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David McMillan is a former actor, current waiter on the verge of turning thirty. Together with his book-reviewing roommate, Candy, and his best friend, Bernie, David encounters a number of seductive strangers in their search for love and sex.
But the games turn ugly when it appears one of their number might be a serial killer. A compelling study of young adults groping for meaning in a senseless world. Love and Human Remains was immediately controversial for its violence, nudity, frank dialogue, and sexual explicitness. It was quickly acclaimed by critics and audiences alike and was named one of the ten best plays of the year by Time Magazine. The play has been produced worldwide, translated into multiple languages, and received many awards.
Love and Rain is a novel which explores the nature of love, its pain, and the near impossibility of its enduring happiness. Moving back in space and time from Rome to Montreal in the sixties and seventies, it also traces the individual rebellion and social revolution that marked the FLQ movement in Quebec and the Red Brigades in Italy in the late 1970s. The power of love, music and politics intertwine in a tale that spells the mysterious alchemy of fate and chance.
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.
Shortlisted for the Guyana Prize, Best Book of Poetry, 2014
Whether in the heart of downtown Toronto, a bookstore in Boston, the courtyard of the Taj Mahal–through the portals of cyberspace–on the banks of a Tampa river, or a journey through time to Georgetown, an old colonial capital, love circumscribes everything. But this book is no wide-eyed outpouring; it probes and questions concepts and beliefs, pokes fun at age, companions taken for granted, and the realization that, like a mannequin in a Manhattan storefront, love is “faceless and, almost, raceless.” If love circumscribes everything, these poems show that everything–economics, politics, ambitions and exiles–also circumscribes love.
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.