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These plays clustered about the themes of the fragility of love and the ephemerality of life. TULIP (2006). Commissioned and developed by Nightswimming Theatre. Set in the madness of 17th Century Holland during the spectacular and frighteningly strange Dutch obsession with tulip bulbs, TULIP is a wild play about greed, beauty, deceit and botany. The bubble bursts; within days, many are ruined. Starvation and poverty ensue. Adrift in a sea of menacing shadows, the characters of TULIP must now desperately try to reconstruct their shattered lives with only the broken mirror of their hopes and dreams to guide them. WILDEST DREAMS (2013). Developed by Nightswimming Theatre & Playwrights Workshop Montrèal. Poor old Jack. It just keeps going bad. Is that any way to have a life, thinks he? Would it rain?, he wondered, gazing fearfully into the dark grey sky. It smelt like rain. A conspiracy of nature? Its no good – Audrey’s screwing around. And nobody cares. And nothing makes any sense. WILDEST DREAMS is the story of middle-aged love, or love past middle-age, or the failure of this love. ALL THINGS AT ONCE (2019). Developed by Playwrights Workshop Montrèal. A contemporary lamination, an elegy for the authenticity of experience, and for re-claiming one’s own life. Which, after all, is the same as love. ALL THINGS AT ONCE features a giant Gulliver, dancing cows, ferocious boundaries, counterfactual history, and shocking deaths. The protagonist, the poet Byron – his delusion (not always charming but somehow courageously engaging) – drives him to seek out a frighteningly desperate truth to the raw reality of his life. A life where love and loss predominate the landscape.
When Gellhorn, a notable poet, begins a university residency in a bdynamic metropolisb and stays at the illustrious MC!ximo College, he finds himself scandalized, and for little known reason. Scrutiny by his new academic neighbours is the least of his worries, as he learns of the existence of Aaron Schnell, his physical pseudo-twin, and an actor and film bdouble.b The Chair shares fragments from the oeuvre of Thomas Claque, a recently deceased author who contrived the tale of the pseudo-twins. The Chairbs scholarship leads him to the real MC!ximo College, where he revives those characters and scenarios, before travelling to a smaller prairie town where he reimagines one of Claquebs risquC) getaways. There he meets a young woman doing her creative thesis on the double in literature. Petra, a police clerk in an entirely different prairie city, receives a photograph of a missing person and recognizes a passenger from her weekday commute. Non-routine surveillance draws her deeper into his world until a global pandemic abruptly stalls her progress. Her romantic prospect soon leads to a greater mystery punctuated by the words, TULPA MEA CULPA, although its uncanny truth will be ultimately less provocative than serial coverage in the Prairie Pulse. Tulpa Mea Culpa is a literary tour-de-force and solidifies Morse as one of Canadabs most exciting writers today and proves why he is a two-time Governor General Award nominee.
On a warm August evening, Brenda Missen, a 37-year-old single, unattached writer, pitches her tent beside a lake in Canada’s 7,600 square-kilometre [3,000 square-mile] Algonquin Provincial Park. She is on a four-night “reconnaissance mission,” an hour’s paddle from the parking lot, to find out if she has the capability-and nerve-to one day take a real canoe trip in the park interior by herself. Paddling and portaging from her campsite by day and surviving imaginary bear attacks by night, she decides she’s ready. Then a ranger arrives to check her permit, and an inexplicable, powerful intuition tells her this is the person she’s meant to marry. Going solo may not be necessary after all.
But the fairy tale unravels. In the wake of a broken engagement to her One True Paddling Partner, Brenda ventures into the near wilderness on a series of solo canoe trips that blow all her perceptions of romance, relationships, God, and her own self (gently) out of the water. In our high-tech, urban age, when so many people are disconnected from the natural world, Tumblehome-part spiritual memoir, part travel adventure, and great part ode to the Earth-is a timely and important exploration of where our real roots lie.
Two aging rock stars plot against the manager who ripped them off in this witty thriller by “Canada’s answer to Elmore Leonard.” (Toronto Star)
Tumblin’ Dice rolls with cops and mobsters, rock stars and bikers, in a gritty, absorbing tour through a criminal underworld that’s thoroughly convincing
The High, a band with a few hit songs back in the late 1970s, have reunited to play the nostalgia circuit at casinos. But for bassist Barry and lead singer Cliff, this tour will be more lucrative than it appears, as they team up to turn the tables on the gritty underworld of these gambling palaces — robbing the loan sharks and drug dealers.
After coming across their old manager, who had swindled millions from them years ago, Barry and Cliff decide to go for the big score and get it all back — and more. But when a notoriously dangerous motorcycle gang gets involved, all bets are off.
SHORTLISTED FOR THE 2023 FIDDLEHEAD POETRY BOOK PRIZE
A reimagining of an instructional text on tumbling supports poems about the amateurishness of being human.
Tumbling for Amateurs is a reimagining of James Tayloe Gwathmey’s 1910 book of the same name, published as part of Spalding’s Athletic Library. Bookended with “Propositions” on why tumbling is a skill that everyone should learn and “Extracts from Letters of Support,” each verso poem in this collection pairs with a recto illustration based on drawings from the source text. In the spirit of William Blake’s Songs of Innocence and of Experience, word and image work for each other, creating something more than just an instructional manual.
Tumbling is, well, a metaphor for everything. And we all are, well, amateurs. Experimentation abounds in these poems and manipulated pictures. There are anaphoras, list sonnets, erasures, palimpsests and concrete poems, all working from tumbling’s limited vocabulary and central focus of acrobatics and gymnastics. In this experimentation of form and text is a search for the lyric, for an emotional connection when one isn’t always possible, in bodies, in movement, in desire. “We measure our lives by what our bodies can do.”
“We have no other way to touch each other. / Really no other way to touch each other. / We seek this particular exercise because / we have no other way to touch each other.” Like the tumbling acts from which they spring, Gwathmey’s poems are delightfully performative. They leap, loop, and reconfigure familiar forms into fresh and acrobatic new intimacies. Slyly queering his source text — an early 20th century tumbling manual for young men salvaged from the dusty closet of family history — Gwathmey transforms instruction into seduction as he conducts a tender and playful archeology of desire.” – Suzanne Buffam, author of A Pillow Book
“Matthew Gwathmey’s poems, springboarding from a genre of fitness manual popular in the early twentieth century, tumble us into the present through tests gamily set for body and mind. As ripped as his gymnast protagonists—evoked so fetchingly in the book’s illustrations—Gwathmey writes a poetry eschewing the lyrical in favour of a stripped-down, athletic language that gives shape to ‘what must remain / nameless.’ There’re so many ways to read ourselves into Tumbling for Amateurs. Go toe to toe with these poems and they’ll tone up your grip on what poetry is.”
– John Barton, author of Lost Family
“Gwathmey’s poems go together like a troupe, somersaulting through the vocabulary of the way a body moves. They turn the still past into this moving present.” – Paul Legault, author of The Tower
“Quite unlike anything else I have read from Africa.”—Doris Lessing
“By meshing the richness of African beliefs . . . into the Western framework of the novel, he creates a mysterious and surreal epic.”—Henning Mankell
Mwanito Vitalício was eleven when he saw a woman for the first time, and the sight so surprised him he burst into tears. Mwanito’s been living in a big-game park for eight years. The only people he knows are his father, his brother, an uncle, and a servant. He’s been told that rest of the world is dead, that all roads are sad, that they wait for an apology from God. In the place his father calls Jezoosalem, Mwanito has been told that crying and praying are the same thing. Both, it seems, are forbidden. The 8th novel by NY Times-acclaimed Mia Couto, The Tuner of Silences is the story of Mwanito’s struggle to reconstruct a family history that his father is unable to discuss. With the young woman’s arrival in Jezoosalem, however, the silence of the past quickly breaks down, and both his father’s story and the world are heard once more. The Tuner of Silences was heralded as one of the most important books to be published in France in 2011, and remains a shocking portrait of the intergenerational legacies of war. Available for the first time in English.
Every year, 2.6 million babies are stillborn around the world; in Canada, one in every 125 pregnancies ends in a stillbirth. It is September 1991 and Lydia has just given birth to a stillborn child in Montreal. As she and her husband, Dr John Gabriel, grapple with its after effects, their lives and relationship come under inevitable scrutiny. Lydia, the daughter of poor Greek immigrants, fears she has failed her husband as well as his more prosperous Greek family. Their marriage had been shaky from the start and the stillbirth seriously threatens its very foundations, including John?s commitment to fidelity. Tunes for Dancing Bears plunges deeply into the complexities of grief and the limits of our self regard. A touching story of family, immigration, hope, and what it really means to make a life for ourselves.
At seventeen, Del’s world seems to be falling apart. He’s managed his Asperger’s well, has a solid group of friends in his special needs class at school, and even manages to get by among people who don’t understand his brand of communication. But his parents are splitting up, and Del is certain he can save his family. To do it, he decides he needs to live out his father’s dream of musical stardom. He gets together with some of his friends and they form The Turing Machinists, an all-Asperger’s rock band. But they’ll need help – and Del seeks that help in the form of his neighbour, a reclusive rock legend who would rather have nothing to do with the music scene.
In this contemplative novel-poem, Jean-François Beauchemin invites us to share in the inner world of the grieving Mr. Bartolomé, who, following the mysterious disappearance of his young son, wanders and wonders, seeking to transcend his pain by encountering something larger than himself. Continuously occupied by the memory of his lost son, Bartolomé’s quest leads him from the city to the countryside and then to the edge of the ocean, where he marvels at the beauty of nature but cannot penetrate its mysteries.
Through reference to the two-million-year-old “Turkana Boy,” the fossilized remains of a boy found in 1984 near Lake Turkana, Kenya, Beauchemin addresses processes of memory and the long history of human evolution. Beauchemin’s character Bartolomé sees in the lives of the boys—separated by nearly two million years—a kind of twin destiny. Has the passage of millennia changed the intensity of human feeling at the loss of blood relations? “Who knows what they had felt? Had the same emotions, those associated with incommensurable loss, broken their bodies, as they had his? Over and above morphological differences sculpted by the passage of millennia, was there something resembling a permanence of feeling, a sort of eternity for the murmuring of the heart, transmitted through the ages by the bonds of blood?”
Turkana Boy offers a poignant examination of grieving and one man’s search for understanding. This surrealist narrative is punctuated with magnificent musings on the world and startling questions about what it means to be alive.
Called to his dying father’s bedside, Gabriel Golden’s life is turned upside down after receiving his mother’s journal. The journal chronicles his mother’s life in post-war Britain, her genteel upbringing and her eventual marriage to Gabriel’s father, a complicated man raised in an aggressive, Jewish family who drinks to escape financial worries. Gabriel is shocked as the novel reveals dark secrets about his parents’ relationship, shaking Gabriel’s preconceptions about his father – and himself.
Based on a true story and winner of the H.R. Percy Novel Prize and the Beacon Award for Social Justice, Turn Us Again is a powerful exploration of the dynamics within family relationships, enticing the reader to embark on a journey towards a more complex understanding of the issue of abuse.
Read the review by The Chronicle Herald
here.
In the early 1860s, Irish immigrants in the United States were eager to help the Fenian brotherhood overthrow the British in Ireland. The American Fenians’ mission: to invade British North America and hold it hostage. New Brunswick, with its large Irish population and undefended frontier, was a perfect target. The book tells how, in the spring of 1866, a thousand Fenians massed along the St. Croix River and spread terror among New Brunswickers. When the lieutenant-governor called in British soldiers and a squadron of warships, the Fenians saw that New Brunswick was no longer an easy target, and they turned their efforts against central Canada. The Fenian “attacks” and the demand for home defence fanned the already red-hot political debate, and a year later, in July 1867, New Brunswick joined Confederation.
Turning Back the Fenians is volume 8 in the New Brunswick Military Heritage Series.
In 1977 Kate Braid got her first job in construction as a labourer on a small island off the coast of British Columbia. Never in her wildest dreams did she plan to be a construction worker, much less a carpenter, but she was desperate to stay on the island and had run out of money, along with all the options a woman usually has for work — secretary, waitress, receptionist. Turning Left to the Ladies is an autobiographical account of the fifteen years she worked as a labourer, apprentice and journey carpenter, building houses, high rises and bridges. She was the first female member of the Vancouver union local of the Carpenters and the first full-time woman teaching trades at the BC Institute of Technology. It is a wry, sometimes humorous, sometimes meditative look at one woman’s relationship to her craft, and the people she met along the way.