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Photographs of musicians by Bill Smith.
A survey of the people, places and stories that make up Winnipeg’s literary history, from its earliest days to the present. Illustrated with maps and photos.
The twenty contemporary writers featured in this anthology have one thing in common: a connection to British Columbia, to a specific time, landscape, or community in BC. Their essays and memoirs have been inspired by, or are in some way affected by, the particular “sense of place” that sets that left-hand corner of the country apart from other provinces. Some are humorous? others are poignant. Whether describing a family history in Kitsilano, the difficulties fitting in as an immigrant, or a close encounter with a grizzly bear, these stories communicate a sense of belonging to, or a trying to find, a sense of place.
Some of Canada?s best-known writers, all members of the Federation of BC Writers, are featured in this anthology, including Pauline Holdstock, Harold Rhenisch, George Fetherling, Howie White, Katherine Gordon, and, M.A.C. Farrant. The book features an introduction by editor Daniel Francis, a historian and author of twenty books.
Award-winning author Gary Barwin has written poems, novels and books for children. He’s composed music, created multimedia art and performed around the world. Now he has turned his talented pen to essays. In Imagining Imagining: Essays on Language, Identity and Infinity Barwin thinks deeply about big ideas: story and identity; art and death; how we communicate and why we dream. From his childhood home in Ireland to his long-time home in Hamilton, Barwin shares the thoughts that keep him up at night (literally) and the ideas that keep him creating. Filled with witty asides, wise stories and a generosity of spirit that is unmistakable, these are essays that readers will turn to again and again.
Immigrant Blues, an extension and deepening of the famous poems of the siege of Sarajevo translated in Simic’s Sprinting from the Graveyard (Oxford, 1997), explores the personal and the public devastations of war, especially its effects on the emotions, thoughts and memories of exiled survivors. Simic’s genius is to present this disturbing reality in terms so vigorous and humane that pain is mixed with the solace and pleasure of great art.
Open the doors, the guests are coming
some of them burned by the sun, some of them pale
but every one with suitcases made of human skin.
If you look carefully at the handles, fragile as birds’ spines,
you will find your own fingerprints, your mother’s tears,
your grandpa’s sweat.
The rain just started. The world is grey.
from “Open the Door”
“The brilliance of these poems lies in their detail, their lack of rhetoric, and their passion.” — Helen Dunmore, reviewing Sprinting from the Graveyard in The Observer
“Goran Simic has written with tact and restraint in daunting and provocative conditions. The fact that his terrifying testimony seems more whispered than screamed is part of its power.” — Denis O’Driscoll, on Sprinting from the Graveyard in The Times Literary Supplement
Imminent Domains: Reckoning with the Anthropocene invites readers to join a contemplation of survival—our own, and that of the elements that surround us. Using research, lyric prose, and first-hand experiences, Alessandra Naccarato addresses fundamental questions about our modern relationship to nature amidst depictions of landscapes undergoing dramatic transformation.
We trace the veins of harm, memory and meaning amongst ecosystems and bioregions; through history and across continents, from the mines of Cerro Rico to the ruins of Pompeii. Arranged by five central elements of survival—earth, fire, water, air and spirit—these essays refute linearity, just as nature does.
Naccarato offers not blanket answers about our future, but rather myriad ways to find our own, individual response to an imminent question. We are being called to work together; to dig a trench deep and wide enough that the fires around us might stay at bay. How do we turn towards the fire?
Immortal Water is an extraordinary tale of the Spanish conquistador Juan Ponce de Leon and a retired history teacher, Ross Porter. In parallel, interlaced plots both men suffer life altering crises. As age steals away their powers they obsess in a quixotic search for the mythical Fountain of Youth. Each man’s search reveals significant shifts in his life. In the depths of a Florida cypress swamp their quests culminate with astonishing results. Intriguing, poetic, and timely.
Young up-and-coming author Liz McKinnen has no idea that her life is about to change forever when she comes home from her first book tour. When she’s kidnapped and told by her captors that she has to kill her fantasy book’s antagonist, she thinks that she’s fallen into the hands of crazy, dangerous fans… until her antagonist sends a real, fire-breathing dragon after her. Liz is quickly initiated into the Immortal Writers, a group of authors from throughout time whose words have given them eternal life, and whose prose is so powerful that it’s brought stories over from the Imagination Field into the Reality Field. As Liz meets authors such as William Shakespeare, JRR Tolkien, Edgar Allan Poe, and Jane Austen, she has to learn how to control magic, fight dragons, and face her own troubled past before her power-hungry villain takes over the world. Will she survive the ultimate battle against the dragon lord whom she created?/
Impeccable Regret travels terrain demonstrating that, as a result of the so-called postmodern impulses driving poetic discourse, culture has replaced nature as humanity’s defining context; that, within the paradigm of the twenty-worst century, the recollection of natural environments seems anachronistic or oxymoronic. The poems in this collection respond to the questions: What happens when natural phenomena no longer provide solace and comfort? And how do we define both “self” and “other” in postmodern terms when the basis for such assessments fails on a grand scale?
To these ends, the poems concern themselves with the power of politics and the politics of power, both as they surround and confound the individual; both “I” and “you” in these poems transcend the local in order to undertake the divagation of truths with regard to the way in which, when two (or more) individuals are brought (or thrust) together, the dynamics of power and the political demand that one or more people dominate the others. Taking a stance far from the confessional mode, the work examines elements of our interior/exterior values while concurrently demonstrating how evaluation and devaluation control the work’s central question: how does one remain true to a common valuing of humanistic principles when the world, such as it is and isn’t, presses so insistently against each or all of us? Where do we turn when we wish to “disconnect”? Why does impeccable regret become so difficult to achieve, maintain, and sustain (or thrive beyond mere survival)?
In the words of Arthur Miller, “all one can do is hope to end up with the right regrets.”
Passion, obsession, addiction, vision, and despair — these are just a few of the themes explored by Mitchell Parry in this poignant portrait of Austrian poet Georg Trakl. Born in Saltzburg in the second half of the 19th century, Trakl was severely addicted at an early age. He smoked opium and later took up chloroform, alcohol, and cocaine. He was passionately obsessed with his younger sister, witnessed the bodies of partisans hanging in trees, and attempted suicide on more than one occasion. He died at the age of twenty-four, leaving behind a legacy of poems that capture the anxiety, passion, and exhaustion of early twentieth-century Austria and the years leading up to the First World War.
Using Trakl as a lens, Parry explores the world of Freud, Wittgenstein, Rilke, Klimpt, Kakoschka, Loos, Kandinsky, and Klee, a time when Europe is drawn through the crucible of Modernism. In this blend of fact and fiction, poetry and prose, Parry flirts with darkness, plunging into a sordid and dangerous world and exploring the complex relationship between poetry and extremity. The result is both chilling and glorious.
Imperial Canada Inc. sets out to ask a simple question: why is Canada home to more than 70% of the world’s mining companies?
Created by the British North America Act of 1867, Canada, rather than turning away from its colonial past, actively embraced, appropriated, and perpetuated the imperial ambitions of its mother country. Two years later, it took possession of Rupert’s Land—all of the land draining into Hudson Bay—and the North West Territories from the Hudson’s Bay Company, 3 million square miles of resources, and set about its nation-building enterprise of extending its Dominion “from sea to sea.”
This Canadian imperial heritage continues to offer the extractive sector worldwide a customized trading environment that: supports speculation, enables capital flows to finance questionable projects abroad, pursues a pro-active diplomacy which successfully promotes this sector to international institutions, opens fiscal pipelines to Caribbean tax havens, provides government subsidies, and most especially, offers a politicized legal haven from any risk of litigious recourse attempted by any community seriously affected by these industries.
Traditionally rooted in Canadian law, the right to reputation effectively supersedes freedom of expression and the public’s right to information. Hence, Canadian “bodies corporate,” i.e. Canadian-based corporations, can sue for “libel” any and all persons or legal entities that quote documents or generate analyses of their corporate practices that they do not approve of. Even foreign academics have become hesitant about presenting their work in Canada for fear of such prosecution.
The authors of Imperial Canada Inc., all respected scholars in their fields, meticulously research four factors that contribute to the answer to this question: Quebec’s and Ontario’s mining codes; the history of the Toronto Stock Exchange; Canada’s involvement with Caribbean tax havens; and, finally, Canada’s official role of promoting itself to international institutions governing the world’s mining sector.
2024 is not 1914. Nonetheless, imperialism was the dominant system then, as it is now. A century ago, several neo-mercantilist imperial powers vied to establish primacy over the others. Things have changed. Our era is one of planetary imperialism and globalized capitalism where one power, the U.S., already exercises hegemony over all. No other, including China and Russia, has the need or the capacity to replace it. We are not faced with relatively equal adversaries facing off, as in WW1, but with one hegemonic power trying desperately, by and all means, to cling to its world-wide domination. Herein lies the source of the major tensions and conflicts in the world today.
Samir Saul revisits the notion of imperialism, establishes a typology of imperialisms and shows how relevant the concept is today. Since the fall of the Soviet Bloc, the term ?imperialism? has largely disappeared from public discourse, even among left-wing or formerly left-wing authors and publications. Yet reality is relentless, and the issue has returned in full force.
This book attempts to develop a new interpretation of imperialism, based on a historical approach. Highlighting the historical continuity of imperialism, it shows how crucial it is to understanding what is happening today.
Imperialist Canada exposes Canada’s imperialist past and present, at home and across the globe. Todd Gordon interweaves histories of aboriginal dispossession in Canada with the cold facts of Canadian capital’s oppression of indigenous peoples in the global South. The book digs beneath the surface of Canada’s image as global peacekeeper and promoter of human rights, revealing the links between the corporate pursuit of profit and Canadian foreign and domestic policy. Drawing on examples from Colombia, the Congo, Sudan, Haiti and elsewhere, Imperial Canada makes a passionate plea for greater critical attention to Canada’s role in the global order.
The late 19th century was a time of new technology, industry, and modernity. Fascinated by progress in every form, artists such as Claude Monet, Edgar Degas, Vincent van Gogh, and Camille Pissarro began to paint the world around them, from laundresses in the basements of Paris to rural labourers in fields. Impressionism in the Age of Industry focuses on how Impressionist artists engaged with and treated the topic of industry in their art: the transformation of Paris into a bustling, modern city, the role of women in labour, and the demographic shift from rural to urban centres. Paintings, drawings, and prints, along with archival photographs, illustrate this rich and complicated moment in art history.
Impressions of Newfoundland showcases the island’s landscape and people through fine art and reveals the stories behind the images.
Impressions of Newfoundland showcases the selected works of photographer Ting Ting Chen’s landscape photos and fine art portraits. As a newcomer to Newfoundland, she uses her unique perspective in photography to show her impressions of this province, to reveal the bonds between people and places, and to tell the story of how she found her home and muse in Newfoundland.