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“I had always felt a deep sympathy with the care-worn men, who looked as if doomed to struggle through their lives in strange alternations between work and want…” -Elizabeth Gaskell
Mary Green, obscure orphan and ward of the wealthy Hargreaves family, has always accepted her inferior position with grace, humility, and gratitude. When she discovers that her only friend is to leave the country forever, that her confidence has been betrayed by the unfeeling youngest daughter of the family, and that her very deprivation is the object of the mockery and scorn of everyone she has sought to honour, she determines to cast them off and make her own way in the world. On her twenty-first birthday, free to choose her own destiny, she dreams of peace and tolerance, and perhaps a partner who might be noble enough to love her in all her simplicity. But when an unexpected foray into London society disrupts all her plans, she is faced with an uncharacteristic storm of feelings. Will she grow strong and happy in her independence, or will her character be lost amidst her newfound ambition? Unable to trust the whims of her own heart, Mary is forced to confront the question that has forever plagued her: Who is she and where does she come from?
In this wordless biography, wood engraver George A. Walker provides a fitting stage to explore the life of Mary Pickford, a silent film star whose groundbreaking contributions to the motion picture industry earned her the title `Queen of the Movies’.
“The light in Pratt’s paintings seems sentient, a living thing, a pulsation or emission, imbuing the paintings with an erotic and almost mystical desire.” — Canadian Art
Following a stunningly successful national touring exhibition and a sold-out hardcover edition of the accompanying book, Mary Pratt is available once again in this elegant paperback edition.
Says the Globe and Mail, Mary Pratt’s “gorgeous, brutal vision of the world is the best revenge against anyone who ever sought to define her.”
There’s something deeply resonant about Pratt’s painting for contemporary audiences — particularly for those that are food obsessed. The dark light of a jelly jar, the slippery weight of filleted cod, the dark drippings of a bloody roast, the wet yellow yolk of a cracked egg. Pratt takes these seemingly mundane subjects and fills them with light, giving them a monumental quality, making them seem luminous, signifiant, memorable. For many, they have become seared into memory, iconic in the best sense of the word.
Mary Pratt, a career retrospective, features five major essays by columnist and art critic Sarah Milroy, Catharine Mastin of the Art Gallery of Windsor, Mireille Eagan and Caroline Stone of The Rooms Provincial Art Gallery, Sarah Fillmore of the Art Gallery of Nova Scotia, and art critic and curator Ray Cronin as well as 75 colour reproductions of Pratt’s most renowned work, including Eggs in an Egg Crate, Salmon on Saran, Eviscerated Chickens, and Cod Fillets on Tin Foil.
After studying Fine Art at Mount Allison University, Mary Pratt (19352018) settled in Newfoundland with her husband and strove to pursue her passion for painting amidst the demands of raising a family. Over her career, Pratt developed a painting technique that embodied qualities of light, depth of field, and focus evocative of the photographic image, creating a body of work that renders the common everyday items of our lives somehow luminous. Pratt is a Companion of the Order of Canada and was awarded the Molson Prize in 1997.
Winner, New Brunswick Book Award (Non-Fiction) and APMA Best Atlantic-Published Book Award
Mary Pratt’s art has captivated millions of Canadians. Her luminescent paintings capture reality in a way that few artists have been able to achieve — the chip in a glass bowl, the play of light across a dish-strewn supper table, the vulnerability of a naked woman. Replete with symbolism, Pratt’s work elevates the traditional still life by transforming the everyday into the iconic.
Art historian Anne Koval wrote Mary Pratt: A Love Affair with Vision in close consultation with Pratt. The book is informed by extensive interviews with the artist, and her family, friends, and colleagues and by unprecedented access to Pratt’s archival holdings at Mount Allison University. This in-depth study of Pratt’s life and work explores the complex issues of gender, feminism, and realism in Canadian art, resulting in a richly layered biography of an artist who redefined the visual culture of her period and whose art and life intersect in varied and surprising ways.
“Mary the Life Saver” is a poetry book that examines the nature of human being, parting the veil of the mundane to reveal passion, beauty, myth, and mystery of human existence. This poetry book echoes a desire to forge a voice that is as curious as it is distinctive. It portrays intricate feelings of life and death in a wide array of emotions expressed in a thoughtfully imaginative way with vibrant interpretations stemming from the complexity and simplicity of a human soul.
On the night before her wedding, Mary dreams of a thunderstorm, during which she unexpectedly meets Charlie sheltering in a barn beside his horse. With innocence and humour, the two discover a charming first love. But the year is 1914, and the world is collapsing into a brutal war. Together, they attempt to hide their love, galloping through the fields for a place and time where the tumultuous uncertainties of battle can’t find them. A play with a heart as big as the skies that serve as its stage, Mary’s Wedding is an epic, unforgettable story of love, hope, and survival.
The stories in this collection are unifed by a sense of dislocation. In each of the pieces, there is an underlying element of disturbance and disharmony. Resolution threads its way through the narratives while the characters struggle to navigate conscious choices and come to terms with new realities. A perspective that views the complexity of life journeys as a manifestation of intentional decisions, circumstances beyond one’s control, and the need to reflect upon the combination of both in order to become fully realized, drives the narrative voices.
“What I’m saying I’m painting, in effect . . . is the terror and beauty of life.” — Mashel Teitelbaum
Mashel Teitelbaum’s work often appears to be born out of creative tension — between substance and void, between will and world, between natural beauty and existential terror. The son of Jewish immigrants, Teitelbaum grew up during a period that saw the Great Depression, the Second World War, and the Holocaust before honing his voice under the likes of Clyfford Still, Ad Reinhardt, and Max Beckmann.
A painter, poet, screenwriter, and novelist, Teitelbaum created works of art that were always arresting, even as they ranged from landscapes to portraits, from figurative to abstract, from modernism to expressionism. Like his life, his art was characterized by an honesty of self-expression, a creative integrity, and a desire to speak truth to power, often placing him in conflict with the establishment.
Mashel Teitelbaum: Terror and Beauty is a magnificent volume, featuring more than 250 images, including more than 200 reproductions of artwork from the full scope of Teitelbaum’s career, as well as essays and reflections on his life and work from artists, curators, and friends. It’s a fitting tribute to the work of one of Canada’s most talented and influential artistic outsiders.
An electrifying mash-up of the western, sci-fi, and horror genres set against a backdrop of the housing, mental health, opioid, and climate crises Ex–police chief Mason Lowry is hell-bent on retribution. Ten years ago he arrested outlaw biker Clarence Boothe for selling a bad batch of illicit narcotics that killed 37 people. Boothe’s gang retaliated by killing Lowry’s teenage granddaughter, and ever since Mason has been biding his time, waiting for the moment when he can exact his revenge. But unbeknownst to him, Clarence has been laying plans of his own.In this-all-too-near future, addiction to the drug Euphoral has become epidemic. Withdrawal causes a violent psychosis, and on the night of their leader’s release, Clarence’s gang unleashes a waking nightmare by withholding its supply. Seeing the city he once swore to serve and protect descending into madness fuels Mason’s fury and he launches a one-man assault on Clarence’s compound. During the midnight raid, he’s saved from certain death by Meghan, a teenage captive with a violent past of her own who may just hold the key to something Mason had thought he’d lost forever: a chance at redemption.
WINNER OF THE ARCHIBALD LAMPMAN AWARD 2022
WINNER OF THE OTTAWA BOOK AWARD 2022
Words like radio waves, bouncing off the spectres of mortality, middle age, and the mundane.
Arriving at middle age was a decisive experience for David O’Meara, standing equidistant to the past and future with its accompanying doubts and anticipations, inviting re-evaluation of past goals, confronting personal loss, and the death of his father and friends. These are the masses on radar, indistinct but detectable existential presences encroaching, and in the center of the radar is the lyric ‘I’ sweeping its adjacent experience. Poems like “I Carry a Mouse to the Park Beside the Highway,” “I Keep One Eye Open and One Eye Closed,” and “I Sleep as the Volcano Ash Falls like Snow,” usher the reader through thematic corridors of memory, fracture, and recovery. Embracing uncertainty and incorporating seasonal forecasts, humour, trivia, satire, politics, the environment, loss, and the mundane, these poems are a detection system signaling a paradox of meanings.
“Masses on Radar exhibits a stunning mastery of poetic craft. O’Meara has the talent and technique to turn almost anything into riveting poetry, but these poems do not coast: they dig deep, bringing to vivid life a remarkable array of subjects, experiences, emotions, and interior worlds. These poems summon quotidian encounters, sometimes conferring them with unexpected beauty, sometimes breathing new and sudden problems into them. O’Meara’s sparse language lifts the veil on our human failings, the limits of our vision, and in so doing satisfies.” – Archibald Lampman Award Judges
The fishery, the seal cull, the settlement, the culture—the history of the province of Newfoundland and Labrador has been shaped and witnessed from the deck of sea-going vessels, and those vessels were sparred with local timbers, planked and rigged by the hands of our master shipbuilders. From east to west, north to south, Calvin Evans covers every coast and bay in a sweeping chronicle of craftsmanship and productivity. While deftly countering the outdated argument that our builders were inferior craftsmen, this history is augmented by exhaustive lists of every builder on record from every corner of the province. Impeccably researched and contextualized, Calvin Evans’s Master Shipbuilders of Newfoundland and Labrador offers an indispensable addition to the story of our past.
The fishery, the seal cull, the settlement, the culture—the history of Newfoundland and Labrador has been shaped and witnessed from the deck of sea-going vessels, and those vessels were sparred with local timbers, planked and rigged by the hands of our master shipbuilders. In this companion volume to its highly successful predecessor, author Calvin Evans covers every coast and bay from Notre Dame Bay to Petty Harbour and includes all of Labrador in a chronicle of craftsmanship and productivity. Impeccably researched and contextualized, and once again featuring a bonus chapter by Philip Evans, Master Shipbuilders of Newfoundland and Labrador, Volume 2 offers an indispensable addition to the story of our past.
Shortlisted, Best Atlantic Published Book Award and Canadian Regional Design Award
A major publication comprising 240 pages with 75 colour plates and 60 black-and-white photographs provides extensive documentation of the exhibition Masterworks from the Beaverbrook Art Gallery
. Along with a complete catalogue of artworks, it features an overview and history of the historic collection, along with curatorial commentary on each work of art by the Beaverbrook Art Gallery’s Curator and Deputy Director, and curator of the exhibition, Terry Graff. Further, it includes important essays by five internationally respected art historians, scholars, and curators, Elliot King, James Hamilton, Richard Calvocoressi, Angus Stewart, and Katharine Eustace, that focus on several key works of art.
In addition, Bernard Riordon, Director and CEO of the Beaverbrook Art Gallery, provides a foreword and timely essay documenting the recently resolved legal battle with the Beaverbrook Foundation (UK) over ownership of several works. Elliot King, art historian and leading specialist on the work of Salvador Dalí and curator of the recent exhibition Dalí: The Late Work at the High Museum of Art, examines Dalí’s monumental painting Santiago El Grande. James Hamilton, curator and art historian, who has written several books, lectured internationally, and curated several important exhibitions on JMW Turner, examines Turner’s Fountain of Indolence. Richard Calvocoressi, Director of the Henry Moore Foundation and former Director of the Scottish National Gallery of Modern Art in Edinburgh, provides special insight into Lucien Freud’s Hotel Bedroom. Angus Stewart, independent curator known for his many exhibitions at the Olympia London fine art and antiques fair, including the major 2003 project that marked the centenary of artist Graham Sutherland’s birth, examines important Sutherland works, such as Helena Rubinstein, Studies for Churchill, and Portrait of Lord Beaverbrook. Katharine Eustace, art historian and curator, whose publications include Continuity and Change: Twentieth Century Sculpture in the Ashmolean Museum, provides a thoughtful essay on Walter Sickert in relation to the Beaverbrook Art Gallery’s Sickert paintings, such as H.M. King Edward VIII.
A man with three different names ties together the stars of professional wrestling, country music, and the New York Mets.
John Arezzi was a lifelong Mets fan who dreamed of a job in baseball. In 1981, he took a job with the Mets Class A team in North Carolina. But Arezzi had another love: professional wrestling. He ran a fan club for the villainous “Classy” Freddie Blassie as a teenager, then progressed to wrestling photographer, and finally even stepped into the ring himself as John Anthony. Eventually he escaped to pursue a new life in altogether different world: country music. After adopting a new name, John Alexander, his many accomplishments include discovering both Patty Loveless and (decades later) Kelsea Ballerini. But wrestling is tough to shake …
In the 1990s, Arezzi hosted the pioneering radio talk show Pro Wrestling Spotlight. He also ran the first major conventions, assembling a wrestling who’s who to meet with fans. He promoted shows, both at home and abroad, and was a key figure behind importing lucha libre into America.
Mat Memories is Arezzi’s chance to hold the mic, and he holds nothing back — he names names and tells the untold behind-the-scenes stories: from the ring, the stage, and the diamond.