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Broadly adapted from George Orwell’s classic Animal Farm, this book narrates the transformation of fairly happy, functional farm, taken over by a bunch of farm animals led by some pigs, who succeed in driving away the ‘human’ masters who once ran the place. The rebellion, generally successful at the start, degenerated into a system dominated by the pigs, led by a pig named Napoleon and some of his loyal pig supporters who usurped all power even as they propagated their hatred of the “humans’.
Rebelion en la granja 2017 is a Spanish-language edition. An English-language edition, Animal Farm 2017, is also available.
Spirited young Eunice will not settle for a woman’s lot in 1800s Canada. She sees the inequitable use of power everywhere, from her abusive father to the elite-ruled government, and she cannot help but challenge it. This historical fiction follows her escape from trouble into more and more trouble, through which her ignorance gives way to a more sophisticated understanding of her society. Impatient to claim a place in it, Eunice dresses as a boy in order to join a rebellion against the government. She lands in jail for stealing a rich man’s horse, and there, the stories of her socially marginalized female cellmates – in particular a young black prisoner – forces her to confront anew the startling injustices of race and social class and the institutionalized cruelty of prison. Readers will fall in love with Eunice for her integrity and tenacity against all odds.
A revolutionary anthology of essays and dramatic works by contemporary Disabled theatre artists
Rebellious Bodies and Radical Acts brings together some of the most innovative minds working in the realm of Disability theatre today. Through essays, poetry, interviews, and critique, these artists pull back the curtain on the creative process, revealing how they engage in the practice of performance. As Disabled people, their bodies and abilities defy the status quo, lending their exploration of this embodied artform an essential and overlooked perspective.
Each writer brings their expertise as an artist to the task of defining what is most urgent, compelling, and relevant in the ongoing evolution of their artform. The centrepiece of this book is the complete text of Alex Bulmer’s Perceptual Archaeology (or How to Travel Blind), a richly layered exploration of her experiences travelling across differing geographies and unexpected emotional terrain. Other writers share excerpts of their work, including Niall McNeil’s Beauty and the Beast: My Life, Debbie Patterson’s How It Ends, Audrey-Anne Bouchard’s Camille, and more.
These bold artists are pressing in from the margins, demanding a new era in the creation of live performance: one that engages a broader scope of lived experience, one that embraces Disability as opportunity, and one that welcomes the adventure of travelling in the unfamiliar.
Available in accessible digital formats.
Sachiko Murakami approaches the urban centre through its inhabitants’ greatest passion: real estate. Rebuild engraves itself on the absence of Vancouver’s centre, with its cranes, excavation sites, and bulldozed public spaces. Its poems crumble as the page turns, words flaking from the line like rain-damaged stucco off a leaky condominium, exposing the absence life inside the “stanza” of a despised “Vancouver Special.”
Winner of the McNally Robinson Book of the Year Award (Manitoba Writing and Publishing Awards).Recent Mistakes is full of stunning metaphor, erotic imagery and precise langauge.”This is a wonderful book, the words pushing at the limits of the lines, the poems overflowing the pages with the urgency of their invention.”–Malahat Review
Suppose fiction is a mansion of mirrors where narrative, setting and plot are characters, and suppose this castle is haunted by Martians constantly rearranging, reversing and transElating its furniture of myths, fables and nursery rhymes. Let’s play space-wars, say the Martians, it’s just a game—our guns shoot words. You zap a Martian. She disappears, but it turns out this Martian is a master chef who even created a recipe for life. How are you going to get the recipe back?—to rebuild her carnival laboratory?
Reckless women inhabit the spaces of these poems: women who dare to travel without maps or even “a single sign,” women who dare the seduction of cliff edge leaps into deadly waters, women who dare the midnight garden to ensure their crop. When Cecelia Frey considers the pain recklessness causes to others, she returns to the source that impels a reckless nature.
There Frey finds women who challenge the empty spaces of the psychic frontier, women who let themselves be seduced by the vanilla man (or is it the other way around?), female magicians, performing aquabelles, women “who toss their clothes from the balcony / and have nothing to go home in.” She also learns that recklessness is a dangerous game. That’s when poetry itself comes to the rescue.
When Frey reaches love’s end and is herself silenced, the poems speak that silence. When “cold camphor travels her veins,” the poems rant and defy, but they also instruct. They teach her to believe even when belief seems impossible. In the face of death, they speak of love. In despair of life, they assert that the trick is to achieve moments of joy. The female magician’s task is to pull off such tricks: “lark / from fire / its white wings raised / singing.”
In this collection of short stories, A.S. Penne scrutinizes the all too human desire to be understood and known by others before first understanding and knowing oneself. “Summer About to Happen” reveals a teenager’s first foray into the realm of desire, which ends in shock as she understands her fantasy love will never materialize. The father in “A Different Kind of Wanting” struggles to come to terms with the death of a son he never learned to accept. “Heat” explores the meaning of friendship when a woman takes stock of the expectations she has of her partner and of her friend. In “Threshold” the superstitions of a confirmed bachelor convince him that a woman he works for is his intended soul-mate. The characters in Reckoning are adrift, reluctant to fully engage in their lives. Eventually, through a tumult of conflicting emotions, they come to a reckoning point and are forced to accept culpability for refusing to meet life and love head-on.
Reckoning is one long poem in search of itself, its own meaning. A synecdoche of verse, segments calling and responding to each other, like jazz musicians riffing back and forth in a late-night smokey speakeasy. Snippets of conversation make it through the air, across the space that seems vast even in its closeness. We are big, we are small, there is eternity in a birdcall. This is end times, yet beginnings surround us. They are there in memory, in grief, in happiness and in song.
Here is a master poet taking stock in later years. Adrift and grounded, lost in memories that are alive in the present and also lost to history, the artist’s mind cannot help but speculate and wonder about the navigation of it all. How does one chart the course? How did one chart the course? And what was discovered along the way? Joy, awe, grief, loss, wonder . . . “disappearing into the mind of the dream, / that opening,” and now all rolled into one ball of what, wisdom?
“what was my early life, banging away at that padlocked gate?
. . .
is this where
the return begins? starting over in old age, body
falling apart according to plan, and no blossoming
wisdom, kneeling on the muddy riverbank, thirsty
once again for mind,
. . .
and when
the brain falters the stories skew once more into
something unfamiliar, something from long before
you, and those pieces won’t be put together again,
not ever, will they?”
What connects us with the past? Memory and story. Each fragment a part of the whole. Without it we exist in isolation. Friesen’s deep and careful observations make Reckoning both intensely personal and universal.
Lane is allusive, intricate, and technically ranging, while the abiding impulses of her work remain spirituously generous and affirmative. Few contemporary poets have her command of tone, able to shift from intense intellectual attention to private joy, from the ironical to the lyrical.
This is poetry both demanding and magnanimous. Reckonings is a very substantial collection which certainly enhances her reputation as one of Canada’s finest writers and brings her work to the wider audience she deserves.