A note to US-based customers: All Lit Up is pausing print orders to the USA until further notice. Read more
Showing 8385–8400 of 9492 results
In celebration of its fiftieth year of producing and providing space for new and diverse Canadian theatre, this book gathers touching tributes, funny anecdotes, fascinating photos, memorable reviews, and treasured memories of success and failure within and beyond the walls of Theatre Passe Muraille. Artists, creative teams, and theatre associates from throughout the theatre’s history have something juicy to share.
Who are the artists who are currently invigorating Canadian theatre? They are the artists who come to the theatre through the “back door”—eccentrics, absurdists, puppeteers, clowns, raconteurs, and solo performance artists who are looking at our place in the world through physical comedy, satire, subversive humour, ingenuity. Their creations are generous, inventive and always infused with a high level of virtuosity. Much of this work is “borderless”—that is to say it breaks down the borders between the public and performer—mocking our preoccupations and pretensions, communicating stories with images, allusion, metaphor and unforgettable characters that fully engage the audience.
The artists profiled in this lively book have toured their works extensively, have performed to audiences around the globe to great acclaim and have influenced young performers through teaching and performance.
Through in-depth interviews, photographs and representative texts readers are also given the opportunity to be introduced to an astounding cross-section of influential English and French Canadian performance artists who are truly creating theatre without borders.
Would it be possible to compose a book that appears to be “about” its author, but is indirectly about something else, like identity or relationships or language? Maybe a book not written by a hero… but by many?
This was the challenge taken up by Kevin McPherson Eckhoff in his fourth book, their biography: an organism of relationships. This collaborative memoir collages together word-portraits from friends, family, coworkers, strangers, robots, and even adversaries in order to create a silhouette of not a single person, but of the manacles that connect people to one another.
their biography is meant to make people think–it’s broad array of voices and poetic/prosaic forms disturbs comfortable patterns of reading, and its subject is as much about the contributors as the author. Eclectic and desolate, confessional and dubious, this record of relationships defies authorship, biography, and individualism.
Fans of Gregory Betts’s “Facebook Poem Project” or Rachel Zolf’s Tolerance Project, along with anyone compelled by contemporary poetry and conceptual art, will connect with this pixelated investigation into identity, and the true meaning of ‘self’ as we and others define it.
A lyrical exploration of memory, family, catastrophe, immigration, and colonialism, Then Now was inspired by the discovery of letters written by Daphne Marlatt’s father, Arthur Buckle, who left England in the early 1930s to join a British accounting firm in multiracial Penang, Malaysia. He continued living and working there until taking leave in 1941, returning after WW II, whose looming threat striates his early letters, and staying until 1951. Decades after the letters’ composition, Marlatt began writing poems in response to them, interwoven with memories they provoked from her post-war childhood there. These poems are written from a sense of place and home on Canada’s West Coast now on the brink of another catastrophe, global climate change, so that throughout the book, “There Then” permeates any “Here Now” of immigrant consciousness and highlights the impermanent quality of “home.”
Shocked by his brother’s death from psychological trauma sustained in the Vietnam War, Fred A. Reed sets out on a journey of personal discovery. By way of Greece, the Balkans, and the mystical Anatolian highlands, in pursuit of iconoclasts in Syria and Lebanon, he comes under the spell of Islam. In its embrace, he finds renewed brotherhood and liberation.
International journalist and award-winning literary translator Fred A. Reed is a specialist on Middle East politics and religion. He has reported for La Presse, CBC Radio-Canada, Montreal Gazette, and Le Devoir. He is a three time winner of the Governor General’s Award for Translation.
C.S. Morrissey’s brilliant translations bring a modern, lyrical sensibility to Theogony and Works and Days, Hesiod’s two great poems that paved the way for subsequent achievements in Greek philosophy. Theogony tells of the first generations of the gods and recollects how Zeus established his cosmic reign of justice. Works and Days examines the two-fold role of competition in life, what Hesiod calls “the bad strife” and “the good strife” and how they affect our struggle to maintain order in the wake of chaos and the primeval void.
Is there a limit to free speech? Who gets to decide?
Isabelle’s film theory students are stunned that she would open an unmoderated online discussion group to complement a controversial syllabus. Her intention was for them to learn from each other, but when an anonymous student starts to post racist comments and offensive videos on the forum and others challenge Isabelle’s methods, she is forced to decide whether to intervene or to let the social experiment play out. But the posts soon turn abusive and threatening to Isabelle’s relationship with her wife, Lee, causing her to take matters into her own hands.
In this thrilling exploration of the intersections and divisions within liberalism, a young tenure-track professor finds herself in a high-stakes game of cat-and-mouse that has her questioning her beliefs and fighting back for her life.
?
At one point in the 1970s, 900 people were engaged with a therapeutic community in Toronto. Living together, and sharing emotional problems, the participants helped to create an institution owning houses, farms, and buildings. Therafields, the largest urban commune in Canada, was created by Lea Hindley-Smith, a woman from England with no formal training in therapy. But she exuded an astounding charisma, and developed ardent followers.
Initially, students and faculty from St. Michael’s College, University of Toronto, were drawn to her, and gradually the word spread that this woman had enormous power to listen, and to heal. Carpenters, poets, teachers, lost souls — they all found a home in Toronto’s Annex neighbourhood. And according to one of her followers at the time, Lea “was a gifted healer, a real estate entrepreneur — and, as it turned out, a woman stalked by madness.”
When the real estate market turned sour in the late 1970s, the financial structure began to crumble. At the same time, Hindley-Smith’s health started to fail, and by the early 1980s the movement had collapsed.
Here, Grant Goodbrand reveals the behind-the-scenes story of Therafields.
There Are No Solid Gold Dancers Anymore explores the manipulative pull of self-mythology and how it informs the telling of story–whether by a fan worshipping her idol, or an old vaudevillian star reminiscing about a glamorous past. Intimate glances into the lives of the famous bring back points of reflection on their relation to the everyday. Poems about the cast of The Wizard of Oz present the tragedy and ambition of Hollywood life. “Some make their living never headlining,” but for the exhausted star, “it’s like getting off a decades-long train ride, having finally arrived, somewhere, where bluebirds fly, you know? Somewhere like the end, the final surrender.”
The life of the stars is full of glamour, but is also contrasted with the trauma of leading such a life: “what a world, what a twisted/world this is, that, like a boxer’s embrace,/ beats us into bloody conceit.” Following this thread are poems about the sometimes-similar struggles and dreams of the less fortunate, portrayed with storybook metaphor as “An aimless swirl to the centre of things where/ there are dying fathers, angry mothers, cruel sisters,/ the same old story.” Alternating between prose, lyric, elegy and dramatic monologue, the poems of There Are No Solid Gold Dancers Anymore question the nature of performance, blur the lines of identity, and illustrate the age-old hunger to find, amidst life’s glitter and waste, a happy ending.
A historical portrait of one woman’s quest for happiness amid a lifetime of bad men.
There Are Victories is a proto-feminist, anti-Bildungsroman that explores the intersections of misogyny, class, religion, and prejudice within upper class Anglo-Montreal and New York City society before, during, and after WWI. Originally published in 1933, There Are Victories takes up the catastrophe of the home front and the ways in which the life—and happiness—of the novel’s protagonist, Ruth Courtney, is continually undermined by the bad behaviour of men. This new edition features a foreword by Scotiabank Giller Prize winner Johanna Skibsrud.
Spilt blood whets the appetite of a ravine at the heart of Haddington Springs, a bedroom community with a closet full of bones.
It’s 1997, and Robin and his two best friends, Steph and Dylan, are ready to dive into their first summer as teenagers. But when Catherine, a classmate’s younger sister, disappears, Robin finds his carefree life of mall arcades, soccer, and slasher movies swapped out for one of paranoia, guilt, and confusion. While parents form search parties and police chase vaporous leads, Robin becomes convinced that there is a darker element at play, one that he might have accidentally set loose. All the while, he is trying to figure out his changing relationships, growing closer to Steph as his friendship with Dylan is increasingly marred by mercurial moods and secrets. Delving into the most awkward and bewildering time of adolescence, Niall Howell’s There Are Wolves Here Too blends coming of age with noir and horror elements as we move with Robin through the difficulties of learning who to trust and when to trust yourself.