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In this collection, Chris Craddock tackles the weighty issues of suicide, drug and alcohol abuse, and sex and pregnancy in the lives of teens and their families with humour, insight, and candid reality. Throughout all three plays subversive wit and outright laugh-ability keep students, parents and teachers entertained, while building new awareness of these significant social issues.
“Doug Melnyk works with the fragment, the fleeting insight, the shocking contradiction, the bizarre repetition to give us a collection of texts that are comically and painfully original.” Robert Kroetsch. Did you heart about that terrible accident at the intersections of Pembina and Corydon and Osborne? A car crashed right onto the bus shack and killed three people. The people who were sitting on the bench inside the shack could see the car coming. It crashed on top of the bus shack and on the bench and it killed three people. For a long time after this there was no bus shack on the corner. And then they finally did rebuild it but they put the bench inside the shack facing the other direction.
Having visited both Poles and circumnavigated the world, Yosef Wosk, a Fellow of the Royal Canadian Geographical Society, has developed his own field of psychogeography. The title piece describes the time he almost died climbing the Great Pyramid of Giza at midnight. The next day he descended into an ancient cavern beneath the Great Pyramid where he took off all his clothes, alone, and meditated. Probably more people have walked on the moon than have done that. Here, then, is an unconventional book by an original thinker, a former rabbi who owns ancient Torah scrolls, Stars Wars memorabilia, Pee-wee Herman’s bike and a yellow star from the concentration camps. There is quite simply nobody like him. A scholar-turned-philanthropist-turned-art-collector-turned-writer/philosopher, Yosef Wosk is a reclusive Lone Ranger who frequently helps others but remains a stranger. Here, for the first time, he has gathered a medley of observations to reveal his private world.
Subjects include Leonard Cohen, Marilyn Monroe, Jesus as a storyteller, knowing Elie Wiesel, visiting anthropologist Claude Levi-Strauss, technology (welcoming The Global Brain) and visits to both Poles (expunging Westerncentricity and Northerncentricity).
As Naked in the Kitchen opens, Psychologist Charlie Campbell, and his wife Beth, are packing their son Michael, off to his first day in college. The parents are a study in contrasts. Charlie, sitting reading the paper, is so calm that he seems passively aggressive. Beth is just the opposite. She’s checking lists offering advice worrying out loud. Their son Michael is torn between the apparent lack of emotion from his father and the smothering of his mother. The tension is leavened with a good bit of genuine humor along with a certain amount of edginess. With Michael dropped off at school, the tensions between Charlie and Beth escalate. Somehow the bonus in intimacy that Beth had expected with Michael’s departure isn’t happening. Old trauma and deep seated pains that were only hinted at in the opening scenes erupt as some surprising new events come to the surface. Back into what’s become a standoff with the parents comes Michael with a new friend from school, Kevin. Although he’s a fellow freshman Kevin does add a sophomoric but thoughtfully comic note of humanity to the tense situation.
With the revelation that our social structures were not as strong as we had thought, so began this voice for the author?s poetry and photos: reassurance and reminders that life of course will change, evolve, and that nature, by her very nature, provides solace and meaning.
Naked Pictures, contains photos out of camera, and captions that are borne of poetry from the onset of turmoil and political strife, the subsequent cancellation of the XL Keystone pipeline, to Alberta?s Premier?s short-sighted leasing of land allowing coal mining in environmentally sensitive head water areas in Alberta. These first time events were of such magnitude, of such catastrophic proportions that the poet felt naked. The poet had lost a relationship with society and so began examining a relationship with the land.
We are not kings, we need relationships, especially with nature, especially now. This collection, this field-photo journal, is offered as homage to a renewed relationship with the land.
Naked Trees is a meditation on urban trees. It explores the life and death of these trees and the people who live with them. We see the trees through the eyes of a child, who finds her tree friendly and inviting, or view the tree’s life through the thoughts of a leaf, promised flight, but denied it by the capricious wind. Terpstra finishes the collection with a section on varieties, composed of poems on individual tree types such as prunus serotina and utility pole.
In this new collection of poetry, Susan McCaslin explores the meaning and significance of identity and all that can be found in a name, or, lack thereof. Mixing the personal with the societal, McCaslin explores her own past and women’s continued role in child-rearing. This dreamlike series of encounters with nature and the divine invites deep reflection through re-discovering the familiar. Her joyful wordplay invites us to notice the tiniest details and contemplate the divine.
In her new book, the feminist author Martine Delvaux links her own experience as a writer with that of the American photographer and installation artist Nan Goldin, whose life has been marked by the suicide of her beloved older sister Barbara, and who is best-known for her intimate portrayals of the sexual underground.
A deep and serious look at the interlocked lives of a dozen characters, chiefly that of Robert Weary, a man born to wealth and power who nonetheless takes part in a hapless attempt on the life of American ex-president Richard Nixon, fatally deflecting his own life and that of his friends and family. Napoleon’s Retreat is not just the stories of these people and their times, however. It is a collage of narratives, combining in the end to show that our knowing of a thing cannot come without being bent out of all recognition by the act of knowing – and perhaps more importantly by the mythopoeic power of language itself. Robert Weary narrates all the tales that make up Napoleon’s Retreat and is the Napoleon of the title, styling himself Robert Napoleon Weary, and sometimes Robert Napoleon Lajoie, a minor league baseball player of the fifties. Others have their stories. Albert Hess, ex-mercenary soldier, who dies in a Colorado creek during the assassination attempt, and whose head, still talking, continues to spin tales of the past while the cold water flows over him like time itself. There is Monica, sax-player in a band called Vern & the Minnows, who has become the object of Weary’s obsessive desire. A shadowy figure known as The Peacock Angel watches from behind a mirror, and the doomed Ellis Rancourt trails through the narrative with the demons nipping at his heels. A monster names Wittgenstein falls in love with Robert Weary, even though her creator, Etienne Bliss, had thought the default gender was male….
th text below is an abbreeveatid transliterasyun uv bill bissetts own descripsyun uv his latest book.
“narrativ enigma / rumours uv hurricane is about the fragility and incompletion of all narratives, really. Stories, of course, can be condensed and are more portable, more understandable, and in so doing lose much of their efficacy and real accuracy—are often platforms of propaganda and spin, mostly—and what we settle for in order to experience stability, even some of the time. If there is any completion, that dynamic map, cartography, is with our makers, if we are created … Is a story longer than a synapse? Is a story mostly an incomplete construct, and is constructed by ourselves? Every story has a loophole—pieces missing from the puzzle. The frailty within the neurological story is our frailty—our fragility—our aberrantly and very elaborately framed world of mythology—the other, silence, and very chattering explanations—all part of our attempts to create civil society with human rites. Yet seeded within these benign edifices of the minds and protocols and seeming accountabilities are the gaps and shorts and over or under imbalances, needed to create, and enough to undermine and topple everything. These are the ‘rumours of hurricane,’ and why controlling psychotics can become world leaders. These problematics are also inevitably parts of all our magic. Hurricanes and rumours have high degrees of very zany unpredictabilities, and often come from the enigma of our narratives.
The narrative, non-narrative, sound, song, meditation, metaphysical, spiritual, asking, political, visual poems discuss all the issues that are raised in the title.”
A coming- of-age story filled with heroism and heartbreak for 13-year-old Acadian Nathalie Belliveau.
Separated from her family during the brutal 1755 expulsion of Acadians, Nathalie escapes and walks halfway across Nova Scotia to safety in Cap-Sable. When the compassionate Amirault family takes her in, she falls for their shy son Ange. But Nathalie’s happiness is shattered by another wave of deportations by the British that keep the young lovers apart. Nathalie uses her tenacity and self-awareness to survive as an indentured servant in North Carolina. Based on the real lives of two Acadian families, the novel is grounded in the historic facts of the Acadian expulsion and their exile in Massachusetts for ten years.
National Animal, Derek Webster’s second book of poetry, inhabits a wider public space than his acclaimed debut Mockingbird. In poems that extend beyond the biographical toward the political, Webster’s quiet, sharp-eyed narrator-a man “tripping / my way forward, trying to lead my own life”-watches history being erased in favour of more socially palatable ideas and comforting self-portraits. Uncompromising and substantial, National Animal explores our “civic moment” where “birds sing oblivion / estranged from all things,” and meditates, in a final image-rich sequence, on our place in a science-based cosmos.