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This one-woman play explores the life of Pulitzer-prize-winning writer Elizabeth Bishop (19111979), setting Bishop in a Halifax hotel room prior to receiving an honourary degree from Dalhousie University in the fall of 1979, shortly before her death. Includes reproductions of eleven black and white photographs.
Running Unconscious is the first collection of poetry by Toronto poet and poetry promoter Peter McPhee. ‘Never Trust a Polar Bear in Shades,’ ‘Leaning against a lamppost at the corner of King and Diversity,’ and, of course, ‘Why the Stegosaurus is my favourite dinosaur’ ? Running Unconscious assembles all the McPhee classics in one good-lookin’ volume.
Pete Sarsfield paints his stories in the words of a true traveler, who lives exactly where he is at the moment. As a community physician in remote and northern areas for almost 25 years, Sarsfield looks at the people and the landscape of his world with an insight that borders on the poetic.
At the height of the Great Depression, two Prairie children struggle with poverty and uncertainty. Surrounded by religion, law, and her authoritarian father, Cora Wagoner daydreams about what it would be like to abandon society altogether and join one of the Indian tribes she’s read so much about. Saddened by struggles with Indian Agent restrictions, Hunter George wonders why his father doesn’t want him to go to the residential school. As he too faces drastic change, he keeps himself sane with his grandmother’s stories of Wîsahkecâhk. As Cora and Hunter sojourn through a landscape of nuisance grounds and societal refuse, they come to realize that they exist in a land that is simultaneously moving beyond history and drowning in its excess.
An intelligent and perceptive book about rural landscapes, Rural Night Catalogue sidesteps the linear world of the lyric poem to embrace linguistic playfulness, unusual perspectives and surprise. deBeyer has a gift for setting strong moods, colouring an afternoon on the veranda with a “sierra drawl” and giving specific texture to the smells in the air. These poems put time, light and humanity on the same plane, bending them together into tangible, familiar, forces.
Grounded in the rural landscape, deBeyer’s poetry reflects a fierce attention to detail and an inherent wildness. Devoted to sharing his encounters with fox, deer, barn doors and dusk, he shows his love of countryside and his passion for description. Though place names are few and far between, the reader is gripped by a distinct sense of belonging, longevity and connection, irrespective of specifics, as though each poem has its own frequency. George Elliott Clarke calls this a collection “powered by sense and by science.”
This debut collection was shortlisted for the 2003 Gerald Lampert Award.
The publication of bill bissett’s Rush: what fuckan theory; a study uv language in 1972 firmly ushered Canadian poetics into the postmodern era. Out of print for 40 years – and reissued here complete with an interview with bissett about the book’s creation and a critical afterword by derek beaulieu and Gregory Betts – Rush embodies a collagist, multi-conscious approach to art that recognizes no division between the work and the world, the author and his sexuality, his breath, his influences; the theory and the practice. Arguing that “a new line has startid,” Rush captures the urgency of a new model of production that resists the closure and mastery of any one mind. It is an elegant rejection of aesthetic ego and all presumptions of authority. Rush: what fuckan theory; a study uv language is a vital, vocal protest against business as usual and the exploitation of the individual from one of Canada’s most important avant-garde poets.
The star of Gladiator, The Insider, and L.A. Confidential is revealed as never before.
In this innovative biography of one of Hollywood’s kings, Gabor H. Wylie gives Russell Crowe fans what they’ve been longing for — the stories that make up a lifetime, little anecdotal gems strung together like pearls on a necklace. The star of Gladiator, The Insider, and L.A. Confidential is revealed as never before. From Crowe’s New Zealand roots to his emotional Oscar triumph, Wylie traces his journey to stardom with true stories that have textured his life along the way. Imagine Crowe’s campy portrayal of transvestite Frank N. Furter in an Australian stage production of The Rocky Horror Picture Show. Or the moment Crowe revealed to his shocked father that, since the family couldn’t afford to send him to university to study history as he had planned, he intended to make his way as a performer. This is Russell Crowe — the dedicated musician, the acclaimed actor, the fascinating man — rendered in the most intimate medium we know: the stories of his life.
Joe Fiorito spent 18 hours in total, over the course of three days, on the corner of Victoria and Queen in downtown Toronto watching the city go by and recording what he saw. The rhythms of the city ebb and flow according to the time of day. The declarative sentence is the best brush to paint an objective portrait of the city we live in. It is an example of what happens when you stay in one place and observe a single place or thing for a very long time.
Former UN Secretary General Boutros Boutros-Ghali declared to author Robin Philpot that “the Rwandan Genocide was 100 percent American responsiblity.” Yet a more official narrative would have it that horrible Hutu génocidaires planned and executed a satanic scheme to eliminate nearly one million Tutsis after the Rwandan presidential plane crashed in the heart of dark Africa on April 6, 1994. Where do these two contradictory narratives come from? Which is true? Robin Philpot’s vast and methodical research, extensive interviews, and close analysis of events, testimony in courts, and popular writings on the subject show not only that that official narrative is false, but that it was edified to cover up the causes of the tragedy and to protect the criminals responsible for it. What’s more, to make that story more believable, the storytellers have unfailingly reproduced the literary traditions, clichés, and metaphors that provided the underpinnings of slavery, the slave-trade, and colonialism. Nearly 20 years later, the facts about the Rwandan tragedy have been so distorted and the adjudicated facts ignored that Rwanda is now used everywhere to justify so-called humanitarian intervention throughout Africa (and the world). It has become a “useful imperial fiction,” and for that reason, this book seeks to find out what really happened there.
Thirty years ago, all parameters were in place for regime change in Congo: US military assistance to Paul Kagame’s troops in Rwanda, Western political cover for an invasion, US satellite data needed for Rwanda’s military sweep, and secure financing from multinational companies poised to profit from the most resource-rich nation in Africa.
Crucial to this overthrow were the concerted international efforts to cover up or at least minimize the body count associated with the invasion, which marked the beginning of a long and ugly conflict that has stripped Congo of its sovereignty, its safety and its resources.
Rwanda’s 30-year assault on Congo traces the roots of Kagame’s campaign and the impunity he’s been granted from the United States and its allies, including Canada. It explores the early US support to Kagame’s rebels from the 1980s to their seizure of power in Rwanda in 1994, via Uganda, Washington’s geopolitical lynchpin on the African continent.
The author examines the tactics Rwanda has used to infiltrate and subjugate Congo in a military campaign that has left millions of Congolese dead, created wealth for Rwandan oligarchs and enriched a handful of multinationals and international elites.
Sabotage is a collection of poems that explores private and public acts of destruction, disruption, and vandalism in the 21st century. In Sabotage, several vital sites are under attack or at risk: the human body (including the brain and biological systems); structures of community (including family, nation, and institutional supports); and cultural legacies (including language, artistic works, and historical legacies). The sections of Sabotage frame this investigation of violations through recognizable legal and literary frameworks: Accusations, Discussions, Adaptations, Riddles, Arguments, and Defenses. The poet also acts as saboteur, attempting political action and breaking down barriers through the manipulation of language, in order to disrupt the production of goods which have left us with a tampered and soiled legacy. Poetry provides imaginative space for experimentation, dissention, and creative problem-solving. Readers of Sabotage will have the potential to assume the role of saboteurÑthe crux is, to what end? The project is intended to promote discussions of private and public health, cultural inheritance and legacy, and consumer society, while stimulating the imagination through poetic discourse to forge new connections and approach issues of cultural importance in new ways.
Comprised of all-new, exclusive interviews with Jets players, head coaches, and those closest to the organization, Sack Exchange is not only an eye-opening account of the Jets from this time, but also of the National Football League as a whole.
The New York Sack Exchange was the nickname given to the New York Jets defensive line of the early 1980s, consisting of Mark Gastineau, Joe Klecko, Marty Lyons, and Abdul Salaam.
Examined are such topics as the beginning of the Jets-Dolphons rivalry, the controversial firing of head coach Walt Michaels and hiring of Joe Walton, the team’s relationships behind the scenes, the emergence of Joe Klecko, the rise and fall of Mark Gastineau, steroid use among the Jets and in the NFL, the legendary Shea Stadium as well as never-before-heard stories and insight into the legacy of Joe Namath.
In 1976, Michael Wycliffe—son of a troubled single mother—earns a scholarship to Trent University. Longing to escape his childhood and modest Ontario village, he is pulled into the luminous world of Colin, heir to immense wealth, whose confidence and ease seem to promise a different way of being. Their friendship unsettles and awakens Michael, granting him entry into realms of privilege that both enchant and estrange him. As he comes of age, desire and disillusionment shadow his steps—romance falters, friendships fracture, and the chasm between poverty and affluence widens with every choice he makes. Woven through his journey is a quiet but insistent inquiry into faith—its comforts, its contradictions—and a tender, searching exploration of sexuality and intimacy. A finely wrought portrait of a young man negotiating the fault lines of class, longing, and belief, Sackville House is a transformative novel where love and faith illuminate, and where the self is shaped in that fragile space between who we are and who we hope to become.
The Sacred Heart Motel is a map for lapses in time, for the air between the dust. Poems in a multiverse narrative bring the reader on a tour of the motel, from amenities to rooms to back alleys, through the generations of ghosts and queer love stories, until they are left alone with the heart at the centre of the narrative. Music forms the rungs of this manuscript, from nighttime quiet to an orchestral intermission to a crescendo of exposed interiors. New poet Grace Kwan is ruthless and nimble, guiding us through the recesses of body and roadside space.
“A writer only feels like a writer when in the act. And the will, I said, is never enough . . . Where does inspiration, that sacred rage, originate? Maybe it’s just a matter of stubbornly starting something new and writing your way into the slot.”—Steven Heighton
In the years before his unexpected death, returning to short fiction after a long absence, Steven Heighton wrote to his longtime editor John Metcalf to say that he understood that the short story marked his most important contribution to literature, and that “after the novels, rereading and writing short stories again felt like returning home.” In the fifteen stories taken from across his four collections, Sacred Rage offers us Heighton as the moral explorer of the global suburbs, as chronicler of our innermost stories of love and fear, sleeping and waking, of a rebel “unabashedly devoted to the old pursuit,” as he once called it, “of truth and beauty.” These are stories of grace and the lack of it; of elegy and requiem; of hope and care in a world where these seem increasingly alien, stories by one of our most sharp-eyed and generous writers, whether you’re discovering them for the first time, or once again.
In 1988, 12-year-old Emery is looking forward to spending the summer cooling off in the sprinkler, escaping the boredom of church, and begging her parents for a kitten. Instead, she discovers a powerful entity lurking within the walls of the familys home. The eerie vibrations in the wall grant Emery and her three sisters whatever they desire; from fresh lipstick and new boyfriends, to revenge against a local predator. All the while, her parents impose an increasingly bizarre set of rules and rituals intended to keep the sisters safe. After the disappearance of their parents, the sisterss uncle, a disgraced TV faith healer, and domineering grandmother move in, forcing the girls to create real miracles, unaware of the apocalyptic threat posed to the entire town. An exploration of the powerful bonds of sisterhood, The Sacrifice of the Sisters Lot is a riveting tale of love, betrayal and sacrifice.