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How do we make sense of our relationships — successes and failures, preferences and challenges, past and present. And after we make sense of them all — what do we do to increase the successes that we are striving to attain. In It’s Attachment, Kussin offers us a comprehensive overview of this dominant theory of human development and relationships in a way that gives us both understanding and practical ideas for constructive changes. She shows us the central features of the main attachment patterns that are present throughout childhood and adulthood as well as clear suggestions for how we might identify what pattern characterizes our own life. From there, her book provides practical insights into how our attachment pattern is central in our choosing a partner and being a parent. It also explores how we might change our pattern toward one that provides the greatest likelihood for developing an autonomous sense of self and satisfying reciprocal relationships.
In this, her fourth book of poetry, one of Canada’s best-loved poets takes on one of the most compelling divas of our time. In sixty-one audacious poems, Jeanette Lynes re-imagines and reanimates the peripatetic art, life, and times of Dusty Springfield.
Alternating between playful irreverence and profound compassion, It’s Hard Being Queen paints a compulsively readable portrait of an extraordinary life. Each page is infused with wit, drama, and, of course, music. Jeanette Lynes not only steps into the icon’s shoes—she lives in her skin.
It’s Time Now trains readers to uncover and overcome their life barriers — it’s a personal coaching/training program. Unlike many such programs, the self-paced structure of this book allows readers to move through the exercises at their own speed. And the book is action-focused; the aim to help people move into doing something different. Readers are able to identify the changes necessary and develop realistic plans for moving through those changes. The book is based on years of the author’s experience, from both her role as a coach and a training facilitator. The table of contents highlights the specific areas: The Past Is the Past, The Future Is Now, What’s Most Important to You?, Taking Responsibility, Finding Your Voice, Letting Go, Action! Action!, Resisting Resistance, “Be It Resolved,” Profiles in Courage, and Ultimate Rewards.
The persistence of misconceptions about Italian-Canadian food culture raises many questions for us. Are we gluttonous, inebriate and too loud? Do we force-feed guests? Are we in fact food-obsessed? How many grains of truth can a stereotype hold? We had to know, so we asked articulate and thoughtful Italian-Canadian writers and simpatico friends from British Columbia to Newfoundland. The responses were surprising, thoughtful, entertaining and often touching, making my co-editor, Delia De Santis, and I very glad we asked, as every piece which streamed over the internet’s ether was a gift and a joy to read. And the result is Italian Canadians at Table, a passionate literary feast of poetry and prose.
Winner, 2021 Melva J. Dwyer Award
Itee Pootoogook belonged to a new generation of Inuit artists who are transforming and reshaping the creative traditions that were successfully pioneered by their parents and grandparents in the second half of the 20th century.
A meticulous draughtsman who worked with graphite and coloured pencil, Itee depicted buildings in Kinngait that incorporated a perspectival view, a relatively recent practice influenced by his training as a carpenter and his interest in photography. His portraits of acquaintances and family members similarly bear witness to the contemporary North. Whether he depicts them at work or resting, his subjects are engaged in a range of activities from preparing carcasses brought in from hunting to playing music or contemplating the landscape of the North.
Itee was also an inventive landscapist. Many of his finest Arctic scenes emphasize the open horizon that separates land from sky and the ever-shifting colours of the Arctic. Rendering the variable light of the landscape with precision, he brought a level of attention that contributed, over time, to his style.
Featuring more than 100 images and essays by curators, art historians, and contemporary artists, Itee Pootoogook: Hymns to Silence celebrates the creative spirit of an innovative artist. It is the first publication devoted exclusively to his art.
In writing Itineraries, Philip Resnick has focused on a number of influences and currents that have shaped his intellectual life. It begins with his early years, growing up Jewish in Montreal and his subsequent break with organized religion. This is followed by his encounters with nationalism – Québécois, Canadian, Catalan, and that of a number of other states with majority and minority nationalities within their borders. There is an ongoing commitment to and series of reflections on socialism and on the left. How poetry became his second calling is crucial in his intellectual development. He explores the challenges to democracy and its evolving fortunes from antiquity to our own day. The subject of Canadian identity – multinational, European-influenced, North American in character – is a major strand to the development of his thinking. Itineraries also offers meditations on key political developments over the past forty years and, in a more personal way, on the passage of time. In concluding this memoir, he asks the question that any of us looking back on our lives will have been prone to ask: What was it all about?
A pioneer of sound, visual, and performance poetry, bill bissett composes his poems as scripts for pure performance and has consistently since the 1960s worked to extend the boundaries of language and visual image, honing a synthesis of the two in the medium of concrete poetry. bissett’s latest collection since the monumental breth (Talonbooks, 2019), its th sailors life / still in treatment is, using the poet’s own words, “an epik poetik novel uv langwage n speech” confronting “thos controlling effekts on us” and about “acceptans uv loss greef separaysyuns charaktrs in serch uv self liberaysyun n societal equalitee n all th forces against that path.” Eschewing the artificial hierarchies of meaning and the privileging of things (“proper” nouns) over actions imposed on language by capital letters; the metric limitations imposed on the possibilities of expression by punctuation; and the illusion of formal transparency imposed on the written word by standard (rather than phonetic) spelling, bissett’s expressive assemblages in this collection are “like walking thru sum fne lines.” The poems in this collection are coupled with stunning illustrations by the author.
“Kogawa is a beautiful and elegant writer.” —The Kingston Whig-Standard
”What is for you the breath of life?” Someday — itsuka — Naomi Nakane will answer this question. In Obasan, Naomi’s childhood was torn apart by Canada’s betrayal of Japanese Canadian citizens during the 1940s. Now, years later, Naomi’s scars have left her fragile and uncertain. Quietly teaching school on the prairies, she watches as her family slips away from her. When Naomi’s Aunt Emily brings her to Toronto and, almost unwillingly, encourages her to become involved in the Japanese Canadian fight for redress, Naomi embarks on an emotional and political journey that takes her deep into her own soul, and deep into the soul of Canada. Politically charged and intimately poetic, Itsuka tells a story of profound hope, extraordinary commitment and the fragile progress of love.
The first of two-part novel, Itzel I tells the story of three disparate characters swept up in the drama of the Mexican student movement of 1968 whose ending in the Massacre in Tlatelolco on October 2nd, a date now always commemorated in Mexico, changed their lives forever. Broad in scope and exuberant in style in the best tradition of Latin American literature, this book roots its readers in the ebullience of Mexico’s daily life and language, even as they are made to confront the horrors of history, to examine the difficulties of friendship and family.
In Itzel II: A Three Knives Tale, we continue to follow Nauta, Itzel and Basta through the cascading outcomes of their desire for agency and for change in themselves and in their world. As we contemplate the range of actions such desire makes them take and the range of emotions it brings, from euphoria to despair, we move from the Oaxaca coast back to Mexico City, from Nauta?s Brooklyn streets to her time in Canada, from the attraction between Basta and Itzel that has altered the characters’ friendship to the rumours and reckonings that result. The 10th of June, 1971 — The Halconazo — when the ’68 prisoners are out and the students of Mexico City return to the streets, is brought alive by the author’s intimate knowledge of an event that was in part organized by movement friends from her phone. As Nauta continues to measure her Mexican experiences against who she has become, she will see herself once more wielding the knife she has carried since puberty, as she is brought face to face not just with th
Finalist, Dorothy Livesay Poetry Prize (BC Book Prizes)
Ivanhoe Station is a début collection that rivets with poetic imagery as sharp as movie graphics. These poems address, in turn, social and political questions, while focussing – centrally – on a theme of transcendence.
Praise for Ivanhoe Station:
“These poems pack a wallop. They ‘steam and churn’ with the energy of the city.” (Lorna Crozier)
“a moral vision, lofty in its ideals, but glorious in its deliverance.” (UPTOWN Magazine)
“Lyle Neff’s poems mix sexual bravura with a vaguely formulated political awareness.” (Canadian Book Review Annual)
ivH: An Alphamath Serial is a book-length poem composed in the tradition of such precursors as Pythagoras, who taught that number was the essence of all things; Plato, who argued that geometry was the foundation of all knowledge; Leonardo, whose work clearly follows the Renaissance aesthetics of mathematics and the mathematics of aesthetics; Descartes, Pascal, and d’Alembert, who were all both writers and mathematicians; Schopenhauer and Lewis Carroll, and then moderns such as ValŽry and Ezra Pound, who, in his Spirit of Romance, declared that “poetry is a sort of inspired mathematics.” And now, in 2012, as the present moment in this literary trajectory, ivH: An Alphamath Serial has arrived in the form of a faux transtranslation of Raymond Queneau’s 1939 novel Un Rude Hiver!
As Warren Motte points out in his introduction to Oulipo: A Primer of Potential Literature: “Oulipian systems of formal constraint are often based on the alphabet. But in many cases, as the reader has undoubtedly begun to suspect, the nature of these constraints is mathematical. At the center is the idea of the essential analogy of mathematics and literature.” Thus, apart from the initial constraint of an Internet translation, which provided him with a vocabulary, Coleman further constrains ivH by constructing each poem as eight stanzas of eight lines each (H is the eighth letter of the alphabet) with each line limited to four syllables.
In 2005, after four months in hospitals, Dick Rayburn returns home with a limp, a disfigured face, and pain. Around tense conversations between him and his wife, Valerie, concerning their absent son, Jamie, the narrative weaves memories triggered by objects in the house. An old self-portrait draws him back to his childhood and the studio of his father, who trained Dick to be an artist, while an article critical of the Iraq War, by the journalist to whom he was engaged when they were graduate students, resurrects the person he was and the woman he loved. Dick relives his evolution from a young artist and left-wing university student to the war profiteer Valerie blames for Jamie being in Iraq, and cannot stop reliving the horror that he witnessed the day he flew into Fallujah and was shot down as his helicopter left the city. To cope with the memories that haunt him, Dick returns to his passion for painting. He paints what he saw in Fallujah, the person he feels he has become, and the loved ones he has lost. The images emerge from a deep, dark background, the principal ingredient of which is ivory black.
Ivy’s Tree is the story of a 78 year old woman learning to navigate one of the largest cities in the world: Tokyo. With a distinct sense of place – Tokyo in the fraught economic times of 2007-08 – Ivy’s Tree is also the description of an old woman coming to terms with her relationship to her family. Summoned by her only daughter to Tokyo, Ivy is newly widowed and adjusting uneasily to life without her husband. Tokyo is a daunting city for a woman travelling alone, but more daunting is the difficult relationship between mother and daughter. Ivy has no connection with her son-in-law, a traditional Japanese salary man, and her grandsons, who do not know her.
The novel is written from Ivy’s point of view. Armed with an old guide book, and keeping her travels secret from her new family, Ivy learns to negotiate an unfamiliar culture and a complex transportation system. Ivy’s inner commentaries, some provided by her dead husband Jack, are at times poignant and at other times wryly amusing. When her travels are discovered, Ivy is essentially put under house arrest, and further estranged from her daughter.
A critical look at PEI writer J. J. Steinfeld’s extensive and prolific writings in poetry, fiction and theatre, ranging from his early work on Holocaust themes to his later examinations of absurdity and existentialism. Among the contributors: Raina L. Shults, Michael Greenstein, Richard Lemm, Mark Sampson, Ellen S. Jaffe, George Elliott Clarke, Sandra Singer and Shane Neilson.