A note to US-based customers: All Lit Up is pausing print orders to the USA until further notice. Read more
Showing 6513–6528 of 9248 results
Hot (flash) takes, symptom by symptom, of The Change: Steamy is a raucous menopause memoir.
Half the population will face the horrors of menopause at some point, but even the medical profession can’t figure out what to do about it. Insomnia (#9), irritability (#24), increases in weight (#34): facing all that, we may have to conclude that laughter might be the best medicine for menopause.
Steamy explores the cascading list of symptoms people can face when going through The Change (including 2. Hot Flashes, 21. Anxiety, and 45. Fewer Shits). In this comic memoir, Holbrook opens up an experience still constrained by cultural silences and myths. Steamy is honest, vulnerable, gross, and might just be the funniest book you’ve ever read about menopause, or anything else (see 37. Bloating).
With bonus tear-out fan!
Shortlisted, City of Victoria Butler Book Prize
Longlisted, Raymond Souster Award
Bright star, would I were stedfast as thou art —
Breaking open John Keats’s “Last Sonnet,” Ali Blythe writes marginality into the canon, at once claiming, reviving, and un-fixing the Romantic vision.
Taking place over one night, the poet in bed next to a sleeping lover, Blythe’s revelatory poems struggle with questions of illusion and reality, immersion and escapism, that which endures and that which is transient. Held taut in formal quivers of short lines, each poem is shot through with eros — to address, to dress and undress, the subject of the love poem and perhaps love itself.
Steel Calvary is the story of the transformation of a horse cavalry unit to one of Canada’s most famous armoured regiments.
Twentieth century warfare is epitomized by the image of Allied tanks growling across the countryside, engaging their Nazi counterparts. One of the most storied of such regiments is the 8th (New Brunswick) Hussars. Founded in 1848 as the first volunteer cavalry regiment in British North America, the Hussars began the Second World War as a Motorcycle Regiment before converting to tanks in 1941. First posted to Italy in late 1943, the regiment was introduced to war near Ortona. They formed part of the great drive beyond Monte Cassino to Rome. But their reputation was forged at the Gothic Line and Coriano Ridge during two weeks that marked their fiercest and bloodiest trial of the war.
Steel Cavalry: The 8th (New Brunswick) Hussars and the Second World War is volume 18 in the New Brunswick Military Heritage Series.
Why do some of us learn to bend? Others break? How do we move from shame to being “enough”? How do we bounce back stronger after adversity and then embrace our own humanity with its flawed beauty? In her first full collection of poetry, Jane Byers explores her personal experience with resilience, beginning with her own difficult birth, which she describes as “inoculation against despair.” As a young adult, the writer moves from complicity and its illusion of power to building a pliant self. Byers turns an unflinching eye to parenthood, as the mother of adopted twins, and examines the workplace through the eyes of a female safety specialist working alongside firefighters, transportation crews and heavy equipment purchasers. The author draws on the steeling effects of being queer to imbue her children and injured workers with suppleness. A late fall swim in an alpine lake; a woman in the twilight of life, risking delight. “Red thermometers of grass shed their glistening mercury” in a “fever of gratitude”; to tumble from the divine is to be alive in the pungent beauty that the so-called mundane has to offer. Steeling Effects asks whether what doesn’t kill you makes you stronger and lives its way into the pliant beauty that gratitude affords.
Exploring the intergenerational consequences of trauma, including those of a Holocaust survivor and a woman imprisoned during the Iranian Revolution, Stella’s Carpet weaves together the overlapping lives of those stepping outside the shadows of their own harrowing histories to make conscious decisions about how they will choose to live while forging new understandings of family, forgiveness and reconciliation. As the story unfolds, readers are invited to ponder questions about how we can endure the unimaginable, how we can live with the secrets of the past, and at what price comes love. An artful and engaging story of struggle and survival, Stella’s Carpet will resonate for those forced to find non-traditional ways to create community, and those willing to examine the threads that draw our tapestry together in this everchanging world.
The work of Stephen Andrews has long mediated the successive crises of the contemporary world, exploring conflict, social change, and identity. For more than a decade, Andrews confronted the AIDS epidemic personally and artistically. Later, his work registered the impact of the attacks of September 11, 2001, the subsequent “War on Terror,” the financial crash of 2008, and a new wave of global protests, from those surrounding the 2010 G20 summit in Toronto to those associated with the Occupy movement and the Arab Spring. Embedding, layering, and erasing meaning, Andrews’s work creates a triangle, where meaning resides between the process of painting (magical and sensuous), the represented image (a chronicle of fragility and resilence), and the invitation to the viewer (to look carefuly and engage).
Published to coincide with a major exhibition opening at the Art Gallery of Ontario, Stephen Andrews POV provides a comprehensive overview of the last fifteen years of Andrews’s work, a time when painting has emerged as his primary area of inquiry alongside a multifaceted approach to production that has resulted in drawings, photographs, animations, videos, installations, ceramics, and ephemera.
Any look at Stephen Harper and the new Conservative party requires an examination of the evangelical Christian legacy coming out of both the Canadian Alliance and Progressive Conservative parties. In Stephen Harper: The Case for Collaborative Governance, award-winning journalist Lloyd Mackey discovers how Harper handles this legacy carefully, tracing the influence of the writings of such religious icons as C.S. Lewis and Malcolm Muggeridge on Harper’s world view.
In this critically acclaimed biography, Mackey examines the interface between faith and politics in Harper’s life, the importance of his background as an economist in informing his policies, and the influence of his wife and children in shaping the leader of the Conservative party.
Drawing from the various facets of Harper’s life, Mackey offers indicators on what to expect from Harper’s prime ministership, and the kinds of strategies he will be required to adopt to win the next election. Now, with a new final chapter in the revised paperback edition, Mackey analyses the
current political climate and identifies the challenges facing Harper in his role as Canada’s new prime minister.
As the foremost literary humorist of his day, Stephen Leacock enjoyed a huge international success, and his comic works (especially Sunshine Sketches of a Little Town) still have the power to delight today’s readers. But Leacock was also a professor of political science and economics; he produced sixty-one works in various fields; he wrote more than ninety scholarly articles. In Stephen Leacock: The Sage of Orillia, James Doyle explores the life of this prominent and prolific writer.
The Steppes Are the Colour of Sepia: A Mennonite Memoir invites the reader to embark on a journey that traces the paths of ancestral memory over the steppes of the Russian empire to the valleys of Canada’s Fraser River. Connie Braun’s narrative continues where Sandra Birdsell’s historical fiction Russlander has left off – back to the catastrophic events of twentieth-century Europe.
Braun intimately ushers us into the life of one extended Mennonite family, and in particular the life of her father and grandfather, living under the terror of Stalin, and later, under the military expansion of Hitler’s Nazi Lebensraum in the Ukraine. In the vein of Janice Kulyk Keefer’s memoir Honey and Ashes: A Story of Family and Anne Michaels’ Fugitive Pieces, Braun gives voice to the narrative of dispossession.
In a memoir that is historically faithful to documents, letters, old photographs and personal testimony, Braun offers a lyrical second-generation witness to her family members and to all other Canadians who have suffered displacement in history’s disasters, and whose obscure stories must be told. In doing so, she honours the spirit of resilience embodied by the refugees who have created and transformed Canadian society.
The Paris of North America. So Montreal was known from the 1920s to the early 1950sa glamorous wide open city with a lively jazz and nightclub scene. In this pre-television era, people of all ages “stepped out” at night for fun and entertainment. They went to clubs to socialize, to see their favourite performers, to hear the latest music, to have dinner or enjoy a fancy cocktail, and especially to dance the night away. With rare photographs and memorabilia, Stepping Out captures the golden age of Montreal nightclubs between 1925 and 1955. Photographs of singers, dancers, and other entertainers capture the spirit that made Montreal swing after dark. Featuring * 70 archival images * Includes photographs of influential musicians and entertainers such as Oscar Peterson All materials are drawn from the Montreal jazz history collection in the Concordia University Archives. Nancy Marrelli is the Director of Archives at Concordia University, and is the author of Montreal Photo Album/Montréal: Un album de photos (Véhicule).
Ronsdale Press offers a new edition of Steveston, this much loved work by two of Canada’s finest poets and photographers. For this edition, Daphne Marlatt has written a new poem, never before published, to offer a postscript from 2001 on the original 1974 undertaking. At the publisher’s request, Robert Minden has returned to his photographic archive bringing 9 additional images of Steveston and New Denver to light.
In addition, Marlatt and Minden have rethought their decision to interleave poems and photos, and have, instead, created two separate but connected stories – poetry and pictures that evoke their own rhythms and then speak to each other of their connections. For the first time, Minden talks about their joint project of recreating Steveston, in verse and photos, as two overlapping but distinct “folios.”
For all the newness of this edition, Steveston retains its old magic: with Marlatt’s long lines recreating the ebb and flow of the Fraser River, the sense of the two artists outside the mainly Japanese-Canadian community, but also through their art evoking the multiple layers of community, the traces and erasures of presence. As Marlatt recalls, “There was something in Steveston which drew us, over and over again, and which our work attempted to enunciate – something under the backwater quiet, the river hum of comings and goings, the traffic of work, that was ‘shouting’ at us to tell it.”
“A shattered-mirror insight into the bizarre world of hitting things with sticks.” — Neil Peart, bestselling author, lyricist and drummer for Rush
“By turns reflective and dramatic, poignant and hilarious, Sticking It Out offers an irresistible portrait of the artist as a young percussionist.” —San Francisco Chronicle
When Patti Niemi was ten years old, all the children in her school music class lined up to choose their instruments. Boy after boy chose drums, and girl after girl chose flute — that is, until it was Patti’s turn. From that point onward, Patti devoted her life to mastering the percussive arts. Cymbals, snare drum, marimba, timpani, chimes: she practiced them all, and in 1983, she entered Juilliard, the most prestigious music conservatory in in the world.
Set against the backdrop of a rapidly changing New York City in the 1980s, Sticking It Out recounts Patti’s years mastering her craft and struggling to make it in a cutthroat race to a coveted job in an orchestra. Along the way, she has to compete with friends, face her own crippling anxiety, and confront the delicate, and sometimes perilous, balance of power between teachers and their students.
Bringing us inside a world that most of us never get to see, Patti’s vivid memoir is “an eye-opening tale of demanding teachers, grueling practice schedules, severe performance anxiety and bias against ‘girl drummers’ — a funny, poignant first-person account of the fierce commitment it takes to succeed in classical music” (San Jose Mercury News).
“One of the funniest-ever classical-music books . . . and certainly among the best written.” —The Philadelphia Inquirer
The publication of Sticks & Stones, George Bowering’s first book of poems, has been one of Canada’s great literary mysteries for almost three decades. Rumoured to have been published by the Rattlesnake Press in 1962, yet only ever found in the darkened vaults of secretive bibliophiles in the form of imperfectly collated, incomplete press proofs, sans cover, several poems and original drawings by Gordon Payne, this book has remained hidden from public view while Bowering’s literary career blossomed. Here, for the first time, is the complete unabridged publication of Sticks & Stones, including all the poems, with the original drawings by Gordon Payne and the preface by Robert Creeley in place. Roy Miki, author of the definitive critical bibliography of George Bowering, A Record of Writing, has provided an endnote which takes the reader through the literary detective work that resulted in the strange circumstance of the publication of this first edition. This first official publication of Sticks & Stones, 27 years after the fact, is a celebration of a writer at the height of his career, and a tribute to the enduring quality of his work.
The University of Alberta’s English Department is caught up in a maelstrom of poison-pen letters, graffiti and misogyny. Miranda Craig seems to be both target and investigator, wreaking havoc on her new-found relationship with one of Edmonton’s finest. “Janice MacDonald’s intelligence and insight into human behaviour make her one of the most promising new writers on the Canadian mystery scene.”– Gail Bowen”Spellbinding … Janice MacDonald populates academe with real characters and puts the humanity back in the Humanities.”–W.P. Kinsella
When a former school teacher`s wealthy ex-lovers begin dying of apparent heart attacks, Commissaire Claude Néon begins an investigation. Although she warns, advises, and tries to help, Inspector Aliette Nouvelle cannot prevent her commissaire from falling into trouble Â? first as a suspect, then a likely next victim, finally as a pawn to bring a resolution.
Stigmata is about bodies caught in the crosscurrents of sexual deviancy and religion. Its poems are ruinous encounters between traumatic and historical memory; they transfigure the cult of the wound into a mystic frenzy of sex, grief, and noise. Stigmata draws inspiration from a broad archive of texts and practices: apophatic theology, body horror, gardening, queer theory, classic films, poststructuralism, and bad sex. Together its poems form a counterhistory of the wound, an experiment in fractured memoir and misplaced anatomy that weaponizes the confessional mode, wrenching it from self-narration to approach a violence that breaks language and bodies apart. Taking a cue from New Narrative writing, Stigmata fuses the “high” to the “low” – the “sacred” of theory and theology to the “profane” of leaking and lust. The result is a treacherous adventure, helped along by a bitter sense of humour, to the limits of faith and body.