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Is this life a route or a destination?
Alyda Faber’s assured début examines the ties that bind us to one another and to the Earth we inhabit, and asks the question, What is left of us when we are gone?
In the quiet and unsettling poems of Dust or Fire, Faber speaks from the grief following death to explore the meaning of love and family. She is not afraid of gaps and ellipses, finding music in the silences. Her unflinching gaze explores the imperfections of our fleeting existence, our ambitions and relationships, our flawed humanity. Documenting the search for home, the longing to belong, to love and be loved, she turns to the ways love can curve toward pain, how we carelessly hurt one another, but also how we find the grace to forgive and carry on. Dust or Fire is a moving collection, at once grounding and uplifting.
Elaine M. Will’s four-part adaptation of Andreas Schroeder’s 1986 novel Dustship Glory tells the story of Damanus ‘Tom’ Sukanen, a Finnish immigrant farmer who responded to the economic slump and drought conditions that laid waste to the Canadian prairies in the 1930s by building a full-sized ship in his farmyard, hundreds of miles from the sea. The first part of this four-part graphic novel, Dust-Ship Glory, is now available. Will is the Xeric Award-winning Canadian author and cartoonist behind the critically acclaimed mental health drama graphic novel, Look Straight Ahead.
Why are certain histories covered, discussed and inquired about, while others remain hidden? Going beyond the old tropes of colonised histories, this book presents the Indo-Canadian community’s pioneer experience within the events leading to the ejection of the Komagata Maru from Canadian waters in July 1914 and the subsequent outbreak of the Great War in August 1914. A great book to introduce Canadian youth to a more inclusive look at our history.
Presented as a historical scrapbook with beautifully realised, photo-realistic artwork. Framing the history is a graphic novel story about a teenage boy, in Surrey BC, caught up in drug gangs. He rethinks his choices after his 95 year old great-grandfather comes to visit the family in Canada. His stories of their past, and seeing him reunited with a Canadian soldier his great grandfather saved during WW2, opens up a different path to live his life.
A long poem that blends and bends the lyric, procedural poetry, the travelogue and extended forms, Dwell lives in, or dwells on, the interaction of a restless subjectivity with the seemingly transparent, yet identifiable, social codes that encase us.
After the sudden death of her lawyer husband, Nora flees her small town for the anonymity of Toronto. An ad lures her to rent a cheap apartment, where the landlord Henry lives in the next unit. Initially helpful to Nora, his charm hides a desire to manipulate women, leaving Nora vulnerable to his predations. Nora hides some secrets of her own too – secrets that might lead to her undoing. A propulsive plot with terrifying twists, this essential debut novel brings forth a confident new literary voice to the trade.
Award-winning poet Barry Dempster’s latest collection embraces the fragility of life and the bitterness of endings. Ghosts of his father and mother haunt the pages and friends face battles with cancer, some losing, some not, while the poet himself is all too aware of the passage of time on his own frame. This is not a gentle book, but in his wrestling with death Dempster gives voice to the pain that many others have felt. Yet with his deft turn of phrase and fresh imagery he also startles his readers, and leaves them questioning their own expectations of life and its alternative.
After the annual graduate Christmas party, Emily’s friend and lab partner, Beth Wong, takes a dive out of a ten-storey window. Emily is not convinced that her friend’s death was a suicide, and she takes it upon herself to find out what’s really behind it. After spending time recuperating from the shock with Rusty Monoghan–her landlord, friend, and sometime surrogate mother–Emily returns to the university and is convinced to continue Beth’s work in Dr. Mullarcant’s little shop of horrors.
AS SEEN ON TV ONTARIO’S THE AGENDA WITH STEVE PAIKIN
FINALIST FOR THE 2019 ARTHUR ELLIS AWARD FOR BEST NON-FICTION CRIME BOOK
Known to history as “The Fighting Parson,” Reverend J.O.L. Spracklin broke into a notorious Windsor roadhouse one chilly November night in 1920 and shot and killed barkeep Beverly “Babe” Trumble. Easily acquitted by reason of self-defense, he never served a day of time. A provincial liquor license inspector already known for his brash tactics, Spracklin’s audacious tactics solidified across North America the Detroit-Windsor borderlands’ reputation as the new Wild West—an uncivilized outpost where whisky flowed freely, warrants were forged on the spot, and ministers toted guns to keep the peace.
To the rest of Ontario, a dry province, Spracklin was the saviour they’d been waiting for, the answer to the lawlessness of the Border Cities—that is, until he shot a man at point blank range. In this exploration of the period, decorated Ontario historian Patrick Brode unpacks this infamous piece of Prohibition lore and asks: Why did Babe Trumble die? What led to a hotheaded reverend taking the law into his own hands, killing a man, and getting away with it? Full of fire-and-brimstone preachers, crooked politicians, wily rum runners, grandstanding lawyers, and innocents caught in the crossfire, Dying for a Drink is a fascinating read that will captivate anyone interested in the real stories behind this fabled time.
In a letter to his brothers in 1818, John Keats remarked on a curious expression in vogue among his friends: “they call drinking deep dying scarlet.” The poems in this collection, inspired by Keats’ misspelling of “dyeing,” explore the ways in which we drink deep from life, searching for beauty and passion despite a melancholy awareness of our own mortality.Poised between praise and lamentation, Dying Scarlet moves from the experiences of the poet’s grandfather in the trenches of World War One, to the fate of an obscure English poet in the Elizabethan age, to the present-day journey of a sockeye salmon; from the Russia of Anna Akhmatova to the Manitoba of Margaret Laurence. Autumnal and contemplative, these are poems of love, of memory, of home, of dying – and, most profoundly, of life.
Pierre-Claver Ndacyayisenga was teaching history in Kigali, Rwanda, when he was forced to flee to the neighboring Congo with his wife and three children. Thus began a harrowing five-year voyage of survival during which they travelled thousands of miles on foot from one refugee camp to another. Lacking food and water, they were often robbed, sometimes raped, and constantly pursued and bombed by shadowy armed soldiers with sophisticated weapons and aerial surveillance information. This brilliant and touching book is the story of one family among the more than 300,000 refugees?many of whom did not survive. For those wishing to understand the war in the Congo, this must-read will restore the humanity and the right to mourn for hundreds of thousands of Rwandans dispersed throughout the world.
Adeena Karasick’s fourth book of poetry achieves an astonishing layered complexity and maturity. Dyssemia Sleaze is at one and the same time Karasick’s most political and most personal book to date. Its performance is that of an inter-folded language, woven (shuffled) back and forth between the perpetual absence of intimations of the thing itself and the rupture of the ever-present metamorphoses of its mediation. This tapestry of syntax, the fitting of one word to another, becomes a triumph, in this book, of the feminine sensibility over the linear, masculine, causal narrative (what used to be called ‘naive realism’). It is the feminine soul crying at the ‘Mehitzah,’ the wall that separates the male and female worshipers in the Jewish temple. It is the woman at the temple screen, impervious to anything but language, as the current post-modern heir to authenticity.
This is a book of walls: defensive walls that keep people out-the garrison; and inclusive walls that keep people in-paradise. And it is a book of transgression-of messengers, both voluntary and mercenary, who pass and carry the notes and letters, both living and dead, between those who are without and those who are within those walls.
At times, Karasick’s language becomes the veritable milk of life: you, the reader, the child of innocence, get whatever “mama’s eaten that day,” both “itself,” and “itself mediated,” always unpredictably. The very sensuality of its presentational style (full colour image-text collage) is at one and the same time in dire conflict with the complex austerity of its exegesis-the heartbreak of recognition illustrated in the mirror of desire. Knowing here (her) is always the illusion of the illustration of the object of desire: certainty is a fetish of bondage; knowing the opening of the mouth (wound) of the tear into substance. And the laughter, that dangerous laughter.
A lyrical collection focussing on a specific street and on a particular tree growing there, Earle Street, by Governor General’s Award winner Arleen Paré, takes the concept of street and urban living, the houses on the street, the neighbours, the boulevard trees and wildlife, and the street’s history as a poetic focal point. The book is divided into four sections, each of which differently considers the poet’s home street – as a river, as an arboretum, as a window, and finally as a whole world – resulting in an extended meditation on place, community, and lesbian domesticity that is at once poetic and philosophical. “Start from the inside,” Paré writes, “as though organic, as though building from inside a seed.” Here is the macrocosm reflected, examined, and refracted through the microcosm of a single, quiet neighbourhood street.
Early Days, Early Dancers documents the first decade of the National Ballet, focusing on the dancers of the 1950s, especially principal dancers Lois Smith, David Adams, Angela Leigh, Donald Mahler, and Celia Franca, herself a dancer and later the Company’s Artistic Director. With an enthusiastic foreword by Karen Kain, and a moving afterword by Veronica Tennant, the book includes pieces by twenty-two dancers, plus memorial tributes to dancers who have passed away. Contributions explore the dancer’s journey through St. Lawrence Hall, summer school, rehearsal, and life on tour, as well as life after a career in dance. Portraits includes comments by the dancers on such figures as Celia Franca, Betty Oliphant, and Kay Ambrose among others, and memorial tributes to those dance figures who have died are written by well-known writers contemporaries such as Michael Crabbe, John Fraser, Vanessa Harwood, and Veronica Tennant. These memories of the Company’s early dancers provide a unique impression of the origins of the National Ballet, and the history of dance in Canada, and highlight the way the present dances on the shoulders of those who have gone before.
In 1600, Peter Paul Rubens left his home in Antwerp to travel to Italy and study the Italian masters. Eight years later, in 1609, he returned to Belgium and quickly established himself as one of the foremost painters in Western Europe. Early Rubens explores the artist’s work from 1609 until 1621, and how he rose to fame by creating multiple versions of paintings with subjects that had proven to be successful, and by seeking out collaborators to create more ambitious works than he could have done alone.
Early Voices
Much like a pilot need not know the pure physics behind his flight, a skilled poker player need not know the pure mathematics behind winning poker play. Too often have poker books taken a purely theoretical approach to poker instruction.
This book is the only poker book available that caters specifically to online sit-n-go (SNG) single-table low-limit Texas Hold’em tournaments. More importantly, it is the only poker book that guides the reader on a progressive path upward through the various limits, with only the information necessary to win with any bankroll or skill level to beat that specific low limit. Presented in a series of steps, the book provides guidelines that help tell the reader when to move up to a higher limit.
SNG’s have very predictable durations (40 – 60 minutes) so the reader could effectively set aside blocks of time to play. Unlike other games, the book contends that SNG’s have very predictable win/loss rates, can be defeated systematically, and offer an innate system of progression. That is, the various buy-in amounts can be viewed as a climbable ladder that helps gauge success.
As with any gambling, winning is not a sure thing. But this book gives you the tools you need to win.