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Forward was partly inspired by a ten-day sailing expedition around the Svalbard Archipelago, located halfway between Norway and the North Pole. Spanning a hundred years and thousands of kilometres from the sixtieth parallel North to the top of the world, Forward presents a poetic history of energy development in Norway from the initial passion that drove explorer Fridtjof Nansen to the North Pole, to the consequences of decades of our addiction to fossil fuels. A blend of theatre and electropop music, the play progresses backwards from 2013 to 1893, and zeroes in on close to forty characters whose day-to-day lives illustrate how the choices we make often have unintended consequences. Woven through this history is the passionate love affair between Nansen and sea ice, embodied as a character in the play. Expressing herself only through song, Ice, who has waited for millennia for the arrival of her lover, is bracing to meet her destiny. A relay race through time, where each generation passes the baton to the next, Forward takes a compassionate look at the legacies we leave behind, and at what we are willing to do for love.
Ultimately, Forward is about climate change. It’s a story about how an Arctic explorer fell in love with Ice (embodied as a character in the play), and unwittingly opened up the Arctic for development. A story about people having good intentions that led to unintended consequences. A story about who we are in all our glorious imperfection. But Forward is also a story of hope. It is an invitation to collectively grieve for what we lost, for what we continue to lose every day, so that we can forgive ourselves. It is a reminder that if we come together as a community, we will find a solution.
Forward is the second play of the Arctic Cycle – a series of eight plays that examine the impact of climate change on the eight countries of the Arctic. The play takes its title from Nansen’s ship Fram, which is the Norwegian word for “forward.”
With a foreword by Una Chaudhuri, a professor at New York University who studies the geography of drama, and an introduction by Tael Naess, a Norwegian writer and playwright.
A novel of remarkable historical breadth, Found Far and Wide follows Sam Kennedy through the tragedy of the Great Newfoundland Sealing Disaster of 1914, the horrors of The First World War, and the dangers of rum-running in Prohibition-era New York. And as Sam journeys through the turbulent first half of the twentieth century, carrying the ghosts of those he’s lost, he clings to his love for a woman he’s only ever seen in a photograph. Here, one of Newfoundland’s most celebrated authors offers a story of the irresistible historical forces that define our lives and the compelling private power that beckons us home.
Award recognition for Two for the Tablelands:
***THE HOWARD ENGEL AWARD FOR BEST CRIME NOVEL SET IN CANADA 2021 – SHORTLIST***
***ATLANTIC BOOKS TODAY STAFF PICK 2021 – SHORTLIST***
Award Recognition for Three for Trinity:
***THE HOWARD ENGEL AWARD FOR BEST CRIME NOVEL SET IN CANADA 2022 – SHORTLIST***
Murder in a quilt shop on scenic Fogo Island leads sardonic private eye Sebastian Synard from his quest for some R&R to a different kind of excursion altogether.
Four for Fogo Island finds Sebastian Synard on a May 24th weekend getaway with his new significant other, Mae. (As he says, “what a difference a Mae makes.”)
When Sebastian and Mae arrive at a fabric shop, they discover the owner in a back room, lying in a pool of blood, having been stabbed with a pair of antique quilting scissors. This propels the couple along a sequence of occasionally bizarre investigative paths to track down the killer.
Sebastian has more than murder to deal with. A family get-together involving his son and ex-wife (and her partner, Frederick, a police officer) goes awry as Frederick inserts himself into the investigation. Mae on occasion outsmarts Sebastian on the investigative trails, but our private eye is rarely without his trademark sense of humour.
?“Mike Luckovich’s cartoons cut through political spin with humor and provide warning bells that put the powerful on notice.” — Jimmy Carter
Mike Luckovich is the most reprinted editorial cartoonist in America. His cartoons appear regularly in Newsweek, Time, the Washington Post, and in over 150 other U.S. newspapers. His book, Four More Wars!, is a collection of those cartoons, accompanied by humorous anecdotes.
The majority of cartoons in this collection center on Luckovich’s muse, George W. Bush, Jr. Luckovich says, “If every time Bush did something outrageous, and I climbed to the top of a building and screamed, people would ignore me. I believe people pay attention when I tear Bush a new one, humorously.”
Although President Bush is a frequent target, Luckovich also satirizes President Clinton, Congress, Pat Robertson, the Catholic Church, Tom Cruise, and the Boy Scouts. Four More Wars! covers stories about Luckovich’s run-ins with various politicians, including his flight on Air Force One, in which he convinced Clinton to draw a caricature of himself.
With hilarious anecdotes about Rumsfeld and Easter bunnies, this book is sure to tickle your funny bone — no matter your political persuasion.
Poems by Barbara Munk, George Stanley, Barry McKinnon and Ken Belford try to dispel the cultural myth that the north is a work hard, die young region with no room for poetry. This first ever northern anthology explores the beauty, tradition and life in the North.
The Four-Doored House evokes two key women in Pierre Nepveu’s life. First, his granddaughter Lily, who he imagines maturing into a complex world, haunted by her memory of him as he is haunted now by her projected self, navigating an era awash in uncertainty and unease. Imbued with both wonder and disquiet, it is an aging poet’s celebration of childhood, as well as a meditation on his own “future absence.” There follows his celebration of C, the woman with whom Nepveu shares his nights and days. These are love poems dedicated to a companion who has aided him in finding “new phrases that reformulate the impossible.” The culmination of a brilliant career, translated into fluent and thrilling English by Donald Winker, The Four-Doored House is Nepveu’s most enduring work yet.
In the early 1970s a reclusive artist and philosopher disappears in Paris after completing a fantastic series of canvases that trace the rise and fall of empires. Eventually his bloated body is dragged from the Seine. The knowledge and insight die with him. Years later, Claude Chiragi, a graduate student in Montreal receives a mysterious painting and senses the relevance of the theory embedded in the artwork. His curiosity is instantly aroused, and he launches a global search for clues that will help him understand the message and unravel the mystery of the artist’s fate. Embedded in the paintings are tell-tale historical clues, mysteriously coded, that predict imperial entropy in the future-from economic collapse and cultural decadence to a coup d’etat against civil society. Kidnappings, killings, undercover conspiracy and a trek into ancestral roots, lend to this novel its quality of intellectual mystery and gripping suspense.
Fox moves on quick and elegant feet through the terror and exhilaration of Winnipeg’s 1919 General Strike, the most turbulent period of the city’s history. In a novel of remarkably vivd, kinetic power, the collision of the wealthy and working classes after the First World War becomes a backdrop for the heady conflict between desire and human idealism.Fox is a brilliant contemporary filter for the social gospel of the day. Clamouring newspaper headlines and the passionate rhetoric of the new Left echo throughout the Establishment – the languid, dreamlike crescentwood world of Eleanor and MacDougal, Mary and Drinkwater. The cushion of luxury is scant protection when words like ‘sedition’ and ‘Marxism’ explode in their midst, confronting them with the bigotry , greed and ambition of the post-war years.
An exiled elven princess joins a party of adventurers who are determined to overthrow the ruthless regime, and help her reclaim her birthright.
Samira Tramar is the only living member of the Elven royal family, surviving the bloody coup that threw her homeland into chaos 10 years ago. Despite her attempts to stay hidden, she is discovered by loyal supporters still fighting against the tyrants. After much convincing, Samira is persuaded to join them as they seek to return her to the throne. The group choose a dilapidated inn named ‘The Foxborough’ to be their base of operations, and they slowly rebuild it as their plans evolve. As they prepare to attack the regime, the adventurers gather allies, and Samira begins to learn how to rule, and more importantly why. But, the party of heroes is unaware that their enemy has grown more powerful, through the use of an ancient, dark magic.
1949: Milne Lowell, a Canadian writer, moves to London from Montreal to edit a magazine dedicated to cultural freedom. His colleagues include Marguerite Allard, a French-Canadian anarchist, Eric Felmore, an American novelist, and Carson Ward, a British poet. Initially, the group is enthusiastic about the championship of freedom; however, uncertainty grows as unsettling encounters begin to unfold and the peripheral violence of the Cold War closes in.
Foxhunt is an atmospheric exploration of passivity, loyalty, and literature in times of political upheaval. Firmly entrenched in the literary milieu of the era, it carries the reader through shell-shocked streets with suspense and intrigue.
In fractal economies, derek beaulieu pushes the limits of poetry and poetics by grinding language through the mill of photocopiers, found material, collage, printmaking, frottage and Letraset—creating a new language for the genre. These “fractal economies,” or series of increasingly complex replications of forms through the repeated application of a fixed set of rules, challenge the status quo of poetry and of the politics of language itself, which is, with respect to any human script yet deciphered, capitalist in its very origin. Letters are freed from their “normal” behaviour, machines are let loose to create on their own and the borders between poetry and artwork are blurred. In an intriguing and well-argued afterword, beaulieu also theorizes ways that concrete poetry—poetry that deals with language in a physical, material way—can move forward into the twenty-first century beyond the limitations of the page, the author and even the poem itself.
In the last two decades of the 19th century and the first two decades of the 20th century, glass manufacturing was a unique enterprise in Canada. Beginning with the founding of the Nova Scotia Glass Company in 1881, the glass factories of Nova Scotia made clear tableware at a time when it was not made anywhere else in Canada.
By the 1800s, people had been making glass for more than 4,000 years. Before that, however, the mass production of glass was not technically possible. Pressing machines to produce glass shapes were invented in the 1830s in New England. As mechanization improved, decorated glassware could be produced relatively quickly and affordably. By the late 1880s, moulded and pressed glass was produced in Pennsylvania and Ohio, in New England, and, perhaps not surprisingly, in Nova Scotia.
In this beautifully illustrated book, featuring photographs of the highly collectable patterned tableware produced during this 40-year period, Deborah Trask tells the story of Nova Scotia glass during this golden age of pressed-glass production.
Employing her skills as a curator and a detective of sorts, she tells the story of the major glass factories — the Nova Scotia Glass Company, the Humphrey Glass Company, and the Lamont Glass Company — and provides crucial information on patterns and moulds, allowing readers and collectors to identify what remains of this glittering enterprise.
When avalanching glaciers thrust a massive Antarctic ice sheet into the open ocean, the captain of an atomic submarine must risk his vessel to rescue the survivors of a smashed polar research station; in Washington the President’s top advisor scrambles to spin the disaster to suit his master’s political aims; and meanwhile two intrepid newsmen sail south into the storm-lashed Drake Passage to discover the truth.
Onboard the submarine, as the colossal ice sheet begins its drift toward South America and the world begins to take notice, scientists uncover a secret that will threaten the future of America’s military power and change the fate of humanity.
And beneath the human chaos one brave Blue Whale fights for the survival of his species.
‘Fragments from the Big Piece’ is a non-linear, stylized play inspired by "e;eastern bloc"e; film noir. While exploring the dark underbelly of the drug trade, the play simultaneously tells the story of a man and a womans crumbling relationship.