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In Ojibwe cosmology there are thirteen moons, and in these pages are thirteen offerings from Ghost Lake, an interrelated cast of characters and their brushes with the mysterious. Issa lives in fear of having her secret discovered, Aanzheyaawin haunts the roads seeking vengeance, Zaude searches for clues to her brother’s death, Fanon struggles against an unexpected winter storm, Eadie and Mushkeg share a magical night, Tyner faces brutal violence, and Tyler, Clay, and Dare must make amends to the spirits before it’s too late. Here the precolonial past is not so distant, and nothing is ever truly lost or destroyed because the land remembers. Ghost Lake is a companion volume to Adler’s Indigenous horror novel, Wrist (2016, Kegedonce Press). It was the winner of the 2021 Indigenous Voices Award in Published English Fiction, and was shortlisted for the 2021 Eric Hoffer da Vinci Eye Award in Book Design.
Within a ten-month period, Neil Peart lost both his 19-year-old daughter, Selena, and his wife, Jackie. Faced with overwhelming sadness and isolated from the world in his home on the lake, Peart was left without direction. This memoir tells of the sense of personal devastation that led him on a 55,000-mile journey by motorcycle across much of North America, down through Mexico to Belize, and back again.
Peart chronicles his personal odyssey and includes stories of reuniting with friends and family, grieving, and reminiscing. He recorded with dazzling artistry the enormous range of his travel adventures, from the mountains to the seas, from the deserts to the Arctic ice, and the memorable people who contributed to his healing.
Ghost Rider is a brilliantly written and ultimately triumphant narrative memoir from a gifted writer and the drummer and lyricist of the legendary rock band Rush.
A vibrant, meticulously researched celebration of the women and non-binary skateboarders who defied a hostile industry and redefined skateboarding around the world
The experiences of heroic older women have traditionally been dismissed or buried in the history books, and the skateboarding industry has mirrored this trend. The conversation has focused on the iconic male professionals, their contest results, trick inventions, and sponsors, while female skateboarders rarely get mentioned beyond a token paragraph, and stories of their contributions and barrier-breaking have almost never been told. Until now.
With enthusiasm and empathy, Girl Gangs, Zines, and Powerslides celebrates the relentless participation of women in skateboarding from the 1960s onward who defied a hostile industry to carve out their own space through underground networks. Skater librarian Natalie Porter presents interviews and meticulous research, including the DIY zines created by female and non-binary skaters to expose this unacknowledged story while offering a personal narrative about the importance of community-building and validation, with or without your own video game.
Girl Gangs, Zines, and Powerslides disrupts the image of skateboarding as an exclusive male domain, offering historical context for the seemingly rapid progress of female skaters today seen competing on the Olympic stage. Discover how the collective action of a grassroots movement in the 1980s established meaningful change, building a foundation that has led to greater inclusion and diversity, which has inspired women, girls, and non-binary youth worldwide to roll on a skateboard for the first time and, sometimes, return to this passion as an adult.
A linguistically inventive exaltation, a wild ride down into the privacies, the here-and-goneness of girlhood.
In Girlwood, Jennifer Still’s second collection, her poems come of age: they take the dare; they cross out of sapling and into maturity’s thicket. But the poems don’t leave the girl behind, they bring her along: as sylph, as raconteur, as witness, as pure, unstoppable bravado. These songs of liberation and confinement arise from the rich and mysterious connection between mother and daughter. Here, the mother figure is as vulnerable as the daughter, caged by domestic duty, by the fear that snakes through sexuality, the longing and the repulsion that accompany mortal desire. The daughter is at once compassionate and defiant. This is the paradox at the heart of this collection. “Mother, divine me,” Jennifer Still writes, and later, “Mother, spare me.” Between these two phrases, which are both plea and command, we experience all the tangled pathways between mother and daughter, the cries of devotion and the congested laments.
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With the traumatic events of Foxed behind him, Detective Lane has been promoted to the head of the Calgary Major Crimes Unit, a position that brings new responsibilities, as well as a new partner in the form of headstrong rookie Nigel Li.
Lane and Li’s first case, an investigation into the death of a migrant worker, points them in the direction of Douglas Jones, the leader of a radical religious compound in northern Alberta, who has been suspected of bombing oil and gas pipelines. With the Calgary Stampede just days away, and anti-Muslim tension mounting in town in the wake of the “honour killing” of a young girl, Lane and Li must foil a potential terror attack.
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Graham on Statutory Interpretation is a combined monograph and casebook on the topic of legislative interpretation.
Part I of the book, focusing on interpretive theory, proposes an organizing meta-theory of statutory interpretation which combines aspects of originalism, dynamism, purposivism, Driedger’s “modern approach,” critical legal studies, and other interpretive methods. The resulting “unified theory” of statutory interpretation ties prevailing interpretive theories to specific patterns of language frequently found in legislation and offers both theoretical and practical reasons for deploying each theory where the relevant patterns of language arise.
Part II of the book focuses on traditional interpretive tools — rules and maxims of statutory interpretation as well as specific canons that arise in the context of tax statutes and criminal law — fitting them into the meta-theory developed in Part I and demonstrating how each tool has been (and ought to be) used by courts in Canada and abroad.
Filled with real-world examples, analyses of controversial cases, student exercises and problems for discussion, the book is a highly useful casebook for courses in statutory interpretation as well as a valuable scholarly resource for anyone interested in interpretive theory.
Retired schoolteacher Flossy O’Reilly has spent almost all of her eight decades in the seaside community of Great Village, Nova Scotia. It is now a quiet Maritime village: where relationships between friends and family move at the pace of the tides; where there is no rush because, sooner or later, everyone finds out what they need to know with a trip to the general store.
When Ruth, the teenaged granddaughter of an old friend, arrives from Ontario for a three-week stay, time suddenly catches up with Great Village. As Flossy watches the sometimes tactless young woman grow into her own, she begins to question whether maintaining the calm surface of her life was worth keeping secrets from and about those closest to her — or if everyone could benefit from a little more candour.
With grace, patience, and wisdom, Mary Rose Donnelly paints a rich portrait of life in small-town Nova Scotia, and of relationships as charming as they are complex.
How does wonder induce change in us, as people and as readers? Paul Moorehead’s poetic voice arrives fully-formed—intriguing, inquiring, and innovating—to address this question.
Green: the colour of growth, the colour of change, the colour of go. Green charges into these themes with precise humour and an intense concentration on poetic craft. Ranging over a variety of subjects from nature and science to parenting and pop culture, these poems challenge the reader to consider the meaning of change in a poetic world that is deeply personal and wildly expansive. Green makes unique poetic use of scientific ideas, considering the consequences both lived and artistic, of existing in a world of wonders.
An exciting new collection of ekphrastic poems accompanied by a compilation of green sketches via the lens of a queer poet and visual artist. Zachari Logan carried a sketchbook as he travelled the world and responds to iconic artwork as well as art that once existed but is now lost, destroyed, or far away. Whimsical art and thoughtful poems that ponder the nature of existence.
“Gish’s prose is as sharp as a scalpel.” — Publishers Weekly, starred review“Grey Dog is a bewitching tale of the horrors of spinsterhood in the early 1900s, with madness and magic threaded through every sentence.” — Heather O’Neill, author of When We Lost Our Heads and Lullabies for Little CriminalsA subversive literary horror novel that disrupts the tropes of women’s historical fiction with delusions, wild beasts, and the uncontainable power of female rageThe year is 1901, and Ada Byrd — spinster, schoolmarm, amateur naturalist — accepts a teaching post in isolated Lowry Bridge, grateful for the chance to re-establish herself where no one knows her secrets. She develops friendships with her neighbors, explores the woods with her students, and begins to see a future in this tiny farming community. Her past — riddled with grief and shame — has never seemed so far away.But then, Ada begins to witness strange and grisly phenomena: a swarm of dying crickets, a self-mutilating rabbit, a malformed faun. She soon believes that something old and beastly — which she calls Grey Dog — is behind these visceral offerings, which both beckon and repel her. As her confusion deepens, her grip on what is real, what is delusion, and what is traumatic memory loosens, and Ada takes on the wildness of the woods, behaving erratically and pushing her newfound friends away. In the end, she is left with one question: What is the real horror? The Grey Dog, the uncontainable power of female rage, or Ada herself?
“No one should ever work at a gas station long enough to get good at it,” observes Brendan, the narrator of the debut novel from Sean Trinder.
Brendan is 20. He’s been pumping gas for three years, working the evening shift at the CountryGas station in Winnipeg. He’s gotten good at it. Which is sad. And Brendan knows that unless something happens fast, he’ll be stuck in this rut forever, inhaling gas fumes and quietly seething at the idiot customers endlessly parading past him. Will the writing course he’s signed up for at the local university–and the older woman he meets there–be enough to get Brendan’s life back on track?
In The Guy Who Pumps Your Gas Hates You, Sean Trinder combines the profane humour of Kevin Smith with the big-hearted charm of Nick Hornby, while creating a uniquely winning character whose hard-won journey away from the gas station and into adulthood is impossible not to root for.
The world of Dave Paddon’s recitations is quirky, riotously funny, and utterly unique; a place of tall tales and plain foolishness, where fog is so thick you can use it for cannonballs, and a polar bear hijacks a bingo tournament. Berry pickers turn combatants and the result is a bay full of jam; a local handyman turns doctor and uses the spare parts in his shed to patch up his neighbours.
Half the Lies You Tell Are Not True brings together thirteen recitations long-loved by Paddon’s many local fans. Great for older kids and grown-ups alike, this is a wonderful cross-over book. Paddon has been called Newfoundland and Labrador’s Robert Service, and for good reason. His recitations are non-stop fun, fully engaging the verve and tang of the province’s rich language. (The book has a glossary at the back for those from up-along.) These were written to be recited, and readers will surely find themselves reading aloud to family and friends.Duncan Major’s illustrations capture the energy and wit of the recitations. While this is Major’s first trade publication, he and Paddon have collaborated on several letterpress chapbooks featuring Paddon’s recitations and Major’s artwork; they are a perfect pairing.