This anthology brings together, for the first time, the complete published works of Jewish Canadian poet Miriam Waddington and features a rare selection of previously unpublished poems.
The Isolation Booth is the third volume in Hugh Hood's Collected Stories; it contains short fiction written between 1957 and 1966. While all of the stories have been previously published in various magazines, this is the first time they are available in book form. The title story was first published in The Tamarack Review in 1958; the paid to Hood for that story represents the first income he ever made from his writing. Since then, Hugh Hood has become `one of Canada's most prolific short-story writers and novelists.' (William French, The Globe & Mail) He has authored more than twenty books, including novels, short-story collections and essays. The Porcupine's Quill has previously published Flying a Red Kite and A Short Walk in the Rain as part of our continuing series of Hood's Collected Stories. The stories in this collection are varied in form and content, from `The Isolation Booth', which Hood describes in his introduction as `... typical media folklore, the tale of a human sacrifice', to `The Fable of the Ant and the Grasshopper' which is concerned with the moral: `Never oppress the shiftless and the idle; they may have powerful friends.' These stories reflect the variety of Hood's experiments with the form, as well as his continuing concern with the human condition, which prompted William Blackburn to comment, `Hood's thirty-year career demonstrates his profound and compassionate sensitivity to our human predicament.' (Canadian Book Review Annual). As Hood writes in the introduction to The Isolation Booth, `Surely the society that invents a space called ``the isolation booth'' isn't far removed from the subliminal motivations of the torturers in prisons and camps of one kind or another. I've always shuddered remembering the phrase, yet it was in common use among millions of weekly viewers of big-money TV quiz programmes like ``The $64,000 Question''.' These concerns are (unfortunately) as meaningful now as when `The Isolation Booth' was written in 1958.
John Metcalf's Shut Up He Explained defies expectations and strict definition. Part memoir, part travelogue, part criticism -- wholly Metcalf -- it is thoughtful, engaged, contentious and often very funny. It offers a full does of Metcalfian wisdom and wit, and provides ample evidence that neither age nor indifference nor attack have withered him: he remains as sharp, critical, constructive and insightful as ever. Indeed, this may just be his most important and engaged book. Certainly it will be among his most controversial. What his critics will refuse to see, of course, is that it is also among his most positive, that it is a celebration of the best literature Canada has to offer, the birth of which Metcalf himself both witnesses and actively encouraged. Shut Up He Explained is magisterial, a virtuoso performance melding several seemingly different strands into one coherent narrative, which should delight and entertain as it serves to argue, elucidate and celebrate.
The Metaphor of Celebrity is an exploration of the significance of literary celebrity in Canadian poetry. It focuses on the lives and writing of four widely recognized authors who wrote about stardom -- Leonard Cohen, Michael Ondaatje, Irving Layton, and Gwendolyn MacEwen -- and the specific moments in Canadian history that affected the ways in which they were received by the broader public. Joel Deshaye elucidates the relationship between literary celebrity and metaphor in the identity crises of celebrities, who must try to balance their public and private selves in the face of considerable publicity. He also examines the ways in which celebrity in Canadian poetry developed in a unique way in light of the significant cultural events of the decades between 1950 and 1980, including the Massey Commission, the flourishing of Canadian publishing, and the considerable interest in poetry in the 1960s and 1970s, which was followed by a rapid fall from public grace, as poetry was overwhelmed by greater popular interest in Canadian novels." -- Publisher website.
Beginning with her earliest, uncollected stories, W.R. Martin critically examines Alice Munro's writing career. He discusses influences on Munro and presents an overview of the prominent features of her art: the typical protagonist, the development of her narrative technique, and the dialectic that involves paradoxes and parallels.
These poems reconstitute the lost canon of one of our most vibrant and original voices. Musgrave explodes expectations and haunts the reader with dramatic appeal.
More than twenty years in the making, Dancing, With Mirrors is the result of George Amabile's patient examination of his life. The light of careful attention, shining into his past, sends fragments of memory ricocheting into sensuous poems that arrange themselves, as if by magnetic attraction, into eleven remarkable cantos, each with a different focus, rhythm and texture. In this `lyrical retrospective', decades are distilled into scattered moments: flashes of pain, sparks of affection, the smart of disappointment, small graces of the everyday. Organized thematically into a roughly chronological narrative, these lyrical fragments make up George Amabile's most intelligent and moving collection to date. Intense snapshots of life-defining moments, from his brother's death to his relationship with a younger woman, are rendered with vivid immediacy, but also with a resonating aura that elicits questions which may never be answered by experience alone. These poems offer hard-won wisdom alongside a fierce commitment to life itself, capturing one man's journey in exquisite imagery, an impressive variety of forms and a voice that is recognizably authentic in all its registers. Since 1972 George Amabile has written seven collections of poetry and has been published in over one hundred magazines around the globe, including The New Yorker, Harper's, and Saturday Night. Over the years George Amabile has come to be recognized as one of Canada's most accomplished and masterful poets.
An essential part of the folklore of Canadian academia in the 1950s and 60s, George Johnston's poems were recited with glee by readers largely unaware of their publication abroad in the New Yorker, Partisan Review, Poetry (Chicago) and The Spectator. This book shows the making of those poems, and several hitherto unpublished ones, forged in the hard craft of Icelandic saga, American Imagism, and in the voices of family and community Johnston took as his material. William Blissett enjoys a unique presence in academic folklore today, having seeded it with his perceptions and sayings for over sixty years as an authority on Wagner and the shape of literary modernism, Renaissance epic and drama; the work of his friend, the modernist poet David Jones, and his friend, George Johnston, whose poems he frequently critiqued in draft. Sean Kane, once a student of both Johnston and Blissett, engagingly presents a friendship told in fifty years of letters between the two men, set in the affectionate, gossipy, aspiring world of English Studies in Canada when it was ruled by A.S.P. Woodhouse and Northrop Frye.
Inlcudes 87 poems that are selected from the eight volumes which the poet published in the first ten years of his career.
An eighteen-year-old English girl finds her loyalties divided and all her resources tested as she and her friends experience the terrible physical and emotional hardships of the forty-seven day siege of Vicksburg in the spring of 1863.
What can we learn about authorship through a reading of a writer’s archive? Collections of authors’ manuscripts and correspondence have traditionally been used in ways that further illuminate the published text. JoAnn McCaig sets out to show how archival materials can also provide fascinating insights into the business of culture, reveal the individuals, institutions, and ideologies that shape the author and her work, and describe the negotiations that occur between an author and the cultural marketplace. Using a feminist cultural studies approach, JoAnn McCaig “reads in” to the archives of acclaimed Canadian short story writer Alice Munro in order to explore precisely how the terms “Canadian,” “woman,” “short story,” and “writer” are constructed in her writing career. Munro’s correspondence with mentor Robert Weaver, agent Virginia Barber, publishers Doug Gibson and Ann Close, and writer John Metcalf tell a fascinating story of how one very determined and gifted writer made her way through the pitfalls of the culture business to achieve the enviable authority she now claims. McCaig’s discussion of her own difficulties with obtaining copyright permission for the book raises important questions about freedom of scholarly inquiry and about the unforeseen difficulties and limitations of archival research. Despite these difficulties, McCaig’s reading of the Munro archives succeeds in examining the business of culture, the construction of the aesthetic, and the impact of gender, genre, nationality, and class on authorship. While on one level telling the story of one author’s career — the progress of Alice Munro, so to speak — the book also illustrates how cultural studies analysis suggests ways of opening up the rich but underutilized literary resource of authorial archives to all researchers.
After Sheriff Bo Tully witnesses a murder while pursuing a bank robber, he is thrust into an investigation that will test his crime-solving skills.
Documents of Protest and Compassion offers the first extensive critical assessment of Bauer's considerable poetic oeuvre. In this long-overdue supplement to recent anthologies of Bauer's poetry and essays on his life and work, Angelika Arend draws on Bauer's diaries and letters to reveal the profoundly humane intentions that guided his choice of themes and structures. She shows that social protest and brotherly compassion, shared responsibility and critical self-reflection are Bauer's main thematic fare, which he presented in simple, yet carefully crafted, poetic structures, and explains how these ideas and forms developed or remained constant in light of historical, cultural, social, and personal developments. Documents of Protest and Compassion is important for those interested in Bauer's work, German poetry, German-Canadian literature, and the immigrant writing experience.
Gabrielle Roy was one of the most prominent Canadian authors of the twentieth century. Joyce Marshall, an excellent writer herself, was one of Roy's English translators. The two shared a deep and long-lasting friendship based on a shared interest in language and writing. In Translation offers a critical examination of the more than two hundred letters exchanged by Roy and Marshall between 1959 and 1980. In their letters, Roy and Marshall exchange news about their general health and well-being, their friends and family, their surroundings, their travels, and other writers, as well as their dealings with critics, editors, and publishers. They recount comical incidents and strange encounters in their lives, and reflect on human nature, current events, and, from time to time, their writing. Of particular interest to the two women were the problems they encountered during the translation process. Many passages in the letters concern the ways in which the nuances of language can be shaped through translation. Editor Jane Everett has arranged the letters here in chronological order and has added critical notes to fill in the historical and literary gaps, as well as to identify various editorial problems. Shedding light on the process of writing and translating, In Translation is an invaluable addition to the study of Canadian writing and to the literature on these two important figures.

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