Search results for ""Goose Lane Editions""

Set in the colourful, intense, competitive Montreal of the 1980s, Harrison's novel explores the efforts of two couples to reach beyond the boundaries of self. Their tangled relationships hang in precarious balance, with the individuals drifting towards confrontation and an awkward, though dramatic, reckoning. After Six Days is written in taut, contemporary prose, its short, explosive scenes alive with the authentic feeling of urban life now.

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The first full-length collection from well-known Nova Scotian poet Leigh Faulkner.

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Inspired in part by classical literature and Scripture, Elizabeth Harper's poems are literate, charged, and demanding in their emotional and intellectual range. Octaves of Narcissus is her first collection of poetry since Games Like Passacaglia.

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A collection of 17 Horatian odes, the beautifully crafted and eloquent chapbook Seventeen Odes testifies to Patrick White's development as a poet.

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Finalist, Dartmouth Book Award for Non-Fiction, and Taste Canada Awards (Culinary Narratives)Nominated for 3 Gourmand AwardsAn Atlantic BestsellerA Hill Times Top 100 SelectionFebruary 2016. Antigonish, Nova Scotia.Tareq Hadhad was worried about his father: Isam did not know what to do with his life. Before the war began in Syria, Isam had run a chocolate company for over twenty years. But that life was gone now. The factory was destroyed, and he and his family had spent three years in limbo as refugees before coming to Canada. So, in an unfamiliar kitchen in a small town, Isam began to make chocolate again.This remarkable book tells the extraordinary story of the Hadhad family — Isam, his wife Shahnaz, and their sons and daughters — and the founding of the chocolatier, Peace by Chocolate. From the devastation of the Syrian civil war, through their life as refugees in Lebanon, to their arrival in a small town in Atlantic Canada, Peace by Chocolate is the story of one family. It is also the story of the people of Antigonish, Nova Scotia, and so many towns across Canada, who welcomed strangers and helped them face the challenges of settling in an unfamiliar land.

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A CBC New Brunswick Book List Selection"I start with an original object, break it, and transform parts of the piece into other materials. These pieces gather meaning and explanation as I work with them."Peter Powning is simultaneously referred to as a sculptor and a ceramist, but his art does not fit easy categorization, incorporating and combining elements from one medium into another. His work challenges the viewer to reconsider the object, its form, and its function. This inventiveness has resulted in numerous exhibitions, awards, and commissions for public art sculptures throughout Canada.Featuring 175 full-colour images of Powning’s work along with essays by curators and critics, Peter Powning celebrates the career of one of Canada’s finest visual artists and accompanies a major retrospective exhibition organized by the Beaverbrook Art Gallery.

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Two generations of Inuit artists challenging the parameters of tradition.Kenojuak Ashevak shot to fame in 1970 when Canada Post printed The Enchanted Owl, a print of a black-and-red plumed nocturnal bird, on a postage stamp. She later became known as the magic-marker-wielding "grandmother of Inuit art," famous for her fluid graphic storytelling and her stunning depictions of wildlife. She was a defining figure in Inuit art and one of the first Indigenous artists to be embraced as a contemporary Canadian artist.Ashevak's legacy inspired her nephew, Timootee (Tim) Pitsiulak, to take up drawing at the Kinngait Studios. In his relatively short career, he became a popular figure, known for drawing animal figures with a hunter's precision and capturing the technological presence of the South in Nunavut.Tunirrusiangit, "their gifts" or "what they gave" in Inuktitut, celebrates the achievements of two remarkable artists who challenged the parameters of tradition while consistently articulating a compelling vision of the Inuit world view. Published to coincide with a major exhibition at the Art Gallery of Ontario, opening on 16 June and continuing until late August, Tunirrusiangit features more than 60 reproductions of paintings, drawings, and documentary photographs. Completing the book are essays by contemporary artists and curators Jocelyn Piirainen, Anna Hudson, Georgiana Uhlyarik, Koomuatuk Curley, Laakkuluk Williamson Bathory, and Taqralik Partridge that address both the past and future of Inuit identity.

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Safe and Sound has two purposes: to help people avoid getting lost in the woods in the first place and to enable those who are lost to emerge unscathed. The book tells what to take in a ready pack and why, how to read a map and compass, how hunters can separate yet keep in touch, and how not to be disabled by a change in the weather or a minor accident. It also tells how to remain safe and sound until help arrives.

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Saint John became a gateway to what is now Canada in the early 1600s, and Fort La Tour, built in 1632, was one of the three main forts of Acadie. In Saint John Fortifications, Roger Sarty and Doug Knight trace the history of the port's defences, from the earliest log palisades to the bunkers, gun emplacements, and communications stations built during World War II. Put to the test during the American Revolutionary War, Saint John has figured as one of Canada's most significant guardians. American independence effectively closed the shipping route between the mouth of the Richelieu River, on the St. Lawrence, and the mouth of the Hudson River, at New York City. Saint John took over some of this traffic, and so the 19th century wars and threatened wars between Canada and the United States resulted in bigger and better fortifications for the city. Each new defence system has incorporated the old, including the installations built as protection from German invasion during the two World Wars. Although the last of the modern installations on Partridge Island was disabled in 1956, many sites still contain substantial reminders of their past strength. Visitors today can trace the evidence of this great commercial port's military past. Saint John Fortifications, 1630-1956 is the first book in the New Brunswick Military Heritage Series published by Goose Lane Editions in collaboration with the New Brunswick Military Heritage Project.

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Few Canadians realize how close the colony of Nova Scotia came to joining the American Revolutionary War in 1775. Many Nova Scotians were immigrants from New England, including the Planters who, some twenty years earlier, had taken over the farms of the expelled Acadians. Between family ties and unrestrained privateering, there was much sympathy in Nova Scotia for the American Patriots. In Hope Restored, Robert Dallison tells the story of how the British raised two regiments and sent their members to the area that, as a result, became New Brunswick, thus overcoming the groundswell and fending off Patriot attacks. These soldiers had two jobs: to fight the Americans, and to settle the land as a bulwark against invasion. Spem reduxit (hope restored) became their motto and the motto of the province they founded. As well as telling the story of the Loyalist regiments, Hope Restored describes many Loyalist and Revolutionary War sites, some of which can be visited today. Among them are the Loyalist Encampment and Cemetery in Fredericton, Saint John's Fort Howe, and the MacDonald Farm Provincial Historic Park in Northumberland County.Hope Restored is the second book in the New Brunswick Military Heritage Series published by Goose Lane Editions in collaboration with the New Brunswick Military Heritage Project. Written by historians and military personnel, the books in this series will explore subjects ranging from New Brunswick's pivotal role in the American Revolution to one veteran's account of caring for World War I cavalry horses. All of the volumes will be fully illustrated with modern and archival maps, photos, and works of art and are available at all bookstores in New Brunswick.

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Conversations, a collection of poetry that won the 1999 Governor General's Award (French Language), is a sequence of 999 numbered fragments that record the essence of verbal interactions between two people. Over a period of a year, Herménégilde Chiasson captured snatches of conversations overheard, conversations he had with other people, even reported conversations. Then he distilled what was said and his observations into a series of single sentences, each attributed to a strangely impersonal He or She. Chiasson has likened his concept to the visual experience of driving: a succession of flashes zooming by, the connections only intuited. The blank spot for entry number 1000 underlines a Zen-like philosophy that suggests that nothing is ever fully completed. In subject matter and technique, Conversations fuses tradition and modernity. Chiasson continues his exploration of the often uncomfortable zone where the mechanical or artificial meets human emotion and spirit. The format participates in the strong and lively Acadian oral tradition, yet the sentences themselves are polished literary jewels, almost epigrammatic in their compactness. Conversations is at the same time as public as a news broadcast and as private as a lover's unspoken thoughts. With ten personal collections of poetry, Herménégilde Chiasson's body of work is among the most prolific in Acadian poetry. Mourir À Scoudouc was published in 1974 to critical acclaim in Acadie and Quebec. In 1976, he made a radical departure in style with his collection of anti-poetry Rapport sur l'état de mes illusions. Busy with filmmaking, the visual arts, and playwrighting, it was a decade before Chiasson published Prophéties in 1986. The 1990s were a prolific time for Chiasson's poetry. His 1991 collections Vous and Existences, broke new ground in the field of experimental poetry and Vous was nominated for a Governor General's Award. Vermeer and Miniatures continued Chiasson's quest to blend the visual with the oral in a unique poetic style. In 1996, Chiasson produced Climats. It was hailed as one of modern Acadie's strongest poetic works and was the first of his books to be translated into English. Climates brought Chiasson his second Governor General's Award nomination. In 1999, Chiasson won the Governor General's Award for his landmark poetic work Conversations, now available in English from Goose Lane Editions.

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Tom Thomson is the undisputed master of the oil sketch. A towering figure in the history of Canadian art after just five years of professional practise, he stunned audiences with his fresh and avant-garde experimentation, evoking his experience of the Ontario landscape in dozens of dazzling miniature masterworks. Thomson’s death in 1917 triggered the formation of the Group of Seven and the ascendancy of landscape painting as a national preoccupation. Tom Thomson: North Star is the first book to focus on Thomson’s small-scale sketches and brings together a variety of voices to interpret his legacy with fresh eyes. Among them are the McMichael’s Executive Director Ian A.C. Dejardin, historian Douglas Hunter, and Algonquin knowledge-keeper and cultural activist Christine McRae Luckasavitch, as well as a number of contemporary Canadian artists from all parts of Canada. The essays in combination with more than 150 reproductions of Thomson’s painted sketches cast new light on the enduring influence of one of Canada’s most iconic artists.

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Tom Wilson Tehoháhake is a modern Mohawk artist, Juno Award winner, best-selling author, and newly appointed member of the Order of Canada. In his 2017 memoir, Beautiful Scars, Wilson revealed the astonishing story of how he discovered he is Mohawk. In Mohawk Warriors, Hunters & Chiefs, Wilson further explores his identity through a stunning collection of paintings that explore what it means to be removed and reconnected with your cultural heritage. Featuring over 35 full-colour images of Wilson’s work, from guitars decorated with iconography drawn from beadwork to multimedia reflections on his upbringing in Hamilton, Mohawk Warriors, Hunters & Chiefs explores how Wilson began painting when all he knew of his identity were hints and dreams, and how his art has developed and grown over the past few years. An interview on his artistic process with Ryan McMahon and essays by Wilson and curator David Liss round out Wilson’s stunning visual exploration of his Mohawk identity.

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AGO Modern and Contemporary presents over one hundred remarkable works from the AGO’s permanent collection. Featuring recent landmark acquisitions such as Yayoi Kusama’s INFINITY MIRRORED ROOM – LET’S SURVIVE FOREVER and commissions such as Zak Ové’s eighteen-foot-tall Moko Jumbie, this remarkable volume provides a fresh look at the AGO’s collection and its commitment to highlighting ground-breaking artwork by women, Indigenous, and racialized artists. Included are recent commissions as well as acquisitions by painters, sculptors, and installation artists such as Shuvinai Ashoona, Rebecca Belmore, Emily Carr, and Theaster Gates. This handsome, large-format volume demonstrates the diversity of artistic cultural representation in the AGO’s Modern and Contemporary collections, including works from both Indigenous + Canadian Art as well as the Arts of Global Africa & The Diaspora collecting areas. With a foreword by Michael and Sonja Koerner Director, and CEO Stephen Jost and with works presented in a loose chronological order, AGO Modern and Contemporary demonstrates the transformation of the AGO’s collection and encourages consideration of future artistic representation both in Toronto and Canada at large.

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Laurie Swim is an artist of extraordinary range and vision. For more than forty years, she has been among the most capable and passionate practitioners of textile art. In her chosen art form, Swim captures the essence of the seacoast. For the ocean, she works with silk, pulling stitches until they pucker to create gentle ripples. For vegetation and seaweed, she combines quilting, embroidery, painting, dyeing, and other seemingly opposing techniques. As award-winning writer Carol Bruneau suggests in No Ordinary Magic, it’s not only Swim’s unconventional use of materials that is distinctive, it’s her gift for narrative that makes her art both resonant and endlessly intriguing. In this retrospective volume, Bruneau explores Swim’s history, her defiance of convention, and her reinvention of quilts as paintings-made-of-fabric. The result is a profound exploration of Swim’s sometimes monumental yet astonishingly intimate work.

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“A remarkable and magical place enriched and enlivened by Kevin’s tenderness, sensitivity, and skill.” — Deborah Carr, author of Sanctuary: The Story of Naturalist Mary Majka. Every year, thousands of visitors from around the world descend the staircase at Hopewell Rocks to walk on the ocean floor. Many of those visitors have been greeted by author and photographer Kevin Snair, who spent years working as an Interpretive Guide for the Hopewell Rocks Park. Bay of Fundy’s Hopewell Rocks combines Snair’s luminous descriptions of tidal action and geology with his stunning photography to capture the breathtaking experience of New Brunswick’s famous natural wonder. Now revised and updated from the original 2016 edition and full of intriguing tidbits on the human and natural history of the Rocks, Bay of Fundy’s Hopewell Rocks offers an intimate, behind-the-scenes tour of this striking and fascinating place.

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The art of Gerard Collins resists categorisation. Over a 50-year career, Collins’s conceptual imagination and dizzying array of influences has produced a body of work as eclectic as it is stimulating. His oeuvre, ranging from still lifes to landscapes, from realism to neo-conceptualism, remains undeniably embedded in Saint John, while partaking in — and pushing against — national and international conversations about art and theory. Featuring over 75 reproductions of Collins’s work, including examples from his famous Women in Hats, 100 Portraits, and Harlequin series, Gerard Collins: Fifty Years of Painting is the first book to encompass Collins’s entire career, from his early training at St. Martin’s School of Art and under the “NSCAD school,” to his return to Saint John and pandemic-era experiments with online pop-up galleries. Robert Barriault, a contemporary of Collins at NSCAD, develops a fresh critical methodology to analyze Collins’s enigmatic vocabulary, drawing connections and identifying distinctive features of Collins’s massive body of work.

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Arctic/Amazon: Networks of Global Indigeneity offers a conversation between Indigenous Peoples of two regions in this time of political and environmental upheaval. Both regions are environmentally sensitive areas that have become hot spots in the debates circling around climate change and have long been contact zones between Indigenous Peoples and outsiders — zones of meeting and clashing, of contradictions and entanglement. Opening with an Epistolary Exchange between the editors, Arctic/Amazon then widens to include essays by 12 Indigenous artists, curators, and knowledge-keepers about the integration of spirituality, ancestral respect, traditional knowledges, and political critique in artistic practice and more than 100 image reproductions and installation shots. The result is an extraordinary conversation about life, artistic practise, and geopolitical realities faced by Indigenous peoples in regions at risk.

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The “insistence” in this poetry is how the language calls out the adjacency to its own presence. Each careful syllable feels right next to what surrounds it. A drum hitting out its own “unbridled association.” — Fred Wah"This is where history began again/where some were told it insisted/itself into a lifelike violence.” Eclectic, darkly fascinating, and at times apocalyptic, Only Insistence is a protean book where lines and phrases echo back on each other, where images of the natural world are bookended by investigations that delve deep into memory. In this ethereal world, the poet interrogates his relationship with his father, realigns his idea of family after the birth of his son, and bears witness to the isolation, paranoia, and surrealism of the onset of the beginning of the pandemic. Here pandemic-era streets are “beaches in early April/Bright and bleached and barren” and a lake is “a rage of waves eroding rocks to a pebble beach,/each small stone confident in immanent restoration.” At times languid, at others cunningly sculpted into towering metaphors, Lindsay’s rich metaverse experiments illuminate a world that rewards close attention with infinite possibilities.

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“I used to think this was a book about a disguise,but now I know that it’s a book about translation.”According to Cormier family lore, Pierrot Cormier escaped a British prison the night before the Acadian Deportation by disguising himself in a dress. In the invigorating, transliterative Entre Rive and Shore, Dominique Bernier-Cormier uses his ancestor’s escape to ponder what it means to live between two languages. Writing in a blend of English and French that evokes Chiac, “a living thing, growing gills, a voice from the future, prophetic and clear,” Bernier-Cormier probes the mutability of language and of translation. A heady mix of English renderings of a single French poem, a Franco-fusion mélange of reflections on Acadian history and identity, and meditations on the evolution of language and the rapper Young Thug, Entre Rive and Shore exhibits “an eloquence we aren’t attuned to.” The result is protean, an exhilarating collection that reassesses what it means to live between two identities, two worlds, two languages.

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In May 2016, Jon S. Dellandrea came into possession of a box of the last effects of an obscure artist, William Firth MacGregor. The contents of the box chronicled a major, and long forgotten, trial involving forgeries of the art of Tom Thomson and the Group of Seven.The Great Canadian Art Fraud Case takes readers back to 1962, a time when forgeries were turning up on gallery walls, in auction houses, and (unwittingly) being hung in the homes of luminaries across Canada. Inspector James Erskine, enlisting the help of A.J. Casson, the youngest living member of the Group of Seven, set out to discover where the forgeries were coming from. Fifty years later, Dellandrea follows Erskine’s hunt to the end, uncovering the masterminds behind the forgeries.Lavishly illustrated with reproductions and archival images, The Great Canadian Art Fraud Case unravels the mystery of the greatest art fraud trial in Canadian history. Along the way, it also tells the story of a talented artist whose career might have been so very different.

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Conceived as an archive of wisdom written by a disabled man for his children, You May Not Take the Sad and Angry Consolations gives voice to the experience of living in an ableist society: "Why does it hurt when emotion spills out of a body? How does emotion spell ‘body’? What does it mean to be good? Why is the surplus of beauty everywhere? What is the password?" Weaving together reflections on fatherhood, Walt Whitman’s place in American history, art, and the lingering effects of past trauma, these ringing and raw poems theorize on the concept of shame, its intended purpose, and its effects for and on disabled body-minds.

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Shortlisted, Margaret Laurence Award for Fiction1971. Lilac Welsh lives an isolated life with her parents at Rough Rock on the Winnipeg River. Her father, Kal, stern and controlling, has built his wealth by designing powerful guns and ammunition. He’s on the cusp of producing a .50 calibre assault rifle that can shoot down an airplane with a single bullet, when a young stranger named Gavin appears at their door, wanting to meet him before enlisting for the war in Vietnam. Gavin’s arrival sparks an emotional explosion in Lilac’s home and inspires her to begin her own life as a journalist, reporting on the war that’s making her family rich.The Gunsmith’s Daughter is both a coming-of-age story and an allegorical novel about Canada-US relations. Psychologically and politically astute, and gorgeously written, Margaret Sweatman’s portrait of a brilliant gunsmith and his eighteen-year-old daughter tells an engrossing story of ruthless ambition, and one young woman’s journey toward independence.

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“My parents were slaves in New York State. My master’s sons-in-law … came into the garden where my sister and I were playing among the currant bushes, tied their handkerchiefs over our mouths, carried us to a vessel, put us in the hold, and sailed up the river. I know not how far nor how long — it was dark there all the time.”Sophia Burthen’s account of her arrival as an enslaved person into what is now Canada sometime in the late 18th century, was recorded by Benjamin Drew in 1855. In It Was Dark There All the Time, writer and curator Andrew Hunter builds on the testimony of Drew’s interview to piece together Burthen’s life, while reckoning with the legacy of whiteness and colonialism in the recording of her story. In so doing, Hunter demonstrates the role that the slave trade played in pre-Confederation Canada and its continuing impact on contemporary Canadian society.Evocatively written with sharp, incisive observations and illustrated with archival images and contemporary works of art, It Was Dark There All the Time offers a necessary correction to the prevailing perception of Canada as a place unsullied by slavery and its legacy.

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A CBC New Brunswick Book List Selection"The same stage, but different actors," explains Wilson. "There is something interesting to me about separating people from their environment, about keeping the focus on the individual."James Wilson’s studio portraits capture subjects from all walks of life. They document soldiers and street people, builders and bakers, artists and labourers. There is an intimate intensity in his photographs, which together form a timeless collage of life and faces from the early twenty-first century.Wilson’s portraits are also the product of a purposeful gaze, distinctive observations in black-and-white. All window-lit, all photographed in his studio, all with the same black background, these photographic portraits open a door into the worlds and at times the unguarded emotions of the individual subjects.James Wilson: Social Studies accompanies an exhibition that will open at the Beaverbrook Art Gallery in Fredericton, NB, in June 2020.

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Government House Halifax is the home of the Sovereign’s representative in the Province of Nova Scotia and the ceremonial home of all Nova Scotians. It has also served as a home away from home for members of the Royal Family over its two-century history.Government House Halifax: A Place of History and Gathering tells the story of this historic building. Beginning with its construction in 1800 and continuing through its extensive renovations in 2009, this sumptuous book tells the story of the building’s royal residents, the household staff, and the momentous — and occasionally amusing — events which have transpired within its walls. Christopher McCreery expertly guides readers through the building, including the state rooms and its hidden secrets, and introduces readers to important works of art held at Government House as part of the Crown Collection. McCreery’s text is amply illustrated by an extraordinary collection of images, including historic drawings and paintings along with modern photographs.

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Winner, Canadian Museums Association’s Outstanding Achievement in Research Award and IPPY Awards Silver Medal (Fine Art)A Toronto Star Holiday Gift Guide SelectionA Like Vision is a lavish celebration of the legacy of Tom Thomson and the Group of Seven, Canada’s canonical landscape painters. The Group’s depiction of the rugged beauty of the Canadian landscape — from the coastal mountains of British Columbia to the north shore of Lake Superior, the villages of rural Quebec, and the rocky, windswept coves of Newfoundland — charged Canadians to experience their country in a bold new light and changed the face of Canadian art forever. Through their vigorous and expressive painterly style and vibrant colours, the Group of Seven significantly contributed to Canada’s sense of autonomy and identity as a modern state in the aftermath of the First World War.Featuring three hundred full-colour images, A Like Vision includes a lead essay by Ian A.C. Dejardin, Executive Director of the McMichael Canadian Art Collection, and contributions by a host of artists, curators, and writers. Among them are Indigenous art historian and curator Gerald McMaster, filmmaker Jennifer Baichwal, novelists David Macfarlane and Jane Urquhart, painters John Hartman and Robert Houle, and Inuk writer Tarralik Duffy.One hundred years on from the Group’s first exhibition in 1920, A Like Vision is both a chance to review the Group’s legacy and a tribute to these giants of Canadian art and culture.

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Walter Ostrom has been described as an "innovative traditionalist," a disruptive force shaking up ceramic conventions while simultaneously enriching them. Hired to teach studio and Asian art history at Nova Scotia College of Art and Design in 1969, Ostrom was one of many American artists who moved north to Canada in the fallout from the Vietnam War.Ostrom’s work, from his embrace of conceptual art in the 1970s to his current exploration of the vast history, hybridization, and social foundation of ceramics, marks him as a major force in the development of contemporary ceramics. As Ray Cronin writes, Ostrom’s works "declare themselves to be art and craft at once, tradition and innovation merged, beauty and function reconciled, thought and action combined. What more could one ask from any work of art?"Accompanying a major retrospective exhibition at the Art Gallery of Nova Scotia opening in May 2020, Good Earth features essays by leading scholars and curators along with full-colour reproductions of over fifty examples of Ostrom’s works.

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An Atlantic Bestseller"A nature lover’s delight." — Chronicle HeraldNo one has done more to bring New Brunswick’s waterfalls to popular attention than Nicholas Guitard. He has sought out and documented hundreds of waterfalls, first on his website and then in a bestselling trail guide.Now ten years after the publication of the first edition, Guitard has a newly updated guide. From well-known favourites like Hays Falls and the "Grand Canyon of New Brunswick" at Walton Glen Gorge to previously unpublished waterfalls like Cigar Falls in Dalhousie, the second edition of Waterfalls of New Brunswick features 60 new waterfalls — all with full-colour maps and Guitard’s sumptuous photographs. You’ll want to get out and explore!

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"So what if I left language by the pier. Metaphor’s a raft," declares Andrew DuBois as he leads readers through a fractured past and present — from "slummy memories of streets" to a "a charnelhouse (?) of possible clowns" — defamiliarizing, critiquing, and satirizing a wide range of conversational forms in the style of Wallace Stevens and Michael Palmer. Yet, as "lives at time degenerate into victory competitions," and the poet alternates between searching for an escape from the mundane and accepting that "merely being there together is a dull catastrophe," we recognize that a formally wry, almost flippant, voice has become caught in language’s web. The surfaces of the poems begin to feel like thin ice, a brittle coating over which we skate for as long as it lasts. Danger lurks here: the poet must play the puppet, not the puppeteer and we must surrender, body and soul, into language as element.

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A national bestseller, now updated, expanded, and revised to tell an even bigger story.On July 6, 2011, Richard Oland, scion of the Moosehead brewing family, was bludgeoned to death in his Saint John office. In a shocking turn, the multimillionaire’s only son, Dennis, was arrested for second-degree murder. Found guilty by a jury in 2015, Dennis Oland successfully appealed his conviction and was retried three years later.In this new revised and expanded edition, MacKinnon takes readers inside every stage of one of Canada’s most gripping murder trials. She addresses the issues with the original police investigation, Oland’s appeal and his subsequent appearance at the Supreme Court of Canada, new evidence and witnesses brought forward at the retrial, and the sensational final verdict.A reporter for the CBC, Bobbi-Jean MacKinnon covered the Oland case from the very beginning to the judge ’s final verdict. In this definitive account of a series of trials for a horrific crime, she lays bare the tribulations of a prominent family and the inner workings of the justice system that led to Dennis Oland’s contentious conviction, retrial, and acquittal.

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Winner, George Borden Writing for Change AwardOne of Indigo's Best Books of 2021 So FarRehtaeh Parsons was a gifted teenager with boundless curiosity and a love for family, science, and the natural world. But her life was derailed when she went to a friend’s house for a sleepover and the two of them dropped by at a neighbour’s house, where a group of boys were having a party.The next day, one of the boys circulated a photo on social media: it showed Rehtaeh half naked, with a boy up against her. She had no recollection of what had happened. For 17 months, Rehtaeh was shamed from one school to the next. Bullied by her peers, she was scorned by their parents and her community. No charges were laid by the RCMP.In comfortable, suburban Nova Scotia, Rehtaeh spiralled into depression. Failed by her school, the police, and the mental health system, Rehtaeh attempted suicide on April 4, 2013. She died three days later.But her story didn’t die with her. Rehtaeh’s death shone a searing light on attitudes toward issues of consent and sexual assault. It also led to legislation on cyberbullying, a review of mental health services for teens, and an overhaul of how Canadian schools deal with cyber exploitation.My Daughter Rehtaeh Parsons offers an unsparing look at Rehtaeh’s story, the social forces that enable and perpetuate violence and misogyny among teenagers, and parental love in the midst of horrendous loss.

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The richness of memory is a curse and a gift.Twisting and turning against the soul-sicknesses of late-capitalism, Chris Hutchinson's new collection of poems scrolls through myriad moods and aesthetic guises, by turns hallucinatory, despondent, and serene. Authenticity and artifice collide and collude. Political and personal boundaries blur as do the categorical divisions between content and form. Imagine an architecture of breezeways, a freeway of exit ramps, a literature of repurposed literary conventions, the past "re-presented" in endless waves of arrival.Here we find a nostalgia for modernist disjuncture, there a yearning for symbolist depth, and everywhere a fondness for surfaces which, ironically, coax the reader to peel back the stylish veneer.Haunted by a weird range of historical personages, while travelling from Houston to the moon and several places in between, the lyric "I" bears witness to its own endless destruction and reconstitution.At once escapist and socially engaged, Hutchinson's poems enact the ephemeral and fluid nature of our linguistic experiences, tracing those ecstatically tortuous processes by which we might sometimes find, even in the midst of loss, the value of our lives beyond the spheres of war, toxic rhetoric, and neo-liberal commerce.

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Shortlisted, Wilfrid Eggleston Award for NonfictionOn a whim, armchair-atheist Richard Kelly Kemick joins the 100-plus cast of The Canadian Badlands Passion Play, North America's largest production of its kind and one of the main tourist attractions in Alberta. By the time closing night is over, Kemick has a story to tell. From the controversial choice of casting to the bizarre life in rehearsal, this glorious behind-the-scenes look at one of Canada's strangest theatrical spectacles also confronts the role of religion in contemporary life and the void left by its absence for non-believers.In the tradition of tragic luminaries such as David Foster Wallace, Jonathan Goldstein, and David Sedaris, I Am Herod gives its congregation of readers unparalleled access to the players of the Passion: there's Judas, who wears a leather jacket even when it's 30°C; the Chief Sadducee, who is ostracized for his fanaticism; Pilate, the only actor who swears; the Holy Spirit, who is breaking ground as the role's first female actor; and the understudy Christ, the previous year's real-deal Christ who was demoted to backup and now performs illicit one-man shows backstage.

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Winner, Democracy 250 Atlantic Book Award for Historical WritingWhat happened in Canadian Internment Camp B?From 1940 to 1945, Internment Camp B at Ripples, some 35 kilometres east of Fredericton, played a considerable role in the Second World War. Chosen for its remote rural New Brunswick location, Camp B interned hundreds who were deemed by the Canadian government to be enemy sympathizers.In the first year of its operation, the camp incarcerated German and Austrian Jewish refugees dispatched from Britain. In May 1940, fearful that the refugees were agents of the Nazis they'd fled, the British government sent thousands of men to Canada to be interned as "dangerous enemy sympathizers." After the refugees were finally released in 1941, Camp B held Canadian citizens who were suspected of opposing the war effort -- including the prominent opponent of conscription and Mayor of Montreal Camillien Houde, Canadians of German and Italian descent, and homegrown fascists such as Adrien Arcand -- as well as captured German and Italian merchant mariners.In this comprehensive illustrated account of Camp B, Andrew Theobald examines the daily lives and tribulations of those imprisoned behind the barbed wire. "Dangerous Enemy Sympathizers" also scrutinizes the troubling context that led to the internment of both refugees and Canadian citizens, the debates over the ethics of internment inside and outside the camp, and the role of the camps in shaping government policy towards immigration and the post-war powers of the Canadian state."Dangerous Enemy Sympathizers" is volume 26 of the New Brunswick Military Heritage Series.

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Two wartime artists, one bustling harbour, and a city ravaged by the Halifax Explosion. Two perspectives on Halifax one year after the Explosion.A year after the city was devastated by the Halifax Explosion Harold Gilman (British, 1876–1919) and Arthur Lismer (Canadian, 1885–1969) were working in Halifax as war artists. Both commissioned by the Canadian War Memorials Fund to record the war activity on the home front, the two men struck up a friendship and worked side-by-side on occasion.Gilman seemed to wipe clean the desolation of the Explosion, ignoring the site of a human-made catastrophe in favour of a glowing landscape. In contrast, Lismer, a member of the Group of Seven, recorded the port’s activity up close, producing a series of drawings and paintings of camouflaged battleships embedded in the Maritime landscape.With more than 30 reproductions and essays by Anabelle Kienle Ponka, Lily Foster, and Sarah Fillmore, Halifax Harbour 1918 traces the artists’ meticulous approach to their mission and their role during a critical moment in the history of Canadian landscape painting.Deux artistes en temps de guerre, un port animé et une ville ravagée par l'explosion d'Halifax. Deux perspectives d’Halifax un an après l'explosion.En juin 1918, l’artiste Arthur Lismer (1885–1969) accepte une commande du Fonds de souvenirs de guerre canadiens (le Fonds) et se rend à Halifax pour documenter l’effort de guerre sur le front canadien et représenter le port de cette ville à la suite de l’explosion d’origine humaine la plus meurtrière à survenir avant l’apparition des armes nucléaires.De son côté Harold Gilman (1876–1919), grande figure du groupe londonien Camden Town Group et seul artiste de guerre britannique envoyé au Canada, est chargé par le Fonds de peindre un grand tableau du port de Halifax pendant la guerre.Avec plus de 30 reproductions et essais d’Anabelle Kienle Ponka, Lily Foster, et Sarah Fillmore, le port d’Halifax 1918 retracent l'approche méticuleuse des artistes à leur mission, les défis de travailler au lendemain de la tragédie et leur rôle au cours d'une moment dans l'histoire de la peinture de paysage canadienne.

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Winner, H.R. (Bill) Percy Novel PrizeFinalist, Amazon.ca First Novel AwardFinalist, Jim Connors Dartmouth Book AwardFinalist, Ottawa Book AwardIn the backwoods of Nova Scotia, a man has decided to withdraw from the world and live off the land. Meanwhile, news reports begin to trickle in of a global catastrophe. Someone has released a genetically modified strain of bacteria that devours plastic. The world will never again be the same.In this masterfully atmospheric novel, both apocalyptic in scope and intimate in setting, Scott Fotheringham cracks opens Pandora’s box to let loose a trail of chilling consequences.

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The world in bold; Newfoundland in abstract."It is the landscape that endures, it is the landscape that remains in control." — Ned PrattWith Ned Pratt, there is no nostalgia, no romance, no theatre. His interest in the Newfoundland landscape forms the foundation for his photography.Pratt's approach to the act of looking transcends place. He distills the landscape into abstractions of form and colour. Disrupting depth with close architectural details and incisions of poles and wires, he undermines the traditional, romantic notion of “looking out” to sublime geometry.Ned Pratt: One Wave charts a decade of Pratt's breathtaking photography. Echoing Pratt's aesthetic, this beautifully designed book presents Pratt's works in formal conversation with each other. Stark imagery of buildings is juxtaposed with forays into abstraction and celebrations of the inherent geometry of natural forms — whether a single wave crashing over a wall or stones cracked by freezing and thawing.

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The story of the incident that forged Canada's reputation as a broker of peace and a player with outsized influence in world affairs. In a world on the edge of crisis, a nation forged its identity.Shortlisted for the John W. Dafoe Book Prize“Anderson delivers a brisk, gripping yarn making excellent use of his research, including multiple interviews with surviving actors in the drama. Pearson ... is front and centre throughout. That Anderson captures him so well is a tribute to his métier as a storyteller.”— Literary Review of CanadaLester Pearson, Canada's foreign minister (and future prime minister) stands before the United Nations General Assembly. His speech, shaped by caution and hope, is a last-ditch attempt to prevent a conflict in Egypt from igniting a conflagration throughout the Middle East. He is about to carve out a razor's edge of common ground to bring together angry allies and bitter enemies by suggesting the creation of the first UN peacekeeping force.Pearson's diplomacy throughout the Suez Crisis launched a bold experiment in international security and cemented Canada's reputation as "a moderate, mediatory, middle power." In this timely biography, available now in a trade paper edition, Antony Anderson has created not only a compelling portrait of a future prime minister, but also a nuanced analysis of the political maze navigated by Pearson to avert a bloody war.

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An explosive book that exposes the truth about breast cancer screening.For decades, women have been told that mammograms save lives. Yet many scientists say that this is in fact not true. Conspiracy of Hope reveals how breast cancer screening was introduced in the US before there was any good evidence it made any difference, and an unfounded belief in early detection caught on quickly in Canada and other developed countries. Today the evidence is starkly clear. Screening does more harm than good. Still women, and their doctors, continue to buy into a myth perpetuated by greed, fear, and wishful thinking.Conspiracy of Hope illustrates how a vortex of interests came together to make breast screening standard medical practice and why it's so hard to persuade them they are wrong. The radiologists, the imaging machinery manufacturers, and the pink ribbon charities are all part of that story. It is a tale of back-stabbing and intrigue, of exploiting fear and hope, while distorting and misrepresenting the evidence. Or simply ignoring it.

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Longlisted, Gerald Lampert Memorial AwardOn "A Girl Like This Might Have Loved Glenn Gould":"The poem sits up at its greasy-spoon counter and recounts its tale, a kind of cryptic plain-speech, an inverted code, all the more puzzling for what it plainly says: 'Under a spell so the wrong ones can’t find it, / So can’t get saved,’ as Robert Frost said." — Jeffery DonaldsonAbsorbed in the small, everyday rituals of existence, this remarkable collection of poems tears open the fruit of life and scoops out beauty and joy, pain and suffering, in equal measure. Ritual Lights takes the reader on a journey through an underworld that is both familiar and uncanny, a space between death and life where one nourishes the other. Shadowed by the aftermath of sexual assault, Joelle Barron places candles in the darkest alcoves, illuminates mysteries, and rises again to an abundant Earth where the darkness is transformed into rich loam.These poems follow the speaker through grieving and loss, heartbreak, repression, and discovery, seeking, never finding an answer, but finding meaning in the work of continuing. A meditation on trauma and identity, deeply vulnerable and reserved, funny and full of rage, Ritual Lights explores the sometimes messy and ugly, but always necessary, nature of survival.

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An Atlantic Books Today Editor's PickLorna always wanted to stand out, but her career as a competitive swimmer was cut short by a knee injury. Cara, her daughter, tries hard to blend in, but when she has to fill in for her brother at a school pageant, she is overwhelmed by terror. Lorna is vain about her ability to shut out distractions. Cara can’t control her scary thoughts. And while Lorna tries her best to move past life’s early disappointments, Cara picks at the cracks in her family’s story. Spanning two decades, Catch My Drift follows mother and daughter through life changes big and small, and reveals that despite our shared experiences, we each live a private story.

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This description is for the Inuktitut edition.Nunatsiavut, tânna Inuit nunakKatigengituk Canada-mit pitâlauttut namminik kavamamik 2005-imi, sanaKattajut sananguatausimajunik adjiKangitunik nunatsualimâmit Canadamiungutlutik ammalu ukkiuttatop KikKanganettuk Inuit sananguataumajut. Silatsualimâmi siKinganeluattuk inigijautluni Inutuinnanut, tamakkua satjugiamit inuit Nunatsiavummi iniKainnatut napattop killingani, ammalu Inuit allanguattingit ammalu sananguatingit Nunatsiavummit pitâsongunginnatut adjigengitunik ukiuttattumi ammalu ukiuttattoKattangimmijuk pigutsianginnik, taikkunangat atuKattasimajut takuminattunik sanagalagiamik suliagijanginnit.Allanguattet nunanganit piusituKanginnit atuKattasimavut ukkusitsajannik ammalu Kijunik sananguagiamut; amilinnik, tuttujannik, ammalu Kisinik atuttausonik sanaKattajut; ammalu tagiulinnit ivinik sanaKattamijut, ammalugiallak allasajannik, kikiatsajak, Kallunâttajak, sapangak, ammalu alakkasâjannik. MânnaKammik, sanagalasimavut sanajaunginnatunik takugatsausongutlutik, ilautillugit minguattausimajut, allanguattausimajut, nenittausimajut, adjiliuttausimajut, taggajâliuttausimajut, ammalu maggalinnit, atautsikut atutlutik piusituKannik atunginnatamminik nutângutlutik ammalu nigiugijausimangitunut piusitKatlutik.SakKijâjuk: Allanguattausimajut ammalu sananguatausimajut Nunatsiavummit sivulligijauvuk angijotluni nuititausimajuk allanguattausimajunit Labrador Inunginnit. Sanajauluasimajuk angijummagimmik apvitattitaulluni takugatsauniattilugit âkKisuttausimajuk taikkununga taijaujunut The Rooms Prâvinsikkut Allanguattausimajunik Takujapvinganut St. John's-imit, atuagak pitaKalangavuk ungatâni 80-nik sanajaugesimajunut 45-init adjigengitunit sananguatinut, kinakkoningit iluanemmijut sananguatet, ammalu angijummagik allataumajuk sananguatet pitjutigillugit Nunatsiavummit allasimajuk Heather Igloliorte.SakKijâjuk pivitsaKattisijuk atuatsiKattajunut, katitsuiKattajunut, allanguattinut piusituKaujunut, ammalu katitsuiKattajunut sunatuinnanik sananguatausimajunit siKinittini ammalu taggatinni takujagiattulâkKut taikkununga adjiKangitunut, sanajautsiasimajunut, ammalu takuminattusiavannik suliagijausimajunut Inuit sananguatinginnut ammalu allanguattinginnut Nunatsiavummit.

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Winner, 2018 League of Canadian Poets Gerald Lampert Memorial AwardLonglisted, 2018 League of Canadian Poets Pat Lowther Memorial AwardOtolith — the ear stone — is a series of bones that help us to orient ourselves in space. In Otolith, Emily Nilsen attempts a similar feat in poetry: to turn the reader's attention to their relationship to the world, revealing an intertidal state between the rootedness of place and the uncertainty and tenuousness of human connection. Born in the fecundity of British Columbia's coastal rainforest, these poems are full of life and decay; they carry the odours of salmon rivers and forests of fir; salal growing in the fog-bound mountain slopes. This astonishing debut, at once spare and lush, displays an exquisite lyricism built on musical lines and mature restraint. Nilsen turns over each idea carefully, letting nothing escape her attention and saying no more than must be said. Combining a scientist's precision and a poet's sensitivity, Otolith examines the ache of nostalgia in the relentless passage of time.

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Is this life a route or a destination? Alyda Faber's assured début examines the ties that bind us to one another and to the Earth we inhabit, and asks the question, What is left of us when we are gone? In the quiet and unsettling poems of Dust or Fire, Faber speaks from the grief following death to explore the meaning of love and family. She is not afraid of gaps and ellipses, finding music in the silences. Her unflinching gaze explores the imperfections of our fleeting existence, our ambitions and relationships, our flawed humanity. Documenting the search for home, the longing to belong, to love and be loved, she turns to the ways love can curve toward pain, how we carelessly hurt one another, but also how we find the grace to forgive and carry on. Dust or Fire is a moving collection, at once grounding and uplifting.

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