A note to US-based customers: All Lit Up is pausing print orders to the USA until further notice. Read more
Showing 2065–2080 of 9492 results
Discipline n. v. is a lyric memoir that fuses poetry and academic theory, speaking to the metaphorical power of humanities scholarship. Throughout, Concetta Principe articulates the discipline involved in earning a PhD while dealing with a mood disorder, opening up about prejudices that serve as barriers to academic success, the apotheosis being tenure. Embracing the Nachträglichkeit of the traumatic experience of being an old(er) female PhD candidate, Discipline n. v. is ultimately a story of lack and its transformative powers: the student becomes an academic as colonial humanities struggles through its extinction.
A cultural giant, Mavor Moore was active in one of the most important periods for the growth of Canadian identity. The years following WWII saw the creation of the CBC, the Canada Council for the Arts, and the centennial celebrations. Moore was a leader in all of these influential events: the first chief producer at CBC Television, the first artist to chair the Canada Council, the first artistic director of the Charlottetown Festival, as well as being an actor, musician, director, producer, composer, librettist, and professor. But, before all of these diverse vocations, Mavor Moore was a writer. In this collection, editor Allan Boss examines eight of Moore’s plays and musicals alongside the works themselves, some published here for the first time. From Moore’s first play to his most celebrated opera, Boss unearths texts that helped define a national theatre and shape Canadian identity, and by doing so provides an important addition to Canadian studies. Includes the plays Humpty Dumpty, Who’s Who, The Ottawa Man, Inside Out, and Customs, and the musicals Sunshine Town, The Optimist, and Louis Riel.
With breathtaking virtuosity, Garry Thomas Morse sets out to recover the appropriated, stolen and scattered world of his ancestral people from Alert Bay to Quadra Island to Vancouver, retracing Captain Vancouver’s original sailing route. These poems draw upon both written history and oral tradition to reflect all of the respective stories of the community, which vocally weave in and out of the dialogics of the text.
A dramatic symphony of many voices, Discovery Passages uncovers the political, commercial, intellectual and cultural subtexts of the Native language ban, the potlatch ban and the confiscation and sale of Aboriginal artifacts to museums by Indian agents, and how these actions affected the lives of both Native and non-Native inhabitants of the region. This displacement of language and artifacts reverberated as a profound cultural disjuncture on a personal level for the author’s people, the Kwakwaka’wakw, as their family and tribal possessions became at once both museum artifacts and a continuation of the tradition of memory through another language. Morse’s continuous poetic dialogue of “discovery” and “recovery” reaches as far as the Lenape, the original Native inhabitants of Mannahatta in what is now known as New York, and on across the Atlantic in pursuit of the European roots of the “Voyages of Discovery” in the works of Sappho, Socrates, Virgil and Frazer’s The Golden Bough, only to reappear on the American continent to find their psychotic apotheosis in the poetry of Duncan Campbell Scott.
With tales of Chiefs Billy Assu, Harry Assu and James Sewid; the family story “The Young Healer”; and transformed passages from Whitman, Pound, Williams and Bowering, Discovery Passages links Kwakwaka’wakw traditions of the past with contemporary poetic tradition in B.C. that encompasses the entire scope of relations between oral and vocal tradition, ancient ritual, historical contextuality and our continuing rites.
Ever since Maurice Richard dazzled hockey fans in the 1940s and 1950s, fighting his way to hockey’s summits, the issue of discrimination against Quebec hockey players has simmered on. Now an NHL veteran confirms that unless Quebec hockey players are superstars, they are less likely to be drafted than other players in Canada. Using statistics covering nearly 40 years, the discussion shatters tenacious myths such as those claiming that Quebecois players are physically smaller, play poor defensive hockey, and only serve as the best goalies. Looking for solutions, this account proposes a new NHL team for Quebec City and a Quebec national junior team for international events.
A CBC BOOKS BEST NONFICTION OF 2020
AN ENTROPY MAGAZINE BEST NONFICTION 2020/21
A NEW YORK PUBLIC LIBRARY BOOK OF THE DAY (07/23/2022)
Fairy tales shape how we see the world, so what happens when you identify more with the Beast than Beauty?
If every disabled character is mocked and mistreated, how does the Beast ever imagine a happily-ever-after? Amanda Leduc looks at fairy tales from the Brothers Grimm to Disney, showing us how they influence our expectations and behaviour and linking the quest for disability rights to new kinds of stories that celebrate difference.
“Historically we have associated the disabled body image and disabled life with an unhappy ending” – Sue Carter, Toronto Star
“Leduc persuasively illustrates the power of stories to affect reality in this painstakingly researched and provocative study that invites us to consider our favorite folktales from another angle.” – Sara Shreve, Library Journal
“She [Leduc] argues that template is how society continues to treat the disabled: rather than making the world accessible for everyone, the disabled are often asked to adapt to inaccessible environments.” – Ryan Porter, Quill & Quire
“Read this smart, tenacious book.” – The Washington Post
“A brilliant young critic named Amanda Leduc explores this pernicious power of language in her new book, Disfigured … Leduc follows the bread crumbs back into her original experience with fairy tales – and then explores their residual effects … Read this smart, tenacious book.” – The Washington Post
“Leduc investigates the intersection between disability and her beloved fairy tales, questioning the constructs of these stories and where her place is, as a disabled woman, among those narratives.” – The Globe and Mail
“It gave me goosebumps as I read, to see so many of my unexpressed, half-formed thoughts in print. My highlighter got a good workout.” – BookRiot
“Disfigured is not just an eye-opener when it comes to the Disney princess crew and the Marvel universe – this thin volume provides the tools to change how readers engage with other kinds of popular media, from horror films to fashion magazines to outdated sitcom jokes.” – Quill & Quire
“It’s an essential read for anyone who loves fairy tales.” – Buzzfeed Books
“Leduc makes one thing clear and beautifully so – fairy tales are fundamentally fantastic, but that doesn’t mean that they are beyond reproach in their depiction of real issues and identities.” – Shrapnel Magazine
“As Leduc takes us through these fairy tales and the space they occupy in the narratives that we construct, she slowly unfolds a call-to-action: the claiming of space for disability in storytelling.” – The Globe and Mail
“A provocative beginning to a thoughtful and wide-ranging book, one which explores some of the most primal stories readers have encountered and prompts them to ponder the subtext situated there all along.” – LitHub
“a poignant and informative account of how the stories we tell shape our collective understanding of one another.” – BookMarks
“What happens when we allow disabled writers to tell stories of disability within fairytales and in magical and supernatural settings? It is a reimagining of the fairytale canon we need. Leduc dares to dream of a world that most stories envision is unattainable.” – Bitch Media
Sergeant Neumann and the inmates of Camp 133 are back!
Even thousands of miles from the front lines, locked into a Canadian prisoner-of-war camp at the base of the Canadian Rockies, death isn’t far away. For August Neumann, head of Camp Civil Security and decorated German war hero, this is the reality. Chef Schlipal has been found dead in Mess #3, a knife in his back.
Now it’s up to Neumann to find out what would drive the men of the camp, brothers-in-arms, to turn on each other. He’s learned, of course, that beneath the veneer of duty and honour, the camp is anything but civil.
When the trail of clues ends at the edge of the prison yard, Neumann must consider the crime bigger than the camp. Is someone getting out of the prison? If so, can he follow? If he can’t, he might have to live with the dishonour of Camp 133.
WINNER OF THE AMAZON CANADA FIRST NOVEL AWARD • NOMINATED FOR CANADA READS • A NEW YORK TIMES NEW & NOTEWORTHY BOOK • A NOW MAGAZINE BEST BOOK TO READ FOR SUMMER 2019 • As heard on CBC’s The Sunday Edition with Michael Enright
It’s October in Montreal, 2002, and winter is coming on fast. Past due on his first freelance gig and ensnared in lies to his family and friends, a graphic design student with a gambling addiction goes after the first job that promises a paycheck: dishwasher at the sophisticated La Trattoria. Though he feels out of place in the posh dining room, warned by the manager not to enter through the front and coolly assessed by the waitstaff in their tailored shirts, nothing could have prepared him for the tension and noise of the kitchen, or the dishpit’s clamor and steam. Thrust on his first night into a roiling cast of characters all moving with the whirlwind speed of the evening rush, it’s not long before he finds himself in over his head once again. A vivid, magnificent debut, with a soundtrack by Iron Maiden, The Dishwasher plunges us into a world in which everyone depends on each other—for better and for worse.
Four writers, four different perspectives on the problematic notion of purity.
“All purity is created by resemblance and disavowal.” With this sentence as a starting point, four authors each write a novella considering the concept of purity, all from astonishingly different angles. Jean Marc Ah-Sen writes about love blooming between two writers belonging to feuding literary movements. Emily Anglin explores an architect’s search for her twin at a rural historic house. Devon Code documents the Wittgensteinian upheavals of the last days of an elderly woman. And Lee Henderson imagines Dada artist Kurt Schwitters finding unlikely inspiration in a Second World War internment camp in northern Norway.
Wildly different in style and subject matter, these four virtuoso pieces give us a 360-degree view of a philosophical theme that has never felt so urgent.
“Despite the disparity of their subject matter – a Nazi-evading Dadaist detained in Norway, urban and familial estrangements, complicated love amid the avant-garde, the vicissitudes of old age – these brilliantly inventive, delightfully strange stories cling together like four unlikely soulmates, unified by art’s pursuit of coherence through life’s various disintegrations.” —Pasha Malla, author of Kill the Mall
As a child, Claire’s big brother Ray was always bright and inquisitive, but as the two became teenagers, Ray struggled to acquire the social skills that came more easily to others. Claire tried to help, pointing out (after Ray’s many “bloopers”) what he should or shouldn’t have said or done. Ray insisted that he wasn’t the problem–“On my planet…” he would explain, there were no social climbers, no subtle hints or subliminal messages to miss, and the telling of little white lies would be a capital offence. At sixteen, sitting with him in the high school cafeteria, Claire vowed to find Ray’s planet.
After graduation, Ray took a job as a letter carrier with Canada Post, but after thirty-three years on the job he was fired, blew his appeal, and spiralled into a suicidal depression. Claire didn’t know he was in trouble until he reached out to her by email. Thus began a remarkable written correspondence that pulled back the curtain on an inner life Claire couldn’t have imagined. Where in-person interactions plunged him into hot water, Ray’s writing revealed a compassionate, funny, sad man who showed extraordinary insight into his way of navigating the world. Ray was fifty when Claire realized he might have Autism Spectrum Disorder (ASD), but by then, having survived without a diagnosis his whole life, Ray was reluctant to have a label pinned on him and resisted Claire’s efforts to fix him by trying, in all sincerity, to make him more like her.
Dispatches from Ray’s Planet draws on Ray and Claire’s correspondence to tell the story of two siblings from two very different planets. There are thousands of Rays in our world. In this collective memoir, Claire and Ray share their journey with the hope that others can also learn that we all perceive the world in different ways, and that “different” does not necessarily mean “wrong.”
Somewhere at the core of almost every intellectual discipline is an attempt to explain change – why and how things change, and how we negotiate these transformations. These are among the most ancient of philosophical questions. In this collection of essays, award-winning poet Stephen Collis investigates how the Occupy movement grapples with these questions as it once again takes up the cause of social, economic and political change.
Dispatches from the Occupation opens with a meditation on the Occupy movement and its place in the history of recent social movements. Strategies, tactics and the experiments with participatory democracy and direct action are carefully parsed and explained. How a movement for social, economic and political change emerges, and how it might be sustained, are at the heart of this exploration.
Comprising the second section of the book is a series of “dispatches” from the day-to-day unfolding of the occupation in Vancouver’s city centre as the author witnessed it – and participated in it – first hand: short manifestos, theoretical musings and utopian proposals. The global Occupy movement has only just begun, and as such this book presents an important first report from the frontlines.
Finally, Dispatches from the Occupation closes with a reflection on the city of Rome, written in the shadows of the Pantheon (the oldest continually-in-use building in the world). In something of a long prose-poem, Collis traces the trope of Rome as the “eternal (unchanging?) city,” from its imperial past (as one of the “cradles of civilization”) to the rebirth of Roman republicanism during the French Revolution and the era of modern social movements – right up to the explosive riots of October 2011. Woven throughout is the story of the idea of change as it moves through intellectual history.
Dissonance Engine is an exploration of time, cognition and loss; the intersection of dream and alternate reality amidst myriad systems of control. The collection probes these themes through a multitude of forms including prose poems, palindromes, fictional journal entries, a faux manifesto, and collage poems.
A literary Necker cube, the structure of this multilayered work reflects its subjects; anamorphic transformation on paper. Amidst poems about loss, melancholy, love, connection, longing and the natural world, Dowker scours the dissonance engine of the media spectacle, to stare into gnostic estrangement and question the “time-sensitive material” of language.
It’s Montreal, 1953, and eight-year-old Ellen, an only child prone to daydreaming, and her mother, a woman who believes in the promise of fresh starts, have moved into a large house on the flanks of Mt. Royal. To make ends meet, Ellen’s mother takes in a group of refugees from Central Europe, whose erratic behaviour and dark view of human nature captivate the young girl’s imagination. Ellen sees the refugees as a potential source of valuable information about her own background, of which she has heard little, except for a few stories about a lost golden civilization and the family’s distant connection to Sigmund Freud. The refugees soon leave to be replaced by Aunt Celia, a woman whose anxiety meter is permanently stuck at danger, and Ellen’s new stepfather, Dr. Henryk Steiner, whose years in the Soviet Union have earned him the title of “Playboy of the Communist World”.
While the adults wrangle with each other and the fallout from their past lives, Ellen sets her sights on exploring the brave new world of “America,” and on becoming a teenage femme fatale. Her quest takes her to Crescent Bay, Long Island, and into the placid lives of her American cousins and their friends. Supporting her along the way is her best friend Lydia, a fellow rebel whose mother, Magda, sets off a series of events that will alter the course of the two girls’ lives.
In her debut collection, Basma Kavanagh engages the natural world and seeks to explore our relationship to it. Hers is a poetics of description which subverts scientific observation and the authoritative language of nomenclature for mythopoetic ends. In the opening section (“Moisture”), precipitation is dissected and categorized, but ultimately the deluge of “rain making rain, /making rain” overwhelms controlled interrogation and undulating imagery saturates everything. Nomenclature reappears elsewhere in the book, attempting to anchor object poems about west-coast flora and faunasalmon, elk, bear, bigleaf maple, bog myrtlewhich otherwise drift toward the mythworld and gesture in the direction of the ethereal and the totemic. Understanding that language can be most precise when it harbours ambiguity and surprise, Kavanagh experiments with pattern poems and the layering of multiple voices in her attempt to express “a fullness /an absence /of self.” This is a book which turns over rocks and looks under them in search of truth in its soft, damp hiding places, poems which instruct us to “[d]escend. Blend /your knowing with the breath of earth”.
If the expression ‘Two steps forward, one step back’ describes the conventional attitude toward hesitation and uncertainty, Disturbances of Progress takes those steps and turns them into a dance.
In an intimate and intensely personal manner, Lise Downe’s third major collection of poetry documents the sorts of interruptions that plague the lives of artists and writers. Yet the poems themselves emerge as testament to the triumphof the artistic process over circumstance.
As the poet mulls over the uncertainty of her own life’s trajectory, she deftly weaves together the imagery of searching and the vagaries of language into a whole cloth. Downe’s writing uses the qualities of colloquial speech – hesitation, interjection, digression and repetition – to convey the experience of writing as an unforseen progression. Favouring intuitive progress over linear intention, these vivid, painterly poems reflectthe dynamic between the known and the unknown.