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Asked to name the institutions that best define this country, most Canadians place our public broadcaster somewhere high on the list. But there is a very real danger that the CBC will not survive beyond the next two years in any recognizable form. Decades of budget cuts have left it dangerously weakened, and now a massive loss of television advertising revenue is predicted with the loss of NHL hockey rights to private broadcasters. Saving the CBC looks back at the history of the public broadcaster, digs into the goals and ideals of public service media, and plots a detailed plan for survival and growth.
The rise to power of one of Canada’s most progressive municipal movements in recent memory.
When it was dreamed up in the early 2000s by a transportation bureaucrat with a quixotic dream of bringing tramways back to the streets of Montreal, few expected Projet Montréal to go anywhere. But a decade and a half later, the party was a grassroots powerhouse with an ambitious agenda that had taken power at city hall–after dumping its founder, barely surviving a divisive leadership campaign and earning the ire of motorists across Quebec.
Projet Montréal aspired to transform Montreal into a green, human-scale city with few, if any equal in North America. Equal parts reportage, oral history and memoir, Saving the City chronicles what the party did right, where it failed, and where it’s headed. Written from the perspective of someone who worked for Projet Montréal’s administration for almost a decade, Daniel Sanger‘s book draws on dozens of interviews with other actors in the party and on the municipal scene, past and present.
A highly readable history of Montreal municipal politics over the past 30 years, Saving the City will also discuss issues of interest to city-dwellers across Canada. Are political parties at the municipal level a good thing? Is Montreal’s borough system a model for other big cities? What are the best ways to control urban car use? What is the optimum width for a sidewalk? The best kind of street tree? And why free parking is a terrible idea.
“Save the cheerleader, save the world.”
With that immediately memorable mantra, Heroes became the top–rated new series of fall 2006. Featuring such archetypal characters as one with a split personality, one who can fly, one who can see the future, one who can time travel — and the evil villain out to steal all of the powers for himself — the show touches our inner comic book fan, even if we’ve never cracked open a comic book.
Saving the World: A Guide to Heroes includes essay analyses of the many reasons why Heroes’ audiences were kept so entranced. Authors Lynnette Porter, David Lavery, and Hillary Robson are experts in the field of television analysis, having penned books on Lost, Buffy the Vampire Slayer, Deadwood, Seinfeld, The Sopranos, and many others. In this book, they explore the history of comic books making their way to the screen, and how this show has been affected by the decades of comic book superheroes that precede it; the series’ archetypal characters; the fandom surrounding the show; its link to other series such as Lost; creator Tim Kring and how he is the driving force behind the show. The book will include brief episode guides of the first season.
Saving the World will finally help the large audience of the show understand the mysteries of the series.
Morgan Watson has a problem. When word leaked that his cat, Tiberius, miraculously cured itself of diabetes and may hold the key to a cure, he is attacked in his home and almost killed in a bloody fight. Paula Rogers, a strong-willed dedicated police officer, has put herself in the line of fire protecting them, and for the first time is stretching the rules and hiding facts from her superiors. The two fiercely independent people find their romantic feelings for each other grow as they search to find who is behind the brutal attempts to get Tiberius before they find themselves intertwined with the growing list of dead bodies.
ReLit Long Shortlist, 2015
Savour is the follow-up to Bateman’s award-winning debut novel, Nondescript Rambunctious, and the second book in a trilogy about a dark, suspected serial killer named Oliver. Savour retains the dark threads of sociopathic depravity that ran through the debut novel, but is once again tempered with a tender ray of humanity. Lizzy is streetwise, yet fragile, and her desperate journey is both uplifting and heartbreaking.
Lizzy lives in the shadier part of London, far from her hometown in Scotland. In the three years since she fled, following the disappearance of her mother, she has escaped her prison of drugs and crime, only to live in constant fear of being found by dark figures from her past.
She is unaware, however, that the predacious Oliver watches over her from the shadows. She belongs to him now, as he battles with his need to protect her – and the burning desire to take her soul.
Praise for Savour:
“… a unique and unsettling perspective … The narrative development, driven by character rather than expected machinations of the plot, is a genuine pleasure… Savour contains enough information about the events of Nondescript Rambunctious to stand on its own, but reading the first novel will bring greater depth to the experience and well prepare the reader for the final volume of the series, which can’t come soon enough.” (Quill & Quire)
“Both novels explore sociopathic depravity and contemporary society’s desensitization to violence.” (BC BookWorld)
Praise for Jackie’s previous novel Nondescript Rambunctious:
“Vancouver’s Jackie Bateman draws on her Scottish roots for a bewitching first novel that transforms from gentle domestic comedy into gripping suspense.” (Prairie Fire)
Say Uncle! is the definitive book on the history, players, and techniques of catch-as-catch-can grappling.
Catch-as-catch-can, or “catch wrestling” for short, is the great-granddaddy of today’s mixed martial arts, professional wrestling, freestyle wrestling, and many reality-based self-defence systems. It is a nearly lost form of Western martial art that is rich in history and full of painfully brutal techniques. Say Uncle! traces the background of this unique sport through America and Japan back to England and Ireland and is chock full of exclusive interviews from legends like Karl Gotch, Billy Robinson, Josh Barnett, and more. The technique section is fully illustrated so readers can begin to use these powerfully effective techniques and strategies in their grappling and mixed martial arts game.
In the same vein as Total MMA (ECW), Say Uncle! obliterates the myths of the roots of modern mixed martial arts and shows that today’s WWE and UFC have a lot more in common than just Brock Lesnar. The catch-as-catch-can roots of modern MMA and pro-wrestling are well documented but little known, until now.
In these pages you will encounter gamblers and adventurers, conmen and conwomen, rodomontades and ragamuffins, outright fools and outrageous liars. Scalawags, the lot of them. But you can be an adventurer, a conman or conwoman, a fool, liar, gambler, rodomontade or ragamuffin and not be a scalawag. Many adventurers are not even interesting, come to think of it, let alone scalawags. There is an ineffable quality, an indefinable something or other that sets some people apart, places themin the special category that Jim Christy calls “scalawag.” You might call them something else: nuts, perhaps. And quite frankly in many instances-George Francis Train, for instance, or Louis De Rougemont-you’d probably be right. But likewise you don’t have to be a crackpot to be a scalawag: Two Gun Cohen, for instance, or Lady Jane Digby. What you have to be is outrageous with a bit of what Andre Malraux, an adventurer and liar, perhaps-;but not a scalawag-designated, in reviving an old French word, farfelu. It means that you are willing to risk everything, whether on a grand or small scale, on the craziest of schemes, the wildest of notions.
“Curious cases of cannibalism, extreme sado-masochism, and generally irrational behaviour abound, making ‘Scalawags’ the perfect balm anyone attempting to cloister their desires in a bid for self improvement.” – Steven Schelling
“My advice: Keep your copy of ‘Scalawags’ in the bathroom. Or on your bedside table. Or in the bag you carry on thebus. It’s perfectly suited to those times when you’re seeking a momentary escape. There’s nothing like outrageous lives and flamboyant characters to take you out of your dreary day-to-day.” – Robert J. Wiersema, The Vancouver Sun
Perhaps more than any other relationship or identity, motherhood is both organic and constructed. Mothers are created by their children, and then simultaneously expanded and abbreviated by maternity as a social category. In Scar Tissue: Tracing Motherhood, Montreal writer and literary philosopher Sara Danièle Michaud brings her considerable intellectual scope to the impossible intimacy of this most primal human relationship. Intense and intertextual, the book draws as easily from Saint Augustine as from Sheila Heti, weaving a long essay that is both deeply personal and eloquently universal.
scars on th seehors is bill bissett’s latest report from and to the image nation, in which his metric performs a kind of absence of narrative intent that lets everyone and everything speak for itself:
eye dont have 2 invent th world ium / alredee in it
There is much evidence of wounding here, of things gone completely raging:
whats th mattr / why yuv hardlee touched yr dinnr / at all / n its yr favorit saus / is it th tektonic plates
but also a hope of healing, of patching up, of scarring:
i see th salmon talks will / resume on monday / well thank god at leest th / salmon ar talking
along with, of course, the usual ““difficult choices””:
it usd 2 be / (4 konrad white n ken / thomsod) / yu cud get sum toilet papr / nd a newspapr both 4 / a dollr fiftee / now yu cant yu gotta / make a chois
Definitely not Conrad Black’s National Post. Ain’t it great?
Nancy Lyon is hardly your typical traveller. Although her travel pieces have been widely published in The New York Times, GEO, Ms., Travel and Leisure, enRoute, The Montreal Gazette, The Chicago Tribune, and The Miami Herald, to name a few of the publications from which this collection has been culled, Lyon is an adept at “scattering the mud”—an old Irish expression used to describe a kind of rough or ungentlemanly travel.
Lyon’s adventures began when she was 13 and her mother, a bored Indianapolis housewife, loaded her three young daughters into a station wagon and headed off to Mexico for the summer. Despite knowing no Spanish, temporarily losing her sister in a tortilla factory, and almost drowning in the Gulf of Mexico, Lyon survived the trip. And she was hooked.
Since then, Nancy Lyon has lived in many places and circled the globe, exploring UFO sites in Florida and even stranger sights in SoHo, barely escaping witch doctors in Guadeloupe, wintering on Inishbofin, and taking her mother along on a hilarious busking tour of Europe. For Lyon is also an accomplished musician; her love of music combined with her insatiable desire to travel have taken her into the streets across North America and Europe, busking with her medieval Irish harp, button accordian and tin whistle, literally singing for her supper. Lyon’s music has served as her passport to adventure in the streets and cafés all across North America and Europe.
In a small town apocalypse, the social order of things can no longer prevail against the larger forces brought to bear on its insular, traditional, incestuous community. Marcel, in a cleansing, destructive rage, sets his murderous sights on the powers that rule this world.
Scattered in a Rising Wind records this rush of events barely at the edge of syntax; a teeming imagination always just ahead of the ability to articulate; with a participatory narrator that scrambles to keep up with the unfolding perceptions within the characters that surround him. Set in a tiny claustrophobic mill town north of Sudbury, the language borrows the reader to animate its utterly amoral characters as embodiments of the most elemental of human passions. Almost devoid of the conventions of punctuation, capitalization and other grammar rules designed to control language and enforce its sequential linearity, occasionally breaking its prose margins to become minimalist utterances, the novel constantly moves into “a future that has nothing to do with the past.” Yet the past is constantly re-constructed backwards in all its recurring archetypes by the characters, their actions, even their names. Just as the narrator says of the main character, Marcel, “a lot of what he thinks he remembers is invented,” the reader is left, in the end, with Marcel’s Oedipal revenge, the incestuous passion of a Joseph for a Mary of divine birth, and the barren rose of love echoing like a shot to the head, a tattoo on the heart. There is no time here.
India infuses the poems in this collection–as it does the entire body of this poet’s work, inspired by the inimitable musical rhythms and ragas of the subcontinent; the scents of its spices; the riotous colours; the exquisite temple sculptures and ancient dances; the mathematics, philosophies, and multitudinous languages and cultures. These influences subtly and not-so-subtly inform his community’s 184-year history in the Americas–starting in South America (Guyana) and the Caribbean (Trinidad) and later including Canada and the United States. These poems are also enriched by the evolving cultures, politics and languages of the Americas, and Persaud does not exclude exploring perspectives on the craft of writing.
At times a call to action and at others an intimate conversation between friends, Currin’s sensual and surreal poems speak to the political upheavals and environmental catastrophes of our time. School is an instruction manual for igniting transformation through a collective effort of love and community.
‘School is about the ways in which life elucidates the connection (or lack thereof) between human beings,the balance between vulnerability and drawing lines, and the importance of staying present and embracing change. As compelling as what Currin’s saying is how she says it. Her work vibrates in what I call the sensual infrastructure: a logic of the senses that takes up residence in intuition’s heart-mind circuitry.’
– Jacket2
A boarding school deep in the forest carries the echoes of its past inhabitants. Hints of a disturbing history and the unfolding events of the present are refracted by the multiple voices of the girls who now live within its walls, their suggestive and enigmatic accounts interweaving in a rich and unsettling chorus.
When the winter months are skewered by a terrible accident, cracks begin to appear between the teachers and pupils as the girls navigate adolescence, their place in the group, and their complex and shifting relationships with each other, as well as the natural world that surrounds them and the seasons that shape their existence.