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The War Being Waged is a poetic and unflinchingly truthful examination of what happens when patriotism and sovereignty collide. An Indigenous mother becomes an activist while her brother becomes a soldier. An grandmother speaks to her granddaughter from prison. A granddaughter, filled with turmoil, struggles to accept her family’s history. Three generations of Indigenous women try to connect the pieces of their lives after experiencing all the ways Canada has torn them apart. A mix of three performance genres–monologue, poetry with video and movement, and contemporary dance–are woven together in this stunning work by Winnipeg theatre artist Darla Contois.
War Cantata translated by Keith Turnbull How far will humanity go in its quest for power? Why do we desire to eliminate each other through war? War Cantata looks at ways the impulse for violence is transmitted from one generation to the next; for example, when a father teaches his son hatred to transform him into a soldier impervious to pity. Without focusing on a particular battle or soldier, this harsh, intense, choral text builds the rhythmic power of words to expose war’s spiral toward hatred.
In 2012, SACD (Société des auteurs et compositeurs dramatiques), in partnership with France Culture, awarded War Cantata the Prix SADC for best world play written in French, and CEAD (Centre des auteurs dramatiques) awarded it the Prix Michel-Tremblay for the best play written in Quebec in 2012.
Cast of 2 men and a chorus.
Child Object translated by Chantal Bilodeau With child as a blank page, a man sets about constructing his ideal companion manipulating personality, gender, and body. The child becomes the ultimate consumer good.
Cast of 1 woman and 2 men.
Daniel MacMillan never saw the battlefields of Passchendaele or Vimy Ridge. A farmer in the tiny New Brunswick community of Williamsburg, he experienced the Great War entirely from the “home front.” War on the Home Front: The Farm Diaries of Daniel MacMillan, 1914-1927 is a portrait of the other side of war from the perspective of a man who, like countless families across North America, had no choice but keep on going with his life as sons, nephews, brothers and fathers fought and died on battlefields worlds away.
As MacMillan’s moving wartime diaries reveal, these years took a terrible toll on him, his family, his farm, and his community. A fascinating chronicle of wartime life, Daniel MacMillan expressed the fear, anxiety and uncertainty as well as the sense of duty and fortitude that characterized the war experience on an individual level, making the tragic four-year event much clearer in diary form than in second-hand reports.
His insider’s account of supplying money, men, equipment, and especially food for the country and the troops documents the often unnoticed sacrifices of rural people in wartime and their post-war struggles to recover. The diary is also a testament to the loyalty of the people of Stanley parish, who mobilized the churches, women’s groups and other institutions to provide aid to the troops overseas, the Red Cross and other war-related issues. A unique historical document, War on the Home Front encompasses entries written between 1914 and 1927 in which MacMillan describes the hardships of running a farm in the face of acute labour shortages and the anguish of losing friends and neighbours in battle.
War on the Home Front is Volume 7 in the New Brunswick Military Heritage Series.
Warriors enters the world of advertising where, even if the product is war, the product can be sold. Two ad men lock themselves in a room to work on a new slogan for The Canadian Armed Forces — the tension of creation is brilliantly and dangerously portrayed as they consider the morality of the war machine.
Was it good for you? It was really good for Aislin!Montreal’s infrastructure is crumbling at a faster rate than any city in North America – and there lurks Aislin amongst the thousands of orange construction cones, sketchbook in hand.And bully Stephen Harper finally has his majority, an event that Aislin will be caricaturing keenly, even after over forty years of watching Canadian Prime Ministers come and go.And then there are those rare quiet days in Canada when Aislin has a world full of events beyond our borders to draw upon.WAS IT GOOD FOR YOU? Is a collection of Aislin’s favourites drawn over the last three years. It is his 45th book. He is aiming for fifty. For more biographical information on Aislin (née Terry Mosher), please visit: www.aislin.com
It’s the 1960s and 21 testosterone-drenched high school graduates are bussed into Washika Bay, a company logging camp where they will work for the summer. Idealistic, confident, and sometimes troubled, the young men meet their matches in tough older bush workers and cope with a devastating forest fire, sand flies, and leeches. Henri Morin is particularly sensitive and, though a hard worker, appears to harbor dark thoughts, and another young man’s moving love story is carefully told. In no other place could the transition from adolescence to adulthood be the same. Through its characters and their experiences, this book has revived an era and inspired new life into a wild and beautiful place.
What happens when we believe in something that isn’t there? What happens when we doubt our own history? We cling to the solidity of physical space. Our abstracted sense of being swells to its limits, presses against its boundary of skin, bumps up against the world. Washing Off the Raccoon Eyes explores the idea that we as humans are undefined, chaotic, that we come to know ourselves through the spaces we inhabit and the people we encounter.
In a town ruled by a shadowy cult, outliers Wasp and Janey nurture a dwindling community of queer resistance. Faced with social isolation and medical barriers, they remain determined to make things work and defend their home. Meanwhile, the Prophet’s daughters grapple with their own sense of home. True-believer Caroline anticipates a lavish future in the cult, but Rachel pushes back at its narrow-minded structures. When birth control is banned and Wasp’s ex-boyfriend Isaac turns up with a suspiciously generous offer, all of their lives are thrown into disarray. Suddenly the clock is ticking, and the cult is closing in. Who can they trust? And who’s in on the game? An electrifying exploration of body autonomy and reproductive rights, Wasp will leave you ready to fight.
WASPs is one of those plays where the whole is quite literally much greater than the sum of its parts—so much so that it becomes, in retrospect, the subject of the play, “what the play is about,” and that doesn’t hit you until you are half-way home after a fun evening of bizarre, exotic, and hilarious entertainment. Although signified only by one minor character in the play, described by the head librarian as “one of our multicultural patrons” (and, of course, by the rather more obvious acronym of the title itself), this is a play about the elements of our constructed tribal identities: incest, fashion, fetishism, style, populist art, amateur psychobabble, and a fearful, murderous fascination with the other, hovering behind the cupboards over the sink, in the basements of suburbia, and in the filing cabinets of your local travel agent.
Cast of 4 women and 2 men.
?“In the age of increasing surveillance of borders, the border is where every thing significant occurs; map the border and you begin to understand the pulse of a nation,” Asher Ghaffar writes in the introduction to wasps in a golden dream hum a strange music, his debut collection of poetry. In 2003, he was stopped at the Wagah border post, where hundreds gather to watch the spectacle of the aggressive flag-lowering ceremony on both the Indian and Pakistani side.
Deploying the Wagah border literally and metaphorically, Ghaffar movingly describes the affective dimensions of “race” from the position of second-generation Canadian-born Muslim immigrant, deftly interrogating media depictions of the War on Terrorism. As Ghaffar writes: “I saw an ocean between two worlds / where flowers burst like paper rage.”
He also documents, in a series of cascading questions, the multiple ways that he came to understand the aftermath of the July 7th suicide bombings. At times the poetry is productively conflicted between narrative and verse, and the text opens up a fertile space where multiple genres flourish and jest.
In the spirit of anti colonial poets like Aimé Cesaire and Mahmoud Dawish and more recent experimental writers like the late Theresa Hak Kyung Cha and Nathalie Stephens, Asher Ghaffar documents a restless and often beautiful search for a rich and complex anti colonial poetics for our times, without falling into comfortable dogmas: “I sought a form for the body in crisis, the body in alliance with the flight of bees. I searched the archive for the voice which would break the density further. I sought the drive that was not the drive for death, but the drive for everlasting life in fervor.”
This story with its shocking expose of social evils, holds a forceful message for both sexes. Its strange mixture of power, tension and torment mark it as a human story that will thrill and grip all readers. Down in the depths of the city, washed by the murky waters of the dock-yards lies Skidrow, a dark den of intrigue and mystery, whose crumbling structures harbour the outcasts of the city.–From the 1950 edition
Hugh Garner’s second novel, Waste No Tears hit drug store and train station spinner racks in July of 1950–then disappeared, never to see print again… until now.
Ignored by some critics, dismissed by others, this ‘Novel about the Abortion Racket’ is the stuff of legend. Garner claimed that it had been written in ten days as part of a struggle to ward off ‘incipient starvation.’ He was paid $400 for his efforts. Dark and disturbing, Waste No Tears is populated by skid row bums, loose women, tight men, shady doctors and one wanton landlady, all moving about a Toronto that is far less than respectable.
First published under the pseudonym ‘Jarvis Warwick’–from Toronto’s Jarvis Street Warwick Hotel, a favourite watering hole of the author –this Ricochet Books edition coincides with the celebration of the Garner centenary.
It is 1963, Jean-Yves Soucy is 18 and looking for a summer job. He dreams of being a fire warden scanning the boreal forest from a fire tower. But to his dismay he is sent to an equipment depot somewhere between Val-d’Or and Chibougamau in Northern Quebec. His disappointment vanishes when he learns that the depot is located near a Cree community and that he will have two Cree guides, including a man named William Saganash, and his work will involve canoeing through the lakes and rivers of the region.
On each encounter with the Crees, on each of the long trips across water or through the bush, Jean-Yves expects to see a new world but realizes he?s meeting a different civilization, as different from his own as Chinese civilization. Yet he knows nothing about it. Nor does he understand the nature surrounding them as do his Cree guides, and friends.
Jean-Yves Soucy wrote this story because Romeo Saganash, son of William, insisted: “You have to write that, Jean-Yves. About your relationship with my father and the others, how you saw the village. You got to see the end of an era. ”
He unfortunately passed away before completing it. However, in his poignant Afterword, Romeo Saganash provides a finishing touch to this story of an unlikely meeting of two worlds.
Captivating and heart-wrenching from start to finish
When Emily was a little girl, all she wanted to be when she grew up was a Full-Time Pioneer; in her Jehovah’s Witness family, the only imaginable future is a life of knocking on doors and handing out Watchtower magazines. But Emily starts to challenge her upbringing. She becomes closer to her closeted uncle, Tyler, as her older sister, Lenora, hangs out with boys, wears makeup, and gets a startling new haircut. After Lenora disappears, everything changes for Emily, and as she deals with her mental devastation she is forced to consider a different future.
Alternating between Emily’s life as a child and her adult life in the city, Watch How We Walk offers a haunting, cutting exploration of “disfellowshipping,” proselytization, and cultural abstinence, as well as the Jehovah’s Witness attitude towards the “worldlings” outside of their faith. Sparse, vivid, suspenseful, and darkly humorous, Jennifer LoveGrove’s debut novel is an emotional and visceral look inside an isolationist religion through the eyes of the unforgettable Emily.
From warnings on coffee cups to colour-coded terrorist gauges to ubiquitous security cameras, our culture is obsessed with safety.
Some of this is drive by lawyers and insurance companies, and some by over-zealous public officials, but much is indicative of a cultural conversation that has lost its bearings. The result is not just a neurotically restrictive society, but one which actively undermines individual and community self-reliance. More importantly, we are creating a world of officious administration, management by statistics, absurd regulations, rampaging lawsuits, and hygenically cleansed public spaces. We are trying to render the human and natural worlds predictable and calculated. In doing so, we are trampling common discourse about politics and ethics.
Hern asserts that safer just isn’t always better. Throughout Watch Yourself, he emphasizes the need to rethink our approach to risk, reconsider our fixation with safety, and reassert individual decision-making.