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Finally, after 58 years The Body on Mount Royal is back in print, starring hard-drinking private dick, Russell Teed.
From the back cover of the 1953 edition:
Take a brutally beaten body, a lonely spot on Montreal’s famous mountain, and a buxum brunette whose embrace brings treachery. Add a large dose of vicious gang warfare and a slice of underworld life. Mix these ingredients well and you have a large helping of spicy, fast-paced adventure.
An excerpt from the book:
I have a hunch you want to hear about the people I know, the ones I work among and get drunk with, and beat up or get beat up by. Sure, I know the rolling greenery of upper Westmount and the high square solemn houses of midtown Montreal’s Square Mile, and the wide streets of Outremont with the mansions set way back. But my name is Russell Teed. R. Teed, Private Investigator. I don’t always like it, but I get involved in crimes. And I go where the criminals go.
Questions concerning buying and selling in the bond market have simultaneously interested and baffled Canadians. When is the right time to buy a bond? When is the right time to sell? Is there a right time?
In The Bond’s Revenge, Alex Doulis employs the affable Stewart and Angelo to provide solutions to these very same questions. Travelling to Italy to visit Angelo — an expert in the market who has made a fortune in bonds — Stewart learns about government bonds, offshore bond investing and the difference between equity and debt securities. He also learns how the corporate bond market operates and how, most importantly, he can profit from that market.
Effectively structuring The Bond’s Revenge around the Socratic method, Doulis brilliantly illustrates what a real investor can hope to earn in the securities markets while also explaining the benefits of the buy and hold strategy used by major investing institutions. If these institutions are turning profits investing in the corporate market then, Doulis explains, the average person can too.
Predating the arrival of income trusts, The Bond’s Revenge reveals that there is an even more secure source of investment returns than that offered by most stock brokers: the corporate bond market.
Tim Bowling’s new novel is a fictionalized account of the life and work of Charles Sternberg (18501943), student of the renowned American proto-paleontologist Edward Drinker Cope. Contrasting the astonishing discoveries made in the bonefields of the Alberta badlands and the American plains with the chaos and destruction in the trenches of the First World War, The Bone Sharps evokes the pivotal transition from the nineteenth-century world of order and faith to the uncertainties of the modern era.
As the novel opens, Sternberg leads a new generation into the badlands to collect and identify dinosaur bones. By night he is haunted by his previous exploits and by the ghost of his daughter, Maud, who died while working for one of his colleagues. Sternberg is not the only sleepless soul in the camp. Lily, a young assistant on the expedition, has had no mail from Sternberg’s protégé, Scott Cameron, who is fighting in the trenches in France; she fears the worst. As the novel progresses, Bowling brings to life this fascinating period in scientific exploration, reaching back to the “Bone Wars” that took place between Edward Drinker Cope and his rival Othniel Marsh in the late nineteenth century as the two men criss-crossed the American West in search of new species and the notoriety that came with discovery. In the sun-drenched flats, the violent skirmishes and the candlelight of tents, Bowling brings readers into the world of early paleontology through the life of one of its most prolific forerunners.
According to the author: “In the spring of 1999, along with my wife Theresa and our seven-month-old son Dashiell, I spent five weeks looking after our friends’ eighty-acre ranch just outside of Dinosaur Provincial Park in southeastern Alberta. During those five magical weeks in the ancient, eerie badlands landscape, I began to read some books about the region that our friends kept on their shelves. Immediately, I was drawn to the tales of the pioneer paleontologists. Their painstaking labours to extract and preserve dinosaur fossils in all that majesty of space and silence at the same time that western civilization was mired in the carnage and cacophony of World War I seemed both heroic and poignant. Especially moving to me was the life of Charles Sternberg, a deeply religious American bone hunter who, with his three sons, had been hired by the Canadian government to find and preserve some of the Alberta badlands’ rich dinosaur heritage for our country’s museums. Over time, I began to see Sternbergas well as his mentor, Edward Drinker Copeas gatekeepers to a time of faith that twentieth-century science and warfare would effectively destroy. Their struggles to celebrate the spiritual through scientific discovery seemed as ancient and fragile as the bones they hungered to uncover. Such individuals seemed to stand with one foot in the distant centuries and the other in the modern age.”
From the salmon fishing grounds to the Special Collections library, from the vanishing rural world of pheasant hunting and canning along the banks of the Fraser River to the deck of the Titanic and the famous book collector’s tragic fate, Tim Bowling’s startling and powerful eighth collection of poems moves seamlessly between the riches of nature and the riches of art.
“… perfect. Marion Johnson has created a whimsical and provocative fictional mosaic … a compassionately wicked satire.”
—The Globe and Mail
It is June 1981: the farm debt crisis. Pride Toronto’s first parade. Everything is changing, including fifteen-year-old Esther, who runs away to the city to escape the family farm. With the help of a brash young hustler and a gay activist who shelters street kids, she confronts her conservative Christian parents—farmers on the brink of financial ruin—and begins to find her way home. Acclaimed playwright Leanna Brodie excels with this heart-warming coming-of-age—and coming-out—drama.
Cast of two women and three men.
The Book of Festus is a shattered fable. In these poems, every object has a voice; every thing is awake. Festus wakes inside a myth?on a wharf in Halifax, Nova Scotia?and recalls nothing but a bicycle. As he looks for it, he thinks the city?s thoughts. Upon a sidewalk over a buried river, he remembers what the city remembers. He steps past a skateboard park to a Mi’kmaq lagoon. He follows 17th century pioneer cattle to a fast food restaurant. A girl he once knew steps out of the fragments. Festus is an anagogic man, loser-hero of the first city, Ur, Halifax. This collection is a city?s lucid dream of itself.
In The Book of Interruptions Khashayar “Kess” Mohammadi has brought together a collection of poems written with scalpel-like precision. Infused with “pre-emptive violence” these poems mark the intersection of war, immigration, sexuality and history, with lines often placed at the crossroads of Perso-Islamic and Western thought. Moving between an Iran that is marked with “tulips from the martyr’s blood” and Toronto, a city that is always screaming but where the author is a “ghost, anecdotal,” Mohammadi writes unflinchingly of the reality that faces them and others like them who straddle two worlds. But within this fierce collection there is also room for art, and for pleasure, and for words that invite us all with “gentle patterns of light against light against light.”
Part dialogue, part narrative, part playscript, this unique book contains the award-winning play Jessica, as well as the extraordinary story of its making.
Steve Patterson’s The Book of Letters I Didn’t Know Where to Send is a collection of — wait for it — letters, written by award-winning stand-up comedian — you guessed it — Steve Patterson.
The host of CBC Radio’s The Debaters since 2007, Steve Patterson has become a household name, with more than 700,000 listeners tuning in each week. He has performed at several of the Just for Laughs prestigious televised galas, including one hosted by Steve Martin. Considered to be the highlight of the show by the audience and critics alike, Patterson’s performance prompted the legendary Martin to quip, “If I’d known he was going to be THAT good, I would have cancelled him.”
Patterson’s letters, long a staple of his stand-up comedy routine, address a number of recipients, from real people, to groups, to inanimate objects and concepts. He airs grievances, offers support or creates just plain confusion in unplainly humorous prose.
From the political to the personal, from the philosophical to the mundane, no subject — or target — is off limits. Patterson’s letters may not change the world, but frankly, it’s too early to tell. In these letters, he pleads, begs, cajoles, grovels, and always makes a compelling argument. He would like men to stop wearing Spandex bike shorts. He would like airlines to stop selling seats they don’t have. He would like gluten to explain itself. He would like his nine-year-old self to know everything will be all right…
The Borderlands Project is meant to promote greater recognition and understanding of the status of the United States and Canada as border neighbours. It is a comprehensive study of transborder attributes undertaken by a multidisciplinary team of social science and humanities scholars from both sides of the border. The fourteen essays in this volume examine history, economics, the environment, literature, politics, and trade, with reference to specific regions and the border at large. They provide a new set of lenses for policymakers, educators, and librarians, and sharpen the images of reality formed by competition and cooperation between two industrial democracies in North America.
They make an odd pair: Verena Vitek, a youthful refugee from Serbia, and John Borrowman, a London, Ontario zoologist moonlighting as an animal-rights activist. He’s haunted by a recent trip to China during which he witnessed the barbaric practice of milking moon bears for their bile, an ingredient in a growing variety of commercial products. To stop a Chinese company from harvesting bears for their bile in Algonquin Park, he finds himself having to rely on Verena – emotionally damaged, dysfunctional, but a crack shot with her AR-7 rifle. Others too, become involved; individuals with agendas of their own. The bears may be saved, but death and lives forever changed are part of the human price to be paid.
Shortlisted for the ReLit Award
“A carnivalesque romp through middle age, addressing the menace of mortality while lampooning comic stereotypes . . . Pulses with life.” — Globe and Mail
A Nabokovian fever dream, an encyclopedic guide to mortal sin, and a thoroughly contemporary reimagining of Billy Wilder’s classic film The Lost Weekend; and yes, of course, it’s a love story too
In this sharp-witted tale of desperation and decadence, a middle-aged man tries to escape the anxieties of failure and grueling reality of everyday existence with a wide range of distractions — from an opulent home renovation to torrents of pornography to alcohol and pills and fast cars. He’s been told again and again that asceticism and a bit of restraint might serve him better, spiritually speaking. But temptation seems to follow him everywhere — and soon the house of cards he’s been building may completely collapse.
The box closet was a real closet in the attic of the family house in Washington, D.C. in which Mary Meigs grew up. Bags and boxes of letters and diaries were found there after her mother’s death in 1958, and when Meigs read them she decided that they were the material for a book. In the course of reading her family’s letters and her mother’s early diaries, she no longer saw her parents as Mother and Father but as Margaret and Edward, young and vulnerable: Margaret who flirted, Edward who waited ten years to propose marriage. Meigs saw aspects of them that made them and their parents more fully real to her than they had been in life. She has woven the diaries and letters together with a narrative that integrates her discoveries with her memories as a daughter and granddaughter. The result is a moving portrait of a family that was protected by another kind of box closet—that of privilege and of moral certitude—with opaque walls that shut out most of the world. It was, in her father’s words, “the easy sheltered life,” which is so hard for “good” people to escape from.