Operation: Jericho takes the reader into the world of clandestine warfare, focusing on two Arab American brothers who face a formidable enemy in Afghanistan. Much like the story of Jericho in the book of Joshua, two spies are sent into a terrorist training camp to determine if there is any righteous people among the population. The brothers must escape only to return and destroy the village codenamed: Jericho in an attempt to strike a major blow against all enemies in the War on Terror.

Shortlisted for the Manitoba Book Awards in the category of Most Promising Writer

Talented newcomer Jonathan Ball's "Clockfire" is a suite of poetic blueprints for imaginary plays that would be impossible to produce - plays in which, for example, the director burns out the sun, actors murder their audience, and the laws of physics are flagrantly violated. The poems in one sense replace the need for drama, and are predicated on the idea that modern theatre lacks both 'clocks' and 'fire' and thus fails to offer its audiences immediate, violent engagement. They sometimes resemble the scores for Fluxus 'happenings, ' but they replace the casual aesthetic and DIY simplicity of Fluxus art with something more akin to the brutality of Artaud's theatre of cruelty. Italo Calvino as rewritten by H. P. Lovecraft, Ball's 'plays' break free of the constraints of reality and artistic category to revel in their own dazzling, magnificent horror.

Winner of the 2013 Aqua Books Lansdowne Prize for Poetry (Manitoba Book Awards)

If Lisa Robertson were to collide with David Lynch in a dark alley, the result would be a lot like "The Politics of Knives." From shattered narratives to surrealistic fantasies, the poems in "The Politics of Knives" bridge the gap between the conventional and the experimental, combining the intellectual with the visceral. The complicity of language in violence, and the production of stories as both a defensive and offensive gesture, trouble the stability of these poetic sequences that dwell in the borderland between speaking and screaming.

"She made hyphens and made me use them.
From her back she pulled brackets. Saying:
"These in your throat and these around your neck.""

Jonathan Ball teaches English, film, and writing at two universities.

Jonathan Ball was born in Bude, Cornwall, in June 1947. After qualifying at the Architectural Association, London, he set up practice in his home town in 1974. In 1992 he was appointed MBE for Services to Architecture. In 1994 he was approached by Tim Smit with an idea to create the largest greenhouses on planet Earth to tell the story of the great plant hunters. Smit and Ball took huge personal risks as co-founders of the innovative architectural and environmental vision that became the internationally acclaimed Eden Project. Ball was removed from Eden against his will. Without due recompense he lost his architectural practice. Three high profile appearances in the Royal Courts of Justice over four years followed to save his name, his family home and his professional reputation. This is the story of one man's unflinching resolve and success in righting a public wrong, of a Cornishman looking to the glory of his nation and finding that enthusiasm, brilliant ideas and promises are not always enough.

John Paizs's 'Crime Wave' examines the Winnipeg filmmaker's 1985 cult film as an important example of early postmodern cinema and as a significant precursor to subsequent postmodern blockbusters, including the much later Hollywood film Adaptation. Crime Wave's comic plot is simple: aspiring screenwriter Steven Penny, played by Paizs, finds himself able to write only the beginnings and endings of his scripts, but never (as he puts it) "the stuff in-between." Penny is the classic writer suffering from writer's block, but the viewer sees him as the (anti)hero in a film told through stylistic parody of 1940s and 50s B-movies, TV sitcoms, and educational films. In John Paizs's 'Crime Wave,' writer and filmmaker Jonathan Ball offers the first book-length study of this curious Canadian film, which self-consciously establishes itself simultaneously as following, but standing apart from, American cinematic and television conventions. Paizs's own story mirrors that of Steven Penny: both find themselves at once drawn to American culture and wanting to subvert its dominance. Exploring Paizs's postmodern aesthetic and his use of pastiche as a cinematic technique, Ball establishes Crime Wave as an overlooked but important cult classic.