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Winner, Design Edge Regional Design Award
Shortlisted, Atlantic Independent Booksellers’ Choice Award
Authentic. Original. Inimitable. Mary Majka was one of Canada’s great pioneering environmentalists. She was best known as a television host, a conservationist, and a driving force behind the internationally acclaimed Marys Point Western Hemispheric Shorebird Reserve on the Bay of Fundy.
Sanctuary gives full expression to the intensely personal story of Mary’s life. A daughter of privilege, a survivor of World War II Poland, an architect of dreams, Mary Majka became a passionate environmentalist intent on protecting fragile spaces and species for generations to come.
In this amazing story of determination and foresight, Deborah Carr reveals a complex, indomitable, thoroughly human being — flawed yet feisty, inspiring and inspired.
Jennifer Duncan’s debut collection of fiction, Sanctuary and Other Stories, introduces a brilliant and innovative new voice to Canadian literature. These fourteen stories, interconnected and set in the Toronto punk scene of the 1980s, are startling in the humour and grace they bring to a subculture too often presented in the media as one-dimensional and anti-social. In a language both passionate and wryly self-aware, Jennifer Duncan creates a world that is totally convincing in its detail and its rich humanity. Jennifer Duncan is a fifth generation Torontonian. Her fiction has appeared in Prairie Fire, Matrix, CV2, and Blood & Aphorisms, and she is currently completing her first novel. Sanctuary and Other Stories has won the David McKeen Prize for best Creative Writing thesis at Concordia University.
Sand is the story of a young girl, Willy Cameron, her horse named Sand, and her involvement with therapeutic riding. The novel begins when Willy is involved in a serious car accident and is paralyzed from the waist down. After the doctors tell her that she may never walk again, Willy becomes extremely depressed and self-pitying. Then when she is going (unwillingly) for physiotherapy, she meets a young boy, Ben, who is involved in therapeutic horseback riding for his juvenile arthritis, and he persuades her to give it a try. The therapy with the riding gives Willy back the partial use of her legs. While still recovering, she takes on the training of Sand, a spirited rescue horse at the stable who was injured, and now spooks easily. The story expands at this point when her friend, Ben, becomes depressed about his relationship with his father, becomes involved in drugs, and disappears after going on a bad drug trip. Willy believes she knows where he is hiding, but has no means of transportation and, against the orders of the riding master, she secretly takes Sand from the stable to try and find her friend. But Ben is not in his right mind, and Sand is easily spooked. The fate of Willy, Ben and Sand all depends on what happens next.
Robert Edison Sandiford moved from Canada to his parents’ native Barbados in 1996. He went for “wife and work” – his new bride was a Bajan, and he had landed an editor’s position at the leading daily newspaper. Yet his journey “Back Home” also led to a series of insightful and often poignant meditations on relationships, island life, and the decline of his father, diagnosed with Alzheimer’s disease twelve years earlier. “Coming out of the Caribbean as these stories did, they could not have been written in any other time or place,” says Sandiford in the Preface. Part travelogue, part memoir, Sand for Snow: A Caribbean-Canadian Chronicle is a thoughtful, revealing, and often humorous trip to a most unexpected destination.
April 1997: the city of Grand Forks is destroyed, thousands are evacuated, and Owen and Andrew are starting to enjoy themselves as they follow the flood to Winnipeg in this odd, exciting, and cheerfully irresponsible adventure.
Owen and Andrew are opportunists with rapid-fire wit, no pasts and, in Owen’s case, no legs. On the lam during the Manitoba Red River flood of 1997, these rogues quickly grasp the tactics necessary to exploit the chaos, and manipulate sympathy into personal gain. Scamming money as bogus Salvation Army reps, pawning a benevolently donated “sport coupe” of a wheelchair for profit, and eating like kings through volunteer food rations, are all in a day’s work. Sandbag Shuffle serves as an insider’s look at the architecture of natural disaster, disability, vagrant youth, and loyalty.
“The Sandcastle Diary” portrays journey through life and everlasting reflections of the heart. The poems illustrate deep emotions written in a thoughtfully artistic way with vibrant interpretations stemming from the complexity and simplicity of human life. Challenging, thought-provoking, and moving, these poems were inspired by real life experiences. Each poem has been created to encourage thoughts and understanding of relationships, spirituality, success, love, heartache, loneliness, happiness, judgment, and ultimately the concept of living a well-balanced life overall. With a fresh take on writing poetry, Louis-Philippe Hébert successfully demonstrates his creative talent and explores a wide range of emotions and perceptions persuading us to examine the world we live in.
This debut English-language collection written by a Trillium Award-winning Francophone poet strikes with endless patterns and infinite grains. Through expert wordplay, technically sound poetry, and bold imagery, Charlebois offers a wistful approach to the moments we encounter most often in life. Each poem pulses with creativity as the poet breathes life into each of the thought-provoking pieces of his puzzle. It is this welcome interference with expectations and strong command of language that returns us to the overlooked, constantly changing worlds that only appear altered after the sands of time have passed.
Sangeet loves music, and she’s good at composing it, too. Her favourite instrument is the tabla. One day, Sangeet hears all kinds of noises everywhere and together, they have the most incredible beat. But when she tries to play it on her tabla–something is missing! Will Sangeet be able to find her Missing Beat? Teacher resources available on publisher website: rebelmountainpress.com/sangeet-and-the-missing-beat-teacher-resources
A young dub poet is swept up in the violence of the 1980 national election in Jamaica. Arrested and interrogated, she finds the strength in her maternal ancestors to stand up for her country’s future. Featuring the plays blood.claat, benu, and word! sound! powah!, these extraordinary stories of three generations of strong women and their resolute belief in blood and truth form a powerful whole.
Sans Chapeau suit une ligne narrative imaginative et inspirante. Elle adopte des valeurs élevées de coexistence et d’acceptation mutuelle des différences avec les autres qui partagent notre environnement. Elle laisse libre cours à l’imaginaire des enfants et stimule leur créativité. Le personnage principal est une petite fille prénommée Sans Chapeau, qui vit dans la Ville aux Chapeaux, où les gens naissent avec des couvre-chefs qui leur cachent tête et visage. Le monde y est sombre, silencieux et inodore, à l’intérieur duquel Sans Chapeau se sent piégée. Elle veut bien enlever le sien mais elle a peur, jusqu’au moment où elle réalise que les choses effrayantes demeurent, qu’elle l’enlève ou le garde. Elle finit par enlever son chapeau et se réjouit de voir un monde nouveau et de belles choses autour d’elle, mais tout le monde se met à l’éviter. Sans se décourager, elle cherche une manière d’amener les autres à faire comme elle et à embrasser le monde, changeant ainsi le cours de sa propre vie et celle de ses concitoyens.
What is real when seen through the eyes of a child? When does the harshness of reality transform idyllic memories? The young narrator of Santa Rosa seeks the answers to these questions as she tries to make sense of the disintegration of her parents’ marriage–a process echoed by the slow disintegration of their neighbourhood. In subtle poetic prose, Wendy McGrath evokes afternoons at the fair captured in overexposed photographs, and a family’s disquieting day at the beach as moments that exist apart from time, in a place where every sense is heightened, and where every memory is sharpened as if in a lucid dream where understanding lies just beyond reach.
When Dominique arrives in Roquebrun, France to visit her old art school friend Julia, it is with mixed feelings of impatience and resignation. Impatience with being forced to take a vacation from her Winnipegarchitectural firm and at the presence of Julia’s cynical brother Colin, and resignation to the loss of her once loving but now broken ex-husband, not to mention her career as an artist.As the trio take their first steps on the 700-kilometre pilgrimage that will lead them through the north of Spain to Santiago de Compostela, Dominique wants nothing more than to hop a train and head home. At the age of 42, she is ready to give up on her dreams for new love, a life in art and a family to grow old with. Her attitude changes as the trio walks the dusty white camino that so many centuries of pilgrims have walked before them and are joined along the way by Deidre from Ireland and Neil from Vermont.As the five of them travel, sharing the tragedies of their lives, and discussing history, faith and art, Dominique begins to soften. Perhaps it isn’t too late for her to find happiness and renewed love–to wash away the sins of a squandered life. And as a new love blossoms, Dominique begins to wonder if anything has been squandered; if her journey is almost over or just beginning; and if, perhaps, it really is the journey that matters most, and not where it leads one to.
For more than 20 years, Toronto photo-based artist Sara Angelucci has transformed found photographs and created images exposing the cultural and historical conditions outside the image frame. Her work brings attention to the social forces that generate the language of photography. Her series Aviary — which morphs extinct and endangered birds with 19th-century cartes-de-visite portraits — reveals the colonizing role the camera played in capturing animals for consumption. In her current work, Nocturnal Botanical Ontario, images of entwined native and invasive plants — made with a digital scanner — pay homage to photography as a tool of scientific inquiry. These complex botanical compositions uncover the impacts of settler colonialism and global trade on our ecology. Through acts of empathy, embodiment, and envisioning, the images and essays in Undergrowth seek to reconcile our fraught relationship with the natural world, addressing one of the most critical issues of our time.Undergrowth is a co-publication with Art Gallery Sudbury | Galerie d’art de Sudbury.
Sarah & Abraham: The Search for Miracles and the Stuttering Poet is a stranger than fiction account of a woman’s reach for miracles and her conflicted love for Montreal poet, Avi Boxer. It is a gripping tale of experiences that includes magic, sometimes black, by way of the captivating and devilish poet who played magician. The sacred and profane blurred in boundary, as did the very definition of morality, blessing and curse. Sarah’s emotional and spiritual journey, beginning with her escape from Nazi France, is animated with plot twists of biblical proportion, peppered with equal parts wit and profundity.
Anyone who has delved into the history of the Red River Settlement will have come across the name Sarah Ballenden. Her 1850 trial is one of the most famous in Manitoba legal history. The fact that her name isn’t officially attached to the trial – we know it as Foss v. Pelly – is a reflection of the laws of the day, not of her commitment to the proceedings. “I was the first person to get this business investigated,” Sarah testified in court. “I had determined to proceed in it.” “This business” was defamation. Sarah’s character and reputation were under attack. She was the wife of a Hudson’s Bay Company Chief Factor, a position which in fur trade society traditionally commanded respect. One contemporary observed that the wives of Chief Factors, most of whom were “mixed-blood”, were treated like queens. Sarah, though also of British/Indigenous descent, was not. Why? Was it her personality, her behaviour? Did she bring condemnation upon herself? Or were there other forces at work? This play explores Sarah’s struggle for respect in a world of shifting values, as the great fur trade empire that had ruled the Northwest for two centuries and had shaped her life and the lives of thousands like her limped to a close. Caught in a tidal wave of change whose ramifications are still being felt, Sarah Ballenden is truly an original Canadian heroine.
Sarah Maloney’s Pleasure Ground: A Feminist Take on the Natural World is the first major survey of contemporary sculptor and textile artist Sarah Maloney, RCA. Recognized for her representations of botanicals and the human body, Maloney uses media ranging from embroidery to bronze to challenge ideas of “women’s work,” craft, and artistic labour. Maloney looks at Western history and culture through a feminist lens, and the results are depictions of plants, bones, and organs that reference gender, pleasure, desire, and power.
Sarah Maloney’s Pleasure Ground showcases Maloney’s artwork from her thirty-year career, with the selection of work exemplifying her explorations of sexuality, reproductivity, economics, and colonial systems of representation. Accompanying a nationally touring exhibition opening first at Art Windsor-Essex before moving to the MSVU Art Gallery, Halifax, in the spring of 2024, Sarah Maloney’s Pleasure Ground features essays by exhibition co-curator Laura Ritchie, textile scholar and curator Sarah Quinton, and Art Gallery of Nova Scotia CEO Sarah Moore Fillmore, as well as 70 full-colour images of Maloney’s provocative and joyful work.