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Showing 6193–6208 of 9311 results
In Shapeshifters, Délani Valin explores the cost of finding the perfect mask. Through a lens of urban Métis experience and neurodivergence, Valin takes on a series of personas as an act of empathy as resistance. Some personas are capitalist mascots like the Starbucks siren, Barbie and the Michelin Man, who confide the hopes and frustrations that lay hidden behind their relentless public enthusiasm. Others include psychiatric diagnoses like hypochondria, autism and depression, and unlikely archetypes such as a woman who becomes a land mass by ending the quest to shrink herself. In more confessional poems, the pressure to find relief from otherness often leads to magical thinking: portals, flight, telepathy and incantations all become metaphors for survival. Shapeshifters maps ways in which an individual can attempt to fit into a world that is inhospitable to them, and makes a case to shift the shape of that world.
A renowned poet lets language ride its own musically-malleable syntax into unfamiliar regions of consciousness.
Brian Henderson has established himself as a poet who brilliantly makes us aware of language as an instrument of discovery. In his work we realize, over and over again, that each of the mind’s worlds speaks a secret language, which it is the poet’s task to discover and translate. In Sharawadji, this includes not only such worlds as those created by the surreal paintings of Jacek Yerka, but the intense, re-humanizing experience, of loss and grief.
As Tim Lilburn writes, “Sharawadji begins with a series of smart, sinuous portraits of placeless, post-apocalytic locales. These poems seem to grow from sensuous interior observation; their phantasms, appearing “haloed and blown, in their fizzing solders,” are strange yet unsettlingly familiar. Throughout this collection, Henderson conjures alternate worlds — they resemble the peculiar kingdoms in Sufi visionary recitals — that are enticing, disarming and uprooting. And, inside it all, in a room of its own, a tender death is observed.”
“An invaluable aid in this time of troubled spirits, muddled truths, and convoluted thinking.” — Mark Mothersbaugh, Devo
Paul Vermeersch has reinvented the “new and selected.” Bringing together the very best of his poetry from the last quarter century with new and never-before-published works, Shared Universe is a sprawling chronicle of the dawn of civilizations, the riddles of 21st-century existence, and any number of glorious, or menacing, futures. Selected poetry collections are traditionally organized according to the books in which the poems first appeared, but these poems are arranged by prophecy and mythos, corresponding to the human (or trans-human) body, or as dictated by animal speech. In this universe, time is thematic instead of chronological, and space is aesthetic rather than voluminous. Here, alongside popular favourites, are recently unearthed gems and visionary new poems that reveal the books hidden within the books of one of Canada’s most distinctive and imaginative poets.
Faith and facts collide on a Creationist-themed golf course when the daughter of a widowed Creationist falls for the adopted son of a gay paleontologist. Unbeknownst to the lovers, a prehistoric dino-shark has emerged from hibernation leaving a trail of death and destruction. Will the creationist and paleontologist settle their ideological differences or will Sharkasaurus devour them all?
The theme of Sharkasaurus is evolution. All central characters go through a transformation or metamorphosis. When faced with the might and awesome power of Sharkasaurus, stubborn characters are forced to work together, adapt and become the best versions of themselves before they are killed in a terrifyingly hideous way.
Includes:“Lizzie Borden Took an Ax”: Enacting Blood Relations by Madonne Miner (1986)(Im)possible Worlds: The Plays of Sharon Pollock by Denis Salter (1989)Musings of a Political Playwright: A Conversation with Sharon Pollock by Pat Quigley (1990)Dead or Alive? Feeling the Pulse of Canadian Theatre by Sharon Pollock (1991)Reflections of a Female Artistic Director by Sharon Pollock (1992)Theatre by Default: Sharon Pollock’s Garry Theatre by Rita Much (1995)Daddy’s Girls: Father-Daughter Incest and Canadian Plays by Women by Jerry Wasserman (1995)Borderline Crossings in Sharon Pollock’s Out-Law Genres: Blood Relations and Doc by Rosalind Kerr (1996)“Painting the Background”: Metadrama and the Fabric of History in Sharon Pollock’s Blood Relations by Herb Wyile (1997)“Women and Madness”: Sharon Pollock’s Plays of the Late 1980s and Early 1990s by Craig S. Walker (2000)Sharon Pollock: Transfiguring the Maternal by Cynthia Zimmerman (2001)Staging the Intersections of Time in Sharon Pollock’s Doc, Moving Pictures, and End Dream by Anne Nothof (2001)Imagining Canada: Sharon Pollock’s Walsh and Fair Liberty’s Call by Sherrill Grace (2003)Appropriated Voice in Sharon Pollock’s Angel’s Trumpet by Anne Nothof (2004)Indigenous Women Living Beyond the Grave: From Pollock to Pechawis by Michelle La Flamme (2007)Critical Perspectives on Canadian Theatre in English sets out to make the best critical and scholarly work in the field readily available. The series publishes the work of scholars and critics who have traced the coming-into-prominence of a vibrant theatrical community in English Canada. Herb Wyile Cynthia Zimmerman
Sharon Pollock is Canada’s best-known woman playwright. Produced nationally and internationally, author of a large and varied canon, she has had a long and illustrious career in the theatre. From backstage to onstage, from front of house to director’s chair, from actor to author, from teacher and mentor to artistic director of venues both large and small, Sharon Pollock remains an active, controversial, and prolific participant in the Canadian theatre scene.
Sharon Pollock is Canada’s best-known woman playwright. Produced nationally and internationally, author of a large and varied canon, she has had a long and illustrious career in the theatre. From backstage to onstage, from front of house to director’s chair, from actor to author, from teacher and mentor to artistic director of venues both large and small, Sharon Pollock remains an active, controversial, and prolific participant in the Canadian theatre scene.
Sharon Pollock is Canada’s best-known woman playwright. Produced nationally and internationally, author of a large and varied canon, she has had a long and illustrious career in the theatre. From backstage to onstage, from front of house to director’s chair, from actor to author, from teacher and mentor to artistic director of venues both large and small, Sharon Pollock remains an active, controversial, and prolific participant in the Canadian theatre scene.
Personal essays from diverse voices about their relationships to the fibre arts
Sometimes the reliability of a knit stitch, the steady rocking of a quilting needle, the solid structure of a loom is all you have. During the pandemic, fibre arts newbies discovered and lapsed crafters rediscovered that picking up some sticks and string or a needle and thread is the perfect way to reduce stress, quell anxiety, and foster creativity, a remedy to endless hours of doom-scrolling.
Knitting, crochet, embroidery, weaving, beading, sewing, quilting, textiles – the fibre arts fuel intense passions that can often border on obsession. Chances are that you or someone close to you is currently in an ecstatic relationship with yarn, thread, or fabric. As we struggle with the pressures, anxieties, and impacts of daily life, fibre arts are an antidote, mirror, and metaphor for so many of life’s challenges. Part time-machine, part meditation app, the simple act of working with one’s hands can instantly ease the overwhelming scope of living to a human scale and to the present moment.
In this anthology, writers and artists from different backgrounds contemplate their complex relationships with the fibre arts and the intersections of creative practice and identity, technology, memory, climate change, trauma, chronic illness, and disability.
Accompanied by full-colour photographs throughout, these powerful and inspiring essays challenge the traditional view of crafting and examine the role, purpose, joy, and necessity of craft amid the alienation of contemporary life.
Fred A. Reed’s fifth book on the Middle East and “the wars of the Ottoman succession” traces the roots of Islamic fundamentalism, as currently enacted by Hezbollah and other Islamic fundamentalist organizations, to the iconoclasts of sixth- and seventh-century Damascus.
The emergence of Iconoclasm, as sudden and overwhelming as it was catalytic, was at once the product of the forces released by the new social, political and religious teachings of the Prophet, and of their encounter with the Christian world at its far periphery.
They are forces that are quite alive and at large in today’s world, as the Western crusade against this latest prophetic dispensation of the Abrahamic tradition assumes a form both aggressive and invasive.
Shattered Images covers all of the major Islamic faiths in its search for the origins of contemporary fundamentalist movements: the Shi’a, Sunni, Ismaili (and their connection with the Assassins) and many of the minor tributaries of Islam, including the “secular” (and related) Syrian Ba’as and Iraqi Bath parties.
As American tank turrets turn from Iraq and take threatening aim at Syria, current events increasingly confirm Reed as an astute expert on Middle-Eastern politics.
She is a complex novel in poetry and prose poetry, crafted with visual form and eloquent language. Penelope-Marie Lancet, an immigrant from Trinidad who lives in Calgary, yearns for a child to the point of obsession. She sees a child as her salvation. Her fervour results in a false pregnancy and in her denial she forms a belief that the child has been spirited away from her. As she formulates and executes a plan to retrieve her child, her personality fragments to the point of disintegration.
Penelope’s fixation begins with a tragedy that occurred when she was a little girl: her one-year-old sister lurched out of her arms and plunged to her death. Penelope never forgives herself and searches constantly for the “lost” baby that would make her whole. Hearing of a black baby adopted by a rich white couple, she concludes that this is her “stolen” child, and she steals him back. Little by little, her already fragile self fragments into at least six personalities, all of whom call their outwardly more composed manifestation “She.” Each of these personalities is unique, each speaking in their own voice and dialect. Dealing with differing levels of awareness of one another, the diverse personalities seek to find their purpose within the whole as they write letters to Penelope’s sister Jasmine, who lives in Trinidad. The more frenzied the letters become, the more they worry Jasmine. By the time Jasmine knocks on the door of Penelope’s Calgary apartment, the discord among Penelope’s different personalities becomes unbearable and her psyche unravels completely.
She is a collage that cuts across conventional boundaries and creates a visual form of poetry and prose. Claire Harris has created a brilliant amalgam of character and creativity.
CBC BOOKS ‘CANADIAN POETRY COLLECTIONS TO WATCH FOR IN 2024’
CBC BOOKS ‘BOOKS TO READ IN HONOUR OF THE NATIONAL DAY FOR TRUTH AND RECONCILIATION’
The Sky Woman has returned to bring down the patriarchy!
This book is about a poet who may or may not be going crazy, who is just trying to survive in Winnipeg, where Indigenous people, especially women, are being disappeared. She is talking to a crow who may or may not be a trickster, and who brings a very important message: Sky Woman has returned, and she is ready to take down the patriarchy.
This is poetry, prose and dialogue about the rise and return of the matriarch. It’s a call to resistance, a manifesto to the female self.
Cree poet and broadcaster Rosanna Deerchild is an important voice for our time. Her poems – angry, funny, sad – demand a new world for Indigenous women.
“A monologue must give voice to those who have been silenced. The speaker must urgently need to speak, to proclaim, to persuade, to incite, to inspire, to agitate, to fabricate, to contaminate or whitewash, to justify; the speaker needs approval, or absolution, or acclaim, or worship, or laughter or sympathy. The monologue can only happen if the speaker has an audience. The monologue is ultimately the electric interaction between the audience and the speaker.” —from the introductionContributors: trey anthony • Nina Lee Aquino • Maja Ardal • Catherine Banks • naila belvett • Tony Berto • Dionne Brand • Leanna Brodie • Ronnie Burkett • Alec Butler • Drew Carnwath • Robert Chafe • Elaine K. Chang • Sally Clark • George Elliott Clarke • Marie Clements • David Copelin • Charlotte Corbeil-Coleman • Deirdre Dore • Patti Flather • John Frizzell • Laurie Fyffe • Jonathan Garfinkel • Florence Gibson MacDonald • Tara Goldstein • Linda Griffiths • Alexandria Haber • Todd Harrop • Randi Helmers • Caitlin Hicks • Tomson Highway • Ryan Hughes • Janice Kulyk Keefer • Gabrielle Kemeny • Ann Lambert • Trisha Lamie • Wendy Lill • Bryden MacDonald • Daniel MacIvor • Joan MacLeod • Celia McBride • Sonja Mills • Monique Mojica • Colleen Murphy • Yvette Nolan • M. Nourbese Phillip • Sharon Pollock • Betty Quan • Janis Rapoport • Kevin Rees-Cummings • Kim Renders • Emma Roberts • Djanet Sears • Shelley Sereda • Ivana Shein • Emil Sher • Jason Sherman • Dalbir Singh • Danielle Skene • Douglas Burnet Smith • Emily Sugerman • Vern Thiessen • Judith Thompson • Kristen Thomson • Jackie Torrens • Nadine Villasin • Colleen Wagner • Irene N. Watts • Paula Wing • Betty Jane Wylie • d’bi.young.anitafrika
In she walks for days inside a thousand eyes (a two spirit story),Sharron Proulx-Turner combines poetry and history to delve into the little-known lives of two-spirit women. Regarded with both wonder and fear when first encountered by the West, First Nations women living with masculine and feminine principles in the same body had important roles to play in society, as healers and visionaries, before they were suppressed during the colonial invasion.she walks for days inside a thousand eye (a two-spirit story) creatively juxtaposes first-person narratives and traditional stories with the voices of contemporary two-spirit women, voices taken from nature, and the teachings of Water, Air, Fire and Mother Earth. The author restores the reputation of two- spirit women that had been long under attack from Western culture as she re-appropriates the lives of these individuals from the writings of Western anthropologists and missionaries.Sharron Proulx-Turner creates a new kind of epic as she bears witness to the past. With gracious concern for tradition, and sly, soaring language, she retells a vital chapter from the First Nations, and Canadian, story.