A note to US-based customers: All Lit Up is pausing print orders to the USA until further notice. Read more
Showing 1985–2000 of 9481 results
With the response to Decalogue: ten Ottawa poets (2006), we decided to follow up with Decalogue 2: ten Ottawa fiction writers. Because we are the capital city, Ottawa as a whole is often accused of having no identity of its own; instead, some of our strength comes from our transient nature, interacting with ideas larger and more multiple than a single base. Edited by rob mclennan, this collection features the work by Emily Falvey, Matthew Firth, Gabriela Goliger, Alison Gresik, John-James Ford, Clare Latremouille, John Lavery, Nadine McInnis, rob mclennan and Ian Roy.
A savvy art world thriller with a strong, independent heroine and the follow-up to The Appraisal, finalist for the 2018 Staunch Prize.
Former Budapest cop Attila Feher would really like to see art expert Helena Marsh again, so he arranges a contract for her to determine whether a painting is a copy of a famous Artemisia Gentileschi canvas or the real thing. A simple appraisal becomes a dangerous assignment when usual eastern European gangsters show up and people start dying and the seething corruption that underlies the lost promise of post-Soviet Hungary swirls to the surface. In a race to get to the truth and to outwit her adversaries, Helena and Attila must solve the mystery of the painting’s origins.
Richly atmospheric, set in Strasbourg, Budapest, and Paris, this witty, sophisticated novel will satisfy readers of political thrillers by Alan Furst and Philip Kerr. Deceptions is a thinking-person’s thriller, a romp to the last satisfying page.
This is a paper cut. This is Greta Garbo. This is the smell of Windex. Declarations, by acclaimed playwright Jordan Tannahill, is an ode to mortality — that of the playwright’s mother, his own, humankind’s — a joyful and moving attempt to capture the objects, sensations, and experiences that make up a life. Through a lyrical and iterative text, five performers chronicle a life pulled through time, encountering meteorological phenomena, mythology, political calamity, pop culture, and everyday happenstance along the way. What accumulates is a staggering archive of images, sense memories, and voices asserting that here lived, for a time, a woman.
A debut collection with a fresh approach
Decline of the Animal Kingdom investigates modern constructs of domesticity, freedom, wilderness, and artificiality to paint a portrait of what it means to be human, animal, or both in a society saturated with dog boutiques, trophy hunting, retro taxidermy, and eco-tourism. With brief forays into Algonquin Park and the heart of the 1980s jungle, the book largely draws its energy from the urban landscape, where the animals that interact with the environment have permanent effects on the land and human psyche. A wild deer wanders into the downtown core; the Galapagos and the ethics of conservation invade our Xbox; a mule grows weary of his unrewarding office job and unfulfilling relationships. Exploring the victories and defeats of an urban existence complete with 9-to-5 office angst, the claustrophobia of domestic partnerships in bachelor apartments, and party-and-pick-up culture, Decline of the Animal Kingdom is Laura Clarke’s love letter to the city of Toronto, and to extinct animals and office misfits alike.
Through acts of resistance and resurgence, Indigenous people are reclaiming public places in Winnipeg.
In Decolonizing Public Places, Sadie Lavoie explores the history of Indigenous resistance within Winnipeg since Idle No More in 2012, and how that protest played a pivotal role in the Indigenous cultural resurgence of reclaiming space within the city. Lavoie uses their experience to uncover how Indigenous people used places and spaces to revive their decolonial narratives from Indigenous ways of living, knowing and being. As public space in Winnipeg is reclaimed, Lavoie discovers how this newfound inclusion is shaping relationships within Indigenous communities, as well as how this movement connects Indigenous nations with their co-existing treaty partners.
Decolonizing Public Places
is part of The City Project, a series edited by Emma and Michel Durand-Wood.
If language is an index of belonging, then Decompositions is the writing of an exile, a tribe of one.
For much of his life, Ken Belford has lived in the north, in the pristine region of the headwaters of the Nass River. His careful (de)compositions disclose the land as a complex living organism, articulate the names of it, see the whole of it. Yet the landscape of these poems is not a matter of latitude and longitude, but that unroaded place which begins at the edge of the rancher’s ?eld, wherever that boundary is, and looks back at “civilization” with a vision and a voice that is unique and new. These poems catch their readers up in a surprising social engagement that is at once larger and other than the consumer discourse of trade and ownership.
The construction of the lyric in contemporary poetry is most often grounded in a gaze from shelter, out onto a common ?eld that is captured, and thus appropriated—an “aboutism” or constructed estrangement of the other that is challenged by these decompositions of that sheltered and privileged “I.” For Belford, poetry is a social process that explores linguistic and political particulars from a gaze that is opposite to the shelters of convention, the academy, the city, or the south. It is a writing that rules out the anticipation and doubt of traditional narrative. These are not safe poems, they resist more than they assure.
While Belford’s self-taught language of subsistence isn’t aligned with the well-worn ancestral narratives of our forefathers, its sub-text remains rooted in questions of both origin and evolution, foregrounding a consciousness informed by the latest recognitions of science and technology. Uncolonized spaces are represented here not as a return to a golden age, but as bright openings to our undisclosed future
William Robertson writes with a quiet, unpretentious gait. He leads us through the beauty he finds within the simplicity of an honest life. His poems explore how his roles as father and grandfather allow him to share his love of the natural world, and his passions ignite especially when he writes about his love of birds. He asks if it would be possible for us all to be lovers of birds with the ardour of St. Frances of Assisi. “In the creek, birds I’ll probably never name explain their desire.” He writes as if quiet devotion just might release their thoughts.
Before his tragic death in 1992, Greg Curnoe had submitted to Brick Books a manuscript based on extraordinarily detailed research into the history of 38 Weston, his address in London, Ontario. The result is a journal/collage that traces the occupancy of that one small plot of land hundreds of years back into aboriginal times when land in this country was not plotted according to the laws of geometry. Deeds/Abstracts is an intensely concentrated and particular cross-section of Canadian history, layer upon layer upon layer. Brick Books is proud to offer this exemplary work-in-progress (a 500-year diary can never be complete) assembled by a much-loved and keenly-lamented Canadian artist of the first importance. Greg Curnoe was born in London in 1936. He was a founder of the Nihilist Spasm Band, the Forest City Gallery, and Region magazine.
Front and back covers are after paintings by Greg Curnoe. The text includes 12 colour plates of photographs and Curnoe paintings.
Deep Girls tells stories that defy the conventions of young adult literature. The clichés of fictional relationships are tossed aside, and instead we read about girls whose relationships with their families are like the real relationships readers see in the world around them.
There are stories showing family members at their worst: a girl must stand up against expectations put on her by her parents and boyfriend; a sibling’s assault on a parent drives a young woman to dark thoughts, and admiration for a rule-bending classmate; an ill grandmother is cruel to her daughter.
There are stories about the search for strength: a father and daughter try to survive as a family after a tragedy; a family friend who was victimized by violence returns from a mental hospital; a mother shows her daughter the heart that lies beneath a passive exterior.
And there are stories about young women adjusting to their emerging sexuality (while reluctantly caring for a neighbour’s children, a teen turns her eyes to the kids’ father), and that of their parents (a father and daughter take a trip to a bar, and each turns their attention elsewhere).
Deep Girls is an astonishing collection of stories that are rich in tone and emotional complexity.
Deep Girls tells stories that defy the conventions of YA, sweeping aside the clich?s of life, love and family, giving us stories of girls whose lives mirror the world that young readers see around them.The young women in these stories, on the verge of adulthood, start seeing their parents and families in a new light of vulnerability. We see family members at their worst, we witness the search for strength, and we see girls becoming women as their worlds change around them.
It’s the early 1950s, and Ira and Lydia Hardy, in their 70s, join their neighbours and large family to face the challenge of their lives. The government has chosen their fishing community for the construction of a provincial park. The community rallies against the plan, encouraged by Ira’s gentle and persistent efforts and those of his radical daughter Sal, home from college to help in the protest. Between lively gatherings in the family home in Collupy Point, Ira tramps across woodlands, picks flowers, cuts wood and, when the season begins, goes fishing. He and his three-year-old granddaughter Rosie become close friends, her amusing ways relieving the fear in his heart. When the first house in the village is torn down to make way for the park, the community persists despite little hope of success.
When the time comes for humanity to be its own salvation, will we rise to the occasion? Or let greed and selfishness stand in our way?
Deep Sea Feline follows Charlie Potichny, a failing musical artist living in Toronto, when a mysterious creature from another world visits him in his deceased mother’s painting, gifting him with a song that will turn his life and musical career upside down. Charlie, not understanding the power and implications of the other world, upsets the delicate balance between ancient forces. Slowly, Toronto falls into chaos: the seasons go through drastic change, people are disappearing, and birds threaten to overtake the city.
To restore equilibrium and save their city, Charlie and a colourful cast of artists and musicians must uncover the mystery of Charlie’s mothers mysterious suicide at her Cabin in Algonquin park, face their darkest fears, stage an epic opera, and navigate the strange and wondrous realms of the ancient gods.
Employing a sort of leaping or mosaic structure and incorporating e-mails re penis-enlargement, questionable limericks, jokes, graffiti and a photo of a “penis latte,” along with personal anecdote and probes of books and films, Deep Too is a book of non-fiction stories. It is a funny and sometimes biting book about the phenomenon of male strut and competition. Thinking with feeling, the author posits an expansive masculinity that rises above stereotype, traditional roles and the either/or choices they so often involve.
Newfoundland played a significant role in the defence of Upper Canada during the War of 1812. “Defending the Inland Shores: Newfoundland in the War of 1812” tells this incredible story. The book describes many key battles, including the siege and capture of Fort Detroit, taking of an American naval schooner on Lake Ontario, a surprise attack against Ogdensburg, New York, and desperate defence of a British ship on the Niagara River during an American night assault.
Eleven poems on geography, geology, natural history and human interactions.