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Whispering Pines is the first comprehensive history of Canada’s songwriting legacy, from Gordon Lightfoot to Joni Mitchell.
Canadian songwriters have always struggled to create work that reflects their specific environment, while simultaneously connecting with a mass audience. For most of the 20th century, that audience lay outside Canada, making the challenge that much greater. While nearly every songwriter who successfully crossed this divide did so by immersing themselves in the American and British forms of blues, folk, country, and their bastard offspring, rock and roll, traces of Canadian sensibilities were never far beneath the surface of the eventual end product.
What were these sensibilities, and why did they translate so well outside Canada? With each passing decade, a clear picture eventually emerged of what Canadian songwriters were contributing to popular music, and subsequently passing on to fellow artists, both within Canada and around the world. Just as Hank Snow became a giant in country music, Ian & Sylvia and Gordon Lightfoot became crucial components of the folk revival. In the folk-rock boom that followed in the late ’60s, songs by The Band and Leonard Cohen became instant standards, and, during the ’70s singer-songwriter movement, few artists were more revered than Neil Young and Joni Mitchell.
Whistle for Jellyfish is a poetry collection written by six award-winning poets – Sylvia Adams, Brock Currie, Gill Foss, Glenn Kletke, Barbara Myers, and Margaret Malloch Zielinski. Their decision to write a collection of travel poems was based on a desire to share experiences in a way that would preserve their distinctive voices and relate all aspects of travel, from anticipation and pleasure through deterrents, hardships and imbroglios to revelations and the varied features – elegiac, eulogistic or reflective – of journey. With disparate histories and viewpoints, the collection comes together as a journey itself, as an organic whole with implied narrative.
Beginning in the 1950s, White Album charts the life of a young woman born in India, growing up in Canada during an era of explosive change, both cultural and political. Set to the music of the last half-century, White Album poses provocative questions: What is an identity? How does the noise of history – the chanting crowds, the gunshots, the guitar feedback – soundtrack our sense of self? Blurring together diverse media, White Album blends the words of award-winning poet Rishma Dunlop with the paintings of acclaimed artist Suzanne Northcott. The result is a groundbreaking, interdisciplinary collection – a montage of brilliant images, driven by a blistering soundtrack of language.
Finalist for the 2017 Amazon First Novel Award
Physician Richard Berringer, his wife, Ann, and their thirteen-year-old son, Torquil, have abandoned their home in Nova Scotia and moved to Sierra Leone, despite warnings that the West African country is in a civil war. Two months on, things are not going well. Tensions are rising between Richard and his boss; Torquil—who hates Sierra Leone almost as much as he hates his father—has launched a hunger strike; and Ann is bedridden with illnesses that Richard believes are all in her head. While the Berringers battle with themselves, each other and the worlds they inhabit, the narrative repeatedly returns to their past, shedding light on what brought them together, what keeps them together, why they have come to Africa, and why they might not be able to go home again.
Miskozi is searching for something…
There’s something missing.
And she’s not sure what it is.
She goes on a search for herself and her culture, accompanied by her inner white girl, Waabishkizi, and guided by Ziibi, a manifestation of an ancestral river, both provoking her to try and find the answers.
She begins the journey back before she was even born, right at the seeds of colonization when her ancestors were forced to hide their culture anywhere they could.
Burying their language.
Their teachings.
Their bundles.
Their moccasins.
White Girls in Moccasins is a hilarious and poignant reclamation story that world-hops between dreams, memories, and a surreal game show. Miskozi recounts her life and is forced to grapple with her own truth, while existing in a society steeped in white supremacy.
A love letter to brown kids born in the 80s, surviving in the 90s and all those continuing to deeply reclaim.
Two neighbouring families, one Indigenous and one white, dine together during Truth and Reconciliation Week. As cultural misunderstanding, colonial violence, and racism both covert and overt surface, White Noise asks, “How do we deal with internalized racism? Do we keep pushing it away … or do we make a change?” Taran Kootenhayoo’s answer is both emotionally intense and outrageously hilarious, a blistering comedic exploration of what it means to live in so-called Canada.
Cast of 1 Indigenous woman, 2 white women, 2 Indigenous men, and 1 white man
White Out is at first glance a woman’s invention, over and over again, of the man who chose not to be her father, leaving his young lover pregnant. Yet, arcing from late-1960s Quebec to the present, it is also the story of a young woman, and a generation of young women, caught between Catholicism and free love. Martine Delvaux’s aching take on her own origin story is a book about words lost in a lifetime of storms, about truth and fiction, a book about how something as seemingly commonplace as parentage can undermine everything–confidence, relationships, the body, memory. Through narrative we try to patch our unknowns but narrative, at once foreign and familiar, fails us.
The third volume in Marchessault’s autobiographically based trilogy. White Pebbles in the Dark Forests traces a reconciliation between men and women, children and parents, animals and humans, and the past and future as it looks at the connections between the visible and the invisible. Following Like a Child of the Earth and Mother of the Grass, this volume introduces Noria, an aviatrix who, like a shaman, flies across the night sky of North America to deliver the world a message of hope and recovery, and Jeanne, the writer who practices the magic art of healing; the art of literature.
language I’ll say yes
from the top of my rib cage
language will you come
out and unearth the salt the certitude
Between the verbs quivering and streaming, White Piano unfolds its variations like musical scores. A play of resonance between pronouns and persons, freely percussive between prose and poetry, and narrating a constellation of questions, White Piano offers readers a ‘language that cultivates its own craters of fire and savoir-vie.’
‘At once achingly aware of mortality and hell-bound in its determination to press forward, change, and grow, White Piano is as brave as it is linguistically rich.’
– Quill & Quire
‘[Brossard] writes with a poetic intensity that burns select lines and sometimes entire paragraphs into the reader’s mind.’
– Montreal Gazette
Two porcupines walk into a bar. No, wait. One porcupine walks into a bar. Well, actually, it’s a poet. And he walks into a library. He opens books and shakes them until they look like porcupines dancing. He is looking for old photos to eat. He likes the salt taste of the chemicals. Chewing, he crawls oot. Toying with the confessional, Phil Hall’s White Porcupine is a self-portrait of the artist from ages fifty to fifty-four. The creature of the title suggests (as in White Buffalo, White Whale, White Moose) the sacred primitive wild…though small…(a bit like poems); also, Death Itself (bugga-bugga); and snow rushing at the window of a moving car, years ago…tire-chains…fins; and greying hair, stubble chin; and honestly who doesn’t bristle about getting old? and young St Sebastian, that doofus…naked, glowing, multi-skewered; and a black and white group photo outside a one room school house in winter…(there’s mom!) each student a quill, with its name underneath. The punchline: White Porcupine is a long border-line-incomprehensible confessional poem about being miserable (oh boy!). Well, really it’s about being a poet (even better!). Or, is it?
In this remarkable follow-up to Spar: Words in Place (Gaspereau Press, 2002), Peter Sanger explores the scope of words in time. Offering significant new material to the study of linguist Silas Rand and poet John Thompson, Sanger introduces Susan Barss and Florence Ayscough, notable but largely unsung contributors to Rand’s and Thompson’s work. With the same passion for reading and exploration, along with several of the neighbourhood landmarks, symbolic imagery and literary influences that first emerged in Spar, Sanger joins the lives and work of key authors and translators in Canada’s literary history. Sanger’s unique and far-sighted approach to words and time illuminates critical intersections between authors, readers and texts.
“White Salt Mountain is a mystery,” says Sanger. “The consistent theme of the book is the source and meaning, at the most profound levels, of its title. This book fits into the literary category also occupied by Poe’s ‘Gold Bug’ story and more recently by A. S. Byatt’s Possession about the detection of the real life of a Victorian poetess and the parallel life lived by the modern detective literary scholars. . . . The reader of White Salt Mountain participates not only in the detection of a phrase but also in discovering Florence Ayscough and Susan Barss, discovering certain feminine continuities in Canadian cultural history which had been lost. . . . At base, White Salt Mountain is structured according to the most ancient of narrative formsthe quest for hidden and lost treasure. Its Shangri-la is St. Andrew’sits Treasure Island rests in the Bay of Fundy”
On a journey to MacMaster Island in Passamaquoddy Bay, New Brunswick, Sanger introduces the work of nineteenth-century translator and poet Florence Ayscough. He provides the first comprehensive account of Ayscough’s life, including her years in Shanghai, her study of Chinese, her collaboration with American poet Amy Lowell on translations of Chinese poetry, and the influence of these translations and others on the Canadian poetic idiom that persists today.
Sanger’s work illustrates the power words carry across time beyond their volumes. In his discussion of New Brunswick poet John Thompson’s Stilt Jack, a collection that continues as one of the most widely influential works in Canadian poetry, Sanger works from inside and outside of Thompson’s words, bringing to life the poet’s guiding mythology and influences, and testing them in transit and in conversation with other texts.
Sanger’s final chapter begins in a canoe on the Shubenacadie River as he sets out to locate ‘Grandmother’s Place’, described in Silas Rand’s Legends of the Micmacs. Sanger also presents his recent discovery of Rand’s original transcripts of two stories told by Susan Barss in 1847, among the earliest surviving records of Native storytelling in North America. Sanger’s sleuthing, and the kinds of parallels and intersections it brings to light, embodies a departure from the conventions of literary criticism into a style of reading that is grounded in locale and attuned to the way a literary culture takes shape over time.
Peter Sanger has published five collections of poetry, including Earth Moth (1991) and Ironworks (2001), a collaborative project with photographer Thaddeus Holownia. His most recent work is Spar: Words in Place (2002), a collection of essays based on life in rural Nova Scotia. Sanger has been the poetry editor of The Antigonish Review since 1985. He lives on a farm in South Maitland, Nova Scotia.
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.