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Aya Katerina, a neighbourhood in Ottoman Smyrna at the end of World War I. Through the eyes of Niko “the Orphan”-his Armenian father was taken away by the soldiers-we see this close world going about its traditional ways. But dark clouds loom in the near distance. We meet Elena, Niko’s aunt and talented artist; his idiosyncratic uncle Polycarp, wiser than he pretends; Manolis the Greek doctor who loves her; Naz?m the Turkish journalist who also loves her; Niko’s grandmother who holds the family together; and an assortment of neighbours of all backgrounds. As the War draws to a close, all these people await their fates as the Greek armies invade from the west and are fought back by the forces of Ataturk from the east. A story of love under impossible circumstances and a novel about growing up, this is also an account about a people, a neighbourhood, and a legendary city caught up by forces beyond their control. Aya Katerina goes up in smoke. Quiet and understated, colourful and intensely moving, this is a memorial to a charmed city now lost.
Threaded through this first collection are a sweetness and a hope which linger in spite of the dark wash of loss the poems bravely reconnoitre.
Seeking out enduring moments of beauty and human connection that redeem difficult remembering, Giacometti’s Girl attests to the ability of love, along with the passage of time, to heal and to allow for forgiveness and celebration.
Davies understands what makes people tick. Interweaving decades-old memories with some as recent as yesterday, she conjures vivid and believable portraits of family members and friends both living and departed, and of strangers both real and imagined. In language refreshingly direct, unforced and honest, she shares what she has lived and observed. Story, physical description, and conversation are the foundations upon which she builds her poems. Whether they depict a mother’s dementia, the tragic wake of suicide, the wonderment of first love or the “shocking thrill” of “widowed old age loving”, Davies finds phrases and images which allow us to register what we may have passed over, or to recognize some of the things we’ve experienced in a deeper or different way.
Giant Killer, The
This book invites the reader, through stunning photographs and vivid words, to accompany Giant (Michel Andrew) as he journeys 400 kilometres across northeastern Nitassinan (Labrador) on snowshoes pulling a toboggan. Inspired by his deceased grandfather’s counsel conferred in a dream, Giant elicits the help of his uncle Nikashant to organize a walk to raise awareness and funds for diabetes, a disease afflicting so many of his people. Readers will cheer through their tears.
Giants of Main Street is a massive tome that explores the theme of fantasy and magic within an urban environment. This anthology graphic novel carries the reader through a multitude of impossible cities inhabited by all manner of strange creatures. From communities ravaged by sorcerous wars to thriving metropoli preserved in bottles, this anthology has it all. After all, anything imagined can be found between the cracks if you are brave enough to look.
A gibbous moon arrives in shadow and light. First at waxing then at waning, two moons in one cycle just shy of full. Poet Dennis Cooley’s eloquent words merge with photographer/composer Michael Matthews’ decadent abstract photographs. These two celebrated artists draw connections and parallels to each other’s masterful art forms, tying the two together seamlessly. The antecedent and subsequent illuminate the night sky with their dance; the shadows and the light taking turns at showing us the way through the darkness.
A captivating and candid memoir from one of the most beloved and colorful figures in Toronto Blue Jays history
Over 11 years and two separate managerial stints with the Toronto Blue Jays, John Gibbons endeared himself to fans with his folksy manner and his frequent battles with umpires: “Here comes Gibby!” Winning helped too. Under Gibbons’s management, the Jays made the American League Championship Series in 2015, ending a 22-year playoff drought; then they did it again in 2016. Along the way the team defied odds, won over a nation, and with one flip of a bat produced one of the most iconic moments in MLB history. Now, in his memoir, Gibby shares the story: an on-field career that didn’t pan out, but a managing career that did … eventually.
Raised in a military family, he played his first competitive baseball in Newfoundland and Labrador, and, with the family now in San Antonio, Texas, Gibby, a catcher, developed into a first-round draft pick of the New York Mets. While Gibbons only played 18 major league games, he did earn a World Series ring as the 1986 Mets bullpen catcher and knew all the characters from that team, including Doc Gooden, Darryl Strawberry, Lenny Dykstra, and Gary Carter. In 1990, Gibby began his journey as a coach and manager. An old teammate, J.P. Ricciardi, hired him to work with the Jays, and he moved his way up the ranks and into the hearts of baseball fans.
The apple of Momma Lou’s eye, Gideon embodies his parents’ hope for a brighter future for their family. College educated with the tireless support and sacrifice of his parents, he was to be the one to break free of the ghetto, to enjoy an integrated family life with his newfound peers in a middle management, middle-class suburban community of comfortably conspicuous consumption. Yet because of racism and prejudice, he has yet to find a job better than a janitor to support his wife and two children. An endless string of interviews for more suitable employment, turned instantly humiliating and patronizing by his appearance as a black man, stokes a slow fire of anger, resentment and disillusionment into a quiet and determined fury and a thirst for any kind of success, at any cost.
Turning to the easy drug money of the underground, Gideon is transformed from a victim into a victimizer. Slowly and inexorably, the circles of destruction around him widen in the community and echo back to devastate his own extended family. With the sophisticated and compelling portrayal of its complex characters, Gideon’s Blues offers entrance into the emotional dynamics of all families and cultures throughout history, by dealing with the powerful imperatives of love, fealty, devotion and justice. Much more than a play about the effects of racism, the profound humanity of Boyd’s characters reminds us that while neither drug abuse nor the breakdown of the traditional family is exclusive to the black community, racism causes these problems to become much more destructive to that community than they are to the dominant culture of North America.
Cast of three women and four men.
A singular exploration of the Hebrew Bible, playfully illustrated by renowned cartoonist and illustrator Duan Petricic
Gideon’s Bible is a conversation between Rick Salutin, and his son, Gideon. It begins with Gideon as a child, asking why he was given his name. Rick says it’s from the Bible and Gideon asks, “What’s the Bible?”
Although the conversations portrayed in the book span all the years of Gideon’s life, most of them occurred during his more recent years in high school. The book consists of 64 wildly illustrated colour pages. It is modeled on classical Jewish biblical commentaries, in which biblical text is surrounded by analysis that has been written over centuries and that explores both the text itself and the conversations that surround each passage. In Gideon’s Bible, biblical text is framed with striking illustrations and caricatures of Rick and Gideon as they relate to the passage and discuss subjects like God, parenting, current concerns of youth, literature, friends, and formative experiences that each of them have had.
The eponymous first part of mclennan’s new book consists of fifty “gifts” each centred around words, phrases, or “glyphs” of language that initiate and replicate their own fractal transformations: some remain simply found fragments about which other words and phrases unfold, some lose themselves into pieces that we forget were once found, some mirror themselves in other forms, others become simply something other in language as it moves both with and away from them, each creating a syntax of meaning that is specific to its own occasion. All are addressed to the poet’s intimates—two dozen are, significantly, valentines—the rest admonitions, remembrances, messages and homages made public by the readers’ acts of witness.
In part two, “incomplete,” we are invited to watch the poet robbed of his intent as unexpected words interrupt his texts, turning declaratives into interrogatives, questions into requests: “would you leave (accidental) behind”—each poem an apparent loop of closure, but one that signifies its “failure” or incompletion by ending, or starting over again, with its first [title] word. In part three, “weightless,” the poet frees the signifier from the weight of the signified. He brackets and strikes through what we think of as “known” in the “real world” that is always outside language, because it is [named].
What unifies or makes these four parts into a book are the personae the poet assigns to the lover: in the first as an intimate; in the second as an interruption of the determinative self—the other that brings us back to the self; in the third as an undefinable and thereby unattainable weightlessness; and finally as the gravitational pull of the landscape itself—all of them “unfinished” at the speaker’s age, as the title of part four implies: “[sex at thirty-eight] unfinished shield notes: letters to g.”
‘All of Nichol’s work is stamped by his desire to create texts that are engaging in themselves as well as in context, and to use indirect structural and textual devices to carry meaning. In The Martyrology different ways of speaking testify to a journey through different ways of being. Language is both the poet’s instructor and, through its various permutations, the dominant “image” of the poem. The [nine] books of The Martyrology document a poet’s quest for insight into himself and his writing through scrupulous attention to the messages hidden in the morphology of his own speech.’—Frank Davey
Exposing and reworking the dark corners of past traumas.
Gigglepuss delves into a past pock marked with loss, broken family dynamics, and the looming shadow of familial mental illness. These poems touch on sexual abuse, lost relationships, the influence of pop culture, and the intensity of motherhood set against the at times humorous backdrop of stark self-awareness, irony and even absurdity. Bucking against a patriarchal society, this collection is a provocative, reflective and at times confrontational portrayal of our human need for connection, self-identity and home.
This volume explores the life and works of Gilbert Parker. These studies of Canadian authors fulfill a real need in the study of Canadian literature. Each monograph is a separately bound study that contains a biography of the author, a description of the tradition and milieu that influenced the author, a survey of the criticism on the author, a comprehensive essay on all the author’s key works, and a detailed bibliography of primary and secondary works.
Gills is the debut collection of Ayomide Bayowa, the current Poet Laureate of Mississauga and a rising star in Canadian poetry. Born in Lagos, Bayowa found his path to poetry at the University of Ibadan, Oyo. He brings a diasporic sensibility to his writing, which is an intricate meshing of narrative voices, dramatic tellings and hip hop rhythms. These poems interrogate belonging, race, identity and the diasporic struggle with the socio-economic system of debt. They are written for the millions of immigrants trying to keep their head up, trying to uphold skin and breath and bones. They are poems written to enable people to survive, even under water.
A quirky little set of rhymes about a crow with a bad leg blossoms into a free-flying grace of words as the clumsy bird tears free from his boring life in the prairies and his nagging “ol lady” in search of a bigger destiny. Along the way, Gimp Crow collects a magpie from Alberta and a raven from the West Coast, and learns about love and loss.This collection takes Turnstone Press back to its original poetry roots in the grand (or rather modest) tradition of Dennis Cooley, evoking prairie simplicity of language and an unpretentious approach to the age-old themes of self-discovery and yearning for a different life.Gimp Crow speaks to the reader, establishing his feisty nature, to a degree anthropomorphized into a discontented man, but still a wild crow at one–or at odds–with the hard facts of life for urban wildlife. Kowal effectively captures the character of wild birds trapped in cityscapes, exhibiting sharp observation of the exterior world, while simultaneously capturing the heart of the captive human.Evoking dust-bowl prairie, Hank Williams songs of yearning, and a simple, but meaningful life, Kowal’s story poems bring to life a character that speaks to the heart of any prairie-dweller. Turns of phrase and constant, light-hearted word play make this collection enjoyable to read and accessible to non-poetry readers.