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Mary Immaculate is just twelve years old the day she goes missing. Berry-picking in the woods near her village in outport Newfoundland, Mary has an encounter with something from another world. When she is finally found, Mary is taken to hospital in St. John’s, where her attending doctor makes the decision to adopt her out of poverty. Duley’s authentic portrayal of outport life sits in stark contrast to life in upper-level St. John’s, making this a novel as much about class distinction as it is a stunning narrative of a woman’s life in pre-Confederation Newfoundland. Originally published in 1939 to acclaim in Britain and the US, Cold Pastoral was the second novel by Margaret Duley, the acknowledged “first novelist” from Newfoundland.
Deep in the woods, way down the well, in the darkest, dampest parts of story, Cooley spins out his web. Like the best and most magical of fairy tales, cold press moon catches our anxieties and hopes, glimmers with mischief and mystery, and gloms onto something like truth. Romantic and irreverent, playful and profound, these poems work like spells to wake the vital heart.
Cold Sleep Permanent Afternoon, the follow-up to Ray Hsu’s award-winning first collection, Anthropy, is the second book in a prospective trilogy that explores the “grammar of personhood.”Whereas Anthropy approached the human condition through the prism of first-, second- and third-person perspectives, Cold Sleep Permanent Afternoon uses the grammatical concepts of singular and plural as grid-lines to chart contemporary life and concerns both harrowing and humane. Extending from this principal division, Hsu explores the borders between civic engagement and domesticity, dissent and accord, freedom and restriction–each of these are tested against another and framed by the tension between the collective and the individual. With Cold Sleep Permanent Afternoon, Ray Hsu presents our landscape in stark light,confronting the human drama that is manifesting within our lives,and investigating how we make sense of ourselves and the world we have wrought.
Shortlisted for the 2023 Howard Engel Award for Best Crime Novel Set in Canada
November’s rain in Toronto 1936 has turned into December’s cold snap. Charlotte Frayne escapes being hit by a mud-splattered car racing round the corner at Queen and Spadina. The stranger who saves her turns out to be the man her boss, Mr. Gilmore, has helped to escape Germany and is now a refugee in need of shelter.
In a world still recovering from the War to End All Wars and the Spanish Influenza pandemic that killed fifty million people worldwide, and still in the throes of the Great Depression, Stephen Lucas is not just any refugee from the Nazi regime; he is in possession of information that could alter the course of history — but only if seen by persons in power and if acted upon. In a surprising twist of fate, Charlotte’s estranged mother reappears, wanting assistance in locating the son she gave up at birth twenty years before. Despite her turbulent feelings about her mother, Charlotte agrees to investigate, having no idea that the two cases will connect in surprising ways.
Back at the Paradise Café, Christmas draws near and Charlotte’s beau, Hilliard Taylor, and his partners are in disagreement about the holiday concert. With her beloved grandfather in the mix, there’s no telling whether the show will end in good tidings or anarchy.
Cold-Cocked
This collection spans almost five decades and contains more than two hundred poems – poems that demonstrate the variety of Len Gasparini’s themes and styles, his ironical vision, and his verse rhythms in the use of language. Together they document the development of a strong creative source in Canadian poetry.
Alden Nowlan (1933-1983) once wrote of a desire to leave behind “one poem, one story / that will tell what it was like / to be alive.” In an abundance of memorable poems, he fulfilled this desire with candour and subtlety, emotion, and humour, sympathy and truth-telling. For many years, Nowlan has been one of Canada’s most-read and -beloved poets, but only now is the true range of his poetic achievement finally available between two covers, with the publication of Collected Poems of Alden Nowlan.
Nowlan takes us from nightmarish precincts of fear and solitude to the embrace of friendship and family. Delving into experiences of violence and gentleness, of alienation and love, his poetry reveals our shared humanity as well as our perplexing and sometimes entertaining differences. Nowlan’s childhood and adult years are colourfully reflected in his poetry. These autobiographical threads are interwoven with fantasies, an astute historical consciousness, and a keen awareness of the shiftings and transformations of selfhood.
Nowlan wrote with formal variety, visually shaping his poems with a dexterity that complicates impressions that he was primarily a “plainspoken” poet. His varied uses of the poetic line — his handling of line-lengths and -breaks, stanzas, and pauses — show him to be a writer who skilfully uses the page to suggest and embody the rhythms of speech. This long-awaited volume enables readers to experience his poetic genius in its fullness and uniqueness.
The Collected Works of Pat Lowther brings together, for the first time, the complete contents of the poetry editions published by Pat Lowther. All currently out-of-print, these works are supplemented by never-before-collected and unpublished works, including the fifteen poems in “Time Capsule,” the manuscript Lowther was working on at the time of her death in 1975. One of most distinctive and ambitious voices of her generation, Pat Lowther has inspired critical discussion and cultural debates that have so far taken place in the absence of any fully reliable edition of her accomplished body of work. The Collected Works of Pat Lowther is the first posthumous edition that is attentive to chronology, allowing readers to gain a sharper sense of Lowther’s poetic development over time. Augmented by new audio materials available as a podcast, The Collected Works of Pat Lowther provides a valuable resource for the fans of Lowther and the general poetry reader, as well as for universities, colleges, and high schools.
Each book in this series offers a unique reading of a specific novel, revealing detailed information on the author’s life, the importance of the book, and the critical reception of the book. A selected list of works cited is also included. This volume is focused on Bodily Harm by Margaret Atwood.
Marking the 25th anniversary of the Art Gallery of Ontario’s photography department, Collective States explores the museum’s rich history with the medium, the origins of its permanent photography collection, and the AGO’s evolving engagement with the art form. Focusing on the evolution of the act of collecting at the AGO since the department’s creation at the outset of the 21st century, this book includes the work of early innovators, 20th-century trailblazers, and contemporary artists, as well as significant collections of 20th-century press photographs, pop photographica, and photographic albums.
Featuring over 200 images in five thematic sections, Collective States blends works made across time and place to reveal the rich and versatile uses and approaches to the medium. With a diverse range of artworks, and insightful essays by the AGO’s current curator of photography, Sophie Hackett, and the department’s founding curator, Maia-Mari Sutnik, the book explores the indispensable role photography plays in contemporary visual culture and the advent of galleries, magazines, and festivals that explored the photographic form over the last 50 years.
Back in Canada after a harrowing vacation gone wrong, Michael Barrett tries to put all thought of Ukraine and his mysterious captor turned friend, Dmitri, from his mind. This would be a little easier to do if a million dollars had not just popped into his bank account. A mistake, a message? Would he ever put this adventure behind him, and did a part of him miss the only interesting, yet terrifying, thing that had ever happened to him?
Colossal Equine Statue
A beautifully written collection of interconnected short stories told primarily through the eyes of a young Anishinaabe woman struggling with her relationships with lovers, friends, family, children, community and culture. As some relationships dissolve or are wrenched apart, others endure and gain strength. An intimate glimpse into the reality faced by many young First Nations women, The Colour of Dried Bones is by turns dark and brooding, sensual and filled with intense longing , infused with anger and brutality and, ultimately, uplifting in its portrayal of one woman’s winding path to reclaim her culture and sense of self.
A letter of apology to Vincent Van Gogh, a flat-footed dialogue with Bernini’s Pope Gregory, a searing glimpse into a young dissident’s life between the Wars — Colour Theory catapults readers back in time to unpack the human condition through vivid imagery and gripping narratives. It investigates how the mind deconstructs and regenerates events. The poems speak to each other and contribute to a steady momentum that’s both elegant and elastic. Collectively, they paint a visceral and highly emotive picture of the universal desire to find meaning, compassion and belonging where even the most ordinary details shimmer with new light and lyrical intensity.
A witty, layered and compelling novel about a woman with Down Syndrome, exploring textile art, sibling relationships, friendships, and good intentions gone awry
What is intellectual disability? Ask Bruno, who is at his wits’ end trying to predict what his sister, Mina, will do next. Ask Iris, who is entranced by the wildly inventive embroidery Mina creates. Ask Gabriela, who loves Mina and disagrees when Bruno uses Mina’s constant demands as an excuse not to have a child.
Meet Mina in her overstuffed Montreal apartment, surrounded by her treasures. She knows she is the best paper sorter at the recycling plant where she works. She is proud to be diabetic but equally happy to cheat on her diet. The colours she stitches hum with life.
Colours in Her Hands is a nuanced and thought-provoking novel about family, about art, about questioning the way the world treats those who are different. With an unforgettable voice, Mina navigates the labyrinth that society sets for her with dignity, inventiveness, and aplomb.
From the author’s note from the original production: Colours in the Dark might best be called a play box. Why?
I happen to have a play box and it’s filled with not only toys and school relics, but also deedboxes, ancestral coffin plates—in short, a whole life. When you sort through the play box you eventually see your whole life—as well as all of life—things like Sunday School albums which show Elijah being fed by ravens, St. Stephen being stoned. The theatrical experience in front of you now is designed to give you that mosaic—that all-things-happening-at-the-same-time-galaxy-higgledy-piggledy feeling that rummaging through a play box can give you. But underneath the juxtaposition of coffin plate with baby rattle with Royal Family Scrapbook with Big Little Book with pictures of King Billy and Hitler, there is the backbone of a person growing up, leaving home, going to big cities, getting rather mixed up and then not coming home again, but making home and identity come to him wherever he is. The kids at the very end of the play manage to get their lightning rod up and attract the thunder that alone can wake the dead. Or, on the other six hands, as Buddha says, there are any number of other interpretations that fit the mosaic we’re (director, writer, actors, kids, designers, composer) giving you…