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This book celebrates one of the great twentieth-century American private presses, Gray Zeitz’s Larkspur Press. After discovering letterpress printing under the mentorship of Carolyn Hammer at the University of Kentucky, Zeitz established his own press in the rural village of Monterey, Kentucky. Using metal type and traditional tools, he has produced finely crafted and yet wholly approachable books and broadsides, largely by and for his Kentucky communitya community which includes such authors as Wendell Berry, Guy Davenport, James Baker Hall, Bobbie Ann Mason, Richard Taylor and Maureen Morehead. Compiled by Gabrielle Fox, this book is comprised of an interview with Zeitz, tributes by friends of the press, an extensive bibliography of the press’s books and broadsides, over 80 photographs, and a sampler letterpress printed by Gray Zeitz at Larkspur Press.
Lumberman Larry Gorman was no respecter of borders — nor of anything else, it seems. From the time he was a young man growing up on Prince Edward Island until his death in Brewer, Maine in 1917. Larry Gorman composed satirical songs about friend and foe, relative and stranger, without fear or favour. This new edition of Sandy Ives’s celebrated book features more than 70 of Gorman’s songs, 29 with music.
The events at Oka in 1990 saw the might of the Canadian Armed Forces in the service of the governments of both Quebec and Canada confront some 40 armed Mohawk “Warriors” who were defending their local community’s resistance against a further colonial encroachment on their native lands. The events of that summer have etched themselves indelibly into the minds of North Americans as the latest episode in the continuing 500-year history of “Indian wars” in the Americas.
To the Mohawk nation, a community spanning a territory crossed by the Canada-USA boundary, the confrontation at Oka was simply a temporary open declaration of war by Canada in what Mohawks regard as an ongoing cold war between their nation, and the colonial powers of both Canada and the USA. As in all previous “Indian wars” instantly mythologized by the colonial North American media, the defenders of the community at Oka were presented to North American news consumers as “a criminal element,” terrorizing (with their “Viet Nam military training” and their “Mafia connections”) not only “law abiding citizens,” but their own people as well.
The day after the military stand-off at Oka ended, “Lasagna,” one of the leaders of the Mohawks’ armed resistance, was “unmasked” as Ronald Cross—a man with no criminal record, no connections to the Mafia or any other “criminal underground,” and no military service record in Viet Nam or any other country in the world. Where, then, had these “common knowledge” rumours originated? And why was there such a high degree of media complicity in the “public information strategies” of the governments of Quebec, Canada and the USA ? Where, indeed, did the inflammatory media tag “Warriors” come from, when the closest word in the Mohawk language defining such a concept means, simply and literally, “the men of the community”?
These and other questions are interrogated in a book vital to the understanding of the ongoing struggles of the Native nations in the Americas to achieve what they increasingly define as their “inherent right to self-determination and self government.”
A series of short nonfiction pieces, Laser Quit Smoking Massage explores the peculiarities of the urban and rural centres of the Canadian West. From prairie towns to sprawling cities, Cole Nowicki’s witty, insightful, and ever curious reportage explores the evolving states of community, family, and belonging.
By Grand Central Station I Sat Down and Wept is the title of Canadian writer Elizabeth Smart’s classic hymn to love, which novelist Angela Carter once described as being “like Madame Bovary blasted by lightning.” Later, Carter wrote privately to a friend, saying that she would hate any daughter of hers to have to write such a novel, adding, “By Grand Central Station I Tore Off his Balls would be more like it, I should hope.” And now along comes Montreal novelist Martine Delvaux with The Last Bullet Is for You. This stream-of-consciousness novel takes the form a love letter, but it is the last one. One last letter filled as much with the memory of love as the desire for revenge. Love is war, wrote Ovid, and this book is a battleground. Writing is both an act of passion and the means to end it once and for all. Writing is the last bullet, shooting through the love story and into what is left of the lover: a ghost, a fiction. And maybe that’s what he was from the start.
Montreal is a city that has always represented the ideal of languages and peoples meeting, mixing and producing a culture greater than the sum of diverse parts. Last Days of Montreal travels through an imaginary cityscape, powered by apples, beer, the dream of love, and a dark but determined joie de vivre which Montrealers adopt to survive the rising tide of bitter political schism, economic downturn, language laws, record snowfalls, crumbling streets and a baseball team on the verge of disappearing. The locus is a quiet enclave in the north-east end.
Donald is an idealistic anglo from Toronto who came to Montreal on the strength of his father’s “Liberal” hopes. But Pascale, his pure-laine wife, is inspired by a messianic “Lucien” and she sees the future differently. Bruce is a divorced Montreal-born anglo from the West Island, a failing stockbroker and an uncertain father, who is struggling to build a new life on the East Side where he now lives with Geneviève, a French ex-pat and freelance translator. Bruce sees the blue and white Quebec flag everywhere he looks, but when he tries to explain the “near-death experience” his country suffered in the referendum to Geneviève, she is not as sympathetic as he might wish. She is concerned with something beyond politics.
If Bruce and Donald represent a cry from the middle-class, horrid Last Days is their hyper-echo. Loud and legless, Last Days is a dissolute tramp, a self-appointed prophet of doom, wheeling around in his electric wheelchair, warning all citizens that Montreal is killing itself with this ridiculous French/English political war. Last Days’ world is the downtown streets. But a fateful meeting on the Cartier Bridge sparks love. A true Montrealer, Last Days heads into the north end, in search of his heart’s desire.
The time span is from the early 90’s through to a blessed spring following the Ice Storm of January 1998. At its centre is that cold, nerve-wracking day in November 1995. Last Days of Montreal is emotional history.
Twenty-five years ago and counting, Louisa, my true, essential, always-there-for-everything friend, died. We were 22.
When Anita Lahey opens her binder in grade nine French and gasps over an unsigned form, the girl with the burst of red hair in front of her whispers, Forge it! Thus begins an intense, joyful friendship, one of those powerful bonds forged in youth that shapes a person’s identity and changes the course of a life.
Anita and Louisa navigate the wilds of 1980s suburban adolescence against the backdrop of dramatic world events such as the fall of the Berlin Wall. They make carpe diem their manifesto and hatch ambitious plans. But when Louisa’s life takes a shocking turn, into hospital wards, medical tests, and treatments, a new possibility confronts them, one that alters, with devastating finality, the prospect of the future for them both.
Equal parts humorous and heartbreaking, The Last Goldfish is a poignant memoir of youth, friendship, and the impermanence of life.
Jason Dade, quixotic hero of this 1970s coming-of-age novel, is on a quest. He must decipher cryptic signs on his journey to meet an elusive figure known only as The Man. His father, Saul Dade, broods restlessly at hope, helpless to intervene. Their interwoven narratives include idyllic descriptions of rural childhood, the grim spectre of war, the harsh realities of leaving the nest … and finding the way back home.The Last Half of the Year renews the age-old configuration of innocence and experience in this, at times, darkly humourous story of a father and son whose lives cast shadows over one another across time.It is a book about generations, the passage of time, and the reckless and resilience of youth.
***IPPY AWARDS: LITERARY FICTION – BRONZE***
An audacious tale of murder, privilege, and servitude – of both humans and nature.
A stunning work of imaginative fiction, Last Hummingbird West of Chile spins a tale of adventure that is in turn comedic, violent, poignant and thoughtful. Through the exploits of a young sailor born in questionable circumstance and a pair of murderous servants, as well as an assortment of other 19th century regulars, the vital subjects of today—race, religion, sexuality, environment—are framed in history and human culture.
Through narration by human protagonists, a tree, a hummingbird, various beasts, and the landscape itself, Ruddock tells a story of colonialism and environment, brutality and privilege, and the best and worst of human nature.
The Last Journey of Captain Harte is a comic and complex family drama that takes a middle-aged widow from her small prairie world into a surreal world of possibility. When Marguerite Waker receives a far-away phone call from the nomadic Captain Harte, an old friend of her husband, her imagination is awakened. As Captain Harte makes his circuitous way home, Marguerite follows his journey and prepares for a different life.
Wyrmwood Secondary School has had the same grad prank for the past 50 years. This year Amber, a werewolf, Tiffany, a vampire, and Steph, a reptile, have set out to change that. The problem is, the school is cursed. And the end of school isn’t going to go as planned. Last Night at Wyrmwood High is a full-colour, all- ages graphic novel full of wit, witches, and other things that start with W.
In the Standard Model of Big Bang Cosmology, about 300,000 years after its birth the temperature of the universe had dropped to the point where the first simple elements were formed, matter became cool enough for light to at last move freely, and the universe itself became transparent to radiation. This transition during the infancy of the universe is called the “surface of last scattering.”
These poems map out such zones of last interaction. In the texts, the visual and semantic vectors of authorial intention run headlong into the messy and mundane material stuff of everyday life. In the apparent cause and effect of the resultant textual interactions between writer and reader, each influences the consequent shape, direction and possible outcome of the other. Any meaning is therefore entirely contingent upon the readers’ engagement of the text, without which it is uncertain these texts exist at all. From his ongoing long poem “The Julian Days,” framing abstract and representational takes on life and death with a calendar system that is cumulative rather than cyclical; to poems that respond to the auras of the visual and the aural that envelope language; to a poetic narrative enacting a history of what Charles Olson called “the human universe”; McElroy engages what words mean. There are no cause-and-effect events in the universe, he reminds us—there are only interactions.
Next door to the chain stores are the cheap restaurants with chipped paint and handwritten signs which will never be featured in the Dining section of the Times. Alongside the renovated lofts are thousands of cramped apartments filled with books and cats, and actual studios where artists work with their hands. Ignored by the hype, without a website, the little shops and thrift stores and squats continue to thrive–sometimes at risk of being displaced, but always at risk of being simply overlooked or dismissed. Last Supper is a love letter to these places and the people who inhabit them: the vibrant beat beneath the bullshit that gives the city its charm.