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From internationally celebrated writer and visual artist Shani Mootoo comes Cane | Fire, an immersive and vivid collection that marks a long-awaited return to poetry.
Throughout this evocative, sensual collection, akin to a poetic memoir, past and present are in conversation with each other as the narrator moves from Ireland to San Fernando, and finally to Canada. The reinterpretations and translation of this journey and its associated family history give meaning to the present. Through these deeply personal poems, and Mootoo’s own artwork, we begin to understand how a life can not only be shaped, but even reimagined.
The candid, direct poems of Canoodlers interrogate sexuality, friendship, family, language, and social, cultural and political phenomena. Straddling genders, sexualities and social positions, the collection hilariously but harrowingly follows the growth and class leaps of a “townie tomboy.”
From family relations (“Dearly beloved, Don Cherry has better conversation skills than my stepfather, and my mother doesn’t love me anymore”) to individual encounters and concerns (“Part of anyone can see how reasonable it is to stay at home and never leave, because you’ve anointed that wall, this toilet as safe, and you’d know it even if the lights never came back on”), Canoodlers is a personal study of contemporary consumerism, appropriating the language of marketing and pop culture, twisting and repositioning phrases that have become clichéd. These poems render the familiar unfamiliar and question how relationships function–families, friends, lovers–in contemporary suburban Canadian life.
Canticles is a lyric-styled epic. This second testament–Canticles II (MMXIX) and Canticles II (MMXX)–issues re-readings–revisions, rewrites–of scriptures crucial to the emergent (Anglophone) African Diaspora in the Americas. Canticles II (MMXIX) follows Testament I (also issued in two parts–Canticles I (MMXVI) and Canticles I (MMXVII)) whose subject is History, principally, of slavery and imperialism and liberation and independence. Canticles II, the second part of a trilogy, is properly irreverent where necessary, but never blasphemous. It is scripture become what it always is, really, anyway: Poetry.
Canticles is a lyric-styled epic. Clarke’s visions of canonical and apocryphal scriptures are black in ink, but lightning in illumination. Testament II issues re-readings, revisions, rewrites of scriptures crucial to the emergent (Anglophone) African Diaspora in the Americas. Canticles II (MMXIX) and Canticles II (MMXX) follow Testament I (also issued in two parts) whose subject is History, principally, of slavery and imperialism and liberation and independence. Canticles II is properly irreverent where necessary, but never blasphemous. It is scripture become what it always is, really, anyway: Poetry.
In Zanzibar, in 2008, George Elliott Clarke began to write his “Canticles,” an epic poem treating the Transatlantic Slave Trade, Imperial and colonial conquest, and the resistance to all these evils. That is the subject of Canticles I (MMXVI) and (MMXVII). In Canticles II (MMXIX) and (MMXX), Clarke rewrites significant scriptures from an oral and “African” or “Africadian” perspective. Now, in Canticles III (MMXXII) and (MMXXIII), Clarke shifts focus—from world history and theology — to the specific history and bios associated with the creation of the African (“Africadian”) Baptist Association of Nova Scotia. By so doing, he concludes the most remarkable epic ever essayed in Canadian letters — an amalgam of Pound and Walcott — but entirely and inimitably his own.
In Zanzibar, in 2008, George Elliott Clarke began to write his “Canticles,” an epic poem treating the Transatlantic Slave Trade, Imperial and colonial conquest, and the resistance to all these evils. That is the subject of Canticles I (MMXVI) and (MMXVII). In Canticles II (MMXIX) and (MMXX), Clarke rewrites significant scriptures from an oral and “African” or “Africadian” perspective. Now, in Canticles III (MMXXII) and (MMXXIII), Clarke shifts focus—from world history and theology — to the specific history and bios associated with the creation of the African (“Africadian”) Baptist Association of Nova Scotia. By so doing he concludes the most remarkable epic ever essayed in Canadian letters — an amalgam of Pound and Walcott — but entirely and inimitably his own
Epic in scope, lyrical in its celebration of nature, frequently uncompromising in its portrayal of human violence and greed, and rich in the keenly observed details –colours, sounds, rhythms, scents, and voices — that constitute this place we call “our home and native land,” Cantos North sings an alternate history, a myth of place, not origins, that cradles us all.
Iconic baseball writer Bill James, in 1987, frustrated with MLB’s labor stoppages and the decline of the minor leagues, wrote that the minors “were an abomination … if you’re selling a sport and the players don’t care about winning, that’s not a sport. That’s a fraud … an exhibition masquerading as a contest.” Bill imagined a better model and proposed that, as opposed to limiting the number of teams in MLB to protect parity, a free market was capable of sustaining many more franchises — hundreds, even — if we would just allow it to sort out the level at which those cities might best compete.
Cap in Hand goes a step further, arguing that a free market in sports teams and athletes once existed and could work again if the monopolists of MLB, NFL, NBA, and NHL would simply relent from salary-restraint schemes and reserve-clause models that result in elite talent being spread as thinly as possible and mediocrity being rewarded via amateur drafts and equalization payments.
In fact, the model for this exists and may be the most wildly popular and monetarily successful of all professional sports: European football.
Cap In Hand asks: what if the four major North American pro sports move beyond the restrictive covenants of the franchise model? The product sold to fans today is a pale copy of what it might be if the market could guide the best players to the best teams, whose ingenuity and innovation would inspire everyone to do better and put on a better show.
In this utterly charming picture book, Lori Doody tells the story of Kate, a little girl very eager for the fun of summer to begin, but whose plans for bonfires and picnics are squelched by relentless rain, drizzle, and fog. In simple language and with bright, playful illustrations, Doody captures perfectly the achingly long pause that Newfoundlanders know so well as they await the capelin (small food fish) whose arrival is said to signal the return of summer and good weather to the island’s shores.
Young listeners will have fun finding capelin, or the creatures that eat them, hidden in some of the illustrations. Capelin Weather is an engaging introduction to Newfoundland for other young readers?with whales, icebergs, and those beautiful silvery capelin that cause such a stir when they arrive on the beaches.A wonderful celebration of Newfoundland weather, for those who live under it and for those who live away. This book will be an instant hit for Newfoundlanders at home and abroad and will resonate with any reader who knows what it’s like to long for summer’s warmth.
Whether you need a spectacular venue to fête a big event or you just don’t want to do the dishes, Capital Dining has a suggestion for you. From celebrated to underrated, haute cuisine to come-as-you-are, this guide is an up-to-date compilation of over 100 reviews of some of the Ottawa-Gatineau region’s best restaurants by Anne DesBrisay, Ottawa’s most authoritative dining voice. The restaurants are identified by a number of useful categories, including type of food, neighbourhood, price range, outdoor dining, family-friendly, open Sunday, and late-night feasting. Each review features capsule notes on the establishment’s key features: accessibility, cost, and hours of operation. Insightful and informative, these reviews reflect the objective opinion of a professionally trained and passionately engaged expert in all things edible. The first restaurant guide to the area in over a decade, this book is invaluable for anyone living in or visiting Ottawa, whether they have a serious interest in dining out, or are simply in need of advice on where to spend their restaurant dollar.
This edited collection brings together a broad range of case studies to highlight the role of Canadian corporations in producing, deepening and exacerbating conditions of dispossession both at home and abroad. Rather than presented as instances of exceptional greed or malice, the cases are described as expected and inherent consequences of contemporary capitalism and/or settler colonialism. A core purpose of the book is to combine and synthesize analyses of dispossession within and outside of Canada. While the literature tends to treat the two as distinct and unrelated phenomena, these processes are often connected, as the normalization of settler colonialism at home can lead to indifference and acceptance of dispossession caused by Canadian companies abroad. This book brings local and global cases together in order to present a rigorous analysis of the role of Canadian corporate activity in processes of dispossession.
The book includes a diversity of theoretical approaches related to the overarching theme of capitalism and dispossession; however, they share a critical analysis of capitalism and its implications on marginalized peoples at home and abroad. Included are political economy approaches that draw on the work of theorists such as David Harvey, important interventions from Indigenous and settler colonial studies, feminist approaches using the work of scholars such as Silvia Federici and the concept environmental racism, which draws on both critical race theory and environmental justice literature.
World-renowned cartoonist Seth returns with three new ghost stories for 2024.
After the death of his wife in childbirth, Captain Dalgety has grown distant from his estate and young daughter. But during his walk home one afternoon, a sudden thunderstorm causes a series of revelations, and the captain’s life takes an unexpected turn.