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Circling Beacons is recognized as Blanco’s masterpiece, thanks to the fact that it introduced a new tone in Mexican poetry. The carefully structured architecture of the book does not oppose, but rather plays with the spontaneity of its masterful images. Poems inspired by surrealism, symbolism, Zen and English metaphysical poets, it is distinguished, above all, by the lessons learned in classical Chinese poetry. Blanco shows himself to be a true master of language in Circling Beacons by creating multiple layers of imagery and interpretations on each individual poem and the collection as a whole.
circuitry of veins explores the relationships between women and their bodies, their families and society. Legris captures, like a photographer, the art of poetry, the essence of language, and the emotive powers of words set side by side in ink.”…reaches a kind of almost classical perfection.”–Prairie Fire”A beautifully written and politically layered exploration.”–Feminist Bookstore News”Frightening, funny, breathtaking–poems that haunt you.”–Betsy Warland
On Friday, April 24, 1885, Captain James Peters took the world’s first battlefield photographs under fire at the battle of Fish Creek in the Canadian Northwest Territory of Saskatchewan. As Captain of the Royal Canadian Artillery’s “A” Battery—part of the North West Field Force—he subsequently managed to expose over seventy glass plates for the duration of the battles at Duck Lake and Batoche as well, many of them again during combat with the enemy, both on the ground and on horseback. In addition to his photographic documentation of the “Northwest Rebellion” he was also a war correspondent for the Quebec Morning Chronicle. His regular dispatches, together with his images, serve as a pioneering addition to the history of war correspondents and are presented here for the first time in their entirety.
This watershed in the documentation of history was created by photographic technology, advanced to the point where “naturalist” or “detective” cameras, which came on the market in 1883, could be carried slung over the shoulder. Their faster shutter speed now allowed for hand-held photography. These cameras used coated plates that did not require preparation and could be stored for later development. Suddenly, the only restriction on any photographer was access to the action.
Neglected for over 120 years, these images literally shine new light on the War of 1885—particularly the second part of the campaign against the Indians under Big Bear, Poundmaker and Miserable Man. They are frankly astonishing in both their eerily haunting visual impact and as much by the mere fact that they even still exist.
Documenting the moment when the eighteen-year-old country of Canada turned away from becoming a Métis Nation by declaring war on its own people, this book refutes much of the revisionist history in John Ralston Saul’s A Fair Country.
Circus and Carnival Ballyhoo lifts the curtain on carnivals in America. Here is the history of the North American side show at circuses and carnivals, along with the stories of freaks and other side show acts in other venues such as dime museums, store front shows, in vaudeville, on movie theatre stages — and even at touring whale shows. This follow-up to Seeing is Believing (ECW, 2002) tells the story of the carnival in words and pictures.
The book follows the development of the circus side show with interviews and stories from side show workers that explain the role of freaks, working acts, managers, and talkers — and explores how important grift was to circuses and how it became located inside the side show.
From circus transportation to highlights of the construction of the big top, to Lentini the three-legged man, Siamese twins, and the folks with an extra body growing right out of them, Stencell gives us an incredible and very real perspective on the circus in words and photos.
Michaelangelo, Titian, Bernini – The Vatican’s Gallery of Maps, the Capella Paolina – La Pietà, The Ecstasy of St. Theresa, The Calling of St. Matthew. Tour these and dozens of other Italian landmarks with the poems of Circus Maximus, David Starkey’s garrulous new guide to Rome, whose subjects shuffle from the Sistine Chapel to “The Ugliest Jesus in the History of Western Art.”
Cissy is a collection of three plays on gender and young LGBTQ+ folk by the acclaimed playwright Dave Deveau. In Nelly Boy, an unknown man sits in a nondescript room trying to discover how Nelly came to be running naked along the side of a six-lane highway. Nelly’s world slowly unfolds; following Nelly’s epic journey through suburbia, we discover the inner workings of a brilliant teenage mind trying to grapple with the greater picture. Caught in the middle of opposing gender ideals, Nelly is forced to confront hatred and his/her own perceptions of the world in order to survive.
My Funny Valentine examines the 2008 murder of 14-year-old Lawrence Laetitia King who asked Brandon McInerney to be his valentine. The next day, during first period, McInerney took out a gun and shot King twice in the head. On February 13, King was declared brain-dead, but was left on life support so organs could be removed for donation. King passed away on February 14, 2008 – Valentine’s Day. My Funny Valentine enters the minds of people on the fringes of a murder that will forever affect them. It tackles the fracturing of opinion in the face of a horrendous act within a community and invites the audience to search for its own humanity amid the confusing and chaotic implications King’s death brings to the surface. In searching through this thick haze, it enables us to find our hearts.
Ladies and Gentlemen, Boys and Girls is the story of 9-year-old Fiona who comes out as a boy and wants to be called Fin. Fin has always had this feeling – knowing something is different but not knowing what it was or how to say it. As Fin cuts his hair short and changes his name, his family works to understand and adjust to Fin’s gender identity. Dad is accepting of the change right away, but Mom doesn’t quite get it at first. We see Fin’s family struggle with this change and through the course of the play ultimately begin to accept and embrace Fin for who he is. Three powerful, intensely relevant plays by “one of Vancouver’s finest playwrights and one of our country’s finest gay writers” (Mark Robins, Vancouver Presents).
People ask themselves why cities exist? Can?t there be other ways of organizing life on earth? Given the climate crisis and environmental concerns, how can we justify living in cramped quarters?
Cities Matter answers those questions. There are really good reasons why cities exist. There are also really good reasons to believe that cities can help us solve the problems of our day and age.
Though Jane Jacobs is known mainly as an urbanist, Ramsay shows how important an economist she was, particularly with regards to cities and their economic relationships to nations and international trade. He has corralled much of Jane Jacobs? writings on economics, in a palatable and concise format. He also explains classical economic geography, such as central location theory, and Alfred Marshall?s economies of agglomeration.
Borrowing from Jane Jacobs? approach, he proposes real-life exercises for regular people wishing to compare suburban and urban living conditions, real estate investments, or transport-cost analysis for businesses.
Since the Covid-19 pandemic began, some have predicted that cities are doomed. Will everybody continue to work from home and abandon city centres? Will the bucolic periphery take over from bustling and messy cities? Ramsay responds with a resounding NO, and posits that Jane Jacobs would too.
Cities Within Us offers poems that are dense and deep with language that resonates at multiple levels and often startles with its juxtapositions and verbal explosions. From the intimately personal to the dramatically confessional, Peter Taylor’s poems capture a purse seine of discordant voices, including a piece of type, a bee, an orang-outang, Franklin, the delusional and the abused in a universe that seems both unlimited and inevitable. Images and emotions move the reader from the disappearance of arctic explorers to the razing and rebirth of the Dresden Frauenkirche to the comic innocence of a child’s visit to Mars in poems that explore the inner landscapes of imagination and reality, and the intimate capacity for joy and loss.
Winner of the 2023 Crime Writers of Canada Award for Best Crime First Novel
“Sam Shelstad has a funny, lively, engaging, peculiar mind—charming and surprising.” —Sheila Heti, bestselling author of Motherhood and Pure Colour
This debut novel set in southern Ontario captures call-centre life, faded tourist attractions, and suburbia with oddball wit and sharp realism.
Colleen Weagle works in a call centre and lives in a bungalow with her mother in a quiet Toronto suburb. In her spare time she writes spec scripts for a CBC riding-school drama (her mother’s favourite) and plays an online game set in a resort populated by reindeer. It’s a typical life. Except three months ago Colleen’s husband Leonard—who led a similarly monotonous life—was found in a bog in the middle of the night, a two hours’ drive from home. Dead.
With a flatly optimistic belief in the power of routine, Colleen has been soldiering on, trying not to think too hard about all the unknowns surrounding the death. But when a local news photo twigs Colleen’s memory of a mystery attendee at Leonard’s funeral she snaps into action.
In the maddening company of her ornery co-worker Patti, she heads to Niagara Falls on a quest to find the truth behind the death. Amid the slot machines and grubby hotels, the pair stumble into the darker underworld of a faded tourist trap. What they find will lead straight to an episode from Colleen’s adolescence she thought she’d put firmly behind her.
Bleakly madcap, with deadpan dialogue, Shelstad’s debut novel is a noir anti-thriller reminiscent of Twin Peaks and the work of Ottessa Moshfegh and early Kate Atkinson. He captures call-centre life, ramshackle tourist attractions, and suburbia with wit and sharp realism, and reveals the undercurrents of melancholy and the truly bizarre that can run beneath even the most seemingly mild-mannered lives.
In a city where everything is recorded by data–from the coffee you drink to your most intimate secrets–Data Detective Frank Southwood, down on his luck and saddled with a gambling addiction, faces jail time if he can’t pay his debts. Working for an elite body of detectives who use big data for police work, Frank gets the case that might make his career when he begins investigating a high-profile money laundering ring. Meanwhile, he meets and falls for Jenny, a political activist with ties to the criminal underworld. Desperate to pay his debts, Frank makes a dirty bribery deal with Jenny’s fellow criminals, but soon his investigation leads him back to the criminals he himself works for. Forced to choose between putting Jenny in jail or else an innocent man in her place, Frank pushes the limits of morality in a world in which justice can seem preordained. Thoughtful and eerily prophetic, City of Sensors shines a light on a digital future rapidly becoming our reality.
The first book in the Shanghai Quartet – City Rising – starts on the Hua Shan (the Holy Mountain) 250 years before Christ where the FIRST EMPEROR the most powerful man the world to that time had ever known bequeaths a talisman to his three trusted followers: the BodyGuard, his favorite Courtesan and his Head Confucian – a narwhal tusk with carvings depicting the growth for the next 2500 years of a city at the Bend in the River – Shanghai. The warning from the First Emperor before he commits suicide is to watch for the White Ships on Water – and so the progeny of the three who are entrusted with the Tusk do – and then – in 1841 – they arrive. British Men of War ships – and Opium.
City Rising tells the story of two destitute Baghdadi boys who become opium lords – and the battles against the powerful British Opium companies – and the boys’ eventual love of the City at the Bend in the River – Shanghai.
City Rising
City Rising
city treaty is a tough and gritty long poem from a fresh new voice on the Canadian literary scene.
Cityscapes in Mating Season combines a lyric sensibility with a distrust of any such singular vision, a loneliness coupled with desire to feel into the thrumming ground of a place, and a willingness to register beauty even at its most apocalyptic. Whether playful, sensual, or unsettling, the poems in this collection are always tightly crafted, attuned to languages possibilities as well as its limitations, its pitch and roll. From protest-filled Montreal to Vancouver’s property disputes, the works in Cityscapes reach out to the textures of urban space, but also interrogate the human and industrial facets of supposed wilderness, from graffitied ruins in the Irish countryside to baited crab traps along BC’s Gulf Islands.