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While immersed in the work of editing and publishing trade books at Gaspereau Press, Andrew Steeves has also produced an eclectic array of letterpress-printed, limited-edition books and broadsides. In this book he revisits sixty of these projects, chronicling the influence that using traditional book-arts tools has had on his thinking about culture, design and manufacturing. His frank commentary explores the wider implications of practising handwork in the digital age, exploring the relationship between art, craft and community.
Sixty-Seven Ontological Studies is a double-stranded book of intense lyric reflections on the fundamental essences of things.
Gary Geddes’s ancestors fished herring off the Orkney Islands, but his own fishing takes a different form. His new poetry collection, Skaldance, weaves in and out of the history of the islands like the wind, ocean, and invaders that have shaped the unique Norse-Scottish landscape and culture of the Orkadians.
An outsider with a stake in these remote northern islands, Geddes takes on the role of Skald, the poet of Old Norse tradition, who reports on love, politics, and the past. With wry, quiet humour or bold theatricality, Geddes establishes connections with a people and a land where his forebears lived long ago. Neolithic voices, Viking graffiti, and a fourteenth-century Venetian voyager all have their say in the polyphony of speakers created by Geddes.
So, too, do Armada refugees, Hudson’s Bay Company recruits, and Italian POWs in these breathtaking poems that transcend period and time. Like the Scottish film Breaking the Waves, the tragic events of these poems are made bearable by moments of black humour. Yet, Geddes’s long narrative poems also reverse the process, disarming readers with laughter before delivering the emotional punch.
Whether light-hearted or tragic, ironically detached or passionately engaged, the poems in Skaldance are deeply felt, intelligent, witty, and exquisitely crafted.
This incredible photographic celebration of inspirational female skaters from all over the globe will appeal to skate fans of every age.
In ever-increasing numbers, girls and women are gathering at skate parks and competing in skateboarding events on nearly every continent. In stunning photographs of remarkable female skaters in action, this book celebrates the incredible range of styles, ethnicities, and ages that make up a rapidly growing community.
Skate Like a Girl features professional skaters, pioneers and newcomers, skate photographers and filmmakers, downhill skateboarders, longboarders, and gold medalists. You’ll meet skaters who are moms, models, artists, and engineers. What they all have in common is that skating is their way of life. Hailing from all over the world, each woman is profiled in her own words of wisdom about going after her dreams, falling hard, and getting right back up. Filled with empowering images and inspiring words, this book will encourage girls and women of every age to get on a board and shred!
Skater Girl is a collection of intensely personal essays, an archaeology of the self. Robin Pacific sifts through the midden of consciousness to find shells, potsherds, a broken piece of mirror. Themes of art, spirituality and social justice run like a current through otherwise disconnected pieces and fragments, many as short as one paragraph. Further, ideas about aging, loss and mortality colour many of them. The book is about the formation of Robin Pacific’s many selves, about creativity, spiritual seeking, and the dream of a more equal society.
An elegy to and celebration of British Columbia’s second-longest river, one at the centre of contemporary conversations about resource extraction and northern geographies, Skeena is an assemblage of voices, stories and histories both about the river and from the river’s perspective. As a single poetic narrative spanning more than ninety pages, this second collection of poetry by award-winning poet Sarah de Leeuw follows a Canadian tradition of long poems, weaving together poetic rendering of the river’s perceptions with archival material that includes highway signs and historical newspapers, scientific reports and local lore, geological surveys and tourist websites. Mirroring a river’s complex tributary structure and rendered in highly concentrated imagistic language and experimental description, Skeena is a poly-vocal watershed of poetry, a book that unflinchingly demands humans understand the power of a river, the life and world of the Skeena River.
***2018 RELIT AWARD: LONG SHORTLIST***
Think the world can’t get any crazier? Think again. Set in near-future Toronto, Skeet Love tells the story of Shane, a conspiracy theorist and aspiring rapper; Nina, his girlfriend; and Brit, the couple’s lover. Wildly suspecting the threesome is under surveillance by a secretive religious cult, Shane moves the group to seek refuge with his father, a smuggler and taxidermist. And then the truth really gets weird. Craig Francis Power’s third novel is an uber-cool drug and sex-fuelled critique of the world we think we know.
Skin introduces us to a group of Canadian teenagers who are coming of age in the late 1980s. Faced with racial discrimination, Phiroza, Jennifer, and Tuan must navigate the choppy waters of high school, each confronting his or her own set of challenges. Ranging from academic difficulties, to budding relationships, to the trials of adapting to a foreign language and culture, the three share their stories of struggle, survival, and defiance of negative expectations and racist attitudes.
Lenny is at the top of her class. Jace seemingly couldn’t care less. By all appearances these two classmates are polar opposites, but despite all their differences they are inexplicably drawn towards one another. When it is revealed that each has been trying to hide the same dark secret—that they share a home with an alcoholic parent—each decides to take action and confront the demon they call “Mom” or “Dad.”
“I have thought every thought about how I would rather be somewhere else, anywhere else. I have thought that there is no place on earth that I would rather be. I have asked myself, Why do I persist?”
Skin Boat is John Terpstra’s frank reflection on faith and church in a secular era. In the contemplative but direct prose style of his previous works of prose, Terpstra draws on his daily interactions with friends, neighbours and fellow congregation members, his work as a carpenter and cabinetmaker, and the stories of St. Brendan and St. Cuthbert. Turning over words like worship, praise and makermainstays of the Christian lexiconTerpstra prods at vocabulary too often glossed over by believers and nonbelievers alike, approaching faith as equally an intellectual as instinctual and physical act.
“As this book began to grow,” says Terpstra, “I knew that I wanted to work the story lines of two medieval saints into it. The one, Cuthbert, had been rattling around in my brain for twenty years or so. It wasn’t his life or achievement that interested me most, but his uncorrupted body. He was exhumed a decade after burial, but his flesh had not decayed and he appeared to be only sleeping. He slept on, and became a spiritual tourist attraction for centuries afterward. Brendan, my second saint, was famous for a sea voyage. He may have been the first European to set foot on North Americain the sixth century. I had read an account of a modern re-enactment of his fabled journey: a gripping high-adventure, a kind of North Atlantic Kon-Tiki. What I found when I turned to the original medieval account of the journey was mesmerizing, mysterious, contradictory, open-ended and, well, as strange as Cuthbert’s uncorrupted body. I thought I would hook my sail to their boats and see where they took me.”
Over the course of the book, Terpstra considers the religious tradition in which he was brought up, his and his wife’s decision to leave that tradition, the evolution of their adoptive church community, and occasional visits to other denominations. Conversations with members of his congregation, friends and co-workers illuminate and complicate any provisional conclusions reached en route. Ultimately, it is this degree of honesty and perplexity, too often missing from contemporary examinations of faith, that set Skin Boat apart as a thoughtful inquiry into its persistence.
Middle-aged couple Daphne and Rollie and their friend Alex have found themselves out of work and out of luck. So when they come across a mistakenly rented X-rated movie, they get the idea to make their own porno film for some quick cash. The only problem is none of them want to star in it themselves. As if on cue, Jill, a birthday telegram messenger, accidentally arrives on their doorstep and their cast is set.
Oh my goodness. Did you ever get to thinking that “down on your luck” isn’t just an expression? And that what we need here is a bigger statement? Something that adequately describes the scope of the situation? Like when your ex-wife spends all of her time angrier than a five-dollar pistol at everything on the planet, but mostly at you (well, really only at you, and she brings back your record collection, but she sets fire to it on your porch and the flames spread to your house and that just proves what you’ve said all along: that she is crazier than a box of frogs. Or when your ninety-year-old stick of a father uses his gnarled up knuckly fingers to apply “the nut twister” on you every chance that he gets. And you haven’t been with a woman for a very long time and about the only chance you will ever have of getting laid again is to crawl up a chicken’s ass and wait.
This shit is dire. Well, what I mean is that “down on your luck” doesn’t quite cut it when bad luck has become a way of life. You just have to remember: You can have everything you want in this life. Provided all you want is a stained mattress and a hangover.
Skin House is a story about two guys who end up in the same bar they started out in. Maybe they’re slightly better off than they were at the start. Or maybe not. One has a girlfriend though. They both have a little extra cash, enough to order nachos whenever they want to without going through their pockets first. They’re not dead, and that’s something right there. And they’re not arrested, which is the quite surprising part.
Skinny-Dipping with the Muse
Poems that take the skin off emotion, let laughs out like hens from the roost: Skrag, farm mongrel, springs to the whistle in bony narrative, endearing as the musk he charms and obeys; “Descartes & Dick,” mad-cap Western, turns Descartes loose on a plane of rustic lunacies where cowboys attend closely upon ladies and the finer points of grammar; lyrics, including “The Cottage Poems,” stray through a landscape of pain and rejoicing where those who wait are sustained by the smallest miracles.
Critically acclaimed novelist Michelle Butler Hallett rolls out her raucous brand of satire in this tender exploration of the human need for communication, communion, and love. Skywaves is set against the development of radio in Newfoundland and Labrador, and told in 98 non-linear but interconnected chapters. It crackles with comedy, modulates through history, and toys with a new signal-to-noise ratio. Skywaves is definitely a lively and sometimes demented “aural” culture novel. Butler Hallett worked in radio for several years and has long been haunted by the story of a cousin who crashed his plane while looking for a lost child.
Poems written only from three-letter airport codes demand a new kind of passport. Every major airport has a three-letter code from the International Air Transport Association. In perhaps history’s greatest-ever feat of armchair travel, Nasser Hussain has written a collection of poetry entirely from those codes. In a dazzling aeronautic feat of constraint-based writing, SKY WRI TEI NGS explores the relationship between language and place in a global context. Watch as words jet-set across the map, leaving a poetic flight path. See letters take flight (and leave their baggage behind).
Skydive explores the world of dreams and imagination: the universal human desire to push beyond our physical limitations and to fly.
Having grown apart after a traumatic and defining moment in their youth, two brothers reconnect to fulfill a life-long ambition to go skydiving. Morgan (a feckless schemer who has recently reinvented himself as a counsellor) arrives on the doorstep of Daniel (a housebound agoraphobe), offering to help “liberate” his brother by administering his newly invented technique of “Paratherapy.” Convincing Daniel to face his fears by pursuing their long abandoned childhood dream of jumping from an airplane, the brothers begin a series of misguided training exercises to prepare for their adventure.
Yet we realize that something is being subverted as we watch the comedy rooted in a lighthearted nostalgia for their youth in the 1980s give way to a high-stakes adventure in a surreal environment of lucid dreams and startling visions occurring in the final seconds of a freefall adventure gone horribly wrong.
Commissioned by Realwheels, a Vancouver-based theatre company that aims to increase audiences’ understanding of the disability experience, Skydive was created to be performed by one able-bodied, and one differently-abled actor. Using the technology of Sven Johansson’s ES Dance Instruments (a 17-foot, counterweighted lever that allows a performer to fly in all directions as well as cartwheel and somersault through space), the show is written to be staged almost entirely in the air, intricately choreographed and performed in a tightly orchestrated dance between the actors and the four operators who control the instruments. These instruments, both liberating and restrictive, equalize the bodies of the performers allowing not only for images of flight and freefall, but also for the physical metaphor of the power of dreams, imagination and human connection that lifts us above our individual physicalities.