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Since selections first appeared in the New Quarterly and the National Post as part of “The Afterword,” Steven Heighton’s memos and dispatches to himself — a writer’s pointed, cutting take on his own work and the work of writing — have been tweeted and retweeted, discussed and tacked to bulletin boards everywhere. Coalesced, completed, and collected here for the first time, a wholly new kind of book has emerged, one that’s as much about creative process as it is about created product, at once about living life and the writing life.
“I stick to a form that bluntly admits its own limitation and partiality and makes a virtue of both things,” Heighton writes in his foreword, “a form that lodges no claim to encyclopedic completeness, balance, or conclusive truth. At times, this form (I’m going to call it the memo) is a hybrid of the epigram and the précis, or of the aphorism and the abstract, the maxim and the debater’s initial be-it-resolved. At other times it’s a meditation in the Aurelian sense, a dispatch-to-self that aspires to address other selves — readers — as well.”
It’s in these very aspirations, reaching both back into and forward in time — and, ultimately, outside of the pages of the book itself — that Heighton offers perhaps the freshest, most provocative picture of what it means to create the literature of the modern world.
A rare glimpse not only into the life of a professional wrestler, but the life of a gay man in a straight world, this tragic memoir is told in Chris Kanyon’s own words, with the help of journalist Ryan Clark.One of the most popular wrestlers of the late 1990s, Kanyon kept his personal life private from his fans until finally revealing his biggest secret in 2004: he was gay. Going through the various roles that Kanyon played, both in the ring and out of it, as well as his battle with manic depression, this book explores the factors that led to his suicide in 2010.In his voice and the way he wanted it told, these are Kanyon’s last words about his experience rising through the ranks to the top of the professional wrestling world while keeping his sexuality hidden.
J. Robert Oppenheimer: reluctant father of the atomic bomb, enthusiastic lover of books, devoted husband and philanderer. Engaging with the books he voraciously read, and especially the Bhagavad Gita, his moral compass, this lyrical novel takes us through his story, from his tumultuous youth to his marriage with a radical communist and the two secret, consuming affairs he carried on, all the while bringing us deep inside the mind of the man behind the Manhattan Project. With the stunning backdrop of Los Alamos, New Mexico, Oppenheimer’s spiritual home, and using progressively shorter chapters that shape into an inward spiral, Y brings us deep inside the passions and moral qualms of this man with pacifist, communist leanings as he created and tested the world’s first weapon of mass destruction? and, in the process, changed the world we live in immeasurably.
Garin was two years old when his mother disappeared from a rundown East Vancouver neighbourhood. Now that the Robert Pickton trials are gaining national attention, Garin wonders if his mother, a First Nations woman, could be one of the unidentified victims. His ailing father isn’t forthcoming with answers, and Garin’s suspicions are at an all-time high. In the midst of all this, his roommate Yuko has taken in Kate, a young pregnant hitchhiker who unintentionally wreaks havoc on their friendship. But when Garin’s father is hospitalized, nothing else matters but finally determining the truth about his mother. In this deftly written play, the characters grapple with the harsh Yukon winter within a world of racism, addiction, and loneliness.