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Showing 1809–1824 of 9481 results
When Canadian Forces soldier Jan Blaylock’s father- an investigative journalist- and the rest of her family are murdered in an attempt to cover up illegal arms sales, Blaylock abandons military life to plan her revenge against Integrated Security, the multi-national conglomerate she deems responsible.
Paul Munk is a socially conscious idealist, leaning left in his political convictions. In Crown Shyness, his skills as a writer for a current affairs magazine have garnered him an assignment that will challenge his relationships, present and future: to follow and profile Daniel Code, a member of the religious right who believes he has been called upon by God to lead his political party to national power. A growing attraction to Code’s daughter—and media handler—Rachel, complicates Paul’s intent to broil the candidate publicly. Meanwhile, Paul’s family is disconnected by the same issues of faith and politics and is forced to adjust to one son’s release from prison. Richard Munk, Paul’s older brother, has served his time behind bars and is now intent on rebuilding his life with an American woman with whom he has corresponded. When Richard crosses the US border and loses contact with his family, Paul follows his trail, hoping to find his brother, and pursue a relationship that can sustain their differences.
Cruel Tears is one of the most original and inventive theatre pieces ever staged in Canada. Shakespeare buffs may see in the play certain intriguing parallels to Othello, but in Cruel Tears, the jealous hero is a Ukrainian truck driver from Saskatoon, not a moor of Venice. Described as a “country opera,” the play is written in the idiom of country and western music and features music by the Saskatchewan musical group, Humphrey & Dumptrucks.
Cruise Control knows no borders, hurtling down BC’s Coquihalla Highway, sightseeing in Regina, tearing through Windsor, “plunging beneath the Earth” in Chicago, visiting some eccentric characters in Germany and even exploring the “non-presence (i.e. lostness)” of Atlantis.Ken Howe’s reckless intellect and insatiable curiosity for everything — Canadian geography, architecture, the experimental writing of Gertrude Stein, the “urban imperialist agenda” and even the “bright checkered tablecloth in Grandmother’s Pizza three A.M.” — flood off the page and drag us into an infinite current that unites all these concepts and objects and entices (or renews) our own understanding and interest in each with vitality and humour.
WARNING: Cruise Missile Liberals contains few proper poems. That is, poems with proper manners, proper etiquette, or proper service to our national narratives. Poems that reassure the powerful.Poems that lie inert—with the smell of the museums. Poems that are, in a word, nice.Instead, Spencer Gordon’s debut smoulders with explosive contradiction—with a charismatic voice that rewires what we could ask for in a collection. Blending gaudy lyrical excess with blemish-ridden found material, it presents the reader with guilty pleasurable collisions. It is of the wretched present: online, urban, urbane, and sweetly ironic. These are poems of play, rant, irreverence, and lip; of sparkling newness haunted by the opulent, hungry dead. Works brimming with cheek that, every so often, stiffen to a punch to the gut.Like an updated Civil Elegies for a digital generation, Cruise Missile Liberals is a blistering debut from an author leaving his own bite-mark on “Canadian Literature.”
Crushed Wild Mint is a collection of poems embodying land love and ancestral wisdom, deeply rooted to the poet’s motherland and their experience as a parent, herbalist and careful observer of the patterns and power of their territory. Jess Housty grapples with the natural and the supernatural, transformation and the hard work of living that our bodies are doing—held by mountains, by oceans, by ancestors and by the grief and love that come with communing.
Housty’s poems are textural—blossoms, feathers, stubborn blots of snow—and reading them is a sensory offering that invites the reader’s whole body to be transported in the experience. Their writing converses with mountains, animals and all our kin beyond the human realm as they sit beside their ancestors’ bones and move throughout the geography of their homeland. Housty’s exploration of history and futurity, ceremony and sexuality, grieving and thriving invites us to look both inward and outward to redefine our sense of community…
Through these poems we can explore living and loving as a practice, and placemaking as an essential part of exploring our humanity and relationality.
After an epic grounding for some bad decisions with even worse friends, Tommy Fairfield is lucky to even go to the Door Tech March Break camp. There, he crosses paths with Carter Batudev, chemistry isn’t just for the classroom anymore.
With love and a renewed interest in STEM, Tommy returns home to Parry Sound, where, to the relief of his parents, he makes better friends, and joins the STEM club. When the club goes to the province-wide competition in Toronto, he is reunited with Carter, whose team is also competing. Ensues a wild ride full of romance, hijinks, STEM, and singing.
Shortlisted for the 2024 Lambda Literary Award for Bisexual Nonfiction
It’s a tale as old as time. Girl meets boy. Boy wants girl. Girl says no. Boy takes what he wants anyway.
After a violent sexual assault, Eden Boudreau was faced with a choice: call the police and explain that a man who wasn’t her husband, who she had agreed to go on a date with, had just raped her. Or go home and pray that, in the morning, it would be only a nightmare.
In the years that followed, Eden was met with disbelief by strangers, friends, and the authorities, often as a result of stigma towards her non-monogamy, sex positivity, and bisexuality. Societal conditioning of acceptable female sexuality silenced her to a point of despair, leading to addiction and even attempted suicide. It was through the act of writing that she began to heal.
Crying Wolf is a gripping memoir that shares the raw path to recovery after violence and spotlights the ways survivors are too often demonized or ignored when they belong to marginalized communities. Boudreau heralds a new era for others dismissed for “crying wolf.” After all, women prevailing to change society for others is also a tale as old as time.
Florine Stettheimer (1871-1944) was an American modernist of German-Jewish heritage living in New York. She was a painter, designer, and poet. Together with her sisters Ettie and Carrie, Stettheimer hosted a legendary salon on the Upper West Side, where they entertained the likes of Marcel Duchamp, Carl Van Vechten, Henri McBride, and Georgia O’Keeffe. In 1934 Stettheimer designed the set and costumes for Gertrude Stein’s opera Four Saints in Three Acts to much acclaim. In 1949, Ettie collected Florine’s poems in Crystal Flowers, a privately printed, elegant edition of 250. In addition to these rare poems, this new volume offers formerly unpublished material culled from archives, including three new poems and Stettheimer’s libretto for her ballet “Orphée of the Quat-z-arts.” Gammel and Zelazo have re-situated this overlooked poet among her modernist sisters, presenting her as an important practitioner of a modernism that integrates multiple art forms. Sixty years after it first appeared for a select few, her poetry shines for a new generation of readers ready to appreciate her irreverent camp aesthetic and her exuberant painterly style.
Carey Toane’s much-anticipated first collection of poetry starts at the 1851 Great Exhibition in London. Through this early world’s fair, Toane examines our current relationship to our man-made and natural environments. This eclectic, adventurous work, blurring the lines of two centuries of human folly and achievement, is filled with curious animals, anachronisms, and anxieties galore.
Published in 1994, Crystallography was a gem of a book, an instant hit that was nominated for the Gerald Lampert Award. It has been unavailable for an ice age, and Coach House Books is proud to bring it back.
‘Crystallography’ means the study of crystals, but also, taken literally, ‘lucid writing.’ The book exists in the intersection of poetry and science, exploring the relationship between language and crystals — looking at language as a crystal, a space in which the chaos of individual parts align to expose a perfect formation of structure. As Bök himself says, ‘a word is a bit of crystal in formation,’ suggesting there is a space in which words, like crystals, can resonate pure form.
Lucid, sparkling, a diamond of a book: Crystallography is a crystal-clear approach to the science of poetry from the author of Eunoia.
Cube Squared is the much anticipated follow-up novel from Christian McPherson, picking up where his darkly comic debut, The Cube People, left off. Returning to the seemingly mundane reality of government cubicle culture, McPherson finds more humour in the misadventures of a struggling computer programmer/wannabe writer.Colin MacDonald, a happily married man, owner of a minivan, and the proud father of three kids, is about to face his greatest challenge yet: middle age. By day he is a cubicle-bound civil servant, but by night he is a horror novelist writing the vampire-zombie apocalypse. With the death of his father, a promotion at work, a raging libido and the weight of the world on his shoulders, can our everyman hero rise out of the pits of despair to make sense of his life, which seems to be constantly falling apart? Find out as Colin pursues pedophiles through the park, steals teddy bears, comes dangerously close to an affair with a Jennifer Beals look-alike and deals with the epic failure which sits in his car garage.
Through the prism of a marginal child puzzled about her true identity, The Cuckoo’s Song/Le chant du coucou, a collection of 63 poems in English and French, adds vivid flourishes to the drab canvas of the Great Depression and celebrates the indomitable spirit of the men and women who joined the Gold Rush to Val d’Or in Northwestern Québec, in the 1930s and ’40s. The community they carved in the wilderness of the Canadian Shield, diverse and inclusive, their struggles, their joie de vivre–filaments of gold in the poet’s memory.
Now in its sixth year, the Cuffer Prize is sponsored by The Telegram and Creative Book Publishing in St. John’s. It showcases some of the best short fiction from Newfoundland and Labrador writers, both new and established. Entries in 2012 touch on numerous themes — relationships in their death throes, the loss of a parent of child, impending Armageddon, the strong pull of addiction and the perils of the sea. The stories were reviewed by Cuffer Prize judges Ramona Dearing, Joan Sullivan and Russell Wangersky, and selected by editor Pam Frampton. The Cuffer Anthology Volume V includes exquisitely crafted stories from the top three prize winners in 2012: Wanda Nolan for Nancy Drew, Joshua Goudie for Satsuma and Cigarettes and Janet Kelly for Bliss. They were chosen from the more than 150 entries for the Cuffer Prize. A portion of the proceeds from each anthology is donated to Literacy Newfoundland and Labrador.
Co-founder of Toronto’s groundbreaking theatre company da da kamera, Daniel MacIvor is Canada’s most influential post-modern playwright.
In his latest collaboration with director Daniel Brooks, MacIvor plays the role of Leonard, who narrates the events leading up to his murder while trying to understand them himself. Through the course of the play, we peer behind the curtains of his neighbourhood as MacIvor transforms into the multiple characters who bear witness to Leonard’s life and death. Yet each of their stories, while internally consistent, tells a subtly different version of what happened, progressively colouring and transforming our understanding of the characters as we think we had come to know them. In a headlong rush we understand that everyone’s story inevitably dead-ends at precisely the bottom of the preconceptions they brought to its telling.
Punctuated by brilliant lighting and a mood-setting soundscape, this dazzling one-man show is storytelling of the highest order.