Search results for ""goose lane editions""

Stately and majestic, yet scuffed with wear and disillusion, the poems of Smaller Hours mount the sky like columns and fora of some archaic ruin. Through these ancient halls, Kevin Shaw tracks Eros, clearing away the rubble and polishing the marble, along the way exploring queer ways of keeping time. Music and movies, clocks and inventors populate these poems. History casts a shadow over all.Kevin Shaw's debut collection is a tour de force of control and grace; musical lines anchored by powerful rhythms dance into the reader's ear. The speakers of these lyrics encounter Nijinsky in a waiting room, Ovid at the laundromat, or re-enact a devastating flood after a night of drinking. From a mixtape full of quarter-century-old regrets, to the sensuality of a harmonica buzzing against pursed lips, to the violence and hope of Stonewall, Smaller Hours collapses the past with the present and the personal with the public, taking a sideways glance at historical figures — inventors, poets, movie stars — from across a gay bar's crowded dance floor.

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Part mystery, part elegy, This Side of Sad begins with an ending: the violent enigma of a man's death. Was it an accident, or did James commit suicide? In the shattering aftermath, his widow, Maslen, questions her own capacity for love and undertakes a painful self-inquiry, examining the history of her heart and tracing the fault lines of her own fragile identity. What emerges is a mesmerizing tour of a woman's complex past, rendered in the associative logic of memory and desire.A gifted storyteller reminiscent of Alice Munro or Joan Didion, Karen Smythe finds poetic complexity in the seeming trivialities of the ordinary. Meditative, philosophical, and confessional, This Side of Sad is a provocative and piercing novel that explores the disintegration of a marriage; the enduring colloquy between the living and the dead; and the meaning we find within the random architecture of despair and joy.

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Moscow, 1921. Tatiana and Sasha meet in a bookstore the night it is bombed. In the aftermath of the explosion, Sasha grabs Tatiana's hand and together they run to safety. They fall in love.A promising young scientist, Tatiana follows her mentor, Dr. Bekhterev, to the Institut Mozga, established to study the source of genius. She thrives in the state-sponsored research institute, but Sasha, an artist, feels left behind in this new world where his art seems without place or function. A rift between them grows.When Bekhterev suddenly dies, Tatiana is prompted to speculate about the shadowy circumstances of his death. Disconcerted and unable to find answers to her questions, she plunges into doubt about her work as a scientist, her naiveté about the Revolution, her faith in the state, and her relationship with Sasha.Provocative and compelling, Uncertain Weights and Measures takes place in the heady days of post-Revolution Russia, when belief in a higher purpose was everything. Written in beautifully incisive prose, Jocelyn Parr vividly captures the ambiance of 1920s Moscow and the frisson of real-life events while also spinning a captivating tale of a love torn apart by ideology and high-stakes politics.

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The Atlantic salmon, the king of the rivers, is the ultimate prize for the angler. This beautifully illustrated volume brings together exquisite examples of nearly 300 salmon flies, tied by some of the best fly tiers and fishers in North America. Patterns tied by the author, Jacques Héroux, accompany those by renowned tiers Allen Kay, Marc LeBlanc, Marc A. LeBlanc, Paul LeBlanc, Bob MacDonald, Steve Silverio, and Frank Walsh.Conveniently organized into four sections — bombers and dry flies, bugs, streamers, and wet flies — this rich compendium includes colour photographs of flawlessly tied specimens complemented by detailed lists of materials. Biographical notes on each tier and a brief history of the art of fly tying round out the volume.A beautiful tribute to the fly tier's art and an invaluable reference, Atlantic Salmon Flies illustrates the ingenuity and creative impulse behind the flies that hook the king of fish.Le saumon atlantique, le roi des rivières, est la récompense la plus convoitée du pêcheur. Ce livre superbement illustré réunit des exemples de près de 300 mouches à saumon, montées par certains des meilleurs monteurs de mouches et pêcheurs de l'Amériques du Nord. Des modèles montés par l'auteur, Jacques Héroux, côtoient d'autres montés par des mouteurs renommés : Allen Kay, Marc LeBlanc, Marc A. LeBlanc, Paul LeBlanc, Bob MacDonald, Steve Silverio et Frank Walsh.Reparti en quatre sections — bombers et mouches sèches; bugs; streamers; et mouches noyés — ce recueil abonde en photographies-couleur de mouches impeccablement montées, accompagnées de listes détaillées des matériels utilisés. Des notes biographiques des chaque monteur ainsi qu'un bref historique de l'art du montage de mouches complètent le recueil.Livre de référence précieux, Mouches pour le saumon atlantique rend hommage aux artistes de la mouches, reflétant l'ingéniosité et l'élan créateur qui inspirent ces pêcheurs à la recherche du roi des poissons.

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"The light in Pratt's paintings seems sentient, a living thing, a pulsation or emission, imbuing the paintings with an erotic and almost mystical desire." — Canadian Art Following a stunningly successful national touring exhibition and a sold-out hardcover edition of the accompanying book, Mary Pratt is available once again in this elegant paperback edition. Says the Globe and Mail, Mary Pratt's "gorgeous, brutal vision of the world is the best revenge against anyone who ever sought to define her." There's something deeply resonant about Pratt's painting for contemporary audiences — particularly for those that are food obsessed. The dark light of a jelly jar, the slippery weight of filleted cod, the dark drippings of a bloody roast, the wet yellow yolk of a cracked egg. Pratt takes these seemingly mundane subjects and fills them with light, giving them a monumental quality, making them seem luminous, signifiant, memorable. For many, they have become seared into memory, iconic in the best sense of the word. Mary Pratt, a career retrospective, features five major essays by columnist and art critic Sarah Milroy, Catharine Mastin of the Art Gallery of Windsor, Mireille Eagan and Caroline Stone of The Rooms Provincial Art Gallery, Sarah Fillmore of the Art Gallery of Nova Scotia, and art critic and curator Ray Cronin as well as 75 colour reproductions of Pratt's most renowned work, including Eggs in an Egg Crate, Salmon on Saran, Eviscerated Chickens, and Cod Fillets on Tin Foil.

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The house is still standing is peopled with charlatans, gingerbread men, children, and savants -- the thousands and the particular. Adrienne Bartlett builds this nimble first collection with a supple craft. The poems deke and swerve, from the wry to the theatrical to the intimate. Whether riffing on the secret identities of public intellectuals and pop icons or penning elegiac verse, Barrett's voice is strong, anchored, inviting. Although she takes her readers through both "substance / and its downfall," in the end, the structure is sound, she is holding up.

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Winner, Best Atlantic Published Book AwardShortlisted, New Brunswick Book Award for Non-FictionWriting early in 1962, Lucy Jarvis said she felt "just at the threshold of beginning." Jarvis had studied at the School of the Museum of Fine Arts in the 1920s, later becoming part of the social realist movement, committed to an art "of the people". In 1941, Jarvis co-founded the UNB Art Centre with Pegi Nicol MacLeod, and together, they turned it into a place of creative effervescence. Passionate and single-minded, Jarvis threw herself into everything that she did and the results were nothing short of astounding. In a few short years, she and MacLeod had transformed their environment. Yet, it wasn't until the early 1960s that the unstoppable Jarvis set out on her own. She left the art centre and headed for Paris. In four extended stays during the 1960s, she immersed herself completely, living in French, attending the open studios, and connecting with other artists. Her retreats to Pembroke Dyke near Yarmouth, Nova Scotia, during the summer months allowed her to digest her experiences, and her art took on new life. The influences of both impressionism and post-impressionism emerged in her work, and her paintings became more boldly colourful, freer — more completely her own. Lucy Jarvis: Even Stones Have Life is the first examination of Jarvis's considerable body of work — what she painted, how she rendered it, and how her art permeated her life and her life permeated her art.

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Winner, New Brunswick Book Award for PoetryA Quill & Quire Best Book of the YearLike the novella in fiction, the long poem is an oft-neglected form. Too long for publication in most literary journals and anthologies, too short to merit book-length publication, the long poem occupies a lonely space in literature. M. Travis Lane is a master of the form, in which her considerable poetic skills reach their apex. There are few that match her brilliance. This volume collects all of her long works — most of them now out of print — from a five-decade commitment to the art. M. Travis Lane has long flown under the radar of Can Lit, crafting luminous poems and sharp literary criticism — much of it published in the Fiddlehead, one of Canada's premier literary journals — but in recent years her work has been drawing the attention it deserves. Evidence of this recognition is her 2015 Governor General's Award nomination for Crossover, a collection the still-vital poet published at the age of 81. Her poetry is modernist, dense, and highly allusive, drawing adeptly on classical and biblical sources, imbued with a feminist and ecocritical perspective. Her musical lines, vivid metaphors, and phenomenological acumen launch her into the company of such poetic luminaries as Don McKay, Jan Zwicky, and Tim Lilburn. In the long poetic form, these qualities reach their highest expression. This volume, an exquisite collection that brings together her long poems for the first time, constitutes an important addition to the canon of Canadian literature and to the canon of feminist literature in North America.

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In 1887, at the tender age of eighteen, Tappan Adney embarked on his first trip to New Brunswick. He had plans to enrol at Columbia University in the fall, primed for a meteoric rise in academia — but fate intervened. He fell under the spell of the New Brunswick wilderness and the local Maliseet people. Nothing escaped his curiosity. Adney embarked on hunting, fishing, and camping trips, recording his wilderness adventures in journals through evocative sketches and memorable prose, including the detail of a caribou hunt decades before their extinction in this area of the country. Years later, Tappan Adney went on to become a celebrated journalist, photographer, and ethnologist. His models of aboriginal canoes, now in many museum collections, helped save the birchbark canoe from oblivion. This new, revised edition of the original volume of The Travel Journals of Tappan Adney is a welcome companion to the recently published second volume of Tappan Adney's journals. This edition features a few corrections, the inclusion of recently discovered photographs, and a more relaxed design to match the second volume for reading ease.

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"When you revisit a place that matters to you for the first time in a long time it is a rich, spiritual experience, but if you then revisit such a place too frequently it loses some of its power. The power lies in the absences." — Christopher Pratt Widely considered to be one of Canada's most prominent and celebrated painters, Christopher Pratt stands with other great artists — Alex Colville, Lawren P. Harris, Jean Paul Lemieux, and Lionel LeMoine Fitzgerald — who influenced him and the way he represents the land. But Pratt's greatest influence is perhaps the geography of his home province of Newfoundland. The Places I Go focuses on Pratt's paintings of the last decade, each revealing his observations of a place changing even as it endures. Beginning in 2005, Pratt started to travel by car to "everywhere I've ever been," recording his travels in his "car books," in his memory, and, ultimately, in his paintings. The paintings that resulted from this journey are vintage Pratt. They are also acts of remembering, of recording, of becoming the observer of transformation. Standing on "the littoral," looking toward the horizon, Pratt casts his eye on the perpetual presence of the ocean. Yet, his images — houses, spillways, bridges, and boats — also pay homage to the right angles of humanity. Buried in snow, at rest in a dock, they celebrate the built form. This exquisite book, featuring essays by exhibition curator Mireille Eagan, archivist Larry Dohey, and Pratt himself, examines Pratt's interest in and preoccupation with transformation, the act of remembering, and his abstractions of the ineffable.

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The work of Stephen Andrews has long mediated the successive crises of the contemporary world, exploring conflict, social change, and identity. For more than a decade, Andrews confronted the AIDS epidemic personally and artistically. Later, his work registered the impact of the attacks of September 11, 2001, the subsequent "War on Terror," the financial crash of 2008, and a new wave of global protests, from those surrounding the 2010 G20 summit in Toronto to those associated with the Occupy movement and the Arab Spring. Embedding, layering, and erasing meaning, Andrews's work creates a triangle, where meaning resides between the process of painting (magical and sensuous), the represented image (a chronicle of fragility and resilence), and the invitation to the viewer (to look carefuly and engage). Published to coincide with a major exhibition opening at the Art Gallery of Ontario, Stephen Andrews POV provides a comprehensive overview of the last fifteen years of Andrews's work, a time when painting has emerged as his primary area of inquiry alongside a multifaceted approach to production that has resulted in drawings, photographs, animations, videos, installations, ceramics, and ephemera.

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Shortlisted, Arthur Ellis Best Non-Fiction Crime Book AwardIn 1869, in the woods just outside of the bustling port city of Saint John, a group of teenaged berry pickers discovered several badly decomposed bodies. The authorities suspected foul play, but the identities of the victims were as mysterious as that of the perpetrator. From the twists and turns of a coroner's inquest, an unlikely suspect emerged to stand trial for murder: John Munroe, a renowned architect, well-heeled family man, and pillar of the community. Munroe was arguably the first in Canada's fledgling judicial system to actively defend himself. His lawyer's strategy was as simple as it was revolutionary: Munroe's wealth, education, and exemplary character made him incapable of murder. The press and Saint John's elite vocally supported Munroe, sparking a debate about character and murder that continues to this day. In re-examining a precedent-setting historical crime with fresh eyes, Komar addresses questions that still echo through the halls of justice more than a century later: is everyone capable of murder, and should character be treated as evidence in homicide trials?

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The Gun That Starts the Race, alternately like a David Lynch film or an episode of The Simpsons, finds the uncanny in the everyday, surprise you, make you laugh and weep (sometimes simultaneously) with recognition at the fleeting spark of our existence. Many of these poems are like archaeological sites between the sturm und drang of people's fleeting dramas, exploring in language playgrounds recently vacated, graves recently inhabited, basements and dark corners where life and death goes on without us.From free-verse lyrics to masterful sonnets, Norman's poems weld form and content together organically. They neither baffle nor condescend. Blending an effortless style to surprising metaphors, and striking images with a restless, roving intellect, they try to get to the bottom of things, while never satisfied there it is no false bottom. Here, Bolsheviks play tennis with Marxist rules; crows, maggots, and spiders go about their business, oblivious to our sufferings; and the Mole Men of Zug break into song.In The Gun that Starts the Race, Peter Norman gives us a world that lives and breathes and endures, and of which we are only a temporary part.

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Shortlisted, Hamilton Literary Award (Non-Fiction)Ypres, the Somme, Vimy, Passchendaele, Amiens — to many, these are the names of battles far away and long ago. To thousands of soldiers, now gone, the battles were hard-fought and costly campaigns fraught with danger, pain, and tears. Today, these combat zones are trod by tourists in search of a connection with the past. Canadians at War follows the route of the Canadian Expeditionary Force from its first encounter with German forces at Neuve Chappelle to the site of the 1915 gas attack at St. Julien, from the Somme to Vimy and Passchendaele. In this informative guide, Susan Evans Shaw provides an historical overview of each battlefield as well as maps, photographs, and information on the memorials and cemeteries. The first book of its kind, Canadians at War fills a gap in heritage travel literature that has existed since the Armistice. Evans Shaw made her first visit to the battlefields of World War I in 2004, where she realized that there was a dearth of material for Canadians. Collaborating with photographer Jean Crankshaw, she created this book as a tribute to her grandfather, who was killed in action in 1918.

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Home is like a leaf on a tree: other people, other homes, are the other leaves. They live beneath the same sky, share the same memories, survive the same storms. But one leaf is a solitude. After twenty-five years on a New Brunswick farm, award-winning Canadian author Beth Powning came to understand the land she calls home. Now, almost twenty years after the initial publication of Home, readers may once again experience the spirit of home in nature in this new edition of her seminal book. Time has made the subtle messages beyond her door become clearer, if not less mysterious: the glorious rawness of winter storms, the effortless dominance of oak trees, the distinctive poetry of night, the universes found within a humble garden. Placing herself in the dual roles of explorer and storyteller, Powning waltzes the unspoken divide between the untamed and the domestic, revelling in the complex bonds that exist between the natural world and those who would seek to navigate its wonders. Originally released in Canada as Seeds of Another Summer, this new edition, which includes a new introduction and gorgeous reproductions of Powning's sumptuous nature photography, will inspire those who seek a simpler life and enchant those who are already there.

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Some days, it doesn't pay to be a lapsed pretend Buddhist... particularly when you're charged with a lengthy list of war crimes. Vida Zanković has done many things to stay alive. A wily young man caught in the insanity of the Balkan wars, Vida has dealt drugs, been forced to join the army, and then deserted when he tried to save a young boy trapped beneath a mountain of corpses. Being accused of genocide, however, forces Vida into a whole new level of surrealism. In Song of Kosovo, Chris Gudgeon exposes the universal human experience like never before, fashioning a satirical world where one earns a following as a levitating holy man while the US Air Force drops "bombs" of condoms, candy, and Ikea pillows to subvert the populace. Weaving strands of Balkan mythology and history, threading them through the life of a man who only wnats to live out his days with the woman he loves, Gudgeon crafts a tanscendent tale at once grotesque and absurd, satiric and tragic, touching and real. As much Catch-22 as De Niro's Game, Song of Kosovo is a unique examination of how ideas may rise above reality to drive world events and how a nation caught in the grip of conflict may ultimately earn a sense of itself.

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Winner, Commonwealth Writers Prize, Canada and the Caribbean, Amazon.ca First Novel Award, and On the Same Page, Manitoba ReadsShortlisted, Eileen McTavish Sykes Award for Best First Book, Margaret Laurence Award for Fiction, and McNally Robinson Book of the YearLonglisted, IMPAC Dublin Literary AwardFor Lily Piper, life on the prairie is spare, austere, and tucked in. She is restless — not the daughter she feels her mother wants. When puberty hits, an abrupt shift in fate has Lily on her way to England to care for her aging grandmother. There, she experiences life in all its ambiguity, until she is called home to face a future she thought she had escaped. Thomas's prose is intimate, elegant and devastatingly funny; her engrossing story of Lily Piper tells us something about how we make sense of the future when the future is something we can hardly imagine. Reading by Lightning, Joan Thomas's long-awaited first novel, took readers by storm. A year after its publication, it had won numerous awards, found a large readership, and been selected by popular vote for On the Same Page, Manitoba's one book reading experience. Goose Lane is pleased to reissue Reading by Lightning in this reader's guide edition, complete with an afterword, an interview with the author, extended biographical notes, and more.

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Showcasing the major career highlights and some of the most recent work of abstract painter Jacques Hurtubise, this lavishly illustrated bilingual volume captures the key works of Hurtubise’s formidable fifty-plus year career, many of which have never been brought together in a major exhibition or publication.This exceptional collection offers new insight into the development of Hurtubise’s paintings — from the early graphic abstract paintings in the 1960s and 1970s to the mask to the brushy and stencil work of his blackout paintings. His latest map-based work, which brings together the passion of his "sun" series and the exotic and hypnotic lines of his "masks" and "splash" paintings, brings his mastery of the medium to the fore.An abstract painter who followed a generation of plasticiens, Hurtubise’s bright, geometric patterning have often prompted comparisons to peers Claude Tousignant, Guido Moinari, and Yves Gaucher.This book includes five major, groundbreaking essays on his work by Québec curator Bernard Lamarche,; artist, writer, and critic Jeffrey Spalding; art critic René Viau; Sarah Fillmore, the editor of the book and curator of the exhibition that accompanies this major publication; and art historian Nathalie Miglioni.Cette monographie abondamment illustrée présente les principaux jalons de plus de cinquante ans de carrière de l’artiste Jacques Hurtubise. On y recense sa production actuelle ainsi que ses œuvres phares, dont un grand nombre n’avaient jamais éunies auparavant.La compilation exceptionnelle permet de mieux comprendre l’évolution d’Hurtubise, depuis ses premiers travaux graphiques des années 1960 et 1970 jusqu’à ses masques, ses tableaux aux traits ardents et le recours au stencil dans sa série Blackout. Ses œuvres plus récentes réalisées à partir de cartes routières — qui allient la passion qui habite ses « soleils » et les lignes exotiques et hypnotiques de ses « masques » et de ses « éclaboussures » — témoignent de sa pleine maîtrise des techniques les plus variées.Les formes géométriques abstraites aux couleurs vives de cet artiste qui a succédé à la génération des plasticiens ont souvent suscité des comparaisons avec Claude Tousignant, Guido Molinari et Yves Gaucher.L’ouvrage Jacques Hurtubise propose des textes des conservateurs d’exposition Sarah Fillmore et Bernard Lamarche, des auteurs et critiques Jeffrey Spalding et René Viau, et de l’historienne de l’art Nathalie Miglioni. Sarah Fillmore est conservatrice en chef du Musée des beaux-arts de la Nouvelle-Écosse.

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Steel Calvary is the story of the transformation of a horse cavalry unit to one of Canada's most famous armoured regiments.Twentieth century warfare is epitomized by the image of Allied tanks growling across the countryside, engaging their Nazi counterparts. One of the most storied of such regiments is the 8th (New Brunswick) Hussars. Founded in 1848 as the first volunteer cavalry regiment in British North America, the Hussars began the Second World War as a Motorcycle Regiment before converting to tanks in 1941. First posted to Italy in late 1943, the regiment was introduced to war near Ortona. They formed part of the great drive beyond Monte Cassino to Rome. But their reputation was forged at the Gothic Line and Coriano Ridge during two weeks that marked their fiercest and bloodiest trial of the war.Steel Cavalry: The 8th (New Brunswick) Hussars and the Second World War is volume 18 in the New Brunswick Military Heritage Series.

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Winner, Canadian Museums Association Outstanding Achievement in Publication and Melva J. Dwyer AwardIain Baxter legally changed his name to IAIN BAXTER& in 2005. He appended an ampersand to his name to underscore that art is about connectivity — about contingency and collaboration with a viewer. He also effected the name change to perpetuate a strategy of self re-definition that is central to his creative project. BAXTER& began making art in the late-1950s under his birth name but quickly realized that the name itself was creative material, to be deployed, manipulated, and shared. In 1965, he formed a collaborative art-making entity which evolved into N.E. Thing Company, a corporate-styled entity whose co-presidents were BAXTER& and his wife Ingrid. Producing a diverse array of projects that encompassed conceptually based photography, pioneering works of appropriation art, and gallery transforming installations, the N.E. Thing Company offered a new model of art making, allowing the artists to remain anonymous and masquerade in the guise of business people. Following the dissolution of N.E. Thing Company in 1978, BAXTER& produced extensive bodies of work with Polaroid film, created numerous installations that blended painting and sculpture, and made pedagogy a focus of his creative enterprise. Consistent themes permeate his work and vector through his thinking. And by assessing these themes — a relentless emphasis on reaching out to the viewer, a core concern with ecology and the environment, and a belief that art must assume plural means and media — one discerns BAXTER&'s creative credo, understanding that "art is all over." This comprehensive book reviews BAXTER&'s remarkable career across all media. It accompanies a major international touring exhibition, which opened at the Museum of Contemporary Art, Chicago in November 2011 and at the Art Gallery of Ontario in April 2012. Featuring more than 160 reproductions of BAXTER&'s work, it also includes essays by the exhibition's curator, David Moos, along with contributions by Michael Darling (James W. Alsdorf Chief Curator, Museum of Contemporary Art, Chicago), Alex Alberro (Associate Professor, University of Florida), and others. The book will also feature a comprehensive bibliography compiled by Adam Lauder (W.P. Scott Chair for Research in E-Librarianship, York University).

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Shortlisted, Best Atlantic Published Book Award and Canadian Regional Design AwardA major publication comprising 240 pages with 75 colour plates and 60 black-and-white photographs provides extensive documentation of the exhibition Masterworks from the Beaverbrook Art Gallery. Along with a complete catalogue of artworks, it features an overview and history of the historic collection, along with curatorial commentary on each work of art by the Beaverbrook Art Gallery's Curator and Deputy Director, and curator of the exhibition, Terry Graff. Further, it includes important essays by five internationally respected art historians, scholars, and curators, Elliot King, James Hamilton, Richard Calvocoressi, Angus Stewart, and Katharine Eustace, that focus on several key works of art.In addition, Bernard Riordon, Director and CEO of the Beaverbrook Art Gallery, provides a foreword and timely essay documenting the recently resolved legal battle with the Beaverbrook Foundation (UK) over ownership of several works. Elliot King, art historian and leading specialist on the work of Salvador Dalí and curator of the recent exhibition Dalí: The Late Work at the High Museum of Art, examines Dalí's monumental painting Santiago El Grande. James Hamilton, curator and art historian, who has written several books, lectured internationally, and curated several important exhibitions on JMW Turner, examines Turner's Fountain of Indolence. Richard Calvocoressi, Director of the Henry Moore Foundation and former Director of the Scottish National Gallery of Modern Art in Edinburgh, provides special insight into Lucien Freud's Hotel Bedroom. Angus Stewart, independent curator known for his many exhibitions at the Olympia London fine art and antiques fair, including the major 2003 project that marked the centenary of artist Graham Sutherland's birth, examines important Sutherland works, such as Helena Rubinstein, Studies for Churchill, and Portrait of Lord Beaverbrook. Katharine Eustace, art historian and curator, whose publications include Continuity and Change: Twentieth Century Sculpture in the Ashmolean Museum, provides a thoughtful essay on Walter Sickert in relation to the Beaverbrook Art Gallery's Sickert paintings, such as H.M. King Edward VIII.

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As Tammy Armstrong rode horseback on a one-month sojourn in Iceland, up rose the ley lines that crosshatched the landscape -- ancient tracks rife with saga, myth, and human history. In this collection, her poems both respond to W.H. Auden's poetic travelogue, Letters from Iceland, and evoke her raw relationship to the native natural world of North America. In language that folds upon itself, chance sightings of wild creatures become a study of humanity before the animal that waits. In re-negotiating a space that includes other species and other life forms, Armstrong unbalances her perceptions, making her own space unfamiliar and finding new ways of conceiving of a less human-centred environment.

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Winner, Design Edge Regional Design AwardShortlisted, Atlantic Independent Booksellers' Choice AwardAuthentic. Original. Inimitable. Mary Majka was one of Canada's great pioneering environmentalists. She was best known as a television host, a conservationist, and a driving force behind the internationally acclaimed Marys Point Western Hemispheric Shorebird Reserve on the Bay of Fundy. Sanctuary gives full expression to the intensely personal story of Mary's life. A daughter of privilege, a survivor of World War II Poland, an architect of dreams, Mary Majka became a passionate environmentalist intent on protecting fragile spaces and species for generations to come. In this amazing story of determination and foresight, Deborah Carr reveals a complex, indomitable, thoroughly human being — flawed yet feisty, inspiring and inspired.

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Winner, Atlantic Independent Booksellers Choice Award, Canadian Authors Association Air Canada Award, Dartmouth Book Award, and Thomas Head Raddall AwardShortlisted, Governor General's Award for FictionShe's depressed, they say. Apathetic. Bridget Murphy, almost eighteen, has had it with her zany family. When she is transferred to the psych ward after giving birth and putting her baby up for adoption, it is a welcome relief -- even with the manic ranting of a teen stripper and come-ons of another delusional inmate. But this oasis of relative calm is short-lived. Christmas is coming, and Uncle Albert arrives to whisk her back to the bedlam of home and the booze-soaked social life that got her into trouble in the first place. Her grandmother raves from her bed, banging the wall with a bedpan through a litany of profanities. Her father curses while her mother tries to keep the lid on developmentally delayed Uncle Rollie. The baby's father wants to sue her, and her friends don't get that she's changed.

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St. Thomas University has nurtured exemplary people for a century -- from its first alighting in Newcastle to its current perch on a Fredericton hilltop. Here, in celebration of St. Thomas's 100th anniversary, is the first-ever collection of fiction, poetry, and prose by the university's most celebrated writers, including David Adams Richards, Sheldon Currie, Leo Ferrari, Sheree Fitch, and Kathy Mac. Philip Lee's thrumming account of a public auction kicks off the collection. Next up: Sheree Fitch's poem, "Cop," which wends through undercover prostitution and a child's abduction. Hard on its heels: Sheldon Currie's pitch-perfect story from a Nova Scotia coal-mining town. Once you begin, you're sure to read until the entire, delectable volume is consumed.

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At 31 years old, Major Cyrus Inches resolved to survive the Great War, and did so without losing his sense of humour, in spite of the tragedies he constantly faced. His letters home were stored and left undisturbed for almost ninety years. Cleverly written with wit and humour, they reveal voluminous details of life during the war. Cyrus Inches also kept a diary and published a booklet called The 1st Canadian Heavy Battery in France -- Farewell Message to NCOs and Men, which chronicled the movements and the battles of his battery. The booklet and letters combine to create a complete history of one Canadian officer's experiences -- from Valcartier and the First Battle of Ypres to Mons, and the months of demobilization after that.Uncle Cy's War is volume 14 in the New Brunswick Military Heritage Series.

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Who would have guessed that a small province could hold so many falls? Overall, New Brunswick is home to more than 1,000 waterfalls — some remote, and some surprisingly accessible. Spilling over an incredible range of ancient geological terrain, each of the fifty-five waterfalls photographed for this richly illustrated volume is complemented by descriptoins, directions, and background information on each site.Guitard's photographs are composed with an eye to the diversity and particular beauty and geological situation of each watercourse. A map locates each waterfall. Spanning all five regions of New Brunswick (Acadian Coastal, Appalachian Range, River Valley Scenic, Fundy Coastal, and Miramichi River), there's something for everyone — you may even want to strap on your backpack and head out to experience them yourself.

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Once a work is completed, when and how do writers and other artists embrace their next creative work? In this fascinating book, Monique LaRue gives a tantalizing glimpse of the contour of time shaped by inspiration rather than the movement of the clock. Moving from the philosophical to the personal, she provides a view of how each of her novels has come into existence -- the personal context in which each came to be and the social context in which each was received.LaRue uses two important words in her approach to this "between-time" of creative possibility. The first, "meander," from the Greek name for Maiandros, has come to signify "wandering at random." Like Northrop Frye, she distinguishes between "Kairos," the mysterious, unpredictable moment when the creative impulse is released, and "chronos," or passing time. This ephemeral moment, as explained by LaRue, is of time but not in it. Given this paradox, it should come as no surprise that LaRue's between-time of writing creatively has no name. Mortality brings time and its passage unceasingly to mind. Yet, the mental action of moving freely through meandering associations during the time between works becomes the criterion for thinking creatively.Une fois une Åuvre achevée, quand et comment écrivains et artistes abordent-ils leur prochaine création? Dans cet ouvrage passionnant, Monique LaRue nous donne un avant-goÃ"t alléchant des contours du temps tracés, dans ce cas, par notre imaginaire et non par les aiguilles de l'horloge. Naviguant entre la philosophie et l'expérience personnelle, elle nous livre un aperçu de la genèse de chacun de ses livres -- tant les circonstances personnelles dans lesquelles chacun a vu le jour que le contexte social qui les a accueillis.Deux mots clés émergent de la démarche de LaRue dans son exploration de cet " entre deux temps " du potentiel créatif. Le premier, " méandre ", provenant du terme grec " Maiandros " qui veut dire " errer au hasard ". à l'instar de Northrop Frye, elle distingue entre " Kairos ", le moment mystérieux et imprévisible où l'élan créateur est libéré, et " Chronos ", le temps qui passe. Pour Larue, ce moment éphémère, surgit du temps sans toutefois en faire partie. De par ce paradoxe, il n'est guère surprenant de constater que l'" entre-temps " de l'écriture créative dont traite LaRue est innommé, Notre mortalité nous renvoie inlassablement au temps. Pourtant, la pensée créative exige une activité mentale qui évolue librement, serpentant, au cours de ce temps entre deux Åuvres, au gré des aléas des associations méandres.

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Passion, obsession, addiction, vision, and despair -- these are just a few of the themes explored by Mitchell Parry in this poignant portrait of Austrian poet Georg Trakl. Born in Saltzburg in the second half of the 19th century, Trakl was severely addicted at an early age. He smoked opium and later took up chloroform, alcohol, and cocaine. He was passionately obsessed with his younger sister, witnessed the bodies of partisans hanging in trees, and attempted suicide on more than one occasion. He died at the age of twenty-four, leaving behind a legacy of poems that capture the anxiety, passion, and exhaustion of early twentieth-century Austria and the years leading up to the First World War. Using Trakl as a lens, Parry explores the world of Freud, Wittgenstein, Rilke, Klimpt, Kakoschka, Loos, Kandinsky, and Klee, a time when Europe is drawn through the crucible of Modernism. In this blend of fact and fiction, poetry and prose, Parry flirts with darkness, plunging into a sordid and dangerous world and exploring the complex relationship between poetry and extremity. The result is both chilling and glorious.

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Rich with literary awards and honours, Alberto Manguel extends his literary genius to address and complete a thoughtfully crafted extrapolation on a paper left unfinished by Northrop Frye in 1943. The result is a succinct yet densely multilayered examination of how various readings of Homer throughout the annals of history cast light upon the human tendency towards war rather than peace and asks what roles writing and reading play to bring the world into better equilibrium. Central to this lecture is the concept of re-binding, a word drawn from the Latin roots for the word religion, which Manguel posits is the essential definition of poetry. Homer's writings, the point of origin of all written verse, are also the first written instance of the binding of imagined, written, and read realities. The semantics of Homer's name and the literal and figurative ramifications of his blindness are investigated as Manguel builds the scaffold for unveiling our own blindness through our desire to read Homer in our own image. We are left to examine our own assumptions. Comblé de prix littéraires et d'honneurs, Alberto Manguel prête son génie littéraire á l'étude et au parachèvement d'une extrapolation songée que Northrop Frye avait laissée en plan en 1943. Il en résulte une analyse succincte mais en replis serrés des multiples lectures d'Homère léguées par les siècles, qui révèle comment ces interprétations éclairent la propension humaine á la guerre plutôt qu'á la paix, ce qui le mène á s'interroger sur le rôle que jouent l'écriture et la lecture quand il s'agit de créer un monde plus équilibré. La notion de re-lier, un mot dont les racines latines sont les mêmes que le mot religion, est au coeur de cette conférence, et Manguel en fait la définition essentielle de la poésie. Les écrits d'Homère, point d'origine de toute la poésie écrite, fournissent aussi la première occurrence d'un lien entre les réalités imaginées, écrites et lues. La valeur sémantique du nom d'Homère et les répercussions concrètes et figurées de sa cécité font partie des éléments que Manguel scrute pour fonder son évocation de notre aveuglement á nous quand nous insistons pour lire Homère á notre propre image. Nous n'avons plus qu'á remettre nos hypothèses.

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Dans Miller Brittain : Quand les étoiles jetèrent leurs lances, Tom Smart démontre pour la première fois la cohésion de l'imagerie de Brittain et les liens entre le réalisme social de ses premières oeuvres ultérieures, des abstractions figuratives et des compositions d'inspiration surréaliste. Miller Brittain a fait irruption sur la scène artistique canadienne À la fin des années 1930, avec ses dessins et ses peintures du corps humain temples d'émotion et admirablement exécutés. Pendant ses études À l'Art Students League, À New York, il avait intériorisé un point tournant de l'art américain, alors que les modes réalistes traditionnels étaient remis en question par une nouvelle génération d'artistes radicaux selon qui l'art se devait de refléter la vie de l'artiste et les conditions de vie des sujets représentés. À une époque où les paysages du Groupe des Sept dominaient la peinture canadienne, Brittain défia l'establishment avec son sens infallible de la ligne et de la composition, et ses récits humains attrayants. Plus tard, alliant l'art figurative et l'art abstrait, il explora les limites du corps et les confines de la raison afin d'exprimer les profondeurs du désespoir et les sommets de l'extase. Au cours de la Seconde Guerre mondiale, Brittain s'enrôla dans l'Aviation royale du Canada, fut décoré de la Croix du service distingué dans l'Aviation et devint un artiste de guerre canadien. Quand il partait en mission de bombardement, il emportait avec lui un exemplaire des Chants d'expérience, de William Blake. Dans Miller Brittain : Quand les étoiles jetèrent leurs lances, Smart fait voir comment le célèbre poéme " Le tigre ", de Blake, inspira le motif omniprésent dans les oeuvres de Brittain après la guerre, c'est-À-dire la cominaison de l'étoile et de la lance. Ce qui au départ représentait des faisceaux de projecteurs et des avions abattus devint au fil des années des représentationsiconiques de fleurs et de tiges, de têtes et de cous, de rayons de soleil et de fumée. Allen Bentley appuie les observations de Smart en montrant la profonde influence exercée par les théories de Blake sur l'oeuvre de Brittain dans l'après-guerre.

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There is a dreamlike quality to many of the stories in this new collection from Wayne Curtis. In Wild Apples, he returns to familiar themes of love and longing, and the push-pull emotions which inevitably accompany any attempt to break free of the ties that bind. Simple pleasures abound in these evocative stories, be it fishing on the river, gathering beans for an evening supper (are they beans or has-beens?), or listening to the jukebox at the local diner. Curtis mines the shaft of everyday experiences, turning each one into a meditation on human nature. In the title story, an afternoon drive yields fertile ground as a father and son stop to shake down a gnarled crab apple tree for the sweet-sour orbs of autumn. With a seemingly effortless style, he casts his line into the river of the past, reeling in tales of youthful folly, the Christmastime birth of a little sister, and life on the Miramichi River, which could be any river, anywhere. Curtis also shares his insight into well-known friends, including novelist David Adams Richards and Yvon Durelle, the Fighting Fisherman. His contemplation of the life and work of Robert Frost casts a fresh light on the Pulitzer Prize-winning poet.

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In Take Us Quietly, Armstrong explores life, sickness, death and the importance of paying attention to the wider world, filtered through her own unique sensibility. Nothing is taken for granted in this new collection. Whether travelling through Spain, mining a memory from a rural New Brunswick childhood, or exposing the concessions of love in a long-term relationship, Armstrong creates poems that leap from thought to thought, from one emotional tone to another, propelled by torque and tension. Startlingly beautiful with unexpected intensity, Take Us Quietly draws us into the mind's deepest truths. By turns nightmarish, erotic and full of delight, her third collection of poems drills through the surface into the artesian well of memory.

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In her highly anticipated second novel, Rachael Preston tells a vibrant, compelling story of 20th century piracy. Exploring the complex struggle for freedom against a backdrop of passion and repression, The Wind Seller is the story of two vulnerable, shellshocked people and the "wind seller" who captivates them both. Life in 1924 Kenomee, Nova Scotia, seems simple enough. Until, that is, a mysterious schooner blows into town under the cover of darkness, in desperate need of repair. Waking up to the giant black ship moored near their wharf, the villagers gather to take a gander at the Esmeralda and her crew. To everyone's surprise, there's a woman on board, and she shares the schooner's name. Claiming to be the captain's daughter, she wears men's clothing -- young and beautiful, she is as fit and as strong as the men. She is also an enigma and starts a chain of events that will change everyone's life, except perhaps her own. The Wind Seller is a moving story about choices and consequences, but it is also about imprisonment by, and release from, the personal demons unleashed by terrible experience.

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Shortlisted, Best Atlantic Published Book Award and Canadian Regional Design AwardA major publication comprising 256 pages with 75 colour plates and 60 black-and-white photographs provides extensive documentation of the exhibition Masterworks from the Beaverbrook Art Gallery.Along with a complete catalogue of artworks, it features an overview and history of the historic collection, along with curatorial commentary on each work of art by the Beaverbrook Art Gallery's Curator and Deputy Director, and curator of the exhibition, Terry Graff. Further, it includes important essays by five internationally respected art historians, scholars, and curators, Elliot King, James Hamilton, Richard Calvocoressi, Angus Stewart, and Katharine Eustace, that focus on several key works of art. In addition, Bernard Riordon, Director and CEO of the Beaverbrook Art Gallery, provides a foreword and timely essay documenting the recently resolved legal battle with the Beaverbrook Foundation (UK) over ownership of several works. Elliot King, art historian and leading specialist on the work of Salvador Dalí and curator of the recent exhibition Dalí: The Late Work at the High Museum of Art, examines Dalí's monumental painting Santiago El Grande. James Hamilton, curator and art historian, who has written several books, lectured internationally, and curated several important exhibitions on JMW Turner, examines Turner's Fountain of Indolence. Richard Calvocoressi, Director of the Henry Moore Foundation and former Director of the Scottish National Gallery of Modern Art in Edinburgh, provides special insight into Lucien Freud's Hotel Bedroom. Angus Stewart, independent curator known for his many exhibitions at the Olympia London fine art and antiques fair, including the major 2003 project that marked the centenary of artist Graham Sutherland's birth, examines important Sutherland works, such as Helena Rubinstein, Studies for Churchill, and Portrait of Lord Beaverbrook. Katharine Eustace, art historian and curator, whose publications include Continuity and Change: Twentieth Century Sculpture in the Ashmolean Museum, provides a thoughtful essay on Walter Sickert in relation to the Beaverbrook Art Gallery's Sickert paintings, such as H.M. King Edward VIII.Proof copies of 200-copy special edition of Masterworks of Beaverbrook Art Gallery. These proof copies (of which there are only 12) are presented in an an embossed paper-covered slipcase. Each copy includes is signed by the Director and Director Emeritus of the Beaverbrook Art Gallery. Sewn-bound with marbled endpapers, a marker ribbon, and including an artist proof of a limited edition of a portrait of Lord Beaverbrook by Graham Sutherland, this edition is designed as a keepsake for future generations.

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Winner, Evelyn Richardson Memorial Prize for Non-FictionWell-known naturalist and artist Linda Johns shares her woodland home with a menagerie of injured wild birds -- starlings, blue jays, pigeons, baby woodpeckers, a rose-breasted grosbeak, a semi-palmated sandpiper, and even a gannet. She and her "saner half," Mack, have gone so far as to transform their living room into an indoor forest, complete with two dead trees providing a variety of perches and a screened porch making do as a practise flyway. Johns nurses her feathered convalescents day and night, helping them to drink and bathe and hunt, and gaining deep insights into their highly individual personalities. Most she attempts to release back into the wild but a few, inevitably, move in to stay. Birds of a Feather: Tales of a Wild Bird Haven is a warm and funny account of eight months -- from May to December -- in the life of this caring wildlife rescuer. Fans of Johns's earlier wildlife books will relish her humorous descriptions of the antics of such irresistible characters as Blossom, the media-savvy chicken, and the goats Mower and Munch. Enhanced by line drawings of her avian housemates, this delightful collection of anecdotes in the tradition of James Herriot and Farley Mowat celebrates some of Nature's smallest and most awe-inspiring miracles.

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In this sensuously defiant collection of new poems, the winner of the 2004 Grand Prix du Livre de Montréal expands and deepens a poetic ruse. In his critically acclaimed collections Saracen Island and Companion, David Solway took on the voice of a fictitious Greek poet named Andreas Karavis. The poems of these earlier two books were so artful and refreshingly immediate that many readers were convinced that they were authentic translations from the Greek. For The Pallikari of Nesmine Rifat, a new book of ostensible translations, Solway adopts the persona of Karavis's spurned lover, Turkish Cypriot poet Nesmine Rifat and explores the aftermath of one of Karavis's love affairs. Lushly sexual and sparkling with wit and intelligence, these passionate lyrics take the form of undelivered letters, written by Rifat in the wake of Karavis's desertion and his eventual marriage to her rival Anna Zoumi. Solway portrays, with subtlety and sensitivity, a powerful woman and gifted poet undergoing a turbulent emotional journey. Moving from wrath and arrogant disdain, through bitterness and grief, to an acceptance of the love she cannot subdue, his female poet grows in both strength and art. As an intimate record of one woman's anguish, The Pallikari of Nesmine Rifat is a remarkable achievement -- even more so when one recalls that the author is actually a man.

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At 2:21 am on September 8, 1896, authorities in Nova Scotia killed an innocent man. Peter Wheeler — a "coloured" man accused of murdering a white girl — was strung up with a slipknot noose. The hanging was state-sanctioned but it was a lynching all the same. Now, a re-examination of his case using modern forensic science reveals one of the greatest miscarriages of justice in Canadian history. On the night of January 27, 1896, 14-year-old Annie Kempton found herself home alone in the picturesque village of Bear River, Nova Scotia. She did not live to see the morning. Shortly after midnight, Annie was assaulted and bludgeoned with a piece of firewood. Her killer slit her throat three times with a kitchen knife then coldly sat and ate a jar of homemade jam before fleeing into the night. The senseless and brutal slaying devastated the town and plunged her parents into a near-suicidal abyss of guilt and grief. At trial, the prosecution's case focused on the inconsistencies in Wheeler's statements, the testimony of two children who placed Peter near the house on the night in question, and the detective's novel analysis of the physical evidence. It was one of the first trials in Canada to use forensic science, albeit poorly. Wheeler's defense team called no witnesses and did little to challenge the evidence presented. The jury deliberated less than two hours before declaring Peter Wheeler guilty of murder. The trial itself was a media sensation; every word was front page news. Several papers each ran their own version of "Wheeler's confession," an admission of guilt supposedly authored by the condemned man. Each rendition tried and failed to make sense of the conflicting timeline. With every new iteration, it became clearer that the case against Wheeler was not as airtight as the detective in charge, Nick Power, and the media had proclaimed. The Lynching of Peter Wheeler is a story of one town's rush to judgment. It is a tale of bigotry and incompetence, arrogance and pseudoscience, fear and misguided vengeance. It is a case study in media distortion, illustrating how the print media can manipulate the truth, destroy reputations, and so thoroughly taint a jury pool, that the notion of a fair trial becomes a statistical impossibility. At the height of the Victorian era, the media created a super villain in the mold of Jack the Ripper, the perfect foil for its other creation, super-sleuth Nick Power. The masterfully constructed narrative was perfect, save for one glaring detail: Peter Wheeler did not kill Annie Kempton.

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Winner, American Independent Publishers Poetry PrizeSue Sinclair writes in a lyrical tradition that subverts the stereotype of "Canadian women's" poetry while still playing with some, if not all, of the same poetic vocabulary. The Drunken Lovely Bird, her accomplished third book of poetry, confirms her reputation as one of Canada's most original young poets. A keen observer of the material world, from the Newfoundland coast to the streets of Toronto, she has a rare gift for epiphany, for exposing the numinous in the commonplace. Her poems speak from that precise place where our perception of the world and our capacity for language meet and embrace, where our sense of experience goes to get sharpened and refreshed. That experience might involve the inner lives of clouds, the flourishing and passing of a tulip, the evocative scent of wolf willow, or the intricate arts of Bach and Virginia Woolf. Sinclair's poems are deft, musical, and quick in the moment, alive to the sensuous surface and the meditative depth, their antennae fully extended. They focus brilliantly on lively physical details, yet they resonate with the subtle emotions that whisper at the edges of the everyday world. Meditative and beautifully crafted, Sinclair's poems are simultaneously surprising and inevitable, inviting readers to gaze more deeply into their surroundings and to rejoice in both the light and the dark.

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A remarkable debut collection, Kelly Cooper's Eyehill provides a multi-hued portrait of a small prairie town. Too small to support a high school or a drugstore, Eyehill is populated by men and women who have worked for generations to wrest a living from the dry, rolling hills. Like people anywhere else, they hunger for love, understanding, a decent living, and safety and comfort in their homes. Their passion for something more, something better, is tangled by their almost visceral attachment to the land and by the dangerous allure of an oil industry that grows more rapacious every year. In this startling debut collection of loosely linked stories, characters disappear only to resurface once again a few stories later. Among the central characters are Rhea, a girl whose mother abandoned her and her father when she was three and who grows to adulthood full of questions and contradictions; Jarvis, a boy whom Rhea loves but wants as a boyfriend only when he has to marry his pregnant girlfriend; and the Lalonde brothers, so different and yet so clearly formed by their shared circumstances. A strange eroticism pervades "They Secretly Pray for Rain." A subtle, mostly denied violence underlies "Very Little Blood," but it percolates to the surface in the terrible climax of "River Judith." The ancient aquifer flowing below the prairie pulses through the very marrow of the men's bones. Farming is not what they do, but what they are, and interference is fatal. In this small, tightly knit community, secrets are essential. The need to keep silent and to control terrifying emotions is at the same time necessary and ruinous, and the stories people tell hide as much as they reveal.

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JoAnne Soper-Cook is such a spell-binding storyteller that she can lead her willing captives almost anywhere. In her new story collection, The Opium Lady, she draws her readers into the far corners of human yearning. The Opium Lady resembles a photo album of an extensive family, with a picture at the beginning of each story. The snapshots were taken between perhaps 1910 and 1955, and most of the events in the stories are contemporary with the snapshots, but a curious atmosphere of the present day hovers over all and finds its way into the narrator's voice. Soon shadowy connections appear, and it becomes clear that in some way the narrator herself is implicated. Among the motley cast are rich people and poor people, men, women, and children, the scandalizers and the scandalized, housewives and farmers, tradesmen, charlatans, and ne'er-do-wells. It's clear that there are connections and that all of the pieces fit together, but Soper-Cook hands over the missing link only at the end of this fascinating book, once the narrator's identity and secret are revealed.

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Generations of practical and ingenious Maritimers have given the word great things. Since the mid-nineteenth century, scientists have fanned out into the world from colleges and universities that are among the oldest in North America. Great Maritime Achievers in Science and Technology brings together the achievements of more than 30 of these trail-blazing scientists and inventors, many of whom gained national and international prominence in the second half of the nineteenth century and the first half of the twentieth. Among those profiled in the book are Grace Annie Lockhart, the first woman in the British Empire to earn a university science degree; Charles Fenerty, who discovered how to make paper out of wood; Abraham Gesner, who invented kerosene and fathered the petroleum industry; and others whose practical, yet creative minds helped change the course of Canada's scientific history.

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In her bold debut novel, Linda Little has crafted a story where music, creativity, and sexuality merge, as a young Nova Scotian carver embarks on a profound discovery of his sense of self. Strong Hollow tells the story of Jackson Bigney, a young man coping with a crippling past of repression, alcoholism, and poverty. Failure seems built-in to Jackson's life. His father, a brutal man with a short fuse, despises his son, and Jackson's brothers thrive on drinking, violence and petty crime. Jackson finds solace only by carving tiny objects — acorns, field mice, bottle caps and leaves — as he has done since childhood. The day Jackson finds his father dead in a ditch beside the MacIntyre road is the day he begins his own metamorphosis. At nineteen, the seventh of nine children and the eldest still at home, Jackson seems predestined to follow in the feckless footsteps of his father. He becomes silent and empty, unable to feel or to articulate emotion. Setting himself up as a bootlegger, Jackson builds a small cabin. He lives only in the present, expecting no more from life than work, alcohol, and empty sex. One summer, Jackson meets Ian Sutherland, an accomplished fiddler and a powerful attraction develops between them. Twenty-nine and in love for the first time, Jackson feels alive with anticipation and fulfilment. Inevitably, at summer's end, Ian leaves and Jackson is shattered. Seeking to fill the void in this life, Jackson begins to restore a derelict fiddle. At a music shop in Halifax, he meets an accepting circle of friends. And as the fiddle takes shape, Jackson's perceptions of himself begin to change and he realizes that how the world sees you is how you come to see yourself.

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Winner of the Newfoundland and Labrador Writers' Association Prize for Non-FictionMary Pratt is famous throughout Canada for her luminous paintings and prints. Her 1995 exhibition, The Art of Mary Pratt: The Substance of Light, drew record-breaking crowds on its tour of Canada. It also resulted in an unprecedented amount of press coverage on the biographical content of her work. The accompanying book by Tom Smart sold more than 6,000 copies and made almost every "best book of the year" list in Canada.Mary Pratt: A Personal Calligraphy features Mary's own writings, drawn and adapted from her personal journals, the essays that she has written for numerous publications ranging from The Globe and Mail to The Glass Gazette, and the lectures that she has given at many public events. For the first time, Mary has written her own book in her own words, rather than rely on others to write about her. Treating both public and private issues, she writes of her childhood in Fredericton — her connection to her family, life in Salmonier as a young mother, her decision to pursue her own career as an artist, and her complicated relationship with her husband, Christopher. She writes about public issues — the death of Joey Smallwood, the 50th anniversary of Newfoundland's entry into Confederation, and the cod fishery. She writes about the images that interest her and influence her art, and the process of painting. Like her paintings, Pratt's writing packs a sucker punch. At first it appears to be a paean to the pleasures of house and home, until the more disturbing aspects subtly reveal themselves. Ironing shirts become an erotic act; a memory of visiting the local market with her grandmother conjures images of violence; dead chickens, meticulously plucked, and carcasses of cattle, meticulously flayed, suggest rituals of sacrifice.In Spring of 2001, Mary Pratt was awarded the Newfoundland and Labrador Writers' Association prize for Non-fiction for A Personal Calligraphy.

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Outdoor Cooking from Tide's Table presents delicious dishes cooked on the barbeque, unusual meals prepared by other outdoor methods, and treats to eat and drink before, during, and after the al fresco adventure. Recipes such as Grilled Tuna Salad combine readily available (though not necessarily familiar) ingredients into dishes that will pique the taste buds of the up-to-date gastronome. At the same time, instructions for making an old-fashioned float or wrapping trout in clay and baking it in a campfire show Ross and Willa's irrepressible love for grown-up variations on childhood favourites. In all, they treat their readers to 185 recipes.

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Toronto writer Pamela Mordecai is a well-known voice in poetry of the Caribbean diaspora. She has long been a popular anthologist, a mentor to other writers, a frequent contributor to literary journals, and a vital link between the literary worlds of Canada and Jamaica; Certifiable presents a maturing vision of women's lives in both of her homes. Certifiable celebrates experience shot through with affection, family attachment, and madness.The poems in the first section, "Just a Likl Loving," explore the truths hidden beneath the ideal of love: love as comfort, love as currency, love as deathtrap. "Sister Sequence" embraces the fullness of sisterhood, from the conceptual "sister muse" as a power in the world to the ambivalent love among flesh-and-blood sisters. "Certifiable," the final section, springs from intimacy with little and big madnesses.The rhythms and rhymes of the creole soundscape crackle through Certifiable. Mordecai's deft hand wordplay flows through and beyond standard English and the Creole continuum to reveal the characters in Certifiable and record their experiences.

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In the middle of the nineteenth century, most of New Brunswick was pristine wilderness. But by the end of the century the map of eastern Canada would be changed forever by the sport of salmon angling, and by the adventurers, gentlemen, rakes, and royalty, who were drawn together in their lust for the finest of fish. In Lost Land of Moses, Peter Thomas recounts the dramatic changes that occurred between 1840 and 1880, as strenuous wilderness idylls became the Victorian equivalent of adventure tourism. To illustrate his story, he has chosen more than fifty engravings, cartoons, maps, and photographs from archival collections and 19th century books and magazines. Moses Perley was a New Brunswick lawyer with a gift for contagious enthusiasm. Between 1839 and 1841, he published a series of articles in the British magazine Sporting Review describing his canoe trips with Mi'kmaq or Maliseet companions. The articles inspired a generation of young adventurers to visit New Brunswick. Soon, these young British gentlemen were joined by the rich and famous, as steamships brought fishermen right to the rivers, and needs were supplied by professional outfitters. In 1879, the Marquess of Lorne, then Governor General of Canada, and his daring wife, Princess Louise, spent two glorious weeks on the Restigouche, complete with a vice-regal retinue, a houseboat called Great Caesar's Ghost, and carpeted tents. The New Brunswick salmon waters were open for business. Many of the consequences of this influx were dire. Leases were let on the rivers, allowing only wealthy people to fish them. They founded clubs, built expansive camps, and hired wardens to patrol the pools. Most troubling of all, by the 1880s, the Mi'kmaq and Maliseet, at first respected as knowledgeable guides into their own territory, had been reduced to being perceived as mere servants. Moses Perley never foresaw the changes that large numbers of visitors would bring to New Brunswick's teeming salmon rivers. Lost Land of Moses reveals the consequences of his crusade to lure fly fishermen to New Brunswick. For good and ill, the legacy of those forty years is with us today.

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In her vibrant first novel, Sisters of Grass, Theresa Kishkan weaves a tapestry of the senses through the touchstones of a young woman's life. Anna is preparing an exhibit of textiles reflecting life in central British Columbia a century ago. In a forgotten corner of a museum, she discovers a dusty cardboard box containing the century-old personal effects of a Nicola valley woman. Fascinated by the artifacts, she reconstructs the story of their owner, Margaret Stuart. Margaret, the daughter of a Native mother and a Scottish-American father, she tries to fit into both worlds. She's taught photography by a visiting Columbia University anthropology student that she falls in love with. With strong, poetic language, Kishkan makes the past reverberate through the present in a richly patterned work celebrating the complexities and joys of life and the sustaining connections of family.

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