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When Boris Zbarsky and Vladimir Vorobiev, two Jewish biochemists, are recruited by Josef Stalin to embalm Lenin after his death, both men are pushed to their limits in preserving the former Soviet leader so that he may physically live forever. Driven by fear and fame, both men attempt to achieve the impossible, but discover a dark secret. If they should succeed the rewards will be boundless, but failure can bring only one outcome. Based on a true story, Governor General’s Literary Award winning playwright Vern Thiessen brings us a dark comedy that brings to light the resilience of the human spirit, ever-changing war games, and the importance of always having vodka on hand.
At McDonald’s, when I’m throwing out the stuff on my tray, there’s a point where I get scared that my wallet could have been on there, too. I always think, as everything is tumbling into the garbage, that I might have tossed my wallet on the tray and forgotten. It always feels possible.
So begins Jonathan Goldstein’s first novel, Lenny Bruce is Dead. It’s the story of Joshua, a young man who’s uncertain about a lot more than the possible loss of his wallet. He might as well be talking about his whole life. Josh is having a hard time finding his way in the world; deciding on a career and keeping a girlfriend are too much to handle, not to mention the fact that after the death of his mother he has moved back into his childhood suburban home to be with his father, Chick. Oh, and then there’s the arrival of the Moschiach (inventor of the infamous Love Lotion) to further complicate things.
Lenny Bruce Is Dead walks a tightrope between being searingly funny and poignant – you’ll laugh, you’ll cry, you’ll long for Love Lotion (and a Moschiach of your own). And you won’t forget Josh – ineptitude, scatological neuroses, urban angst, self-deprecating humour and all.
In these peculiar times, we are thrust back into ourselves in a kind of suspension: one in which only private life exists yet threatens to become trivial through a sense of mutual, overarching dread.
Lent from award-winning writer Kate Cayley is built from this tension, exploring domestic and artistic life amidst the environmental crisis and the surprising ways that every philosophical quandary—large and small—converges in the home, in small objects, conversations, and moments. The grotesque and the tedious, the baroque and the banal, intertwine in the first three sections. Meticulous depictions of spectacle run into the repetition of daily domestic life: trying to explain time to children, day trips to the planetarium, and the warnings of strangers; these are interspersed with depictions such as Mary Shelley recalling the monster, the inner life of a seventeenth century portrait sitter, and Ted Hughes’s second wife telling her story to the dead Sylvia Plath. The title section explores religious faith; how belief is itself a repetition, a slow accumulation over time, just like love or forgiveness.
Lent is an exquisite work of our era, asking us to contemplate what it means to live in a broken world—and why we still find it beautiful.
This volume explores the life and works of Leo Kennedy. 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.
This volume explores the life and works of Leon Rooke. 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.
Germaine Lauzon has won a million trading stamps from a department store. Her head swimming with dreams of refurbishing and redecorating her working-class home from top to bottom with catalogue selections ranging from new kitchen appliances to “real Chinese paintings on velvet,” she invites fourteen of her friends and relatives in the neighbourhood over to help her paste the stamps into booklets.
Raucous, reckless and rude, the women shamelessly share their most secret hopes and fears, complain stridently about their friends and relatives, fantasize wistfully about escaping the misogynist drudgery of their lives and surreptitiously tuck most of the stamps into their purses and clothing, self-righteously appropriating what they consider to be Germaine’s “illegitimate” good fortune.
While earlier attempts had been made to stage the realities of Québécois life using colloquial language and a realist backdrop of working-class Montréal, these populist hits were considered rustic and anomalous, while “real” (Parisian) French continued to dominate theatre and “high culture” until the end of the 1950s.
As Québec searched for a new socio-political identity and a language that could articulate its rapidly emerging post-colonial reality throughout the “quiet revolution,” Michel Tremblay struggled to find an authentic Québécois voice. Written in 1965, it took three years for him get a first production of Les Belles Soeurs in 1968. Premiering at the Théâtre du Rideau-Vert in the same year that René Lévesque founded the nationalist Parti Québécois, this first of what was to become more than a dozen plays in Tremblay’s Cycle of Les Belles Soeurs became an overnight success. In one fell stroke, Joual, the distinctive Québec vernacular that had evolved over centuries since the end of French colonial rule had been legitimized, and Michel Tremblay, much like Chaucer in English and Dante in Italian, had become “the father of the Québécois language.”
Les Canadiens begins on the Plains of Abraham in 1759 when a French-Canadian soldier throws his rifle to his son and it becomes a hockey stick. It ends in the Montreal Forum on the night of November 15, 1976, when Montreal Canadien fans turn a hockey game into an election victory rally for the indépendantiste Parti Québécois. In between, it is a play about Quebec and Canada using hockey as a metaphor—and a play about hockey using Quebec and Canada as its setting. Les Canadiens was commissioned by and first performed at Centaur Theatre in Montreal in February, 1977. The book contains a preface by Ken Dryden, former goalie for the Montreal Canadiens, and an introduction on hockey, politics and theatre by Rick Salutin.
La Loi de Murphy, le deuxième épisode des Chroniques du Canal Lachine, suit Tom Murphy essayant de faire face aux évènements tragiques du précédent roman ainsi qu’à sa nouvelle renommée en tant qu’écrivain. Ce dernier tente de se débarrasser de ses tendances autodestructrices et est invité à faire un témoignage lors d’un de ses meatings chez les A.A. La trame du roman tourne autour de Tom racontant sa vie en détail : de ses débuts à Ville LaSalle, jusqu’à son amitié avec Eamon, son temps dans l’armée ainsi que sa vie sexuelle débridée; perdant, en chemin, tous ceux qui lui sont chers. La Loi de Murphy affirme que tout ce qui est susceptible de mal tourner, tournera mal. Ce roman est basé sur cette affirmation.
Quelques semaines après la mort du père de Tom, ce dernier passe une soirée avec Oliver qui lui raconte sa vie alors que Tom prend des notes pour son prochain roman et réagis aux évènements de la vie d’Oliver. Monk et le Joli Coer est une histoire portant sur la recherche du grand amour et comment le karma reviens toujours hanter ce dernier. Le roman relate le parcours d’Oliver de son primaire jusqu’à la quarantaine et toutes les mauvaises décisions qu’il a prises dans sa vie. Quoique difficile, Oliver n’a aucuns regrets parce que ces choix ont fait de lui l’homme qu’il est aujourd’hui.
Les contes de Youpi est le premier volume de la serie “Youpi, la souris dans ma poche,” qui a ete lue a des milliers d’eleves du Canada atlantique et de l’Ontario et qui a recueilli un nombre important de lecteurs.
Les lecteurs de tous ages s’identifieront a la lutte de Youpi a l’heure du coucher apres une longue journee, a sa demande d’une histoire pour l’aider a s’endormir et a ses angoisses nocturnes lorsqu’il doit affronter la mechante sorciere de Jeannot et Margot des freres Grimm, le Grand Mechant Loup et ses propres “Trois ours” imagines par lui. Les lecteurs seront conquis par la curiosite insatiable et la determination de la petite souris, ainsi que par la gentillesse et la patience infinie de son ami Jean. Les contes de Youpi prouvent que les meilleurs amis sont de toutes tailles et garantissent des sourires et des rires a profusion.
Les Faux Bourgeois Bistro is an award-winning French bistro situated at the awkward intersection of Kingsway and Fraser Street in an equally disjointed neighbourhood in East Vancouver. Founded in 2007, Les Faux Bourgeois soon became a beacon of French bistro “amor” and garnered a loyal clientele and critical acclaim to match.
Selected by the Georgia Straight as “Best French” in 2013, 2014, and 2015; Mia Stainsby of the Vancouver Sun proclaimed: “It either makes you pine for Paris, or transports you there!”; and, Vancouver Magazine soon chimed in: “It’s no wonder this savvy effort plays to a packed house every night … Oenophiles masquerading as servers maintain a spirited atmosphere of clinking glasses and lively chatter with hefty pours of the cheap and cheerful. Best call ahead.”
Les Fauxbo, now in its eighth year, continues to pump out bistro-love, with a classic French bistro cuisine, simple yet elegant, in a vibrant and unpretentious setting. The recipes are traditional, with a slight ?West Coast’ tweak, and with an understanding that even simple dishes can be elevated with the proper time and attention.
Bistro cuisine has always navigated the balance between rich ingredients and a lighter touch of French cooking. The names of the dishes are simple and evocative: pate de campagne, duck confit, cassoulet, boudin noir, and the ubiquitous ?steak frites,’ for example.
Many have heard of these dishes, and some have tried them. The Fauxbo book will endeavor to walk the reader through the preparation of these classics, while sharing some anecdotal ?culinary’ history and literary tidbits along the way.
The Fauxbo book is designed to bring many things ?French’ into your home, through recipes, and meditations on ingredients, such as cheese, chacuterie, and most importantly, the wine! We’ll spend some time demystifying the classic wine regions and showing the reader how to find those little ?nuggets’ of wine bliss on the local shelves, and we’ll also discuss other classic French spirits and apertifs and how to avoid the plethora of ?jive juice’ which makes its way into your consumer options.
We’ll walk you through the classic cheeses, and post our list of six or seven ?can’t miss’ party offerings and also commentary from local wine and cheese experts.
“Vive la Fete!”
Toutes les histoires sont inspirées des événements de la société iranienne d’aujourd’hui. Les bossus comme moi: l’histoire métaphorique d’un homme qui en disant le mot “pour quoi” comme protestation, son dos tord avec des bosses. Madame Fabricante des baignoires: une artiste faussement accusée d’espionnage et d’exécution après l’arrivée au pouvoir du nouveau régime tyrannique.
This bilingual edition is the first English translation of Aquin’s groundbreaking novella. It is also the first time it appears in French, outside of the multi-volume critical edition. With this novella the young Aquin turned away from ordinary narrative towards the signature qualities of his later writing. Frank sexuality, grotesque imagery and an autobiographical context helped to keep this story from previously being published.
Alone in exotic Naples, an impassioned François anticipates the arrival of his girlfriend Hélène. Uncertainty and impatience warp his waiting into an obsessive mélange of recollection and speculation. His interior monologue threads its way through a disorienting universe of a claustrophobic dilapidated hotel room, hostile incomprehension in the streets of a foreign city, and a train station where the anticipated rendezvous cannot occur. Unremitting psychological exploration drives the narrator towards an extreme personal apocalypse.
Joseph Jones’ accompanying essay situates the novella with reference to other works in which psychic conditions generate a striking literary representation that appears to operate largely outside of any conscious tradition. Included also is an “Appreciation” by Marie-Claire Blais.
Aigle répartit sept savoirs fondamentaux parmi les animaux de la forêt, mais il oublie de mentionner une importante mise en garde; et ainsi, les animaux s’empêtrent dans la jalousie, la convoitise et l’égoïsme. Aigle se doit sauver les animaux et c’est ainsi qu’il est amené à découvrir le sens du savoir le plus important: la vérité.
WINNER, McNally Robinson Book for Young People Award
FINALIST, MYRCA Northern Lights Award
Sixteen-year-old Sarah (it’s pronounced SAH-rah, thank you) has a successful blog creating fusion recipes. When Sarah is invited to compete on Cyber Chef, a virtual cooking competition that soars in popularity at the height of the pandemic, her twists on her Baba’s recipes are not enough to pique the palate of the show’s producers. She is pushed to present dishes that represent her Filipinx culture, but these flavours are foreign to her since her parents raised her emphatically Jewish.
To survive Cyber Chef and find her cultural identity, Sarah must discover why her mother turned her back on all things Filipinx, and learn the true meaning of fusion.
“Lessons in Fusion is very modern and includes social media as well as the difficulties of life during a pandemic, yet it is also the timeless story of one young woman who is coming of age as she discovers her familial roots and the much bigger story of the need for diversity and cultural acceptance in all facets of life.” – CM Magazine
A story of travail and triumph, Mark Huebner’s wordless novel Let Go follows a laid-off ad man struggling to carry the deadweight of his past as he labours through a blizzard toward an unknown future.