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Winner of the 2013 Heritage Toronto Award of Excellence
Shortlisted for the 2013 Toronto Book Award
The Toronto streetscape: how it looks, lives and changes over time, documented in over 400 photographs. For over thirty years, Patrick Cummins has been wandering the streets of Toronto, taking mugshots of its houses, variety stores, garages and ever-changing storefronts. Straightforward shots chronicle the same buildings over the years, or travel the length of a block, facade by facade. Other sections collect vintage Coke signs on variety stores or garage graffiti. Unlike other architecture books, Full Frontal T.O. looks at buildings that typically go unexamined, creating a street-level visual history of Toronto. Full Frontal T.O. features over four hundred gorgeous photos of Toronto’s messy urbanism, with accompanying text by master urban explorer Shawn Micallef (Stroll).
‘Full Magpie Dodge’ is about the shiny brightness of modern urban life, its pressures and joys. More-or-less artful dodgers populate its pages, along with office workers, crows, exhausted junkies and jubilant lovers. Intertwined with all their lives is the unforgotten rural past and the still turbulent North: in short, it’s a book that takes Canadian life as it is: startlingly robust, enduring, and sometimes beautiful.
“There’s no messing around with Lyle Neff. He’s straight forward, down-to-earth and uncomplicated in a very complicated way that makes sense.” – The Loop
“There’s enough humour, self-loathing, and joie de vivre here to satisfy Bukowski’s fans, but Neff’s the far better craftsman. If you thrill to what words can do when stacked right, drop 14 bucks on ‘Full Magpie Dodge’. Five books down the road, this kid’ll be big-league. Get in on the ground floor and grin.” – Fast Forward Weekly
“Covering many of the biggest names and greatest events in sports, it’s a wonderful collection of yarns and reminiscences, told in Perk’s inimitable style.” — Postmedia
“Few can spin a yarn with the wit and clever turns of phrase that Perky can.” — Shi Davidi, Sportsnet
After forty years of encountering a myriad of athletes, fans, team managers, and owners, Perkins offers unique observations on the Blue Jays and Raptors, fifty-eight major championships’ worth of golf, ten Olympic Games, football, hockey, boxing, horse racing, and more
Dave Perkins was once told by a bluntly helpful university admissions officer: “You don’t have the looks for TV or the voice for radio. You should go into print.” Which he did, first at the Globe and Mail, and then for thirty-six well-traveled years at the Toronto Star.
In Fun and Games, Perkins recounts hysterical, revealing, and sometimes embarrassing personal stories from almost every sport and many major championships. Learn why Tiger Woods asked Perkins if he was nuts, why he detected Forrest Gump in the 1996 Atlanta Olympics, and why Super Bowl week is the worst week of the year. Perkins exposes the mistakes he made in both thought and word — once, when intending to type “the shot ran down the goalie’s leg,” he used an “i” instead of an “o” — and to this day, he has never found a sacred cow that didn’t deserve a barbecue.
“Anyone who has ever spoken to Dave Perkins, or read Dave Perkins, remembers his voice. This book is a delightful way to experience it all again, through the wise funny man’s eyes.” — Bruce Arthur, Toronto Star sports columnist
From acclaimed author Lindsay Zier-Vogel comes an insightful and heart-rending exploration of motherhood, grief, and the search for identity.
Amy is a new mother, navigating the fog of those bewildering early days and struggling with a role she feels ill-prepared for. It’s the first time in a decade that she hasn’t been living the busy life of an acclaimed children’s musician, and her sense of self is unravelling. To make matters worse, her bandmates have seemingly abandoned her.
In flashbacks, we see Amy’s journey to success—her stumblings as a solo singer-songwriter and her eventual rise to fame as a member of the Fun Times Brigade. But as the novel progresses—and Amy grapples with a devastating loss—we come to understand how precarious definitions of artistic success can be.
The Fun Times Brigade examines the enduring challenges of reconciling being an artist with being a mother. It is also a timely reflection on forgiveness and what it really means to have a good life in a world that demands we have—and be—it all, and asserts that amidst the chaos, we can find our way back to our genuine selves.
Concise and practical, Fundamentals of Directing is a distillation of Ric Knowles’s twenty-five years of experience as a director, teacher of directing, and dramaturge across Canada. Organized to reproduce the chronology of a play’s rehearsal, the book moves through the various stages of the directorial process, from selecting a project through auditioning; working with designers, actors, and technicians; to coordinating the work of the full company through tech week to closing night. It also, and uniquely, includes important appendices on the work of directors in devised theatre and new-play development.
Further Confessions of a Small Press Racketeer is a continuation of the columns and essays that comprised Stuart’s 2005 release, Confessions of a Small Press Racketeer. Again, equal parts literary memoir, reckless tirade, and unsolicited advice for the aspiring writer, Further Confessions is drawn largely from Stuart Ross’s notorious “Hunkamooga” column, his blog entries, essays for subTerrain magazine and other online venues. We bring them together here in their collected brilliance: alternately snarky, sincere, touching, honest, and always opinionated, Stuart’s “confessions” are essential reading for any literary confessional. This volume offers its readers a roller-coaster journey into the mind of one of Canada’s most committed small press activists.
Praise for Confessions of a Small Press Racketeer, vol. 1:
“Confessions of a Small Press Racketeer is a wonderful book-funny, outrageous, and acute. I’ll even say it’s the best short-essay collection about the writing life I’ve read in ages.” (Lynne Van Luven, Malahat Review)
“For a quick and dirty breath of fresh air, it’s difficult to beat renegade urban poet Stuart Ross’s latest effort, Confessions of a Small Press Racketeer … No reformed baby boomer or slumming trust-funder, Ross has the battle scars and knows poetry isn’t about flowers and meadows, it’s about blood and guts.” (Stephen Knight, Quill & Quire)
“The book is a must for anyone working as a poet in Canada, with standout pieces on the politics ofwriting for free, open mic readings, poetic bitterness, chapbook and zine publishing, and the requisite but never-funnier grouch advice to young poets, salubriously titled Stop Bugging Me Already!’” (Prairie Fire)
“…no pulled punches here … this is writing that works because, as with all good confessions, it’s from the heart but comes by way of the brain.” (Vancouver Review)
Furthermore, the Lake is an artfully disjointed novel whose narrator—too fearful of commitment to commit to a name—navigates a world where memory and dream intermingle. This constant blurring of both time and place suffuses his day-to-day life with uncertainty: an evening walk might last for seasons, and staff parties might never end. An existential crisis that arises when he orders scones leaves him dislocated in his own life. Through a series of semi-connected vignettes, he struggles to find his way back. This quest foregrounds an exploration of loss that cascades into a series of losses, as he traverses a Calvinoesque city, whose streets swap signs, that is emerging around him. Michael e. Casteels’ novel integrates prose poetry, lists, surrealism, shards of conventional narrative to create a deeply human story of contemporary urban alienation.
Drawing on her own experiences as a woman of Iranian and British Isle descent, writer Hollay Ghadery dives into conflicts and uncertainty surrounding the bi-racial female body and identity, especially as it butts up against the disparate expectations of each culture. Painfully and at times, reluctantly, Fuse probes and explores the documented prevalence of mental health issues in bi-racial women.
Sue Goyette’s poem Future Howl plots a fulsome radius of the experience of trauma and survival, one that encompasses much about living in the aftermath that skirts straightforward description and yet works in the frequency of courage and joy. Propelled by Goyette’s declarative voice, sense of humour and side-slipping imagery, each page of the poem is “a microdose of ars poetica” infused with intertextual and transformative guidance from the painter Bob Ross, the live-cam company of a pair of endangered red wolves, and a private-to-public reckoning that is grounded in this singular time.
Climate change is already affecting millions of people. Governments talk about taking action to limit global heating to 2 degrees Celsius above pre-industrial levels, but the greenhouse gas emissions allowed by their policies have the Earth on track to heating far more than that by the end of the century – a level of heating that will have truly disastrous consequences. Visionary plans for how to slash emissions and make society better at the same time abound, including various Green New Deals. But how can we make the changes that are so urgently needed?
Future on Fire argues that a just transition from fossil fuels and other drivers of climate change will not be delivered by businesspeople or politicians that support the status quo. Nor will electing green left leaders be enough to overcome the opposition of capitalists and state bureaucrats. Only the power of disruptive mass social movements has the potential to force governments to make the changes we need, so supporters of climate justice should commit to building them. Confronting the question — what if heating above 2 degrees becomes unavoidable — and refusing to despair, David Camfield argues that even a ravaged planet is worth fighting for and that ultimately the only solution to the ecological crisis created by capitalism is a transition to ecosocialism.
Winner, APMA Best Atlantic-Published Book Award and The Critical Eye Award
Honourable Mention, Canadian Museums Association’s Outstanding Achievement in Research
In Future Possible, Mireille Eagan and other writers and artists navigate the tangled histories and cultures of Newfoundland and Labrador to investigate the visual output and to write the narrative that it has created. The result is an ambitious volume, arising from a two-part exhibition of the same name at The Rooms, that provides a multi-vocal, multi-faceted history spanning pre- and post-Confederation Newfoundland.
Lavishly illustrated with reproductions of original works and installation views, Future Possible features essays by curators and artists on topics such as pre-Confederation art; contemporary art, craft, and Indigenous culture; and outsider and folk art. This intriguing volume places artifacts from the province’s history and work by iconic Newfoundland and Labrador artists such as Gerald Squires and Mary Pratt in conversation with works by contemporary artists like Jordan Bennett and Kym Greeley. Together they explore how history is told and retold through objects and images and how these objects and images, and the power structures that preserve them, define an understanding of place.
Contributions from Mireille Eagan, Jamie Fitzpatrick, Andy Jones, Heather Igloliorte, Jeff Webb, Darryn Doull, Bushra Junaid, Cory Thorne, Kelley Totten, Patricia Grattan, Gerard Curtis, Caroline Stone, Craig Francis Power, Christopher Pratt, Logan MacDonald, Lisa Moore, Eva Crocker, Andria Hickey, and a foreword by Anne Chafe.
Future Schools offers an in-depth analysis of our current educational crisis and a comprehensive blueprint for change. Dixon proposes innovative, often controversial, but always common-sense reforms in such hotly debated areas as testing, de-streaming, teaching methods, and the curriculum. He also provides a much needed view of the bigger picture, placing these issues within the context of children’s rights, and their roles in society, present and future.
G is a sound. Phonetically, it is represented as [?]and corresponds to ? in the Arabic alphabeta guttural resonance shared between Afrikaans and Persian. Hinging on this mutual fricative sonically prominent in their respective languages, and a playful inclusion of homonyms across English, Afrikaans, and Persian, Klara du Plessis and Khashayar Kess Mohammadi composed G collaboratively in a shared Google document, an act of hospitality into their languages. Amplifying common etymologies, but centering communication beyond the delimitation of verbal systems, this work stages a conceptual project of human interconnection through the metaphors of tongue, speech, and poetry as sound. G builds on both poets? earlier translingual and translation work, including du Plessis? award-winning Ekke and Mohammadis Me, You, Then Snow.
Gabriel Dumont’s Wild West Show is a flamboyant epic, constructed as a series of tableaux, about the struggles of the Métis in the Canadian West. It is a multilayered and entertaining saga with a rodeo vibe, loosely based on Buffalo Bill’s legendary outdoor travelling show. In 1885, following the hanging of his friend Louis Riel, bison hunter Gabriel Dumont fled to the United States. There he was recruited by the legendary Buffalo Bill, founder of Buffalo Bill’s Wild West, a gigantic outdoor travelling show that re-enacted life in the American West. It made a huge impression on Dumont, and he dreamed of putting together a similar show to tell the story of the struggle of Canada’s Métis to reclaim their rights.
The creative team behind Gabriel Dumont’s Wild West Show – including ten authors, Indigenous and non-Indigenous, French- and English-speaking men and women – brings Dumont’s dream to life in a captivating, joyously anachronistic saga. The theatrical version of Gabriel Dumont’s Wild West Show presented by the National Arts Centre was one of a number of exceptional projects funded through the Canada Council for the Arts’ New Chapter initiative. (Adapted from nac-cna.ca/en/wildwestshow.
Gabrielle Roy: Creation and Memory introduces readers to the complex, driven, and sensitive woman from the small town of Saint-Boniface, Manitoba, who won the hearts and minds of readers everywhere with her first novel, Bonheur d’Occasion (translated as The Tin Flute). The authors draw upon considerable resources to explore those aspects of Roy’s life that account for the scope of her writing. They also examine in detail the roots of some of the major themes that inform her works: from Canada’s rich and endangered multicultural heritage, to the ambivalent roles of progress and politics. This illustrated biography highlights three pivotal phases in Gabrielle Roy’s life: her early years growing up and then teaching in Manitoba; her two-year stay in France and England in the late 1930s; and her return from Europe to live in Quebec. It was in this last period that Roy honed her craft and then, as she travelled across the country, learned about the Canada she came to describe in ways that altered the course of literary history.