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This fascinating version of Daniel MacIvor’s most successful play to date lets the reader in on a secret: it was never primarily written as a work for live theatrical performance, but as a vehicle for his development of a screenplay, also included in this new edition. In his surprisingly revealing introduction, MacIvor talks about the genesis of both the play and the movie; the lessons he learned about the differences between the two media; and their radically different stylistic, technical and practical demands on both their authors and their audiences.
A well-known practitioner of Canada’s theatre of the avant-garde, MacIvor had for years wanted to write a brilliant screenplay, but there was a problem: he didn’t know how. Most of his stark improvisational work for the live stage, centreed around minimalist sets and props, dramatic effects of light and sound, and usually his own improvisational solo performances, did not translate well into the medium of film. So in order to realize his ambition he decided to create Marion Bridge, a piece of “conventional theatre,” as a vehicle or transitionary playscript he thought he could use as a stylistic “bridge” from the live stage to the cinema. In the fact that Marion Bridge has become his most successful play to date lies one of the most important lessons MacIvor learned about the vast differences between the two media—between live performance that always relies on the audience to participate with the actor(s) in the active and collective creation of landscape and time within the space they share, and the cinematic experience wherein the creators and actors are absent, and the audience is estranged from the action by its passive consumption of a narrative of space and time always understood to take place in someone else’s world outside of the theatre.
Mark Twain and West Point
Tips and tricks to win in the market
Market Masters is the definitive book on investing in the Canadian market, featuring exclusive and insightful conversations and first-hand advice from Canada’s top investors. These interviews delve into each investor’s investment philosophies, strategies, and processes, as well as their successes, challenges, and outlooks in the market. Learn proven investing strategies, processes, and approaches that you can easily apply to the market to make your winnings more plentiful, predictable, and profitable.
The 28 top investors span multiple areas on the market paradigm to offer readers a variety of perspectives, including: five investing styles; proven, actionable, and timeless strategies to increase your winnings in the market; stocks, bonds, options, and other financial instruments; and shared conceptions that explain how the Market Masters continually beat the market. Through a collection of Master Keys, the most important tips from each investor are highlighted throughout the book.
Market Masters contains timeless advice on how to beat the market that will entertain, inform, and empower generations of Canadian investors. Includes interviews with Jason Donville, Francis Chou, Benj Gallander, Martin Braun, Bill Ackman, and many more.
“… I was able to make a simple gesture which left no permanent mark on the land.”
In 1979 Marlene Creates signaled her intent. In contrast to the monumental earthworks of that time, she revealed that her interest in the intersection of art and the natural world was with the ephemeral, the small scale, and the non-monumental, and with place, “not as a geographical location,” she writes, “but as a process that involves memory, multiple narratives, ecology, language, and both scientific and vernacular knowledge.” Supplementing the impermanence of her artistic gestures with the technology of photography, Creates found an audience and created a body of work without peer.
Creates has sensitvely probed the relationship between human experience and the natural world for almost four decades. From her early works that record traces of the human body on the land to her later explorations of poetry in situ in the boreal forest and photography as an active medium — where the rush of water over the lens transforms the artist’s own image — Creates leads us with an environmental and cultural consciousness to a greater understanding of the language of the natural world and our “places” in it.
It is no easy task to sum up, in a single book, a career that privileges the act over the artifact, the moment over the monument. But under the direction of curator-critics Susan Gibson Garvey and Andrea Kunard, Marlene Creates: Places, Paths, and Pauses offers not only a broad view of her work in photography but also a critical appreciation of her multi-disciplinary approach (assemblages, memory-map drawings, and video-poems) through essays by Gibson Garvey and Kunard, art historian Joan M. Schwartz, nature writer Robert Macfarlane, and poet Don McKay.
Marlene Creates: Places, Paths, and Pauses accompanies a major retrospective touring exhibition organized by the Beaverbrook Art Gallery in partnership with the Dalhousie Art Gallery. It will open in Fredericton in September 2017 and thereafter will be shown at galleries in Halifax, Charlottetown, St. John’s, and other venues in central and western Canada.
« … j’ai pu intervenir simplement, sans laisser de traces durables sur le terrain. »
Jeune encore, l’artiste Marlene Creates signalait déjà en 1979 son intention de se démarquer des installations de terrassement monumentales de l’époque pour s’intéresser, au confluent de l’art et du monde naturel, à l’éphémère, à la petite échelle, au non monumental et au lieu, « pas tant comme endroit géographique, » écrit-elle, « que comme processus qui inclut la mémoire, une multiplicité de récits, l’écologie, le langage et le savoir, tant vernaculaire que scientifique. » En palliant le caractère éphémère de ses interventions grâce aux techniques photographiques, elle a su trouver son public et créer une œuvre hautement originale.
Depuis près de quatre décennies, Creates s’attarde avec sensibilité aux rapports entre l’expérience humaine et le monde naturel. Dès ses premières œuvres, préservant les empreintes du corps humain sur le sol, et jusqu’à ses plus récentes explorations de poésie in situ dans la forêt boréale et de photographie comme médium actif, où elle laisse le ruissellement de l’eau sur l’objectif brouiller son autoportrait, Creates exerce sa grande vigilance écologique et culturelle pour nous amener à mieux comprendre le langage du monde naturel et les « lieux » que nous y occupons.
Il est difficile de rendre compte en un seul volume d’une carrière qui a préféré l’acte à l’artefact, le moment au monument. Or, sous la direction des commissaires-critiques Susan Gibson Garvey et Andrea Kunard, Lieux, sentiers et pauses propose au lecteur, en plus d’une large gamme des œuvres photographiques de Marlene Creates, un examen critique de sa démarche multidisciplinaire (assemblages, croquis de cartes-mémoire et poèmes sur vidéo) grâce aux essais de Gibson Garvey, de Kunard, de l’historienne de l’art Joan M. Schwartz, de l’écrivain écologiste Robert Macfarlane et du poète Don McKay.
Marlene Creates : Lieux, sentiers et pauses accompagne l’importante rétrospective itinérante organisée par la galerie d’art Beaverbrook, en partenariat avec la Dalhousie Art Gallery. Après son vernissage à Fredericton en septembre 2017, l’exposition visitera Halifax, Charlottetown, St. John’s et d’autres villes du centre et de l’ouest du Canada.
The first-person narrator has arrived at a house set high in the mountains in an undisclosed, remote location. He is confused, disoriented, and guarded. The home is owned by a man who is suffering from an illness affecting his memory. Both must navigate their combined gaps in memory to determine why they’ve been brought together.
There are various themes explored throughout these pages connected to some form of memory. Memory as construct that is both built, destroyed, and altered daily, its reliability fleeting. The physical objects that connect us to memory and how these are manifestations and representations filled with artificial meaning yet are often the only things left of us when we’re gone. Nostalgia as crutch and a curse, offering up memories that are self-serving rather than accurate. And how utterly terrifying it is when the memories themselves begin to vanish along with lucidity, as cognitive faculties fail us.
Put away the knives because tensions are rising in this kitchen renovation.
What could help patch up a marriage better than a home renovation? Wayne thinks he’s doing his wife Julie a favour by hiring a young couple to help redo the kitchen (at a fraction of the cost she’d hoped for). But Julie has higher standards in mind. John and Maggie think they’ve found a way to make some quick money to pay off the land John bought. John just proposed, but Maggie hasn’t given her answer yet. With both couples on edge amongst themselves and with each other, everything from kitchen cabinets and coffee makers to generational differences and life choices are cause for ridicule, making a play that’s hilarious and relatable.
This novella charts with great comic exuberance the disasters which occur when Harry’s mother, her stepson Jackie Boy, stepdaughter Elaine, and her second husband, descend upon the household — and especially upon Harry’s wife, Alice.
In Marrow Memory Margaret Nowaczyk explores different facets of her life, from listening to the radio dramas of her childhood in Communist Poland to her work as a pediatric clinical geneticist.
These are beautifully crafted essays, full of hard-won truths and insights, generously shared with the reader. Whether struggling with English as a teenaged refugee or documenting the process of permanent hair dye, Nowaczyk moves seamlessly between scientific and personal writing, bridging the gap between these two areas with elegance and humour. Marrow Memory is an invitation to the reader to marvel in the unexpected beauties of human experience and the ability of language to capture that.
Winner, 2019 Relit Award (Novel Category)
For a guy who mugs people for their laptops, Tommy Marlo isn’t such a bad guy. He can’t help trying to make the people he meets — even those he mugs — feel better about their situation. Unfortunately for Tommy, he rips off the daughter of a psychotic, high-ranking member of a notorious motorcycle gang. Even worse, the laptop that he pilfered contains proof of a few gruesome murders and the location of a huge stash of money. Flat broke and marked for death, his only shot at surviving is to rob the motorcycle gang, use the cash to get out of town, and hide out on the small island where his mother now lives.
What follows is a revisionist crime thriller, a page-turning hybrid of literary and genre fiction for fans of Elmore Leonard or Patrick deWitt. But Battershill writes with a voice all his own. Deftly combining crackling dialogue with biting wit, MARRY, BANG, KILL hums with the thrill of chaos as Tommy runs to a quiet island to escape a swelling cast of characters who are trying to arrest, rob, kill, or save him. The island won’t be quiet for long.
Linda Leith’s memoir, Marrying Hungary, is the moving story of the daughter of Irish Communist parents who, after a peripatetic childhood, falls in love and marries a Hungarian refugee. It is a glimpse into a life spent among foreigners, a tale of identity and eventual independence. And it reveals what few memoirs reveal: what brings a couple together, what marriage means to an ambitious and accomplished woman, and why sometimes even a good marriage eventually fails.
Near the centre of Marrying the Animals, Cornelia Hoogland’s new book of poetry, is the sequence “In the Meantime: Elizabeth Smart Poems” Hoogland’s exploration of Smart’s obsession with the poet George Barker is an apt heart for this volume, for its abiding spirit is passion. With feather touch and “kelp green longing,” Hoogland pauses over the minutiae of the daily, of the loved. Her lyric intensity embraces family, friends, lovers and literature. Yet she never ignores the untameable passion that circumscribes both love and language, and shades the familiar into wilderness.
With time, I got better at seeing him off at the gate, the harbour; all the exits. It took days to rid the chair, cup, windowlight of his image. And then the long in-the-meantime learning chair, cup over again. from “In the Meantime: Elizabeth Smart Poems”
Written in the tradition of Peter Matthiessen’s classic The Wind Birds, Marshwalker: Naturalist Memoirs conveys the biological and behavioural intricacies of marsh life without dulling their romance and splendour. The memoir is a month-by-month study of a large prairie marsh with its many inhabitants. Weier’s meditative observation of birds and their cyclical existence is underscored by his own personal narrative. Marshwalker is both a book on the birds and wildlife of the marsh and a poetic exploration of the other intricacies of life. Reading the words of this earth-lover, we share his wonder at the quiet, profound beauty of the natural world.
In this third collection of poetry, Renee Norman inhabits Martha Quest like a spirit, and rewrites her through poems that bring her into being. Martha is Doris Lessing’s autobiographical protagonist from her Martha Quest series of novels, and Norman “borrows” Martha and encounters her in the mirror of writing. There she reflects upon, interprets, and reimagines Martha, at times addressing Lessing, too. But within–and in between–the lines and stanzas, she also encounters herself, as she is filtered through Martha’s reflection, the Martha who is in us all. Theses poems are about love and loss, birth and motherhood, longing and abandonment, and the compassion and understanding women can bring to one another.
A literary exploration of Martha Ostenso and Her Works.
Martial Music, George Amabile’s eleventh book and newest collection of poetry, explores the relationships between civilization, technology, empire and human violence, theatres of war, the collateral damage of military occupation, the machinations of power politics, oil spills, destruction of the environment, ptsd, and other characteristics of what we call ?world events.? These are tough poems for tough times?our times?when the human cost of military conflict, environmental disaster and gun violence have become the daily staple of news headlines. Provocative, unflinching and at times raw with the poet?s fury at unfathomable acts, Amabile?s poems converge as an urgent libretto against the militaristic tendencies that surround us, inciting a march toward the creation of a more peaceful and sincere world.