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You remember the tragedy. But how do you begin to live again?
One morning in the 1990s in Kosovo, the Albanian population of Gjakova find their front doors marked with a white cross. Fearful for their lives, the Albanians in one neighbourhood hide their women and children inside a basement. In a few days, however, Serbian forces wearing wolf masks arrive accompanied by tanks, demolishing houses and killing people. The occupants of the basement are found and shot down in cold blood. Ten-year-old Ermal, shielded by his dead mother, remains alive. So does his father Adem. But his three sisters are also dead. Days later all traces of the killings are erased.
Eight years later, as a young man living with his father in Mississauga, Ontario, Ermal is still haunted by those events. And he dreams of revenge.
Fierce and delicate poems from a young poet reminiscent of Jane Hirshfield and Jan Zwicky
Rapt, musical, passionately engaged, the poems in Thin Moon Psalm move towards their own inner stillness, while also bearing witness to the power of relatedness to family, lovers, and the prairie landscape itself. Many of them are poems of remembrance and deep grieving, recalling in etched details the rigours and joys of life on a prairie farm, and those iconic moments which are alive with the unspoken moments between father and daughter, mother and child, sister and sister, lover and lover, poet and friend. Especially they take on the burden of what is lost, knowing “There is always a room we will never return to” and “we return only through loss: the place where we began.”
“In Thin Moon Psalm Sheri Benning performs an uncanny trick: she uses words as a means of hearing as well as saying things. As we read her graceful generous poems we join with her in drinking the world in its darkness and loveliness and nameless potencies.” — John Steffler
Jessica Westhead’s follow-up to And Also Sharks, a Globe and Mail Top 100 Book of 2011 and Finalist for the 2012 Danuta Gleed Literary Award.
Things Not to Do is a collection of stories that seeks to examine—through humour, wit, empathy, and honesty—the dark side of ordinary people. We know them; sometimes we are them. A man attends a gathering on the coattails of his new, zealously empowering friend. A woman helps her husband build an escape room to free him from working for a hated boss. A veteran wedding DJ imparts wisdom, and more besides, to a new recruit. The father of a teen pop sensation gathers with his fans in the wake of a controversy. The actions of these characters, for good or ill—and there is light in their lives, as often as there is dark—stem from the same place, and Westhead cuts right to the heart of that place. They aren’t scheming supervillains; they’re folks trying to make the most of what they think they have—even if that sometimes means stepping on someone who doesn’t deserve it.
Separated for years due to a secret squabble among their parents, a group of cousins reunite following the death of an uncle. Their mission is to help close up the family cottage for good, but in doing so, they uncover old family photos that include a woman in a wheelchair.
None know who the woman was, but the older cousins have a vague memory of her presence, and of the loud scream they heard the last time they saw her.
As the teens sort through the family’s past and learn its secrets, each learns truths about themselves.
Separated for years due to a secret squabble among their parents, a group of cousins reunites following the death of an uncle. Their mission is to help close up the family cottage for good, but in doing so, they uncover old family photos that include a woman in a wheelchair.
No one knows who the woman is, but they have a vague memory of her presence and the loud scream they heard the last time they saw her.
As the teens sort through the family’s past and learn its secrets, they each learn truths about themselves.
What is theatre doing to reflect the wishes and concerns of young people right now? This exciting collection of recent Canadian TYA plays provides answers. Plays for elementary school age audiences, as well as scripts designed with young adults in mind, are here together in one volume, opening theatrical doors on a wide range of topics from the serious to the hilarious. These scripts are road-tested: toured by professional companies to schools, theatres, libraries, museums and other assorted venues, they have been seen and enjoyed by many young people across Canada. Included are interviews with the writers discussing themes and concerns of their particular play, as well as topics such as the touring experience, the challenges and thrills of writing for specific age groups, and the impulse behind the writer’s work: what is going on in the world that gave spark to the idea?
Shortlisted for the Cover Design Award at the 2016 Alberta Book Publishing Awards!Everyone deals with grief in their own personal way. Take Carrie, for example. To get over her mother’s death from ovarian cancer, she launches a passive-aggressive war with her fellow office workers, embarks on a campaign designed to let her ex-husband know she’s over him (which naturally only pushes her teenage daughter farther away), and plots to rid herself of her mother’s overweight cat, all the while consuming heroic quantities of red wine, spiked coffee, and coffin nails. Nobody’s perfect.Situated at the midpoint between booze-soaked mayhem and middle-aged ennui, Things You’ve Inherited from Your Mother is a riotous assemblage of found objects, Choose Your Own Adventure-style in-jokes and useful facts about mice. In her startlingly funny first novel, Hollie Adams takes the conventional wisdom about “likeable” literary heroines and shoves it down an elevator shaft.
“They need to think big like I did. If they can see it in their head, they can get there.” Thinkin Big is the story of a kid whose dream was never supposed to come true: the story of a man who won hearts with his gentleness, but whose fearlessness was legendary. It is the biography of a champion once broken by boxing.
As he watched Cassius Clay destroy Sonny Liston on February 25, 1964, James Tillis was told by God he would be a professional fighter. Thirty-three years later, James “Quick” Tillis, dubbed the Fightin Cowboy by Muhammad Ali, would record his story in a dimly lit jail cell. He was a young black athlete who’d clung to his alcoholic father and his religious mother, rising to battle seven heavyweight champions.
But this naive heavyweight would be sacrificed by the sport he loved; it would rob him of the women he loved, his dignity, his fortune, and his title. He crawled into the ring 64 times to prove that he could win, but one dirty agent was determined to bleed him dry. Now he tells a story like no fighter before. It’s raw, yet full of humour, told from a legend’s perspective.
A highly accessible and unorthodox approach to thinking about economics. It subverts the elitist and codified world of academic economics by empowering the reader with the tools needed to conceptualize an economy based on progressive and humane values. It challenges the idea — so prevalent in Western capitalism — that the best we can hope for is capitalism with a happy face. And it challenges us to imagine what could be: a society based on justice, solidarity, and vision.
“Fast and fierce” – Kirkus Reviews
For readers of John Grisham and William Deverell comes a political thriller ripped from today’s headlines. Lawyer and environmental activist David R. Boyd writes a riveting thriller about the psychological toll of a humanitarian crisis. Filled with tension and courtroom drama, Thirst for Justice will have you questioning what you believe about right versus wrong.
Michael MacDougall is a talented trauma surgeon whose life in Seattle is slowly unraveling. Frustrated as an ER doctor and with his marriage in trouble, he volunteers with a medical aid charity in the Congo. Disconsolate at the lives he cannot save in the desperate conditions of the region, he is shattered by a roadside confrontation with the mercenary Mai Mai that results in unthinkable losses.
Back home in Seattle, he is haunted by his experiences in Africa and what he sees as society’s failure to provide humanitarian aid to those who most desperately need it. Locked in a downward spiral, he becomes obsessed with making his government listen to him and dreams up an act of terrorism to shock his nation awake.
Activist and lawyer David Boyd’s debut novel is a taut political thriller that begs the question: how far is too far when you’re seeking justice?
Thirsts, denied and indulged, overt and so subtle as to be unnoticeable, have a sometimes unexamined power in our lives. The passions we hold for one another. The poems in Thirsts descend from language, whether turns of local phrase to turns at the scrabble board. words and frames obliquely enter and exit the heart from behind convenient foundation hedges.
To pursue her dream of building a life free from violence for her son and herself, Yalda flees from her nightmarish past as well as her troubled homeland, Iran. But in her new haven, she realizes that nightmares haunt not only her past, but also her present and future. She does what she can to survive, but all her plans dissolve like the shadows and ghosts that follow her. Having fled from an authoritarian regime, and now living in a North America panic-stricken by global terrorism, Yalda is obsessed with all the forms and aspects of violence. She is estranged from her beloved son, Nader, who trains to become an armed security guard, and this means he is wearing a uniform and carrying weapons, prepared to be violent. She cannot forget that her first love was shot and killed by a young prison guard and that her beloved stepbrother also met a violent death. This family history is a wound that makes guns taboo and Yalda yearns to feel safe in a troubled world. The novel is part memory, part dream, and part present, day-to-day struggles for immigrants living in Toronto and Montreal.
For the past several years, Jan Zwicky has been developing a definition and working examples of the word “lyric.” Her writing has taken the shape of poetry and philosophy, neither necessarily confined to the traditions of those genres. Thirty-seven Small Songs & Thirteen Silences is the latest in this ongoing focus, previously explored in collections like Songs for Relinquishing the Earth (1998) and in her philosophic works, including Lyric Philosophy (1992) and Wisdom & Metaphor (Gaspereau Press, 2003).
The songs in this collection are odes, addresses and apostrophes, to household fixtures, human emotions, shades of light, seasons, stretches of land, departures, sounds and solitude. Working with the most associative details, Zwicky has whittled encounters with her subjects down to their integral and resounding notes. A single light shining from a house in the winter is the bathtub’s call to its tired owner. Dew on the grass is the long note of calm in a hurried departure. Every presence contains absence, every pause embodies continuation, every house has “one chink open to the wind.” These are songs to the negative space around solid shapes. Wild grape, nuthatch and August are in part defined by the time around their existence. Bath, laundry and grate have a life both for and beyond their owner, and it is upon these tensions that the poet’s fondness develops.
Zwicky’s musical sensibilities give these poems their resolve. The precise lilt of her verse amounts to a resonating frequency for each of her subjects, with the O of each address sounding the driving note. In music Zwicky has captured the energy and suddenness of realizations like homecoming, departure, familiarity and alienation. Her songs walk the tightrope between thinking and being, steadying and strengthening the act of imagination that maintains contact between past, present and future.
The seven studies in this collection signal a slower tempo, a downshift into the clipped stillness of memory. Summer months, garden gate, childhood house and silent afternoons are summoned to the surface for a look. These give way to six silences: three-line moments of pause or hush that request careful entrance and exit. Like still lifes or haikus, these silences suspend time within time. Basil springs motionless, grass ripens, pollen settles. As with the absences contained in her songs, Zwicky’s silences embody the tenuous balance between thought and experience.
Thirty-seven Small Songs & Thirteen Silences is a vital addition to a remarkable body of work. Zwicky’s lyricism proves to the senses what lies within the parameters set by her prose.
The trade edition of this book is a 5 x 8-inch, smyth-sewn paperback bound in card stock with a letterpress-printed jacket. The text is printed offset on laid paper.