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Translated from the French into English by Phyllis Aronoff.
This bilingual work (English and Innu-aimun) is an invitation to dialogue. Message sticks are the signs that allow the nomadic Innu to orient themselves inland and find their way. The poetry brings the language of the nutshimit (the back country) to life again, recalling the sound of the drum. Simple and beautiful, Joséphine Bacon’s poetry is an homage to the land, the ancestors, and the Innu-aimun language. Charting unwritten history, it provides a vision into the intensity of the elders’ words.
As in Ibsen’s Enemy of the People, two brothers struggle for power and ideals each believes are right. Set in the late nineteenth century in a coastal town in Norway, Enemy charts the journey of an idealistic and naive doctor who believes people will behave responsibly if given the facts, shown leadership, and pointed in the right direction. Instead, he discovers that, as individuals, we come with our own baggage, secrets, and self-interest that often defy and divert lofty goals. Ibsen explores the whole messy idea of democracy and how things change. Or don’t.
Messenger takes place in another country, Canada, and in another century but tackles similar themes. It is a memory play, set both in the present day and in 1990, when the Progressive Conservative government of the day, contrary to the public record, in fact set lofty goals of joining –
if not leading – the world in tackling climate change. The mechanism by which that goal was lost is played out primarily between two brothers. One brother, Peter, is the Prime Minister’s chief of staff, who wants to maintain political control and has many players and interests to juggle to keep his Prime Minister in office. The other brother, Thomas, is an idealist, a newly minted Cabinet minister who tries to show leadership and tell the truth about impending environmental crises and get the whole country on board with the rightness of his vision. The stakes are raised when strong family loyalties are tested by the crisis that ensues when Thomas refuses to back down from what he knows is right. A timely play in terms of environmental issues, full of lots of great political dirty tricks.
Cast of 3 men and 1 woman.
Metadata from a Changing Climate offers a poetics of entanglement, where the world of the poem is at once estranged and inseparable from the landscape and phenomena of the world it chronicles. Leveraging his imagination against the particulars of New Brunswick’s Saint John River valley—from porcupines and chickadees to the Reversing Falls— Ian LeTourneau writes poems whose clarity and insight remind us what’s possible when we allow form, language and ideas to test themselves against the strain of ever-shifting forces in our pursuit of connection and meaning.
Metallica: The Club Dayz is a collection of photographs of the now legendary rock band Metallica, between 1982 and 1984.
This book contains rare and exclusive photographs from six of the band’s earliest performances including their first shows in San Francisco at The Stone and The Old Waldorf which featured the original lineup with Dave Mustaine (guitar) and Ron McGovney (bass), Cliff Burton’s introductory gig with the band at The Stone, the last Metallica show with Dave Mustaine, and Kirk Hammett’s Metallica debut.
As chief photographer of Metal Rendezvous International, a groundbreaking heavy rock magazine that was published throughout the ’80s, Bill Hale was given unlimited access to hang out with and photograph this then-fledgling metal band. His job at the time was to capture the band onstage and offstage and provide the magazine with unique photographs of Metallica, from the band showcasing their brazen live energy in concert, to unveiling some of their crazy and unpredictable backstage antics.
Bill Hale was right there from the very beginning, capturing the band before, during and after their performances. He was at every one of their early Bay Area shows, without the safety of a photo pit, crushed among the savage crowd as they head-banged fearlessly to the music of their local heroes. Here, for the first time Bill Hale opens up his photo vault. Witness one of the greatest rock bands of all time during their embryonic stage.
Influenced musically by the new breed of British metal yet epitomizing the punk rock attitude, Metallica’s loud, snotty and don’t five a fuck attitude is very evident in these photographs. Most of the photos in this book have never been published and many of the images have never before been revealed to the public. Metallica: The Club Dayz is a long lost chapter of this band’s visual history.
Jarrett Heckbert’s Metamorphadox is a wordless novel in which wood engravings tell a story of the perils of technological mediation to the ever-evolving human existence.
Metamorphosis collects a selection of esteemed Canadian writer-artist P. K. Page’s poetry, prose and plays written for and about children.
T.S. Eliot and Tennessee Ernie Ford, Buddha and Jesus, Jung and Heidegger. Love, solitude, obliteration, the ocean and a sad neighbor who feeds pigeons. Metanoia is an aphoristically narrative poem that engages all of these, a book-length meditation on transformation, enlightenment, on opening one’s eyes. McCartney’s work evinces that journey, the junket into the self.
Metaphysical Licks, a hybrid prose-poem/novella riffing on the lives and works of Austrian poet Georg Trakl and his sister, Grete, is the restless new work by writer and translator Gregoire Pam Dick [a.k.a. Mina Pam Dick, Jake Pam Dick et al., author of Delinquent (Futurepoem, 2009)]. With a mix of high and low, tragic and comic, abstract and concrete, artifice and confession, Dick’s playful writing takes risks. It transposes Georg’s Grete (musician, fellow addict and suicide) to current-day Greta, gives her Wittgenstein and Kafka as other brothers, and betroths her (unhappily) to Nietzsche. Crossing New York City with Vienna and Berlin, it composes dissonance from urban moments, narrative fragments, and philosophical remarks. The inventive, androgynous, sexually loose (and intermittently incestuous) persona of Greta expresses itself through the surreal and haunted imagery of Trakl’s poems. Readers will be drawn to Dick’s combination of girl/punk/genderqueer rebelliousness and intensely questioning thought, in a text where creativity alone offers escape and exultation, and subjectivity keeps changing its sounds.
Delve into darkness with Metastasis and other plays, a new collection of Gordon Pengilly’s award-winning dramas that highlight the core of human tragedy, paranoia, and violence. With a mix of dark humour and palpable desperation, Pengilly creates striking characters who, while essentially good, are unable to cope with their circumstances and commit reckless acts as a result. True to the tendency of human nature, these characters attempt to redeem themselves–but often discover it’s too late.
Meteor Storm is populated with men–fathers, brothers, uncles–who struggle with the missteps in their pasts and endure, sometimes with resignation, sometimes with a puzzled and angry dissatisfaction, their present lives.Set in the 1960s and 70s, many of the stories in Meteor Storm revolve around Red Rock, Ontario, a mining town where it is never easy come and easy go. The narrators of these 14 tales are in transition to adulthood, where the questions of what masculinity is, or needs to be, in the modern world are at are presented, in stark and often violent ways.In “Sunrise” the calm of an early morning is disturbed by distraught young man bringing news of two horrible deaths. “Walleyes” recounts how a lazy vacation afternoon among friends can devolve to the cusp of violence. And in “Red Rock and After” (winner of a Canadian Magazine Fiction Prize and a Journey Prize finalist) a family suffers through a string of bankruptcies, but retains their optimism about the future.Tefs’s writing style is spare, direct, and reflective and he offers a unique view of where hard-edged men crash into the limits of their power.
Metropantheon imagines the mythological origins, the ecstatic rites, and the divine interventions that comprise the essential nature of cities — the mythic hotels, the gods of coffee, street noise, and commuting, prayers to the lord of parking spaces and corporate ambition, hymns to the muses of sex, death, and roller derby, and recurring tales of the legendary graffitichild, who ties together the advent and apocalypse of all cities.
Metropolis is a visionary work that dreams the elegiac landscape of cities like Toronto, where genteel Victorian culture leans hard against Sri Lankan ghettos; where prostitutes and cocaine dealers ply their trade next to green streets immaculate with rose gardens. In Metropolis, urban portraits of violence, grief, mourning, and joy are underscored by philosophical, historical, and theological concerns. Rishma Dunlop has a gift for looking at cities in all their contradictory beauty and reading the scars of history as the graffiti of everyday life.
Robert Fitterman’s poetry, like the man himself, is urban, sophisticated and eclectic. This second volume of poems from Fitterman’s award-winning Metropolis project ranges far and wide over the cultural geography, from Milton to Black Mountain to conceptual art to Objectivism to the Steve Miller Band to the Kootenay School of Writing and back again. In addition to Fitterman’s solo explorations of poetic possibility, this volume of Metropolis also contains a section of Cedars Estates, a visual poetic collaboration with designer/artist Dirk Rowntree.
Fitterman uses poetic form like a pro golfer uses clubs, carefully selecting his tools to address particular aesthetic challenges, propelling his sentences over obstacles in great singing arcs of words. This is a truly urbane poetry, fully cognizant of the aesthetic and political conversations that carry on around it, ready to engage with any serious argument. Generous, polyglot and full of possibilities, Book 2 of Metropolis is essential reading.