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Three short plays by Michael Cook: Tiln, Quiller and Therese’s Creed.
In Tiln, two old men are caught in a personal power struggle. Using a lighthouse setting, Cook explores the modern man’s dilemma in an uncaring world. Cast of 2 men.
In contrast, Quiller is a one-person play set in a Newfoundland outport. In this play, Cook creates a portrait of an old man assessing his empty life. Cast of 1 man.
Therese’s Creed is similar to Quiller in that Cook again returns to the one-person format in an outport setting, but here he explores the female role. Cast of 1 woman.
With Selected Poems, Tim Bowling has gathered together his finest poems over a twenty-year period, a selection including work from his widely celebrated debut collection, Low Water Slack, in 1995, to his tenth collection, Tenderman, in 2011. Always a poet of intense emotion and surprising metaphor whose lyric-narrative voice ranges in tone from romantic to humorous to coldly tragic and unrelievedly dark, Bowling’s integrity has never wavered, nor has his commitment to celebrating poetic tradition and the land and waterscapes of his cherished West Coast.Selected Poems is unabashedly musical, image-rich and ambitious; poems of the natural world, childhood, family, death, and the pleasures and rigours of art lead into ever-deeper explorations of history, society and middle age, but the faith in the power of language to convey something essential about life remains consistent. This is a book whose pages are viscerally alive with concrete, physical sensations; you can hear the seagulls, smell the wet cedar and brine, and see the sun sink on the great salmon runs with “the clunk of a cue ball.” Bowling’s particular ability to make his place come alive and to transfer that vitality into a variety of other subjects, from book collecting to beekeeping, has been celebrated throughout his career.Many of the poems gathered here have won significant honours, both in and outside Canada, from the Canada Council for the Arts, the Alberta Foundation for the Arts, the Bridport Prize Foundation in England, and the John Simon Guggenheim Memorial Foundation in the United States. His Selected Poems is a landmark publication in Canadian literature.
bill bissett, who recently celebrated his seventieth birthday, remains even in his “biblical years” Canada’s most exciting, innovative pioneer in the field of the written, spoken, performed, illustrated and sculpted word. No one over the past half century comes close to what bissett has accomplished in pushing the boundaries of language beyond what was imagined in the mid-twentieth century as their furthest possible horizon, and what is most astonishing is that he is still the vanguard of that movement in the “language arts”, not just in Canada, but around the world today. As a way of introducing new readers to the non-hierarchical orthography, syntax and breath-determined metric and cadence so essential to the construction of meaning in the performance scores of his narrative poetry, Talon asked bissett to tell his readers in his own inimitable and “raging” way what his latest book is “about”:
time is reelee abt how evreething is fleeting n how we deel with that n how deeplee we undrstand that awareness th jewels shine as our undrstandings th layrs n openings apertures n iris lens in or not n how manee narrativs reveel our paradoxikul n continualee shifting minds … a storee is what time is it … 4 ourselvs n our specees n how timeless th breth uv th galaxee n oftn ourselvs tho agen fleeting lyrik song chant philosophikal theologikul prsonal propheseez vizual n tanguld tangos … with th invisibul dansrs … n th 4tune tellrs shuffuling theyr decks how we yern 4 n letting go uv our games finding love n th chancs 4 savin th environment n our selvs
— bill bissett
By combining provocative prose with photo-essay, Time and the Suburbs explores the disappearance of cities in North America under the weight of suburban, exurban, and other forms of development that are changing the way we live and do politics. Drawing on social theory from Henri Lefebvre and Guy Debord to Antonio Negri, this book reconceptualizes the tasks facing activists and social movments. This is both a provocative essay and introduction to important social theory for anyone interested in cites and urban development.
In The Time Between, poems burrow deep inside rusty rooms, the brachiated hearts of sleepless women, the anguish pounding the fault lines of monsoons and long rains, the sheets of ancient wound and anger, the littered and abandoned alleyways of shell-shocked hamlets and towns. The infinitude of time sears, no greater or less than the mind and memory recovers through the stubborn hissing of distant flames burning. Time runs, ambivalent to grief.
To be you and I, to be like us, to be the blade caught in the metal cage of seconds, minutes, hours — to be man, woman and child now, in the time between — to be at home here in the world. To know how hard it is to bleed, to carry the silence that unceasingly grows dim and dark, Why eyes look outward, not inward.
These poems nibble at arguments, re-enact double lives of betrayed dreams, invent the beatitude of mourning, yet always seeking, always on the lookout for the radiance of hope that resists fading at dawn.
If books come from books, as David W. McFadden has claimed, then Time Out of Time is a clear example, arising, very deliberately as it does, out of Etel Adnan’s astonishing collection entitled Time. The poems in Time Out of Time are in love with the poems in Adnan’s Time and, it seems, Paré has fallen in love with Time‘s author, Etel Adnan, the internationally renowned poet and painter–or perhaps it is that she has merely fallen in love with Adnan’s words. Paré’s poems mirror the form, the rhythm, the shape, the short, brief lines in her own spare missives that are the poems in Time. This mirroring increases the intensity of Time Out of Time, creating a rare intimacy in Paré’s collection. Paré’s work pays homage to Adnan’s work. Both collections pay homage to the world of the lesbian in the twenty-first century and to the world of the small poem. Using clear, crisp, well-defined language in visibly defined geometries, in “stanza after sweet-smelling stanza,” Paré attempts to examine the trials of this new century, the hush around the word lesbian, the hush of the world’s general collapse.
A richly atmospheric portrait of women’s agency and the timelessness of love, Time Squared explores the enduring roles of rights, responsibility, and devotion throughout history
The game will change when you remember who you are
Robin and Eleanor meet in 1811 at the British estate of Eleanor’s rich aunt Clara. Robin is about to leave to fight in the Napoleonic Wars, and her aunt rules out a marriage between them. Everyone Eleanor knows, including Robin, believe they’ve always lived in these times.
But Eleanor has strange glimpses of other eras, dreams that aren’t dreams but memories of other lives. And their time jumps start as their romance deepens. Robin fights in the Boer War, the First and Second World Wars, in Vietnam and Iraq. Meanwhile, Eleanor struggles to figure out what’s going on, finally understanding that she and Robin are being manipulated through time.
Who is doing this, and why? Arriving in modern times, Eleanor sets off to confront the ones she discovers are behind this — chessmasters playing her like a pawn. Eleanor’s goal? To free herself to live out her life on her own terms.
Time Squared examines the roles women are forced to play in different centuries, the power they’re allowed, the stresses they face — and what this does to their relationships.
Bringing together all of the poems from Eric Ormsby’s five previous collections alongside a healthy selection of previously unpublished poems, this volume collects the work of one of the most important poets writing today in Canada — or elsewhere. Beautifully crafted, both complex and delicate, intelligent, sensuous and playful, these are poems to return to repeatedly.
Beauty and frailty: these are the two sides of the human condition that have informed Nova Scotian artist Dawn MacNutt’s evocative work for more than 45 years. Working throughout her career with both bronze forms and natural materials like willow, seagrass, and hemp, MacNutt creates organic, abstract forms and sculptures that resonate on a visceral level: a mother and child, a spirit within, a column that is both delicate and strong.
Timeless Forms brings together over a hundred images of MacNutt’s sculptures and textiles, weaving them into the story of her life: from growing up in rural Nova Scotia during the Second World War; through her studies at Mount Allison University under the guidance of Alex Colville; to marriages, motherhood and finding, in her forties, the courage to throw herself into art full time. Writing about her unique artistic journey with humour and empathy, MacNutt finds joy in the face of loss and resilience in the face of adversity.
Timeless Shore
Timely Irreverence is a collection of occasional poems that are sewn together through the inescapable intrusion of poetry itself. With circles of logic that provoke thoughtfulness, the paths of these poems are alluringly complex, and they engage through amusing points of casual living, visceral moments when poetry is permitted to intrude upon the everyday. Whether MillAr is letting a poem pass him by while mowing the grass, or etching it upon himself to “make them witness our cliches,” Timely Irreverence is filled with the voice of a poet in touch with and opposing his creative spirit.
An annotated bibliography of Timothy Findley’s work.
Timothy Findley and the Aesthetics of Fascism: Intertextual Collaboration and Resistance investigates the troubling relationship between narrative meaning and representations of violence within Timothy Findley’s novels, throughout which writing and reading literature are portrayed as dangerous and political acts.
Findley’s novels often expose the ideological underpinnings of the cultures in which they exist, compelling their readers to become politically active social critics. However, reading and writing can be dangerous acts not only because of their revolutionary potential; they can also be dangerous because of their conservatism. The conservative and often dangerous need for narrative unity and closure is nowhere more evident than in Findley’s continued intertextual returns to the historical period of Modernism and Fascism. By re-presenting these historical moments and texts, Findley’s novels simultaneously arouse and critique both the artist’s and the reader’s desire for aesthetic resolution and completion when confronted with various kinds of narrative ruptures.
Although Findley clearly admires the modernist texts that appear in his own fiction, his novels also reveal how the modernist search for metaphoric unity and meaning in the face of real social and political fragmentation often reflects, and often enacts, an aesthetic akin to that of fascism. The disturbing and seductive power of this fascist aesthetic haunts Findley’s novels, and even in those not focused on that historical period, justifies and energizes various social and literary structures of power which seek to impose metaphoric meanings upon disjunctive realities.
Three crooked cops going straight after a murderer
Woody was working on getting high when the phone rang. Dennis was on a date — it was a date he paid for, but a date all the same. Os had blood on his hands from a little extracurricular law enforcement. All three men picked up their phones because they were cops, and cops are never really off-duty — not even when they’re crooked.
Detective Julie Owen was savagely killed in her own bed, and the unborn child she was carrying is nowhere to be found. The grisly crime has the brass breathing down the necks of the three detectives tasked with finding Julie’s killer. Woody, Dennis, and Os each shared a bond with Julie that went deeper than the blue of their uniforms and have their own reasons to want to find the person responsible for her murder. Secrets drive the investigation — secrets that need to stay buried long enough to solve the case.
Tiny Courts in a world without scales is a collection of 50 poems, probes of contemporary language and life, cool vessels for social engagement, modulations of irony orchestrated towards a critical presentation of our artificial lives now.