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An Our Choice 2001 Selection (Canadian Children’s Book Centre).Two years of work, adventure, fun and sorrow see baby beaver Eh through to beaver adulthood and eventual release.”A whole new story about beavers that will endear them to every reader . . . an excellent resource for the classroom.”–Quill & Quire (starred review)
Bebías Into ?hndaa Ke: Queer Indigenous Knowledge for Land and Community is a powerful collection of essays, stories and conversations that provide us with a diverse roadmap for navigating and overcoming hate, supporting queer Indigenous kin, and revitalizing radical ethics of care for building healthy, inclusive, and self-determining lands and communities. A celebration of trans, queer, and Two-Spirit Indigenous brilliance, with an intentional inclusion of voices from the North (the Yukon, Northwest Territories, Inuvialuit and Nunatsiavut), the essays in this collection offer a wealth of queer Indigenous theory, experience, and practices, with a unique emphasis on the critical role of land in these conversations.
The contributors, who range from young activists, artists, families, and both emerging and established scholars, provide insightful and transformative queer perspectives on a number of pertinent topics, including: knowledge reclamation, resurgence, nation-building, community life and governance, cultural revitalization, belonging, family relationships, creative practice, environmental degradation, mental health and wellbeing, youth empowerment, and Indigenous pedagogy. Amidst the ongoing violence of settler colonization, and its legacies of exclusion and erasure that continue to target queer, gender-diverse and Two-Spirit Indigenous people, this collection is an invaluable gift and resource for our communities, showing us that a different world is possible, and reminding us that queer Indigenous people have always belonged on the land and in community.
Rife with colloquialisms, irony and a healthy dose of sass, the poems collected in Bec and Call refuse to be silent or subtle; instead they delve into the explicit, the audacious, the boldly personal. Bec and Call subverts the notion of female sexuality as male appeasement, the French wordplay in the title using the meaning of “bec”—a kiss, mouthpiece or beak—to complicate notions of compliance and submission. The roles of Acadienne and feminist come with the responsibility of speaking up, and Bec and Call is a means of vocalizing the societal dérangement of Acadian culture amidst the difficulties women encounter as a result of rape culture and anti-feminism.These poems are fearless and precise in their aim, but are not without a sense of play:Menstrual synchrony’s a bitch in a household of women:some sheets never see the line, endometrial tissue Javexed and tumble-dried.To captains off-duty, solariums are wheelhouses.Antique binoculars magnify songbirds, deer and that one black squirrel.Close the blinds to neighbours. Girl, you’re bodied, full-bodied, embodied.
An engrossing punk-rock novel about teenage daydreams and sibling dynamicsTeenaged brothers Hombre and Transformer spend their days locked up in their suburban bedroom, writing songs and dreaming of stardom on their own terms. The music of the early 80s is brimming with post-punk ethos and a disdain for classic rock, but closer to home the pair can’t find anyone else to join their band, Because, and frankly they don’t really want another member to enter the fray of their complicated sibling dynamic. Hombre, the younger one, is quiet, contemplative, and talented, a poet in the making. His older brother Transformer is stubborn, domineering, and secretly struggling with mental health issues. Their sequestered world is broken open one summer when their mother hires Spit, a girl from the local guitar shop, to help the boys improve their modest skills. But these good intentions set off a chain reaction with tragic consequences.
Canadian literary great Guy Vanderhaeghe’s eclectic and wryly insightful collection of nonfiction pieces spans his forty-year writing career.
Many editors and publishers over the years have asked Guy Vanderhaeghe for his thoughts on books and writers, on history, literature, and his own specialty, the historical novel. Because Somebody Asked Me To has all the hallmarks of the author’s fiction: it is intelligent, wise, wry, and a pleasure to read. These essays, reviews and occasional pieces are about the difficult craft of fiction, about growing up on the prairies, and about the struggle to find his own voice as a writer, as well as about novels by writers he deeply admires. And, throughout, he casts a bemused eye on the entire human comedy.
In 1982, when Guy Vanderhaeghe’s first book appeared, Canadian literature was beginning to be recognized at home and abroad as culturally engaging and significant. Because Somebody Asked Me To gives readers a glimpse into those beginnings and how they shaped the author and his generation of fiction writers. The book also examines how the Canadian literary scene has shifted during the course of his career — the economic, societal, and cultural changes that have made the old world of writing and publishing scarcely recognizable. Because Somebody Asked Me To invites readers to ponder the transformations Canadian writing has undergone, where it is now, and where it might go from here.
In this collection of poems, Inge Israel works through Samuel Beckett’s letters, his biographies and his actual plays and novels to probe the imagination that created his artistic works. Arguably the pre-eminent avant-garde and most influential writer of the 20th century and a legend in his own time, Beckett presents many glaring paradoxes.
Winner:
2016 Foreword Reviews INDIES, Silver, War & Military (Adult Fiction)
Captain Jim McFarlane, a Canadian infantry officer, is coming apart at the seams. It’s September 1944, in Italy, and the allied armies are closing in on the retreating Axis powers. Exhausted and lost, Jim tries to command his combat company under fire, while waiting desperately for letters from his wife Marianne. Joining the army not out of some admirable patriotic sentiments but rather because of his own failings and restlessness, he finds himself fighting in a war that is far from glorious. In this story of love and war, Murphy brilliantly captures our ambiguous relationship to war.
It’s 1965. Twenty-two-year-old Linda Wise despairs of escaping her overprotective parents and her hometown, where far too many know she was sexually assaulted as a teenager. Deliverance arrives in the form of marriage to the charismatic, twenty-six-year-old Ronald Brunson, a newly ordained Methodist minister who ignites her passion for social justice. Ron tells her war and racial discrimination are symptoms of the “moral rot” destroying the country, conjuring up something dark and rancid in her mind, thrilling in its wickedness. He sweeps her away from Stony River, New Jersey, to serve with him at a church in a speck-on-the-map prairie town in Minnesota. What lies ahead for her over the next seven years is the subject of Tricia Dower’s penetrating study of a marriage and a woman’s evolving sense of self as she confronts the trauma that keeps her from her future, unfettered self. Becoming Lin evokes the turbulent era of Freedom Riders for civil rights, Vietnam war resistance, the US government’s war against the resisters, sisterhood and the push for equal rights for women, new-age metaphysics, motivational psychology and the unravelling of the traditional marriage contract – an era that resonates in today’s persistent racism and sexism, perpetual war and wide-reaching government surveillance.
Becoming Our Future: Global Indigenous Curatorial Practice explores how Indigenous visual art and culture operate within and from a structural framework that is unique within the cultural milieu. Through a selection of contributions by Indigenous curators, artists, and scholars brings together perspectives that define curatorial practices, and at the same time postulates Indigenous sovereignty and self-determination within the three countries. These compelling essays begin to unearth the connections and historical moments that draw Indigenous curatorial practices together and the differences that set them apart.
With contributions from Nigel Borell, Freja Carmichael, Karl Chitham, Nici Cumpston, Léuli Eshr?ghi, Reuben Friend, Jarita Greyeyes, Ioana Gordon-Smith, Dr. Heather Igloliorte, Jaimie Isaac, Carly Lane, Cathy Mattes, Kimberley Moulton, Lisa Myers, Dr. Julie Nagam, Dr. Jolene Rickard, Megan Tamati-Quennell, Josh Tengan, and Daina Warren.
Nikki van Schyndel is not your typical grizzled survivalist. She is a contemporary, urban young woman who threw off modern comforts to spend nineteen months in a remote rainforest with her housecat and a virtual stranger. Set in the Broughton Archipelago, a maze of isolated islands near northern Vancouver Island, Becoming Wild is a story of survival in the pristine wilderness of BC. Sometimes predator and sometimes prey, twenty-nine-year-old Nikki and her companion Micah fend off the harsh weather, hungry wildlife, threat of starvation and the endless perils of this rugged Raincoast. To survive, Nikki must rely on her knowledge of BC’s coastal flora and fauna, and the ancient techniques of hunting and gathering. In this remote world she learns to skin bears, make clothes from cedar bark and take great joy in gobbling a fish tail whole. Told in a voice that is both familiar and vulnerable, Becoming Wild explores our innate longings to connect with nature and revert to a pure, Eden-like state.
Winner of the 2016 Saskatchewan Arts Board Poetry Award
In this collection Jeanette Lynes’ follows in the tradition of Michael Ondaatje’s The Collected Works of Billy the Kid. In Bedlam Cowslip, she turns her attention to the life and work of John Clare, the great Victorian poet of the countryside, one of England’s greatest working-class bards. In these poems, the Romantic world of Clare, strewn with wild flowers and dizzy with birdsong, is visited by a new, postmodern voice, and the conversation that ensues across a dozen decades is profound and dazzling.
Painstakingly researched and deftly crafted, the poems share Clare’s loves, ambitions, rages and failures. With lines that echo the sharpness of Dorothy Livesay and the richness of Roo Borson, Lynes writes of madness, scarce paper and of the intense attention Clare brought to his world. In this book Lynes has created an uplifting poetic biography on a bright poetic star that has been rising for over a century.
Ottawa poet Pearl Pirie’s been shed bore, her first trade poetry collection, follows years of a small voice gaining in strength, and in volume, through so much subtle activity and quiet disconnect that by the time she was noticed, she was already everywhere, and already a confident voice. In a poetry built on the strength of play, Pirie’s writing moves at the speed of sound, slipping up against silence.
Incredibly Strange Wrestling was the bastard offspring of post-punk garage rock and masked Mexican lucha libre. Fielding a cast of crazed characters with names like El Homo Loco, Macho Sasquatcho and El Pollo Diablo, the show lived up to its name. Christians fought lions, Ku Klux Klowns squared off against Hasidic Jews and Bigfoots and bears mauled hapless hippies in some of the most surreal grappling bouts ever staged. And if that wasn’t enough, cult bands such as NOFX, The Dickies and The Donnas provided the raucous rock and roll in between the highflying mayhem.
ISW emerged from the back alleys and seedy clubs of San Francisco’s South of Market scene to headline the historic Fillmore and barnstorm North America on the Van’s Warped Tour. At the height of its popularity, Green Day’s Billy Joe Armstrong and Metallica’s James Hetfield could be seen tossing tortillas (which the promoters supplied) at ringside with the rest of the hell heads, boozehounds and tattooed party girls that made up ISW’s rabid following.
Bob Calhoun broke into ISW as an untrained grappler and rose through the ranks to become one of the creative forces behind the subversive carnival. In his new memoir, Beer, Blood and Cornmeal, Calhoun delves into the ISW’s organized insanity with all of the dark humor that it deserves. It’s a story of urban misfits risking their necks for local celebrity in one of America’s most famous cities all told against the backdrop of the dot com boom and bust and an increasingly corporate entertainment industry.
Beer, Blood and Cornmeal takes the highest tier of the music industry and sends it on a collision course with the lowest rung of the professional wrestling ladder. The threat of real violence is always lurking at the fringes of the fake fights as shows end in riots and wrestlers disturbingly become their squared circle alter egos.