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Chub and Coney are simple maintenance workers in the vast sewer system beneath a city they never see. They are overworked and filthy and live for simple pleasures such as seeing a bird, or some time off. The subterranean ecosystem is thrown out of balance when a mysterious naked interloper starts causing trouble. There are plots afoot in the underground, and Chub and Coney have been given the unhappy task of clearing them away. Drainers collects Alex Steacy’s webcomic Dregs into print for the first time, in a newly edited and polished edition. It is a surreal comedy of errors about working class heroes fighting to hold society together by keeping its foundations in one piece.
This mirror’s selfie-proof, a machine that dams back the gloom.
After a brief period of mourning, it was the afternoon.
This mirror is selfie-proof, a machine that dams
back the gloom. When machines dream they dream
of stopping. But this bulimic is all hangnails
with a hankering to throatsing.
Following the Fratellini Family of clowns, Jeramy Dodds astonishes readers
and non-readers alike. Techniques such as his patented triumph, the Grand
Mal Caesura, along with other favourites, are on display inside. Dodds is a warlock of words, only to be outdone by them, enslaved by them, freed by them – maybe even loved by them. A haunting, yet hilarious depiction of a journey to and fro the furthest limits of the human experiment.
Dr. Penelope Douglas is an ex-forensic psychiatrist looking for a fresh start in a styling western boomtown, but on her first day practicing in her boutique suite, a young television writer hangs himself in her subway-tiled bathroom. A dissection of contemporary television drama through the eyes of the dead writer reveals to Penelope an unsettling connection between the forty-four-minute television hour and the disintegration of the human soul. But it isn’t until Penelope’s oil wife friend pronounces Penelope her unborn baby’s spiritual godmother that Dr. Douglas takes the dive into the uncharted waters of her own unconscious to break the spell that has the frontier in its filthy grip. Will Dr. Douglas be able to find heart in this wild new landscape? Will she have to smudge her lipstick to ‘cowboy up’? Drama, the long-awaited new play by the master of edgy dark humour, has all the answers.
At the book fair in Rimouski, a woman picked up my first book to read the back cover. She put it back down, avoiding my eyes. It’s heavy, cancer and death and all that. I wish books were more interactive. Like video game controllers. They could vibrate at the end of each chapter. But that’s not how life works. I wonder what death is like. Do you vibrate? Do the words GAME OVER appear?
In 2012, Vickie Gendreau was diagnosed with a brain tumour and wrote a book narrating her own death. Testament could have been Gendreau’s first and only novel, but she kept writing, furiously, until the very end.
Published posthumously after Gendreau’s death in 2013 at age 24, Drama Queens continues her exploration of illness and death that began in Testament, but with even greater urgency and audacity. In her singular voice, Gendreau mixes genres and forms, moving from art installations to fantastical little films to poetry, returning again and again to a deeply raw and unflinching narrative of her increasingly difficult days.
With rage, dark humour, and boundless spirit and imagination, Drama Queens, translated by Aimee Wall, records the daily life of a young woman living with a failing body, the end in sight, and still so much to say.
DraMétis is the first anthology to focus on the emerging discipline of Métis drama. The pieces have all been previously produced and highlight the diversity of Métis drama being written and performed in Canada.
How do you establish trust and meaningful connection with a sibling who suffers from schizophrenia? In an attempt to rekindle her relationship with her estranged brother Steve, Joan meets him at the Art Studios in Vancouver, where he takes part in art classes for individuals with a mental illness in a safe, supportive environment. This marks the beginning of a remarkable journey into the healing power of art.
Schizophrenia had already done its worst, confounding Steve with voices, hallucinations and delusions. At fifty-five, Steve was in a burn-out phase of schizophrenia with a hunger for creativity. Joan’s efforts to connect with him through art soon become the vehicle of change. Over the next eight years, Steve progresses both artistically and personally. Together, Steve and Joan explore their art, drawing upon their own resources as they learn to trust one another. Steve’s artwork provides a glimpse into his perspective, at once both troubled and beautiful. His paintings and drawings are eventually displayed in two solo exhibits at Basic Inquiry Gallery. He attended what would become his final solo show shortly before his death in 2013.
One in five North Americans experiences a serious mental health crisis; DrawBridge: Drawing Alongside My Brother’s Schizophrenia offers a path of hope for the afflicted and for their advocates. In memory of her brother, Joan has established the Stephen A. Corcoran Memorial Award at Emily Carr University of Art and Design to assist students coping with mental health issues.
This beautiful, landmark volume traces the history of the Art Gallery of Ontario’s inspiring collection of drawings and watercolours — one of the fastest growing in North America since the founding of the Gallery’s Prints and Drawings Department in 1976.
The unconventional selection of one hundred works, ranging from the fifteenth to the mid-twentieth century, provides a fascinating chronicle of five centuries of drawing, with each full-page reproduction accompanied by insightful commentary from a scholar or curator. Included in this volume are works by Michelangelo, Rembrandt, J.M.W. Turner, Picasso, Pollock, Paul Gauguin, and Käthe Kollwitz, as well as Emily Carr, Tom Thomson, and David Milne — several published here for the first time.
At more than 250 pages, Drawing Attention/i> demonstrates the AGO’s commitment to acquisition and preservation at the highest level while celebrating the individual pieces that form the nucleus of this dazzling collection.
A poignant look at beginnings and ends in Ruth Taylor’s unique voice.
McKenna to Harper, Chrétien to Bush, with a dash of Trudeau and Mulroney.
Michael de Adder is one of Canada’s foremost cartoonists, part of a long history of political cartooning that began in ancient Egypt and Rome. The invention of the printing press and the wide distribution of newspapers gave life to the political or editorial cartoonist.
Controversy goes hand-in-hand with being an editorial cartoonist and de Adder has had his share of stirring up the pot. His 2007 cartoon of Jerry Falwell arriving in Hell with the devil exclaiming “Surprise!” is one example. His famous cartoon on the election of Pope Benedict XVI remained unpublished because the Catholic editor of the Halifax Daily News deemed it too controversial. (It later won the Association of American Editorial Cartoonists Golden Spike Award for the best cartoon killed by an editor.) In this lively collection of political cartoons drawn from work made between 1997 and 2015, de Adder skewers politicians and public figures of all persuasions.
Michael de Adder began his career as a cartoonist with the Halifax Daily News. He has since worked for Brunswick News, the Halifax Chronicle Herald, the Toronto Star, and the Hill Times. His work is syndicated throughout North America.
Maria Caltabiano’s poems are the result of years of ponderings and musings about life after losing her husband to cancer. They paint moments that clung to her and begged expression. Most try to work through the sadness and introspection that accompanies loss and mourning. But they also depict a healing process that imposes a new perspective as one embarks on an unknown road: the fears, the guilt, the joys. Nature figures prominently as a teacher and a source of solace. A sanctum away from a troubled world, be it the inner world, or the outer one of politics, religion, and human relationships.
An ex-cop gambles with his life in Las Vegas in this “fast-moving” mystery (Booklist)
Jake Morgan, who left the Boston police force and wound up in Vegas thanks to his taste for games of chance, finds himself hitting it off with a beautiful high roller in her sumptuous suite. Then an assassin enters and breaks the lady’s bliss by popping two lead pills into her forehead.
Before Morgan knows it, he’s not only being grilled over the murder, he’s also targeted by a femme fatale and caught in the crossfire between two groups of dirty cops. Now he’s not sure who he can trust in this action-packed crime thriller.
Claire Harris has always been a formidable force and now her celebrated book-length poem is available once again in a new edition. In this dream-collage, which cuts across the boundaries of prose and poetry, she combines post-modernist influences with a fully realized narrative. Spanning a few days and several decades, Drawing Down a Daughter follows a woman-dreamer as she prepared to give birth. Speaking to her unborn daughter through journals, letters, stories, and eloquent imaginings, Harris’s unnamed narrator calls up a distinctive cast of characters as she travels from the tropical warmth of the West Indies to Canada with its houses “iced in snow.” Drawing Down a Daughter was shortlisted for the Governor General’s Award in 1992.
Thrilling but flawed, entertaining despite the swerves and double-crosses, captivating even when repugnant… professional wrestling has enjoyed the attention and loyalty of untold millions for nearly a century. How and why is precisely what Larry Matysik examines in his third book, Drawing Heat the Hard Way: How Wrestling Really Works.
Wrestlers have their own private language, and in the unique world of wrestling “drawing heat” is a very good thing: the successful generation of crowd reaction and fan excitement. The Hard Way? That’s both exactly what it sounds like and something no one in the industry plans for: a legitimate and unintentional wound suffered because something’s gone awry. In Drawing Heat the Hard Way, Matysik explains what it takes to win the hearts and minds of wrestling fans, and how, at times, mistakes, controversy and unexpected turns of events have damaged the reputation or forever changed the business he loves.
If anyone understands wrestling, the problem-child offspring of whatever “real” sport is, it’s Matysik. Drawing Heat the Hard Way takes on the way wrestling is booked or planned; analyzes the roles of wrestlers and announcers, and explores steroids as an industry and fan issue. It also considers wrestling’s power-brokers, from those who influence the business by reporting on it, like Dave Meltzer, to those who make the final decisions on what gets broadcast every week, like the omnipresent Vince McMahon, and even to those who influence the sport with their pocketbooks — the fans themselves.
At times humorous, occasionally heartbreaking, always insightful, Drawing Heat the Hard Way is ultimately an objective take on what it means to be a wrestling fan, from someone who knows the business inside and out.
The Japanese steamship Komagata Maru set sail for Canada with 376 Sikh, Muslim, and Hindu migrants travelling from Punjab, India. They were refused entry at Vancouver, even though all passengers were British subjects. The Komagata Maru sat moored in Vancouver’s harbour for two months while courts decided the passengers’ right to access – and while the city’s white citizens lined the pier taunting those onboard. Eventually, Canada’s racist exclusion laws were upheld and the ship was forced to return to India.
In his third poetry collection, dream / arteries, Phinder Dulai connects these 376 passengers with other New World settler migrants who travelled on the same ship throughout its thirty-six-year history, including to ports of call in Hong Kong, Japan, India, Turkey, Halifax, Montreal, and Ellis Island. By drawing on ship records, nautical maps, passenger manifests, and the rich, detailed record of the Komagata Maru, Dulai demonstrates how the 1914 incident encapsulates a broader narrative of migration throughout the New World.
Dulai’s hybrid poetics fuse historical fact with the fictive. He interweaves words of loss and silence with the cacophonous sound bites of TV news culture, war coverage, and the manifestations of contemporary ennui. Framing the “I” in the provisional realm of the observer and “subjectless” space, Dulai draws out the poetic line to explore hope, possibility, and regeneration.