (poetry) 19.95
published 2006 120 pages

Stephen Bett's last three books (High-Maintenance, Nota Bene and, here, Three Women) have moved from his customary scathing satirizations of so-called pop culture to a deeply anguished book about a difficult love relationship to, now, a book of anger, bitterness, and new beginnings.

ISBN 1-894800-65-6 Nota Bene: A Journey (poetry) 18.95
published 2005 72 pages

Nota Bene: A Journey follows an intense relationship between its author and an astonishing woman artist. Here we see, to put it mildly, a far more nakedly personal voice from a poet known mainly for his sassy, satiric irreverence about political correctness and pop culture.

ISBN 1-894800-42-7 High-Maintenance (poetry) 15.95
published 2004 88 pages

In High Maintenance an ironic wit colours poems about everything in contemporary Canadian life from literature and hockey to Y2K and snowboarding. Stephen Bett’s poetry is a self-referential funhouse that reflects the modern tension between a commitment to ideas and life in a pop-culture world.

ISBN 1-896860-09-3 Cruise Control (poetry) 12.95
published 1996 64 pages

Satirical, witty and often self-referential, Cruise Control offers a wry commentary on everything from politics and yuppies to BMWs and literature. Though rooted in a commitment to language the poems still manage to gaze with Swiftian irreverence at the foibles of an often absurd world.