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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.
A poetic collage of art in the modern world: from Rilkean elegies for an iPhone to a meditation on Melville’s classic
Jonathan Ball’s fourth poetry book, the first in seven years, swirls chaos and confession together. At the book’s heart is a question: Why create art? A series of poetic sequences torment themselves over this question, offering few answers and taking fewer prisoners. Loose sonnets that consider the artistic creations of Leatherface, monster-killer from The Texas Chain Saw Massacre, sit alongside Rilkean elegies for an iPhone. Surreal meditations on the collage work of Guy Maddin are followed by all of the lines from Melville’s Moby-Dick that mention “salt.” Politicians and painters jostle while absurdist humour crashes into stark admissions of vulnerability in the wake of having children. A startling diversity of styles and subjects feed into the maelstrom of The National Gallery, and its dark currents will draw you in to drown.
A celebration of Nicolas Cage — the man and the memeNicolas Cage: leading man or character actor? Action hero or goofball comedian? Internet joke or one of the greatest actors of his generation? Beyond the gif bait and easy punchline, Nicolas Cage continually frustrates easy categorization or understanding. In National Treasure, pop culture writer Lindsay Gibb studies Nicolas Cage’s acting style and makes sense of the trajectory of his eclectic career. In the process, Gibb debunks the common claim that Cage makes bad choices.While his selection of roles is seemingly inscrutable, Cage challenges critics and audiences alike by refusing to be predictable or to conform to the Hollywood approach to acting. Much like one of his mentors, David Lynch, Cage aims for art in movie-making. Is there a method to his madness? Is he in on the joke? In this clear-eyed and well-argued volume of the Pop Classics series, Gibb answers both questions with a resounding hell yes.About the Pop Classics SeriesShort books that pack a big punch, Pop Classics offer intelligent, fun, and accessible arguments about why a particular pop phenomenon matters.
?In the 1950s, in Las Vegas, a businessmen’s conglomerate dominating a $25 million-a-year sports industry hid their illegal practices from the U.S. Department of Justice until they were caught. The sport that privileged cold hard cash over honest competition was professional wrestling, and the conspirators were members of the famed National Wrestling Alliance.
National Wrestling Alliance: The Untold Story of the Monopoly that Strangled Pro Wrestling examines the NWA promoters’ overwhelming success, and the relationships to influential politicians and writers that protected their financial interests for over 50 years. Breaking the façade of sports production, it shows how promoters actually twisted arms to edge out their opponents.
Hornbaker documents the life of the NWA, from its humble beginnings in the Midwest after World War II, to its worldwide expansion. He chronicles the Department of Justice’s investigation, providing sports fans with a never-before-told side of wrestling’s legacy.
The most noteworthy exploits of the National Wrestling Alliance were behind locked doors. Now, the conspiracies of a century-old brand of entertainment will finally be revealed.