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Toronto writer Barry Callaghan's new novel takes us on a tour of
the life of a war photographer as he searches for his childhood
love through a war-torn African nation. The story of Adam Waters'
quest moves effortlessly, and artfully, around various times and
places. Short scenes flow beautifully; each one reveals exactly
what it needs--and no more--to give meaning to the succeeding one.
Barry Callaghan and Joe Rosenblatt, poets of perspicacity, pizzazz,
and probity, have been combative, ecstatic compadres for over 40
years, with Callaghan donning an array of chapeaus, the man of
belles lettres and hog flaneur-on-the-hoof from Smooth City, while
Rosenblatt decades ago declared his unconditional allegiance to the
buzzzers, chirpers, and purrers of the natural world, to remain at
peace by his pond, aloof from the human horde. This most unlikely
pair are conjoined by their shared dedication to the Word, to those
rare moments of ascendent insight that are contained in bedrock
language, to disputation about all matters of gravity and
gullibility, and to the sharing of extraordinary paintings and ink
drawings come from their nether surreal and noumenal worlds.
Hoggwash, a convergence by epistle, is a tribute not just to their
enduring friendship but to the life of the imagination itself.
There is no record of correspondence like this, anywhere in the
world.
Chronicling the struggle to put into words the horrors, insights,
and tribulations that ultimately shaped a nation's character, this
new/expanded edition (based on the original edition of 2001)
presents both the major and "unknown" Canadian voices of World War
I. Also contains a Preface, Foreword, Introduction, Afterword,
Biographies, "Tommy's Dictionary of the Trenches" (A Lexicography),
A Glossary, Selected Bibliography, and Questions for Discussion and
Essays.
Celebrating three Russian literary greats-Alexander Pushkin, Anna
Akhmatova, and Andrei Voznesensky-this collection of their writing
presents new translations of a combined 44 poems and includes both
Russian and English text. Nearly 20 artworks-from colour monoprints
to black-and-white collages, illustrations, and photographs-by
Pushkin, Voznesensky, Amadeo Modigliani, Nikolai Tyrsa, and Claire
Weissman Wilks are also included, opening an artistic dialogue with
the poems and the reader. Alexander Pushkin is, perhaps, the
greatest of Russian poets and considered the founder of modern
Russian literature. Anna Akhmatova is Russia's singular female poet
and perhaps the greatest in Western culture. Andrei Voznesensky was
considered one of the most daring writers of the Soviet era, and
before his death he was both critically and popularly acclaimed.
These three master poets are brought together with masterful
translations that engage their many complexities and are a must for
personal or academic interests in Russian literature or poetry in
general.
This is the story of 29-year-old Albie Starbach, a reclusive man
who is the caretaker of a large rooming house, with a day job as a
crossing guard. He is a caring man. But he is also a dangerous
man… living in a world that to him is threatening because he
feels he has been wronged, and he is resentful. He has wired the
rooming house with dynamite, and every time he goes out, he sets a
timer. He had better get back in time or the house will blow.
Often, it is not easy to get back; out on the streets desperado
cowboys in the trees talk to him, “working women” taunt him,
the police accost him. His only companion is his legless mother
who, in a wheelchair in their basement rooms, conducts day-long
derisive arguments with the television, as if all those people were
alive in her room. Living together at the bottom of their world,
mother and son feed each other their rage, their righteous
indignation, their sense of moral singularity. Determinedly alone,
determinedly wounded, they are embattled, and their story is very
much a story of our time, and the world had better watch out
because this caretaker is prepared to take everyone with him.
A celebration of the whole of Claire Wilks' work and her presence
in the world as a woman of great character and a singular artist,
the book presents her career-with ample selections of her drawings,
sculptures, and monoprints-including appearances in Rome,
Stockholm, Jerusalem, Zagreb, New York, Venice, Mexico City and, of
course, her home town, Toronto. In the company of her works are
commentaries, critical responses, poems, photographs, and art by
many who were touched by her career and personality.
When Things Get Worst is the story of a young woman from a world of
horse dealers and stone pickers, religious zealots, and gratuitous
killers. It is the evocative tale of those who, having lost
everything else, retain their dignity in a declining, often
dissolute world. Haunted by death and her local history, by
religious ecstatics and cynics of the Word, by the repressed who
are raping the countryside, as if farms were no more than gravel
orchards, this young woman continues to move forward. In the face
of the vengeance that others are wreaking on life, she never loses
faith in herself, her family, or in the earth, on whose behalf she
finally, in a moment of apocalypse, acts. Sensual and perfectly
pitched in its depiction of thought in a language that is specific
to the rhythms of southwestern Ontario, When Things Get Worst is a
moving, lyrical testimony to the force of the human spirit.
Pauline tells her personal story of growing up through paradoxes
and insights that blend social, religious, and moral textures. Her
world is populated by people who turn to violence or sink into
quiet despair--it is a world damned. Pauline, her family,
schoolmates, teachers, and friends are driven by tempestuous
individual imperatives and the social deprivation they encounter.
Full of satire, fantasy, energy, and lyricism, this chronicle
portrays a reality that neither poetry, nor dreams, nor Pauline's
fantasies can weaken.
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