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While Canadian history professor Andrew Stanhope is doing research in Paris on the German invasion of France, he stumbles upon an odd and long-lost exchange between Colonel Marius Michel, principal deputy in France’s counter-intelligence agency, the Deuxième Bureau, and the Directeur-Général of the Val de Grâce military hospital. The Colonel wants the Directeur to warn the incoming Prime Minister, Philippe Pétain, that there is an active spy in the French war ministry and that the Marshal’s own ring of advisors includes at least one Nazi sympathizer. By means of alternating flashbacks between 1940 and the 1970s, the author uncovers Michel’s attempts to track down the traitor and other collaborators whose espionage may have led to the sudden and ignominious defeat of France. Working undercover, and with his life definitely at risk, Michel follows a trail that stretches from the heart of the war ministry on the Left Bank of Paris to the bustlng high fashion industry on the Right. It is there, within the Maison d’Ariège that he encounters its treasonous owner, Louis Loriot, two beautiful German-born spies, two cases of cold-blooded murder, as well as his own would-be killer. All this, Stanhope pieces together decades later, before making the most startling discovery of them all.
David McNally considers contemporary social activists, and the political and economic orders they resist, in the context of historical capitalism in all its racial, gendered, and imperialist dimensions. Drawing on the experiences of radical movements of workers, peasants and indigenous peoples in Mexico, Korea, Bolivia, Indonesia and Brazil, among other countries, he sketches out an alternative, deeply radical politics based on diversity, internationalism, and moving beyond commodifi cation and the market. Another World is Possible is widely read by activists and scholars. It considers contemporary social movements, and the political and economic orders they resist, in the context of historical capitalism in all its racial, gendered, and imperialist dimensions.
The definitive biography of the rock ’n’ roll kings of the North
Includes two full-color photo inserts, with 16 pages of the early days of the band on tour and in the studio
With extensive, first-hand reflections from Geddy Lee, Alex Lifeson, and Neil Peart, as well as from family, friends, and fellow musicians, Anthem: Rush in the ’70s is a detailed portrait of Canada’s greatest rock ambassadors. The first of three volumes, Anthem puts the band’s catalog, from their self-titled debut to 1978’s Hemispheres (the next volume resumes with the release of Permanent Waves) into both Canadian and general pop culture context, and presents the trio of quintessentially dependable, courteous Canucks as generators of incendiary, groundbreaking rock ’n’ roll.
Fighting complacency, provoking thought, and often enraging critics, Rush has been at war with the music industry since 1974, when they were first dismissed as the Led Zeppelin of the north. Anthem, like each volume in this series, celebrates the perseverance of Geddy, Alex, and Neil: three men who maintained their values while operating from a Canadian base, throughout lean years, personal tragedies, and the band’s eventual worldwide success.
Part one of the definitive biography of Rock ’n’ Roll’s kings of the North … now in paperback!
Includes two full-color photo inserts, with 16 pages of the early days of the band on tour and in the studio.
With extensive, firsthand reflections from Geddy Lee, Alex Lifeson, and Neil Peart, as well as from family, friends, and fellow musicians, Anthem: Rush in the ’70s is a pointed and detailed portrait of Canada’s greatest rock ambassadors. The first of three volumes, Anthem puts the band’s catalog, from their self-titled debut to 1978’s Hemispheres (the next volume resumes with the release of Permanent Waves) into both Canadian and general pop culture context and presents the trio of quintessentially dependable, courteous Canucks as generators of incendiary, groundbreaking rock ’n’ roll.
Fighting complacency, provoking thought, and often enraging critics, Rush has been at war with the music industry since 1974, when they were first dismissed as the Led Zeppelin of the north. Anthem, like each volume in this series, celebrates the perseverance of Geddy, Alex, and Neil: three men who maintained their values while operating from a Canadian base, throughout lean years, personal tragedies, and the band’s eventual worldwide success.
Following a stranger hoping he’s a long-lost friend, breaking into a relative’s home to retrieve your antidepressants, planning to get pregnant, getting pregnant, and trying to tell your husband you don’t want the baby, waiting all evening for your wife to compliment your appearance, running a social experiment and getting blamed when a woman gets hit by a car, getting fired after you’re caught with your pants down at work – all stories involve Anthony, a sensitive, insecure, mentally ill young man and aspiring filmmaker. The collection explores his experiences as he tries to cope with and overcome the fears driven by his obsessive compulsive disorder, anxiety disorder, and clinical depression.
Sir Anthony Caro revolutionized the medium of sculpture in the 1960s when he moved away from making elaborately modelled, figurative works cast in bronze, instead creating large, abstract assemblages out of prefabricated steel and aluminum elements. Sculpture Laid Bare honours the legacy of this titan of modernist sculpture. Monumental in scale, lyrically evocative and openly constructed, Caro’s sculptures foreground their brute materiality and the unvarnished signs of their manufacture.
Anthony Caro: Sculpture Laid Bare showcases four of Caro’s late sculptures, some of the most ambitious the artist has ever produced as well as earlier work to demonstrate both the continuity and the divergences with the most recent sculptures. Also included in the book are essays by Kenneth Brummel and New York-based curator and critic Karen Wilkin that consider Caro’s sculptures from the perspective of his studio practice and his previous work.
A romantic view of 19th-century Canada — a domestic complement to the work of Bartlett, Constable, and Kane.
Anthony Flower (1792-1875) lived and worked in New Brunswick for most of his life. A farmer with a lifelong passion for art, he painted until his death at the age of eighty-three. His work opens a window on a time and place now gone. His paintings depict the life that he saw around him in rural New Brunswick and the events and scenes described in newspapers of the day.
Anthony Flower’s art was among the first in New Brunswick to depict rural New Brunswick. Through his paintings, we learn about day-to-day life, religion, how people dressed, what their interests were, and what was important to them, all important pieces to our understanding of everyday life in nineteenth-century Canada.
Une vue romantique du Canada du XIXe siècle. Un complément domestique au travail de Bartlett, Constable et Kane.
Anthony Flower (1792-1875) a vécu et travaillé au Nouveau-Brunswick pendant la majeure partie de sa vie. Agriculteur passionné par l’art, il peint jusqu’à sa mort à l’âge de quatre-vingt-trois ans. Son travail ouvre une fenêtre sur un temps et un lieu disparu. Ses peintures dépeignent la vie qu’il a vue autour de lui dans les régions rurales du Nouveau-Brunswick et les événements et scènes décrits dans les journaux de l’époque.
L’art d’Anthony Flower a été parmi les premiers à représenter le Nouveau-Brunswick rural. À travers ses peintures, nous apprenons la vie quotidienne, la religion, la façon dont les gens s’habillent, quels sont leurs intérêts et ce qui est important pour eux, autant d’éléments importants pour notre compréhension de la vie quotidienne au Canada au XIXe siècle.
Winner, Canadian Museum Association Award for Research in Art
A controversial idea currently under vigorous and passionate international debate that would recognize the “human signature” on the planet.
Anthropocene is the latest book by Edward Burtynsky, Jennifer Baichwal, and Nicholas de Pencier to chronicle the massive and irreversible impact of humans on the Earth — on a geological scale.
In photographs that are both stunning and disconcerting, Burtynsky, Baichwal, and de Pencier document species extinction (the burning of elephant tusks to disrupt the illegal trade of ivory), technofossils (swathes of discarded plastic forming geological layers), and terraforming (mines and industrial agriculture).
The book also features a range of essays by artists, curators, and scientists, some part of an international group of scientists who have proposed that the Earth is now entering a new era of geological time where human activity is the driving force behind environmental and geological change — i.e. the Anthropocene. Thus the book brings contemporary art into conversation with environmental science and anthropology on a topic that urgently affects all of us.
Anthropocene was published to coincide with a major international exhibition that opened simultaneously in September 2018 at the Art Gallery of Ontario and the National Gallery of Canada and the release of a film on the same topic by Baichwal and de Pencier.
The poems in Anthropy fuse the scope of classical traditions to the disturbing agility of the moderns. Hsu artfully presents the fierce rigour of the philosophical mind engaged with the survival of histories.Anthropy, Ray Hsu’s first book-length collection, is a work of extraordinary range and precision. Excavating sites of human cruelty and endurance, intimacy and experience, Hsu puts forth the language to lead us into the inferno of our time.He brings us to a place where the living, the dead, and the imaginary cross paths. Odysseus meets Fernando Pessoa, James Dean meets Walter Benjamin. All struggle with the same problem: their pasts, visceral and desperate, continue to burn with the intensity of the present.
That she can stop a rapist never occurs to July Abraham until she falls over a classmate, Andie, in the gardens at Mark’s party. Finding Andie shatters the lie that silenced July. Now she knows this man attacks any girl because he can; people back away from him; bow down to him, even the cops leave him alone.
In the cold of that dark garden, with Andie unconscious in her arms, July resolves to stop him. She does not have wheels, friends, a fortified castle, or an AK-47. She cannot wage war. But she does know what parts of him look like, she can name the boys from her high school in his gang, and, unlike him, she has nothing to lose. If she protects even one more girl, her task will have been worth it.
FINALIST, Ethel Wilson Fiction Prize (BC and Yukon Book Prizes)
By the author of Little Blue Encyclopedia (for Vivian): the fictional memoir of a trans indie rock musician that reveals how the act of creation can heal trauma and even change the past.
Any Other City is a two-sided fictional memoir by Tracy St. Cyr, who helms the beloved indie rock band Static Saints. Side A is a snapshot of her life from 1993, when Tracy arrives in a labyrinthine city as a fledgling artist and unexpectedly falls in with a clutch of trans women, including the iconoclastic visual artist Sadie Tang.
Side B finds Tracy in 2019, now a semi-famous musician, in the same strange city, healing from a traumatic event through songwriting, queer kinship, and sexual pleasure. While writing her memoir, Tracy perceives how the past reverberates into the present, how a body is a time machine, how there’s power in refusing to dust the past with powdered sugar, and how seedlings begin to slowly grow in empty spaces after things have been broken open.
Motifs recur like musical phrases, and traces of what used to be there peek through, like a palimpsest. Any Other City is a novel about friendship and other forms of love, travelling in a body across decades, and transmuting trauma through art making and queer sex – a love letter to trans femmes and to art itself.