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This anthology is a definitive record of a theatrical movement, a movement that reflects a multiplicity of styles and genres, joined together by the singular fact that they are a series of plays written by Asians, for Asians… and for Canada.
The second volume in this groundbreaking collection: a series of plays written by Asians, for Asians… and for Canada.
This book of poems is a sustained adoration of the beloved which recalls the work of Dante—what the Vita Nuova might have been had Dante lived on the bare watered rock of Newfoundland, rather than in the ermine-cloaked decadence of Florence. The unnamed Irish woman of this collection, “the complicated jewel of the Burin Peninsula,” leads the narrator through the streets of St. John’s and the seemingly impenetrable evergreen thickets of Ireland on a spiritual odyssey of love and savagery. Unlike its model however, this book also occasionally provides the reader with moments of breathtakingly comic relief.
Made into a $6.5-million feature film (released fall 2009) by Montreal-born John N. Smith, (who also helmed the television seriesThe Englishman’s Boy and Random Passage), and set in 1968, the movie’s visual and dramatic interpretation of Love and Savagery is a lyrical story of an impossible love. Geologist and poet Michael McCarthy (played by Newfoundland native Allan Hawco) travels from his native Newfoundland to the west coast of Ireland to study the intricate and stunning landscape of the Burren. The beauty Michael encounters there is Kathleen O’Connell (played by Irish actress Sarah Greene), and although she is about to dedicate her life to the Church, Kathleen is inescapably drawn to Michael. In a community torn between its traditional roots and its aspirations for the future, the growing affection between the young couple is deeply unsettling and forces the woman to face a seemingly impossible choice.
When Viv flies to Buenos Aires for a secret liaison with Clive, there is no ambiguity as to their intentionsadultery. But this is where conventionality terminates in Stephen Marche’s new novel, Love and the Mess We’re In, a work whose lyric richness and inventiveness skillfully embody the tumbles and turns of love in a postmodern age. Marche collaborates with award-winning typographer Andrew Steeves to create richly polyschematic book pages whose influences range from the interwoven texts, geometric shaping and pattern-making of Hebraic calligraphy, illuminated manuscripts and incunabular typography to the ordered tangle of a New York City subway map.
Viv’s husband, Tim, is Clive’s best friend. A breakdown has landed Tim in a mental institution, seemingly beyond recovery. His collapse brings Viv and Clive together in their grief, at a loss to navigate the loneliness, guilt, lust and, perhaps, love which they discover in their unsettling and morally ambiguous new context.
Love and the Mess We’re In is an evocative, lithe story of love and redemption infused with Marche’s wit, insight and telescopic emotional range.
“Love Bites: The Unofficial Saga of Twilight is a Twilighter essential. With beautiful full color pages, this book takes you from the beginnings of Stephenie Meyer to the future release of Breaking Dawn on the big screen. Bottom line, if it is Twilight, it is in this book. . . . I think it is safe to say that the Twilight Saga books are the Twilighter’s bible, and Love Bites is the study guide.” — Cullen Brothers AnonymousWith over 42 million copies sold and translations in close to forty languages, Stephenie Meyer’s Twilight novels – Twilight, New Moon, Eclipse, and Breaking Dawn – have captured the hearts of a generation of readers. At the centre of the saga is the epic love story of Bella Swan and vampire Edward Cullen (not to mention werewolf Jacob Black), star-crossed lovers the likes of which haven’t been seen since Romeo and Juliet. The film adaptation of this beloved supernatural romance was a huge success, and as the ravenous Twilight fans embraced the movies, relative-newcomers Robert Pattinson and Kristen Stewart transformed into international superstars.Love Bites: The Unofficial Saga of Twilight features:the story of Stephenie Meyer and her publishing sensationa guide to each novel outlining the symbolism and literary allusionsbios of Robert Pattinson, Kristen Stewart, Taylor Lautner, and the rest of the Twilight Saga castthe “making of” the Twilight, New Moon, and Eclipse films fascinating tales of other famous vampires and werewolvesa chapter dedicated to the “Twihards,” the Twilight fans who have made the books and movies such an unprecedented successLove Bites: The Unofficial Saga of Twilight is a full-colour tribute to all the pieces of the Twilight phenomenon.
In this accomplished first collection, Hamish Guthrie is inspired by past people, places and experiences. The poet recollects travelling to his wife’s hometown of Montana and back to the streets of Toronto where he grew up, and his childhood summers spent on a farm just outside of Guelph, where the wildlife opened up like a unique world unto itself.
Ideas, phrases, and journal notes beg for further study and experimentation, culminating in shape that becomes a poem. These poems are also often a reply, directly or indirectly, to poems read.
Love Hurries This is a collection of vibrant and lively character, with themes rooted in the natural world, change, seasons, and the meaning of the past. The reader is transported on a journey that requires one to leisurely take the time to enjoy each and every word.
Byron Ayanoglu’s Love In The Age Of Confusion is a sexy romp packed with mouth-watering descriptions of food, endless supplies of ouzo, gags, and absurd collisions. In this fictional dèbut by the well-known food-writer, pure laine Quebec locks horns with moneyed Westmount when coquettish, street-wise Arletty Daoust-Tremblay dazzles, then dumps, pampered scion and fledgling experimental filmmaker Ari ‘Pennyloafers’ McLeod. But their mothers, in odd alliance, have other ideas. Meanwhile, elsewhere, the lovers’ fathers throw punches and speechify. Romantic comedy meets political satire. Love In The Age Of Confusion is a tour de force in which opposites attract, myth tussles with myth, and delightful-even delicious-explosions go off. Will the politically-confounded young lovers reconcile? You bet your kefi (that’s Greek for joie de vivre) they will!
Each section of Love Is A Place But You Cannot Live There is a psychogeographic investigation. Two casual ghost hunters on a road trip hear the death rattle of their relationship. Residents of a city’s fringe measure their physical and social isolation. A mother and her adult child have diametrically opposed reactions to their vacation spot. Lovers on a romantic coastal getaway discover how estranged they are from one another. Curious figures begin to embody their environments. Forthright and anecdotal, these poems recount the signals people transmit and receive, and the reciprocal ways we make, and are made by, the places we inhabit.
Love is Not Anonymous is an exploration of the expectations and heartaches often projected onto women’s lives and their spiritual journeys. The complexities of coming of age as a woman are presented with humour and parody as Jan Wood leads us on a journey through the many realms of love from first love and infatuation to marriage, motherhood, and even extramarital temptation. Spiritual love and the challenges of faith are also examined as Wood juxtaposes the competing themes of belief and female sexuality, examining the pain and injustice to which women are subjected in the realms of both love and faith and searching for order and meaning in the two most complicated territories of human experience.
Spirituality is at the forefront as Wood reflects on her religious background and converses directly with God in the interspersed “godtalk.com” poems. She illustrates a relationship to God that is physical and intellectual as well as transcendent, often drawing out the romantic elements of spirituality as in “/is/there/a/prayer/to/mend/this?” when she bargains with God, promising to pay [him] back/on her knees.” Elsewhere she wrestles with the challenges of faith when she confesses, “I liked you more when I thought/there was an alternate plan/with side benefits for being good.” Despite these uncertainties, however, “she cannot leave/the idea of him/alone.” Wood also explores women’s issues and the experiences of women as they battle the expectations of both innocence and inherent sinfulness projected onto them in the realms of love and faith. The biblical Eve is a recurring character as Wood reflects on the sexual repression enforced by church and society, and the dark side of a woman’s experience is explored in poems about domestic abuse (“Duplex”), prostitution (“Sometimes She’s Afraid to be Loved”), and the lethal conclusion of being female (“Invasion”).
Feminist undertones show through in Wood’s narratives, but she refuses to be hemmed in by definitions, writing in “Mary, a Woman” that “she does not desire equality but freedom to celebrate/her differences,” vocalizing the exhaustion many women experience at “being the culprit and the icon.” She also celebrates the complexity of love and sexuality with honest portraits of teenagers sneaking out on a winter evening (“She Pretends”) and experienced lovers revealing secrets by firelight (“Salvage”). These poems are small confirmations that love signs its name on everyone who seeks it, and they reveal the difficulties women face on the journey to well-being and wholeness.
A breathtaking literary debut, Love Letters of the Angels of Death begins as a young couple discover the remains of his mother in her mobile home. The rest of the family fall back, leaving them to reckon with the messy, unexpected death. By the time the burial is over, they understand this will always be their role: to liaise with death on behalf of people they love. They are living angels of death. All the major events in their lives – births, medical emergencies, a move to a northern boomtown, the theft of a veteran’s headstone – are viewed from this ambivalent angle. In this shadowy place, their lives unfold: fleeting moments, ordinary occasions, yet on the brink of otherworldliness. In spare, heart-stopping prose, the transient joys, fears, hopes and heartbreaks of love, marriage, and parenthood are revealed through the lens of the eternal, unfolding within the course of natural life. This is a novel for everyone who has ever been happily married — and for everyone who would like to be.
Modern love confessions and reflections just in time for Valentines Day, written by award-winning writers like Lorna Crozier, Susan Olding, Yasuko Thanh, Samra Zafar, and Michael Crummey. What keeps us together? What breaks us apart? In Love Me True, 27 creative nonfiction writers and 16 poets explore how marriage and committed relationships have challenged, shaped, supported and changed them. The stories and poems in this collection delve deep into the mysteries of long-term bonds. The authors cover a gamut of issues and ideas–everything from everyday conflicts to deep philosophical divides, as well as jealousy, adultery, physical or mental illness, and loss. There’s happiness here too, along with love and companionship, whether the long-term partnering is monogamous, polyamorous, same-sex or otherwise. From surprise proposals, stolen quickies, and snoring to arranged marriage, affairs, suicide, and much more, the wide-ranging personal stories and poems in Love Me True are sometimes funny, sometimes harrowing, and always engaging as they offer their intimate and varied insights into the complex state that is marriage.
Editors Jane Silcott and Fiona Tinwei Lam have assembled work from notable authors across Canada, both well-known and up-and-coming, including Luanne Armstrong, Joanne Arnott, Donna Besel, Lesley Buxton, Mandy Len Catron, Kevin Chong, Lorna Crozier, Michael Crummey, Eufemia Fantetti, Jane Eaton Hamilton, Maureen Scott Harris, Maureen Hynes, Michelle Kaeser, Jagtar Kaur Atwal, Chelene Knight, Evelyn Lau, Ellen McGinn, Lauren McKeon, Monica Meneghetti, Jane Munro, Susan Musgrave, Lorri Neilsen Glenn, Juliane Okot Bitek, Susan Olding, Miranda Pearson, Toni Pieroni, Tana Runyan, Rachel Rose, Andreas Schroeder, Karen Shklanka, Kara Stanley, Chris Tarry, Rob Taylor, Yasuko Thanh, Russell Thornton, Ayelet Tsabari, Betsy Warland, Gina Leola Woolsey, Samra Zafar, and others.
The Love Monster is the tall tale of one woman’s struggle with mid-life issues. The main character, Margaret H. Atwood, has psoriasis, a boring job and a bad attitude. Her cheating husband has left her. And none of her pants fit any more.
Marston takes the reader on a hilarious journey of recovery. Hope comes in the form of a dope-smoking senior citizen, a religious fanatic, a good lawyer and a talking turtle (not to mention Christo and Jeanne-Claude, Warren Zevon, Neil Armstrong and a yogi buried deep underground). And, of course, hope comes in the form of a love-sick alien speaking in the voice of Donald Sutherland.
More than an irreverent joyride, The Love Monster is also a sweet and tender look at the pain and indignity of being an adult human and a sincere exploration of the very few available remedies: art, love, religion, relentless optimism, and alien intervention.
A love affair chronicled — from obsession to heartbreak, foolhardiness to faith.
In Love Outlandish, Barry Dempster undoes all the clichés that have barnacled our love lives and, with the zest and courage typical of his work, explores their torrents and eddies afresh. As in his previous books, Dempster responds to D.H. Lawrence’s plea that we should discover and articulate what the heart really wants rather than some idealized version of it. Thoughtful, passionate, full of humour and self-aware wit, Love Outlandish delivers, again and again, the shock of recognition that permits us to laugh at, and with, the very emotions it probes. This is a book to relish for its energy and cherish for its wisdom.
My favourite is the one where his love
keeps trouncing distance
even after she’s gone, making
harmonies out of death rattles.
It’s the crack in his heart
where the melody lingers, the hiss
of an old 45. How can I help
but sing along, hard, hard song,
unconditional illusion.
— from “Hard Song”
“…Barry Dempster trains his poetic gaze on the lonely marrow inside love, and blows it wide open.”– Jeanette Lynes
“Talk about luscious, limber language! The wonderful poems of Barry Dempster in Love Outlandish extend the possibilities of ‘love lives’ themselves — what doesn’t quite work out becomes, thanks to careful, original imagery and vibrant description, somehow as magnetic and translucent as what does…” — Naomi Shihab Nye
“Love is the finest,” writes Jaime Sabines, “the most shuddering, / the most unendurable, silence.” Available for the first time as a complete selection in English, Love Poems presents Jaime Sabines’ powerful erotic verse, in an exceptional translation by Irish-Canadian poet Colin Carberry.