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Seven years ago Bernadette Macomber did everything she could to cut her ties to her father Fabian, his opiate addiction, gun collection, and increasingly bizarre behaviour. She moved with her husband and four children, leaving no return address. Now, following his suicide, her father paradoxically makes contact again, and Bernadette finds herself not liberated but tethered to him ever more tightly by the bonds of familial guilt. Desperate for absolution, Bernie returns to her father’s home to hunt for evidence of his insanity and to try and understand why suicide became his answer. While she remains driven in her quest to understand the power of the parent/child bond, her father, Fabian, locked into his after-life purgatory, pushes for freedom via any available loophole through the punishing bureaucracy of personal evolution. While exploring his options, he encounters his jailor, the demon/angel Bune in the afterlife space of Corridor Nine.
The colliding events trigger a complicated set of mysteries: there is the planet at the centre of Bune’s “master plan” diagram and the puzzle of its eventual connection to Bernadette’s painting; there is the addiction artifact that Bune pulls out of Fabian’s chest, and a host of other symbols and rites such as a blastoshere and embryo division all revealed while Fabien wanders the constant maze of Corridor Nine. On planet Earth Bernadette continues obsessively in her need to solve the mystery of her father’s death and his continued contact with one question guiding her: how can she achieve a father and daughter reunion that will bring them both peace and liberty?
When one life ends, another begins.
After forty years as the village school teacher in the idyllic valley of Greenbottom, Agatha is looking forward to a quiet retirement. Instead, an enigmatic stranger arrives to drag her through a long-closed portal to another world.
Confronted with a completely foreign culture steeped in magic and violence, Agatha finds herself a crucial pawn being played between rival factions. The only way forward through the rigid traditions and convoluted politics of the Archons of Otopia is to remain true to herself and her Greenbottom ideals.</p
This book is a collaborative work of Ted Goodden?s ceramic sculptures and Cornelia Hoogland?s poems. Specifically, they are responding through image and text to the 64 hexagrams contained in the ancient book of wisdom, the I Ching, or Book of Changes. Cosmic Bowling‘s calm weather lands in the midst of twitter storms in which everybody wants to start a conversation. Here’s a conversation — facilitated through visual art and poetry — that’s been going on for three millennia, one that asks the perennial question: How should we live now?
Even if people sometimes argue over the pettiest things, we all have our curiosity in common. The universe is a stupendous place that has no obligation to make sense to us. Just think about it: we’re living on a tiny planet that’s hurtling around a star which is whirling through a galaxy that’s careening through the cosmos at absurd speeds. We humans only appeared 100,000 years ago in our universe’s 13.8-billion-year-long backstory. In the big picture, we’re newcomers to the cosmos—and our entire planet is nothing more than a microscopic speck. Disclaimer warning for an existential crisis!
From science writer Nathan Hellner-Mestelman comes Cosmic Wonder, a humorous and detailed guide to our universe as you’ve never seen it before.
While our cosmos sounds like a remote and abstract place, we’re connected to it in every way. Our atoms were smashed together in the cores of exploding stars. The universe dooms us to a riveting cascade of destruction, humbling us to look at one another with more compassion. Life sprouted on this planet thanks to a series of fantastic cosmic collisions—and we might not be alone in this universe after all.
Come along on a funny, deep, and insightful journey to the edge of the universe and back. From the tiny particles that make up life to the galaxies on the other end of the cosmos, and from the explosion of the Big Bang to the chilling death of the universe itself, Cosmic Wonder is sure to be a rollercoaster ride for your brain.
Through ten incendiary and mercurial stories, Cosmo will take you on a wild ride over the churning waters of pop culture and the malaise of our solitary existence.
WINNER OF THE 2013 CBC OVERLOOKIE BOOKIE AWARD FOR MOST UNDERRATED CANADIAN BOOK
An admirer of Miley Cyrus performs a three-thousand word sentence in defence of his passion. Actor Matthew McConaughey descends into a surreal, stupefying desert of the soul. An aging porn star dons a grotesque dinosaur costume to film the sex scene of his life. Such are the speakers and stars of a collection of stories that explode the conventions of short fiction.
Though shifting wildly in tone, structure and perspective from one page to the next, each of these mercurial stories is drenched in pop culture, the distancing effects of modern communication and the malaise of solitary existence. At their core, these stories are a portrait of ordinary people (as well as celebrities – they’re just like us!) striving, thinking, and suffering alone.
Butt out, Dante. Move over, Milton. Piss off, Pound. Outta the way, Olson. Here comes Cosmographia—a post-Lucretian faux micro-epic, the latest ground breaking incursion into the ever popular spectacle of the Epic Poem. Tracking the classic epic journey through the unfolding cosmos toward home, though occasionally disoriented by milling cows with similar intent, Cosmographia teems with nasty political invective, scurrilous spiritual slander, and endless exploitive sexual innuendo. Taking as its muses Cab Calloway and Charles Mingus, by the time it gets home, Cosmographia has subjected the epic to unspeakable acts in the name of linguistic rectumtude, dada terrorism, and sporadic ejaculations of self-expression. Oh yeah!—poetry will never be the same.
What earthly use is the love of ornament? Slowing down to look closely at an inherited shawl made by hand, the title poem in Rahat Kurd’s Cosmophilia traces an object of luxury to the traditionally male art of Kashmiri shawl embroidery. The poet works with images from Kashmir, her maternal family’s place of origin, where the ability to make and appreciate beautiful things is both absolutely essential and taken for granted; where increasingly rare levels of artistic mastery are simultaneously prized and trivialized; where the struggle to carry on traditional art forms is strained by awareness of increasing obsolescence, severe political repression, and environmental degradation; a place both celebrated and dismissed as spectacle, as “paradise on earth.”
The question persists, throughout other poems in Cosmophilia, both as self-reflexive creative practice and existential dilemma. On the concrete streets of Vancouver, the anonymity and material ease of cities tug at the poet’s consciousness of frayed traditional ideals, both philosophical and aesthetic. Religious language and rituals considered in the aftermath of a marriage take on complex, subversive, and irreverent layers in a seven-poem sequence. Allusive, playful multilingual imagery inhabits long narrative meditations, free-form couplets, and the traditional ghazal, in elegiac or sharply satirical moods. Nastaliq, a centuries-old form of Persian and Urdu calligraphy, speaks to the author through the smoke-damaged voice of a fading celebrity confessional.
The emotionally powerful collection follows the elaborate, unexpected turns of the poet’s imagination, enlisting intricate details of memory and language and the occasional plain truth – “the hard solitude of the maker.” They intertwine political conflict and family history; they imagine Hamlet reluctantly confronting the partition of India and Pakistan. Cosmophilia translates multiple glittering facets of Muslim culture into, and reflects back from, the immediacy of embodied, urban Canadian experience.
Cottagers and Indians explores the politics and issues surrounding a real-life event still occurring in the Kawartha Lakes region of Central Ontario. An Indigenous man, Arthur Copper, has taken it upon himself to repopulate the nearby lakes with wild rice, known amongst the Anishnawbe as Manoomin, much to the disapproval of the local non-Indigenous cottagers, Maureen Poole in particular. She feels the plant interferes with boating, fishing, swimming, and is generally an eyesore that brings down the property values of her cottage and those of her neighbours. Drew Hayden Taylor’s thirty-second play is a powerful dramatization of contemporary confrontations taking place between environmentalism and consumerism, Indigenous and non-Indigenous sensibilities.
Poems about the unexpected and often wry coincidences language lends to life.
In Could be, each poem is a moment of engaged and isolated attention, prodding language, relationships, the mundane aspects of daily life, friendships and art. It asks how we use words, how we shape them and are in turn shaped by them. In many ways, then, this book is about how we construct our world through language, and how language unexpectedly shifts the terms on us. It is wry, funny, moving and at times disturbing. It will quietly assert itself, as so often language itself does, and will challenge readers to reconsider how they engage with words and world.
Fly you, wildbird
half eaten by the smog.
All sheets to the wind. Oh oh
is it laundry day?
… We wake up
to the sounds of development.
Is that Mimico Creek
in the washing machine? If you roll over
you’re out of the dream and your anger
can really take shape. Sorry,
I meant passion.
— from “Perpetual Cleanup”
Count on Me exposes how a family can fracture when aging parents grow frail and debts from the past resurface. Tia is raising a baby when her older brother Tristan gradually takes over their ailing parents’ bank account, house, and medical decisions. Through a web of complex family dynamics, Tia uncovers the disaster left by Tristan’s meddling in their parents’ lives. As Tia tries to set things straight, she confronts how money and love were entangled in her family, and whether her own mothering now goes to opposite extremes. Told in an intelligent and hopeful voice, this is a story about sibling rivalry, elder abuse, how life can become transactional, and how we come to feel entitled to someone else’s money.
The book chronicles the history of the Women’s Musical Club of Toronto, which has been sponsoring chamber music and solo recitals for nearly 100 years. The book features archival documents, interviews, newspaper reports and reviews, and recent scholarship in the field.
<p>When she was twenty-four years old, Ellen Anderson Penno lost her partner in a climbing accident while they were ascending Mount Baker in Washington’s Cascade Range. The avalanche hid his body in a crevasse just weeks before Penno was slated to begin medical school, and she soon found herself torn between deferring her studies for a year, or starting right away with a full course load.</p><br /><p>Rather than succumbing to grief and risk never beginning her medical education at all, Penno plunged deep into her studies, surrounded by death on all sides, struggling to maintain her way through her turbulent emotions and a rigorous med school schedule.</p><br /><p>In this stirring and often mordantly funny new memoir, Ellen Anderson Penno structures a story of mourning, loss, despair and love through the lens of the classic medical text <i>Gray’s Anatomy,</i> showing readers what becomes of those who must rebuild their lives after tragedy strikes.</p>
With his nineteen-year-old daughter, a collection of maps and the help of an opinionated GPS, Peter Midgley sets out across Namibia. Visiting small-town museums and gravesites, crossing border checkpoints and changing tires, they travel its length and breadth. Stories about Portuguese explorers and the first genocide of the twentieth century collect on the back seat of their car alongside the author’s earliest childhood memories of growing up in the country. By the end of the journey, the stories piece together into an understanding of Namibia’s present and make it possible for Midgley to share his love for this complicated, vibrant place with his daughter.
A lyrical wilderness of power, wealth, leisure and desire, the poems of Country Club freewheel across state lines with panache and flagrant feeling. In this bold debut from Andy McGuire, all passions – even unpleasant ones – stare down the barrel of a world in which freedom is the fifty-first state, and love is the eleventh province.
The manatee wades out of the water and roars at the sightseers
That one of them owes him a drink.
From the beach below the boardwalk, cock-a-doodle-do!
What about a Christmas bowlcut over by the mangrove manatees!
Because in Florida there are Floridians
And they are born Floridians at large.
Every motion
Can’t stop its own ocean.
The oceans’ motions make mistakes.
Some of the dying are unspeakable
In their thinness, poorly disguised meat mannequins.
The mosquitoes are so big
They bleed you like a pig.
Being eaten alive is an acquired taste.