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New Brunswick’s Fundy Coast has always been a place of movement. The massive tides are so integral to the region’s identity that their ebb and flow defines the character of the place.
St. George has seen more than its fair share of the ebb and flow of people and prospects — the typical story of incoming trade and riches, followed by dwindling opportunities. But interest has recently returned to St. George, drawn there by an appreciation for non-urban locales of stark natural beauty, affordability, and down-to-earth people.
Photographer Susan Lapides has been visiting St. George for over twenty-five years. Her deep commitment to capturing the character of place is brilliantly matched by her innate sense of composition and colour. Her work testifies to the fact that the everyday can be mesmerizing if we are lucky enough to have the right interpreter behind the lens. In Lapides’s photographs, the dusk cobalt blues of the ocean and sky become symphonic and a windswept cliff with a lighthouse, dog, lacrosse player, and tree appear as powerful and enigmatic as an Edward Hopper painting.
La côte de Fundy a toujours été un lieu de mouvements. Les marées d’une amplitude hors du commun ont marqué l’identité de cette région du Nouveau-Brunswick, dont le caractère s’est forgé au gré des vagues.
Il y en a eu, des vagues, à St. George! De gens, de perspectives et de fortunes. L’histoire typique d’un essor commercial et de richesses qui abondent, puis déclinent. Et voilà que St. George suscite un regain d’intérêt notable, alimenté par la beauté brute des environs de la ville, des prix abordables et le charme des gens sans prétention.
Susan Lapides fréquente St. George depuis plus de vingt-cinq ans, appareil photo à l’œil. Sa détermination à saisir la personnalité du lieu n’a d’égal que son sens inné de la composition et de la couleur. Ses clichés prouvent que le quotidien peut être fascinant, pour peu que l’interprète derrière la lentille en soit parfaitement conscient. Le bleu cobalt de l’océan et du ciel au crépuscule a une nette tonalité symphonique. Le phare, le chien, le joueur de crosse et l’arbre qui animent une falaise balayée par le vent évoquent autant de présence et de mystère qu’un tableau d’Edward Hopper.
One of the few accounts by care-givers in an Indian Residential School describing the
horrific conditions.
Nancy Dyson and Dan Rubenstein In 1970, the authors, Nancy Dyson and Dan Rubenstein, were hired as childcare workers at the Alert Bay Student Residence (formerly St. Michael’s Indian Residential School) on northern Vancouver Island. Shocked when Indigenous children were forcibly taken from their families, punished for speaking their native language, fed substandard food and severely disciplined for minor offences, Dan and Nancy questioned the way the school was run with its underlying missionary philosophy. When a delegation from the Department of Indian and Northern Affairs visited St. Michael’s, the couple presented a long list of concerns, which were ignored. The next day they were dismissed by the administrator of the school. Some years later, in 2015, the Truth and Reconciliation Commission Reports were released. The raw grief and anger of residential school survivors were palpable and the authors’ troubling memories of St. Michael’s resurfaced. Dan called Reconciliation Canada, and Chief Dr. Robert Joseph encouraged the couple to share their story with today’s Canadians. St. Michael’s Residential School: Lament and Legacy is a moving narrative – one of the few told by caregivers who experienced on a daily basis the degradation of Indigenous children. Their account will help to ensure that what went on in the Residential Schools is neither forgotten nor denied.
On the twentieth anniversary of its first volume, Staging Coyote’s Dream Volume 3 is a curated collection of new works rooted in Indigenous values, aesthetics, and narrative structures. Inspired by their own dramaturgical practices and current conversations in contemporary theatre creation, co-editors Monique Mojica and Lindsay Lachance identify the invaluable and understudied ways that many Indigenous theatre artists are creating culturally specific dramaturgical processes and shifting the paradigm for what is considered “text.” By presenting models for relational theatre-making and land-based explorations outside the traditional “well-made-play” structure, Staging Coyote’s Dream Volume 3 is more than just a collection of plays; it offers some strategies and tools for how Indigenous artists can reimagine the structures of new-play development and performance on Turtle Island.
An anthology that identifies and highlights a vast array of anti-colonial performing arts processes, including reclamation, embodiment, and community-engaged work—to name only a few—Mojica and Lachance gather the works of artists leading these practices to not only honour how their plays are expanding dramaturgy, but to build Indigenous performance literacies for all practitioners creating on Turtle Island.
In Stalin?s Carnival, Heighton explores the transformation of Josef Stalin from romantic and political poet to notorious dictator with chilling results. In this finely-crafted collection, the resilient lyrical voice is presented as a means of survival in a time of violence. Heighton recreates a world and a time that feels as vital and immediate to us today as it was over a century ago. Winner of the Gerald Lampert Award in 1990, this reissue has been edited by Heighton and includes a foreword by Ken Babstock.
The genesis of Stand the Sacred Tree was in Weier’s previous memoir Marshwalker (page 32)–it grew out of the questions he explored and the opportunities that were represented. Weier traveled widely–Syria, Iceland, Holland, Denmark, and Canada–and wondered at what–if anything–connects these places and their diverse landscapes and cultures. Icelandic horses to Syrian cab drivers. And of course birds, he never stops thinking of birds. What he discovers is people obsessed with place, with travel; each destination, each trip without exception leading to another. Each new landscape brings new exotic birds and flowers, new friends. Yet everywhere there is always something haunting and familiar.
Finding its inspiration in a chosen people with no promised land to call their own, standing all the night through voices the unspoken mythology of the Mennonite people–always looking with faith and longing to another place, another world, as their ultimate destination.
Winner of the 2023 Scott Moncrieff Translation Prize • Shortlisted for the 2023 International Booker Prize • One of The Walrus‘ Best Fall Books of 2023
A funny, fast-paced, and poignant take on Franco-African history, as told through the eyes of three African security guards in Paris.
All over the city, they are watching: Black men paid to stand guard, invisible among the wealthy flâneurs and yet the only ones who truly see. From Les Grands Moulins to a Sephora on the Champs-Élysées, Ferdinand, Ossiri, and Kassoum find their way as undocumented workers amidst political infighting and the ever-changing landscape of immigration policy. Fast-paced and funny, poignant and sharply satirical, Standing Heavy is a searing deconstruction of colonial legacies and capitalist consumption and an unforgettable account of everything that passes under the security guards’ all-seeing eyes.
Standing in a River of Time merges poetry and lyrical memoir on a journey exposing the intergenerational effects of colonization on a Métis family. Kirton does not shy away from hard realities, meeting them head on, but always treating them with respect and the love stemming from a lifetime of spiritual healing and decades of sobriety. This collection unravels painful memories and a mixed-blood woman’s journey towards wholeness. The Ancestors whisper to Kirton throughout, asking her to heal, to bring them home, so that within these stories of redemption and loss the dead walk with us, their presence felt as the story unfurls in unexpected ways. Kirton does not offer false hope, nor does she push us towards answers we are not yet ready for. Instead, she gestures towards the many healing modalities she has explored as she discovers that the path to reconciliation is not only a long and winding road, but also that it begins with those closest to us.
Danica Klewchuk’s debut memoir-in-essays presents a frank view of what it’s like to be a woman and have a body, marking her as an impressive new voice in creative non-fiction from the Prairies. Standing in the Footprints of Beasts is part trauma and recovery memoir, part travel diary of an artist coming into her own power. With startling clarity and a surprising sense of humour, Klewchuk takes readers behind the curtain of a difficult upbringing and all-encompassing religious environment in Northern Alberta, then shines a light on challenges she faced as a new recruit into a nightlife industry rife with abuse. This portrait of an artist-in-waiting continues as the author travels through Europe, Australia and Southeast Asia, adapting her still-malleable identity on the fly as she begins to take hold of her creativity and voice. Standing in the Footprints of Beasts is a striking work of non-fiction that seeks to give readers company in their pain.
Am I pregnant?
This question shatters the peace of seventeen-year-old Brooke Palinder’s life one Monday morning when she realizes her period is late. Although shaken, she’s determined to hide her feelings and go about her daily routine as though nothing is wrong.
Brooke’s boyfriend Ryan handles the news poorly, and she can’t bring herself to confide in anyone else, not even her best friend.
In an effort to distract herself, Brooke throws herself into a school project about Neptune, which leads her to some startling discoveries and a surprising sense of connection to the distant planet.
But by Saturday, she knows she must face the answer to the question that began her week.
Standing on Neptune is a novel in verse from the celebrated author of Counting Back from Nine, The Glory Wind, and Birdspell.
From an Aurora Award-winning author comes a thrilling young-adult outer-space adventure.
When the old woman who raised him in a remote village is murdered, Kriss Lemarc finds himself alone on a planet where he’ll always be an outsider.
His only link to his long-dead, unknown parents is the touchlyre they bequeathed him, a strange instrument that not only plays music but pours his innermost feelings into the minds of his listeners.
When Tevera, a girl of the space-going, nomadic Family, hears Kriss perform, she is drawn to him against her better judgment and the rules of her people. With her help, though mistrusted and even hated by some of her comrades, Kriss seeks to discover the origin of the touchlyre, the fate of his parents, and a place where he truly belongs.
But the touchlyre proves to be more than just a musical oddity. Powerful, ruthless people will stop at nothing to get it-and Kriss and Tevera are all that stand in their way.
A star shines bright, fades and even dies. When it is gone we have the memory of the warmth and light it bathed us in. Williams, Cash, Cohen, Bowie, Marx, Kong and more weave their way throughout Brenda Sciberras’ new collection of poems, Starland. Within its pages is a deep fascination with popular culture, how it moves us, frees us and is often a trap. With the lure of gilded theatres and velvet seats we are drawn like flies to honey. Similarly, the stars we worship are drawn to the light and cannot escape, victims of their own success and for that we love them. Exultant and reflective, Starland breaks the light of our obsession.
This memoir by the legendary publicist offers “an intimate glimpse into the best and the worst of the golden age of Hollywood” (Stacy Keach, Golden Globe Award–nominated actor)
Jay Bernstein, an entertainment industry fixture who helped launch the careers of celebrities including Farrah Fawcett and Suzanne Somers, was famed for his sense of showmanship, his outrageous style, and the publicity stunts he engineered to get attention for his clients. Starmaker tells his story, from his childhood in Oklahoma City and his first job in a Hollywood mailroom to the ownership of his own public relations firm and his work as a television producer.
In addition to a behind-the-scenes look at several generations of show business and hard-hitting insights about how the industry changed over the decades, Bernstein also describes the relationships he had with stars and his notorious techniques, such as paying women to throw hotel keys at Tom Jones, having Entertainment Tonight host Mary Hart’s legs insured for one million dollars, and getting married underwater for an episode of Lifestyles of the Rich and Famous. With the wisdom of experience and a sense of humor, this autobiography shares the intimate details of a fascinating Hollywood life.
From celebrated writer Shani Mootoo comes an innovative and revelatory work of autofiction about family secrets, trauma, race, class, and loss.
In Starry Starry Night, Mootoo gives us the singular voice of Anju Ghoshal, a young girl living in 1960s Trinidad. Through Anju’s innocent and clear-eyed observations, the reader becomes both a witness to and a participant in her negotiations of an unexpectedly new and complex life, spanning from the ages of four to twelve.
Set against the backdrop of a politically exciting time in Trinidad’s history, just before and after it gained independence, we meet Anju’s beloved Ma and Pa and her socially advancing family. While preoccupied with their own dramas, the adults around her often fail to recognize the needs of the children who depend on them.
Beautifully crafted and rich with sumptuous detail, this unique narrative coalesces into a portrait of a child who, despite her privileged appearance, must ultimately fend for herself because her safety depends on it.
In this second installation of the Overhead Series, Lucy Haché once again transports the reader with intimate revelations on identity by exploring both her personal and ancestral relationship to the sky and stars. Hache’s prose is extraordinary in its combination of self awareness yet unselfconscious honesty and skillful restraint, creating a sense of connection under the vastness of the stars above. Masterfully illustrated by artist Michael Joyal, his evocative astronomic drawings contribute to the overall sensory and transcendent experience.