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“Reading the Riot Act” is a phrase that has entered the popular lexicon, meaning the action taken by authority figures when they perceive that their “charges” are getting out of hand. The act itself is a seldom-used piece of legislation actually designed to prevent a riot from taking place. Supposedly, the mere mention of the Riot Act is enough to bring hardened miscreants bent on destruction to their collective senses. But if a riot has started, it’s already too late to read the Riot Act. Every city has its distinct history of rioting-the Rocket Richard riots in Montreal, the Christie Pits riot in Toronto, the Winnipeg and Regina riots, even the Shakespeare riots in New York where rival factions rioted over which actor was the better interpreter of Shakespeare’s work. Reading the Riot Act is a popular history that rereads and rewrites the legacy of riots in Vancouver. The project was conceived following the city’s Stanley Cup riots in 1994, when official reports and media coverage differed significantly from eyewitness accounts. Later, media reports on the APEC riots downplayed and obscured certain facets of the conflict. Seeking out sources beyond the official reports, Barnholden has compiled a record of participants and observers, allowing the “vanquished” to have their say. Barnholden shuns the simplistic “bad apple” explanation, and explores the deeper economic causes and effects of riots.
Praise for Reading the Riot Act:
BC Books in BC Schools Pick
“This book contains some stirring narrative of conflicts that have defined the history of Vancouver.” (Prairie Fire)
“… demonstrates that even unexpected, apparently spontaneous flarings are about something deeper, from unemployment pressures, freedom of speech and inhumane conditions in prisons all the way to racism and the disappointing performances by our professional sports teams and Axl Rose, the frontman of the notorious GM Place no-show rock band Guns ‘n Roses.
“This tapestry is woven against a backdrop of class war, demonstrating that while the rowdies ground beneath the heels of the police are always the working poor, it’s suspiciously rare that they take their grievances to the neighbourhoods of their bosses. Challenging the popular conception that riots are just the result of ‘a few bad apples’ sowing discontent, Barnholden advances the competing thesis that the entire orchard may in fact be infested with parasites.” (The Columbia Journal)
“Until Reading the Riot Act was published, the book containing the most detailed information on riots in Vancouver was the local police department’s autobiography, A Century of Service (1986), which Michael Barnholden makes reference to in his own text. The difference with Reading the Riot Act is its focus and perspective, which presents riots as battles in the class war, as it aims to cut through the media distortion around such events and dispense with the ‘bad apple’ theory of their cause. It makes for a more engaging, accessible and believable read than the police department’s book.” (Max Sartin, The Rain Review of Books)
From one of Canada’s foremost poet/novelists and feminist critics—a collection of essays spanning over fifteen years.
From award-winning writer Bertrand Laverdure comes Readopolis, a novel translated by Oana Avasilichioaei.
It’s 2006 and down-and-out protagonist Ghislain works as a reader for a publishing house in Montreal. He’s bored with all the wannabe writers who are determined to leave a trace of their passage on earth with their feeble attempts at literary arts. Obsessed by literature and its future (or lack thereof), he reads everything he can in order to translate reality into the literary delirium that is Readopolis–a world imagined out of Chicago and Montreal, with few inhabitants, a convenience store, a parrot, and all kinds of dialogues running amok: cinematic, epistolary, theatrical, and Socratic.
In the pages of Readopolis, Laverdure playfully examines the idea that human beings are more connected by their reading abilities than by anything else. Funny and sardonic, whimsical and tragic, this postmodern novel with touches of David Foster Wallace and Raymond Queneau portrays the global village of readers that the Internet created, even before the 2.0 revolution.
Doug and the Slugs carved out a unique spot in the North American music scene after first appearing in Vancouver BC in 1977. Too polished to be punk and too irreverent to be slick radio rock and roll, they quickly became hometown favourites. Through a hard-won, rigorous touring schedule, a bar band suddenly found themselves Gold record holders, seemingly beloved from tot to pensioner – a career trajectory almost unheard of today. With a sense of humour never too far from their approach, it thrust lead singer Doug Bennett to become the clown prince of Canadian rock and roll. But there was a price to be paid, which ultimately questioned the very nature of success. Featuring never before published photos, posters, personal diaries, ticket stubs, and Slugs music ephemera, Real Enough is at its heart a celebration of Doug and the Slugs, their music, memories, the ups and downs of lifelong friends, who – as a group of musicians after a lifetime of playing together – still make for a good night out.
Enter Emma—an incredibly determined realtor—who decides that Joel is as much of a “fixer-upper” as the house he lives in. With the addition of Joel’s soon-to-be-ex looking to get divorce papers signed and her “man purse”-toting beauty entrepreneur boyfriend in tow, Emma focuses all her considerable energy into developing the curb appeal of the house—as well as its inhabitant. The comedy is sure, the characters well drawn, and the circumstances? Hilarious.
Real estate agents say that buying a house is about location, location, location, but for the agents themselves, real estate is about disclosure, disclosure, disclosure.
Agents face problems related to lack of disclosure, improper disclosure, or false disclosure. Now, real estate lecturer and lawyer Mark Weisleder shows agents how to structure their business in a manner that protects deals, increases success, and keeps agents liability-free. With real-life examples, Weisleder:
Follow Weisleder’s step-by-step guidance — to have a longer, happier, and more productive real estate career.
In her first new poetry collection in over a decade, Elizabeth Bachinsky returns with her characteristic cheekiness and sincerity.
If Lorna Crozier, Susan Musgrave, Bronwen Wallace, Evelyn Lau or Joanne Arnott had been in the mosh pit at fifteen when Nirvana performed at the PNE Forum, this is what their poems might have looked like. In Real Grownup, Elizabeth Bachinsky plain-talks her way through the same gritty landscape that illuminated the poetry of her youth, but shows it from the perspective of a person at a waypoint in life, taking stock of the journey: birth, childhood, sex, loss, joy and death. This book is for those who have lived through everyday madness and want to look upon it with acceptance, humour and love.
As the sickly boy dreams in bed, the shadows beneath his parlour curtain are stirring, taking shapes inexpressible even in a child’s dreams. “Real keeps us silent,” argues the taxidermied rabbit to the young air-rifle that shot it dead. “Real keeps us still. You must never ask anyone if they are Real.”
For exactly as long as history, a secret peace has bound the human and inanimate worlds. But the stories of the other world are pushing into our own, and that peace will be tested tonight…
In this collection of twenty-six poems and the unbelievably weird happenings that link them, Noah Wareness steals electricity from nihilistic horror fiction and shaggy late-night cartoons to create a landscape of profound loss, vertigo and wonder.
Realignment is an extended meditation on the human condition, shifting perspective from poem to poem to embody a variety of cultural milieus. A disruption in morning ritual realigns one?s day. A painter switching brushes realigns his style. A break in syntax corresponds with an abrupt change of pattern in an Afghan carpet. Like ?a gentle winding down,? the poems in Realignment address the self-understanding brought on by changing memories of the past and, ultimately, the realignment of removal, vanishing, and farewell consume the heart of the book.
A man of many talents, Reaney taught at the University of Manitoba and the University of Western Ontario for forty years, and received his doctorate with Northrop Frye. His plays have been produced across the country and his poetry and dramatic writing garnered him three Governor General’s Literary Awards. Includes:The KilldeerNames and NicknamesListen to the WindSt. Nicholas Hotel: The Donnellys, Part TwoGyroscopeAlice Through the Looking GlassZamorna! And the House by the Churchyard
Reasonable Ogre, The
Naomi Guttman’s first collection of poems marks the appearance of a deeply emotional, highly intelligent new voice. Its theme is intimacy-ours, especially women’s, experience of intimacy in many forms, how it marks us, how we long for it, the ways in which it is both our fulfilment and our undoing. The personae range from children to old men and women, jailbirds to schoolgirls; the language is chosen without ever becoming deliberate, precise but always musical. These are poems from and of the heart, chastened by experience, taut with craft.
Facing the monumental issues of our time.
In a 2012 performance piece, Rebecca Belmore transformed an oak tree surrounded by monuments to colonialism in Toronto’s Queens Park into a temporary “non-monument” to the Earth.
For more than 30 years, she has given voice in her art to social and political issues, making her one of the most important contemporary artists working today. Employing a language that is both poetic and provocative, Belmore’s art has tackled subjects such as water and land rights, women’s lives and dignity, and state violence against Indigenous people. Writes Wanda Nanibush, “by capturing the universal truths of empathy, hope and transformation, her work positions the viewer as a witness and encourages us all to face what is monumental.”
Rebecca Belmore: Facing the Monumental presents 28 of her most famous works, including Fountain, her entry to the 2005 Venice Biennale, and At Pelican Falls, her moving tribute to residential school survivors, as well as numerous new and in-progress works. The book also includes an essay by Wanda Nanibush, Curator of Indigenous Art at the AGO, that examines the intersection of art and politics. It will accompany an exhibition at the Art Gallery of Ontario scheduled from 12 July to 21 October 2018.
Rebecca Belmore is one of Canada’s most distinguished artists. She has won the Hnatyshyn Award (2009), the Governor General’s Award in Visual and Media Arts (2013), and the Gershon Iskowitz Prize (2016). A member of Lac Seul First Nation, she was the first Aboriginal woman to represent Canada at the Venice Biennale. She has also participated in more than 60 one-person and group exhibitions around the world.