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With the Czarist empire in turmoil, a young Mennonite couple in what is now Ukraine adopt a Russian baby. This historical novel explores themes of belonging, responsibility, and the places we call home.
This book is for anyone who wishes to explore a spiritual grounding for simple living, and for anyone who wants to tread more lightly on the earth.
‘Mockler’s skill with language and narrative beat lends itself well to these unapologetic poems. At times I found myself groaning out loud, or shaking my head to get a grip on what I had just read. There is heart and terrific depth in this work.’ — Canadian Poetries
Jack’s days are numbered. Surrounded by criminals, assassins, knaves and usurpers, and that’s just the members of his own court, everyone is out to get him. For centuries, the Four Kingdoms, the Hearts, Clubs, Diamonds, and Spades, waged war upon each other. To stem the bloodshed, the Four of a Kind, an order of holy wise men, were entrusted to keep the peace at any cost. But the wheels of war are turning once more. Bands of criminals amass in the forests of Spade territory, fleets of sea-mad pirates pillage the Heart coasts, and the Four of a Kind, corrupted by their ill-gotten power, play at war. With the Spade King in poor health, Jack, the young Prince of Spades, is next in line to inherit the throne. All eyes are on Jack, and he is eager to prove to the royal court, and himself. that he is worthy of the crown. As a test of his worth, the King, under the direction of his conniving advisor, the Ace of Spades, grants Jack the role of Minister of Executions, a death sentence to those that bear the title. It is up to jack to round up the enemies of the Spade Crown and deliver the King’s justice. As the King’s enemies grow more desperate, their murderous aim turns to Prince Jack.
The Salmon Run follows a salmon on his journey to return to the spawning grounds. Written and illuystrated by Clayton Gauthier, the debut book of talented artis and storyteller.
Ruby returns to the scene of a recent heartbreak, only to find the woman her lover left her for around every corner. A soap opera of gleeful rumours and turf wars ensues, and Ruby comes to wonder why a woman she’s never spoken to now embodies all of her problems.
“Deep in the thickest part of a cedar forest there lived a young Sasquatch. He was over nine feet tall and his feet were about size twenty. He had long brown hair that covered all of his body. His hands were so big and his arms so long he could wrap them around the biggest of the cedar trees. He had been born here many years ago and he did not know his parents, as they had been scared away by a great fire. He was left on his own and he had survived by eating berries and he had grown into the Sasquatch he now was…”So begins this charming story for children by Kwantlen storyteller Joseph Dandurand. The Sasquatch, spirit of the great cedar forest, eludes human hunters, falls in love, fathers a lovely daughter and saves his little family from a forest fire by dousing the flames with water stored in baskets carefully woven by his mate.The story is told with grace and simplicity by a master storyteller in the great tradition of the Kwantlen people. Accompanied by whimsical illustrations from Kwakwaka’wakw artist Simon Daniel James, The Sasquatch, the Fire and the Cedar Baskets follows a similar style to popular Nightwood titles such as Salmon Boy, Mayuk the Grizzly Bear and How the Robin Got Its Red Breast.
Hubert Clements is a black cellist on tour with a symphony orchestra. Their guest soloist is injured and the conductor asks Clements to stand in. After wrestling with an extremely dif?cult passage in the performance piece, Bach’s Six Suites for Solo Cello, Clements ?nally resorts to improvising his way through the score, which earns him a stinging rebuke from the conductor, who disdainfully calls him “Satchmo’.”
Humiliated, Clements returns to his hotel room, where try as he might he cannot master the piece. Unwittingly invoking the ghost of Louis Armstrong, the highly mythologized spirit of “the father of jazz himself,” Satchmo’ challenges Clements’ prejudiced view of him as an amateur and an “Uncle Tom.” Gradually, the lives of the characters intertwine and begin to play off each other as issues of class, hope, courage, family and race emerge in a lively and powerful struggle between what we remember, and how we remember it. In the end, of course, the drama resolves with Clements’s beautiful rendition of the Bach piece.
The play ultimately explores the polarities of existence—between the head and the heart, between logic and intuition, between insecurity and faith, between the present and the past, and between the personal and the public, and it is Hubert and Louis who embody these concepts for the audience. Finally, it’s a play about dealing with life’s struggles, having the courage to face one’s demons, and then having the faith to go on and be the best you can be.
Originally written as a highly successful one-person show, the play has evolved over the years into an ensemble piece with a cast of ?ve. Full of great jazz and classical music, but using none of Satchmo’s own compositions, the play incorporates nine original jazz songs, co-written by the author-musicians, into the action.
This collection presents an arc of historical experience of Jewish child and teen life during the Shoah. Across Central and Eastern Europe, the young and hunted in these stories hide in forests; survive in ghettoes and camps; assume new identities under the protection of Righteous Among the Nations. With the exception of two historical fiction narratives, the stories were reconstructed from the oral testimonies of child and teen survivors, many of whom settled in Toronto. As a daughter of two child survivors, Carol Lipszyc has also included stories of her parents, natives of Belarus and Lublin, Poland. The stories in this collection depict children as creative, resilient, aged-before their time, as they adapt to their unconscionable reality. The historical experience in this collection provides a wide spectrum of what a race of children endured; the few that attested to that experience in this collection lend voice, detail and insight to a massive, unfathomable crime.
As Tammy Armstrong rode horseback on a one-month sojourn in Iceland, up rose the ley lines that crosshatched the landscape — ancient tracks rife with saga, myth, and human history. In this collection, her poems both respond to W.H. Auden’s poetic travelogue, Letters from Iceland, and evoke her raw relationship to the native natural world of North America.
In language that folds upon itself, chance sightings of wild creatures become a study of humanity before the animal that waits. In re-negotiating a space that includes other species and other life forms, Armstrong unbalances her perceptions, making her own space unfamiliar and finding new ways of conceiving of a less human-centred environment.