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Why is it so difficult to advocate for Palestine in Canada and what can we learn from the movement’s successes? This account of Palestine solidarity activism in Canada grapples with these questions through a wide-ranging exploration of the movement’s different actors, approaches and fields of engagement, along with its connections to different national and transnational struggles against racism, imperialism and colonialism. Led by a coalition of students, labour unions, church groups, left wing activists, progressive presses, human rights organizations, academic associations and Palestinian and Jewish community groups, Palestine solidarity activism is on the rise in Canada and Canadians are more aware of the issues than ever before. Palestine solidarity activists are also under siege as never before. The movement advocating for Palestinian rights is forced to contend with relentless political condemnation, media blackouts, administrative roadblocks, coordinated smear campaigns, individual threats, legal intimidation and institutional silencing. Through this book and the experiences of the contributing authors in it, many seasoned veterans of the movement, Advocating for Palestine in Canada offers an indispensable and often first-hand view into the complex social and historical forces at work in one of our era’s most urgent debates, and one which could determine the course of what it means to be Canadian going forward.
Ranging in form from elegy to satire to metaphysics to blues, Christopher Doda’s latest book, Aesthetics Lesson, is an exciting meditation on art and power. His poems investigate the Ôunnamed cities of light’ created by the artist, reflecting and dissecting how the creative impulse can lead to both solace and destruction. Centred around the title piece, a crown of self-generating glosas that examine the role of the artist in our mechanized and digitized society, Aesthetics Lesson offers a potent landscape not easily forgotten. Love and anger, rage and compassion burst and oscillate as Doda looks to the past and future to document Ôhalf-lives trembling on the lip of time.’ Doda’s gift is to challenge notions of progress and change and to take an unflinching look at the curious and dangerous metamorphosis of the human spirit.
In Æther Catherine Graham has created a luminous homage to family, cancer and the strange windings of truth. Swimming through time and space, Graham introduces her mother, her father and herself and the cancers that pull them apart and bring them together. Multiple stories unfold of pain and loss, hidden tragedy, forgiveness and growth. With an otherworldly delicacy Graham stitches it all together to create a book-length lyric essay of lingering and profound beauty.
It is autumn 1845, and Elizabeth Bennet is a part of the second generation embarking on a centuries-long flight to Alpha Centauri, working in the signal room and studying engineering aboard a massive centrifugal ship. When she is thrown into the orbit of the conventional Mr. Darcy, Elizabeth finds him haughty and intolerable.
But then her younger sister elopes. For all of their progress in the new society of the ship, a woman can still be ruined by an imprudent attachment. Can Elizabeth and Darcy save Lydia’s reputation, learn to like each other, and avoid being convicted of murder?
Aether and Ego is a steampunk retelling of Jane Austen’s Pride and Prejudice, with the addition of space travel, dogs, and accidental death.
Winner, City of Victoria Butler Book Prize
Finalist, Charles Taylor Prize for Literary Non-Fiction
Nominated for the BC National Award for Canadian Non-Fiction
Afflictions & Departures is a collection of first-person experiential essays. However, this is not the realm of traditional memoir – in addition to incidents and feelings recaptured from memory, Sonik seeks out connections between the microcosm of the daily events of her childhood and adolescence, and the social, historical, and scientific trends of the time.
Afflictions & Departures begins by considering the turbulent and changing nature of the world in the late 1950s and early 1960s – the world in which the author was conceived and born. Like many couples of that era, Madeline Sonik’s parents focused on shared social and economic ambitions at the expense of authentic personal feeling. These ambitions would erode and, by the 1970s, completely collapse.
These essays are as incisive as they are moving, and leave the reader with a sense of history as it was lived, not as it is codified in countless textbooks.
Praise for Afflictions & Departures:
“Startlingly original, Madeline Sonik’s moving story of her childhood defies all our expectations of memoir. She captures crystalline moments of childhood memory and links them in a daisy-chain with corresponding events of the tumultuous societal change taking place outside her home. It is North America in the 1960s and 70s and her letter-perfect, child’s-eye view of the world brings back that time with such intensity that the reader can almost smell and taste it. Droll, tragic, and absolutely compelling, Afflictions and Departures is a visceral portrayal of a family imploding.” (Jury, Charles Taylor Prize for literary non-fiction)
“Her memory is dustless, capacious, uncanny. With a storyteller’s skill and a poet’s depth of vision, she recreates her childhood with one eye on her family and the other on the larger world. Significant cultural markers sit side-by-side with the small, painful intensities of her childhood. This memoir is crammed with pathos, yet is written with a light touch. I adore the narrator who never falls into self-pity or narcissism. The clarity of her vision makes the prose gleam and transforms autobiography into art.” (Lorna Crozier, author of Small Beneath the Sky)
“From the patchwork craziness of a sixties and seventies suburban childhood, Madeline Sonik has fashioned a singular coming-of-age story in which the age itself assumes a starring role. Sharply observed, hilarious, and heartbreaking, Afflictions & Departures is a wise, tender, and beautifully written book.” (Susan Olding, author of Pathologies: a life in essays)
Afloat, John Reibetanz’s eighth collection of poetry, focuses on water in many manifestations. The centerpiece, a sequence on the Three Gorges Dam and its cultural and environmental implications, brings ancient Chinese sources (Meng Chiao and the painter Dong Yuan) together with modern ones (Edward Burtynsky’s photographs and violent video games) to create an elegy that is moving and meditative.
Although water is everywhere present as a subject, it is song that provides the motivating power, the vehicle of longing that animates the book. “We thirst for song”Ñthe closing words of the Lament for the Gorges sequenceÑcould really serve as the book’s epigraph. This is poetry exercising its full range of possible functions (to observe, to enquire, to elegize, to imagine, to think, to commemorate, to yearn and to feel), all in the service of that “thirst for song.”
Critical Perspectives on Canadian Theatre in English sets out to make the best critical and scholarly work in the field readily available. The series publishes the work of scholars and critics who have traced the coming-into-prominence of a vibrant theatrical community in English Canada.
Truth spoken plainly and powerfully is difficult to dismiss and impossible to ignore. Edited with purpose by Greg Frankson, AfriCANthology: Perspectives of Black Canadian Poets brings together some of Canada’s most influential dub, page, and spoken word poetic voices and gives them space to speak freely about their personal journeys in piercing verse and unapologetic prose. Just as individual experiences of Blackness are diverse across Canada, each contributor recounts aspects of navigating their unique personal, professional, and artistic paths in Black skin with fearless candour and audacious forthrightness. Unforgettable in its charged emotional potency and stirring in its unrelenting urgency, AfriCANthology: Perspectives of Black Canadian Poets is a stunning tour de force by a celebrated gathering of truthtellers that demands we comprehensively reassess the present and reimagine the future of Blackness in Canada.
The plays in this anthology pit individual against community and cause readers to rethink the associations placed on skin colour, language, and assumptions regarding someone’s past. “Home away from home”; the road to Canada, for some, has meant an abrupt uprooting from an African home. For others, a lineage of Canadian heritage does not equate with “belonging” through the eyes of their communities. Ric Knowles has compiled a collection of pieces from playwrights who explore where home, identity, and race commingle.
In Afrika Solo, Djanet Sears follows her roots back four hundred years to Africa to find a missing link. In a piece that changes time frames, sings, dances, and collides with pop-culture references, Sears explores home, heritage, and identity, in this fast-paced, potent play. A Canadian present, an African past; Sears finds herself in both.
In Come Good Rain, George Seremba brings us to Uganda in the 1970s and 80s to revisit a night where the eye of then-president, Milton Obote, turned its ferocious gaze on him. Come Good Rain is a candid portrait of Seremba’s experience; an incredible tale from the core of one of Uganda’s darkest moments.
A third-generation Canadian faces a crisis in belonging in Je me souviens. Divided by language, isolated due to her skin colour, and lost in the social and political margins, Lorena Gale’s play shows life through her eyes as she struggles to claim identity and belonging on her own terms. Written in part as a reaction to Jacques Parizeau’s remarks about “ethnics” following the 1995 Quebec referendum, Gale’s piece calls into question the rules of identity and place in Canada.
Bursting with colours, aromas, and afro hair products, AFRODISIAC is a vibrant celebration of womanhood, self-love, and the magic of natural hair. Inspired by oral histories and real interviews with hair specialists, Maryline Chery’s spellbinding solo show braids together stories of racism, beauty standards, high-school bullying, and fierce resilience. Ethereal and empowering, AFRODISIAC is for every Black and Brown woman learning to love herself in a world that tries to make her small. It’s glistening. It’s messy. It’s Haitian. It’s healing. Above all, it’s unapologetically Black.
François Charron is one of Quebec’s best known and most admired poets. Born in Longueuil across the river from Montreal in 1952, he has published prolifically as a poet and is also known as a painter. He has long been associated with the group of poets who publish with Les Herbes Rouges, a group which has included Roger Des Roches, Normand de Bellefeuille, André Roy, and others.
After retiring from the heady world of academia, Sidonie von Täler has returned to the small Okanagan Valley town she escaped in her youth for the lights of the big city. The family orchard has since gone to seed, and ever decades later Sidonie still finds herself living in the shadow of her deceased older sister Alice.
As she gets down to work sifting through the detritus of her family’s legacy, Sidonie is haunted by memories of trauma and triumph in equal measure, and must reconcile past and present while reconnecting with the family members she has left.
Karen Hofmann’s debut novel blends a poetic sensibility with issues of land stewardship, social stratification and colonialism, painting the geological and historical landscape of the Okanagan in vivid and varied colours.
CBC BOOKS BEST CANADIAN POETRY BOOKS OF 2022
LONGLISTED FOR THE RAYMOND SOUSTER AWARD
hwæt, another Beowulf translation? Not exactly…
Welcome to Denmark’s Heorot Hall, where King Hrothgar invites to his banquet table everyone but Grendel, Saxon’s cradle-made monster. Dissing this ur-outsider initiates a predictable and monstrous backlash, a Mediæval fracas that only the eponymous Beowulf can quash. Sailing across the whaleroads, he arrives to “quell and queltch and quatch the Grendel beast.”
Beowulf, that still-recognizable hero, embodies a “blank” function, a motive-driven yet motiveless megastar. He’s the young, fit, male, self-sacrificing protagonist-interloper who will fight any monster to protect his people. Or to defend strangers. Or to gain a reputation. Or because he just really wants to…
In her rendering of Beowulf, Nicole Markotić offers a rollicking cover song of a fantastical text. These pages will surprise readers as they introduce new ways to embrace, challenge, or click with Anglo-Saxon heroics. Writing original poems, Markotić de-stories the story of one man, who mostly does not play well with others, who fights monsters (and defeats their mothers, too), and who practically invents the poetic tradition of entitled bravery.
Upending the tale with her fresh and enchanting style, Markotić gives a nod to previous translations, winks at canonical critics, bares historical biases, all while gifting transmogrifying pages that will whet your whimsy!
“Nicole Markotić takes the original English-language epic and reprocesses it. That is, she rereads, rewrites, reimagines, rethinks, and retells it, all at the same time. The result is the story re-understood. The phrasing and incantation is Markotić’s own (and our era’s own), deployed with deliciously textured and diverse registers of language. Blake saw infinity in the palm of his hand. Markotić puts a millennium in yours.” —Wayde Compton, author of The Outer Harbour
“Beowulf, with its unfathomable monsters and monster-slaying hero, its bro world of mead, boasting, weapons, and booty, remains a stubbornly relevant template for much of our contemporary scene. Nicole Markotić’s After Beowulf handles all this with dazzling sprezzatura. It is a pleasure to follow the narrating, condensing, commenting voice as it sashays through a range of verbal registers from high Olsonic to comic book pratfall, snark to scholarship. After Beowulf provides an up-to-date reading of Beowulf through the eyes of a feminist poet. And it continually suggests what things might be like after Beowulf.” —Bob Perelman, author of Jack and Jill in Troy
“The collision of ancient and colloquial language creates bursts of humour as my dude Beowulf makes his way into the banquet hall and beyond. Linger here to experience the aesthetics of poetry in action: vibrant and intensely moving, we feel the wrenching pain of Grendel’s mother. Markotić’s language is thick with meaning and light with humour: a creation of the most projective of verses.” —Jacqueline Turner, author of Flourish
Sit your butt down and learn your three Rs: ranting, resisting, and respect.
In two new plays, Canada‘s king of black comedy takes on the failing education system. Both Parents Night and The Bigger Issue are set in public-school classrooms after hours and involve confrontations between stressed-out teachers and ticked-off parents. Both sympathize with embattled educators and evince Walker’s trademark understanding of poverty and the working classes. In both, Walker’s signature moves work: the audience feels simultaneously complicit in and righteously angry about injustice and inequity.
Parents Night finds grade-three teacher Nicole caught in the crossfire between John, an arrogant executive dad, and Rosie, a ballsy, low-income mom. Both are meeting with Nicole to express concerns for their children, but class warfare quickly erupts, and the kids’ behaviour turns out to be a reflection of their parents’ messed-up lives. A harried Nicole is dealing with troubles of her own, but she makes a brave attempt to discipline these overgrown brats.
The Bigger Issue covers the same ground but digs deeper. Suzy, a novice middle-school teacher, has been called onto the carpet by the principal, Irene, for physically accosting a violent student. But when the boy’s parents show up, it becomes clear that Jack and Maggie are a middle-class couple reduced to abject poverty; the real problem isn’t their son or the school but a dysfunctional society.
Together, Parents Night and The Bigger Issue comprise the first instalments in a projected play cycle similar to Walker’s famous Suburban Motel. With an introduction by Toronto director Wesley Berger.
Charles Olson had many correspondents over the years, but Frances Boldereff, a book designer and typographer, Joyce scholar, and single working mother, embodied a dynamic complexity of interlocutor, muse, Sybil, lover, critic, and amanuensis.
After Completion: The Later Letters of Charles Olson and Frances Boldereff follows on from an earlier edition, Charles Olson and Frances Boldereff: A Modern Correspondence, that spans three years and more than three hundred letters. Published in 1999 by Wesleyan University Press, that edition concludes with a crisis that amounted to a “completion” of one of the major phases of their relationship. After September 1950, no longer would Boldereff believe so wholeheartedly in Olson’s work – or in his promises to spend time with her.
After Completion picks up the correspondence post-crisis, and consists of letters written between 1950 and 1969 – approximately 140 letters over a nineteen-year span. In this period of the correspondence, we witness the intensity of the letters flare intermittently, sometimes explosively, as Olson and Boldereff try to maintain some continuity in their separateness. In these later letters, we also experience their magnificent mutual embracing of Arthur Rimbaud.
The correspondence taken as a whole presents a passionate relationship realized mostly in letters – letters that were to become essential to Olson’s working out of his poetics. Boldereff’s interventions, which provoked Olson to articulate a projectivist poetics, claims for Frances Boldereff an incalculable effect on twentieth-century poetry.
Lake Erie was once home to a thriving inland fishery but the sad fortunes of the lake have decimated the industry, forcing those who live along the Lake Erie shore to adapt their expectations, or move on. On a summer’s day, Pen (Penelope) Beau and her four-year-old daughter Maddy are at the beach when they witness a drowning. The tragedy dredges up memories from Pen’s childhood- the death of her father in a boating mishap that may or may not have been an accident, and the subsequent disappearance of her brother Keaton, who fled the town after setting a deadly fire. Also involved in the events on the beach that day is Tom, a member of a biker gang, who is being inexorably drawn into a club-sanctioned bloody showdown. Eventually betrayed and abandoned, Tom must re-think the true nature of his relationships. Pen and Tom’s lives briefly intersect, two outsiders who must each find a way to reconcile the scattered threads of their lives.