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William Kurelek (1927–1977) is a beloved figure in Canadian art, a revered Ukrainian-Canadian painter whose works express his deeply felt immigrant experience and his compassionate vision of humanity.
In 1975, he created a suite of 16 jewel-toned paintings titled Jewish Life in Canada in homage to his Jewish art dealer and friend Avrom Isaacs and as a gesture across the cultural divide. Relying on archival documents and photographs from communities across the country, Kurelek foregrounded the role of tradition, community, and family at the core of the Jewish experience in mid-twentieth century Canada. He portrayed Prairie farm colonies; businesses and schools in Montreal, Toronto, and Winnipeg; and celebrations of festivals and community events at home and in the synagogue.
William Kurelek: Jewish Life in Canada includes essays by McMichael Chief Curator Sarah Milroy considering Kurelek’s articulation of the Canadian ideal of multiculturalism and by Executive Director Ian A.C. Dejardin exploring Kurelek’s distinctive framing strategies. The book also includes pieces by David S. Koffman on Jewish life in 1970s Canada and John Geoghegan on Kurelek’s use of photographic sources, as well as an artistic response by Ukrainian Canadian artist Natalka Husar. The volume features more than 50 images, including reproductions of the full suite of Kurelek paintings as well as previously unpublished archival source material, offering a complete record of Kurelek’s working process.
Winner of the John Hirsch Award for Most Promising Manitoba Writer (Manitoba Writing and Publishing Awards).Todd Bruce mythologizes the life of Jiggers, an alcoholic anti-hero who performs his daily rituals with only barstools for pews, a skid row bar as his cathedral, and Mary, his lover, as his only witness.”A poet of significant potential.”–Books in Canada”Bruce has woven in an integrity that is above and beyond mere digression and randomness.” –Prairie Fire
Jim Forgetting is an unflinching portrait of a year in the life of Jim and Donna, a middle-aged couple struggling with JimÕs early-onset AlzheimerÕs disease. While watching her husband slowly disappear, DonnaÕs patience and love is pushed to heartbreaking limits. She is left to ask: When love is composed of moments remembered and dreams shared, what happens to a marriage when memories fade and futures disappear? Jim Forgetting is an unforgettable story of one womanÕs heart-wrenching decision.
Famous stories of the Bible for adults ? including the Garden of Eden, Noah’s Ark, Joseph and his coat of many colours, the Three Wise Men, and Joseph and Mary’s Flight into Egypt ? as you’ve never seen them before. Each story is lavishly recreated and then deconstructed with intriguing biblical, cultural, and artistic insights. An amazingly entertaining book for repeated viewings, reading, and meditation. Watch Old Testament and New Testament worlds spring into living colour before your very eyes!
Jitters, David French’s sophisticated backstage comedy, opens on the night of a preview of a new play, “The Care and Treatment of Roses.” Within minutes, the audience is plunged into the world of the theatre, a world of instant loves and hates, easily bruised egos, contradictory interpretations of role and script—all complicated by crises involving faulty props, lost lines and bad reviews, and all magnified by the opening night “jitters” of cast, crew, writer and director.
First performed in 1979, Jitters was an instant critical and commercial success. In just a few years, the play was produced in nearly every regional theatre in Canada and enjoyed several American performances as well; and the published edition, introduced by Talonbooks in 1980, has gone through many printings. The play has been substantially changed in the process of undergoing its more than one hundred productions, and appears here in its revised edition.
Book*hug is excited to publish Job Shadowing, the first full-length fiction work by Malcolm Sutton, the widely published interdisciplinary artist and writer (and Book*hug’s own Fiction Editor).
As well as being thematically driven by the increasingly precarious employment situation of the present and the inescapable legacies of the Baby Boom generation, Job Shadowing interrogates ways in which two people can exist together in tight proximity: as a woman married to a man; as an ambitious employee joined to a problematic shadow; as an idealistic artist dependent on a wealthy employer; and as multiple generations negotiating their statuses with one another.
In crosscutting between two storylines, Sutton’s work combines the transformational-fantastic with crystal-clear contemporary reality: In the first storyline, 40-year-old Gil, drawn by the promise of a job opportunity, becomes the real shadow of an ambitious 23-year-old woman employed by an educational company. In the second, Gil’s wife, Etti, seeks a more lucrative source of income while expanding the limits of her artistic practice. Little does she expect that, upon venturing into a new line of work as memoirist to the ultra-wealthy Caslon, her role will go far beyond being a writer to something more like a mute witness to all of her client’s worldly actions, from the mundane to the speculative to the violent. It is under these seemingly unbreakable contracts that Gil and Etti’s lives are propelled into territories of ethical uncertainty, forcing them to rewrite their imagined futures.
Sutton’s plot- and idea-driven novel delivers an imaginative take on the contemporary crisis in work, particularly as it relates to identity and belonging. Its interrogative style, likened to the avant-garde writing of Tom McCarthy in Satin Island, explores the processes of art-making in our present social and economic moment. All of this makes Job Shadowing an intriguing and topical book that will appeal to readers of contemporary literary fiction with an experimental edge, and specifically people in their 20s, 30s, and 40s who might relate to the speculative world of un(der)employment living.
Desperately poor immigrants find refuge with Montreal’s legendary barkeep, Joe Beef. Cast of five women and five men.
Sandy Mecowatch, a descendant of Missinabi Cree people, falls through the ice leaving behind his wife Louise and eleven year old daughter Alison “Joe Pete”. Joe Pete’s grief propels her to risk searching for her father in the same winter conditions that took him. Along with her obedient and protective cousin Simon, they embark on a journey where they will find more than they anticipated buried beneath the snow. Their journey will unlock the ancestors and spirits embedded in the present who call back to a past marked by war and kinship, by conflict and wisdom that continue to contour their trajectory towards the future.
A study of Canadian poet Joe Reosenblatt and his work.
A series of energetic and vivid portraits that capture the character and integrity of rural life
Outsider artist Mendelson Joe is a painter, activist, musician, and renowned “self-taughter.” But to the people living in the sparsely populated region west of Algonquin Park, he is also a neighbour. With his latest book, Joe commemorates his neighbours in a series of portraits whose subjects range from Canadian musical icon Hawksley Workman to the man who installed Joe’s woodstove.
In Joe’s Neighbours, we get a glimpse into the lives of people who have strayed from the urban grid, and in Joe, we meet a “pathological painter” who is engaged with his community. Viewed through Joe’s idiosyncratic lens, rural Canadian life comes alive, and we meet a hub of artists, activists, and offbeat characters who truly embody Joe’s vision of neighbourliness.
A celebration of the physical beauty of Ontario
Following three collections of portraiture (Working Women, 2004; Joe’s Toronto, 2005; and Joe’s Politicians, 2008), Joe’s Ontario offers a new perspective from Mendelson Joe: stunning landscapes of his home province painted in acrylic over two decades, between 1990 and 2011.
For Mendelson Joe, these paintings express “the beautiful ride of human appreciation of mostly landscapes and trees and lakes.”
Includes a foreword by David Silcox, CEO of Sotheby’s Canada.
Among many things, Mendelson Joe is a political activist. And he’s a painter. So it was inevitable that he would express his activism through a series of portraits of politicians.
Here we have George H.W. Bush, George W. Bush, Dick Cheney, Condoleezza Rice, Bill Clinton Henry Kissinger, Jean Chrétien, Brian Mulroney, Stephen Harper, Stockwell Day, Preston Manning, Mike Harris, Ernie Eves, and others.
As Mendelson Joe describes, these portraits embody mostly figments of his imagination. All but three subjects came from impressions synthesized from observing these glib charmers during their numerous appearances on television. The three exceptions (Barbara Hall, Carolyn Parrish, and Richard Thomas) all sat for him at his request.
The portraits are not editorial cartoons; they’re expressions like Edvard Munch’s “Scream.” His disdain for most of his subjects is far from hidden and yet occasionally, if you look closely, one can spot a glimmer of hope that the subject might have a heart.
These politicians are shaping our future. As such, they require our scrutiny and commentary. Only if we stay engaged, as Mendelson Joe makes clear, can our democratic system work.
Mendelson Joe was born in Toronto at the Western Hospital less than a year before Canada joined the Allies in ending World War II. Although Joe grew up in Maple, a feedmill town twenty miles north of Toronto, the city of Toronto was always his home — even during his itinerant years in London and Los Angeles as an electric troubadour.
When Joe fell into painting and loved it like music, it was inevitable that he would document his friends, colleagues, neighbours, and others. For years, he painted portraits of Torontonians known and unknown, including: Robert Fulford, Robert Priest, Irshad Manji, Margaret Atwood, Bernie Finkelstein, Stan the Fan, and Babydoll Grandma. Over thirty years later, his portraits of Torontonians amount to a significant body of work, and here, in Joe’s Toronto, he exhibits fifty portraits from the experience. It tells both his story and the story of those he portrayed. Along with faithful reproductions of the original paintings, Joe has added his own brand of particular comments about the subjects and the sessions.
“Fearless and direct, tender and loving — the marriage of these forces is electric. In Joetry, Mendelson Joe fixes his gaze on the beauty in people, nature, work, love, deeds, words, and accountability — the often unheralded, everyday stuff of life. He is casting a wide net, trying to reach us all, telling us clearly: appreciate what is good and beautiful, do the right things, stop doing the wrong things, laugh, create, speak up, sing, love, and respect the earth and one another. Oh, one more thing: revere women — they are our best hope for the future of life on the planet.” — Gwen Swick, from the foreword to Joetry.