Lawrence Durrell Editor James Gifford Foreword Peter Baldwin
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Lawrence Durrell Editor James Gifford Foreword Peter Baldwin
"This collection has a straightforward ambition: to redirect the interpretive perspective that readers bring to Lawrence Durrell’s literary works by returning their attention to his short prose." – From the Introduction
Best known for his novels and travel writing, Lawrence Durrell defied easy classification within twentieth-century Modernism. His antiauthoritarian tendencies put him at odds with many contemporaries—aesthetically and politically. However, thanks to a compelling recontextualization by editor James Gifford, these 38 previously unpublished and out-of-print essays and letters reveal that Durrell’s maturation as an artist was rich, complex, and subtle. This edition promises to open up new approaches to interpreting his more famous works. Durrell fans will treasure this selection of rare nonfiction, while scholars of Durrell, modernist literature, and antiauthoritarian artists, and the Personalist movement will also appreciate Gifford’s fine editorial work.
“Our voices scrubbed out and forgotten. There are those who research and write about sex workers who often forget we are human.”– Amy Lebovitch
Canadian cities are striving for high safety ratings by eliminating crime, which includes “cleaning” urban areas of the street sex industry. Ironically, those same sex workers also want to live and work in a safe environment. Shawna Ferris interrogates sanitizing political agendas, analyzes exclusionary legislative and police initiatives, and examines media representations. She gives a voice to sex workers who are often pushed to the background, even by those who fight for them. In the name of urban safety and orderliness, street sex workers face stigma, racism, and ignorance. Their human rights are ignored, and some even lose their lives. Ferris aims to reveal the cultural dimensions of this discrimination through literary and art-critical theory, legal and sociological research, and activist intervention. This book has much to offer to educators and activists, sex workers and anti-violence organizations, and academics studying women, cultural, gender, or indigenous issues.
“Fasten your chastity belts, ladies and gentlemen, it’s gonna be a bumpy ride.”
From his legendary birth in a snowbank in northwestern Manitoba, through his metamorphosis to citizen-artist of the world, polyglot, playwright, pianist, storyteller, and irreverent disciple of the Trickster, Tomson Highway rides roughshod through the languages and communities that have shaped him. Cree, Dene, Latin, French, English, Spanish, and the universal language of music have opened windows and widened horizons in Highway’s life. Readers who can hang on tight—Highway fans, culture mavens, cunning linguists, and fellow tricksters—will experience the profundity of Highway’s humour, for as he says, “In Cree, you will laugh until you weep.”
juice from an apple
dripped onto my words,
leaving them stained forever. “ – From “A Soulful Sunshine”
Jalal Barzanji’s poetry willingly mutates his native Kurdish experiences into the global. In the tradition of Taslima Nasrin, Adonis, Yehuda Amichai, and Mahmoud Darwish, he speaks with the authority of exile, of the tension that exists between home and an adoptive land, of that delicate dance of defiance in the face of censorship and oppression. Barzanji’s poetry is infused with the richness of the Middle East, but underneath, there are also strands of Baudelaire, Rimbaud and T.S. Eliot. It is here, in these moments where language and culture collide and co-operate that Barzanji finds a voice that in its insistence on remaining true to itself, carves out a strong voice of opposition to political oppression. Barzanji will draw readers to his work again and again, the way in which we return to a favourite canvas.
“As soon as she was gone from this earth, I felt an overwhelming need for more of her. I had to find her again. But how do you find someone after they’re gone for good?”
After her mother succumbed to a rare form of dementia, Myrl Coulter returned to the eulogy she wrote for the funeral and expanded it into meditations on the troubling absence of what had been a fraught relationship. The result is fifteen personal narrative essays that travel through the vacations, annual holidays, special occasions, and regular ordinary days each year brings. Coulter quests for the mother who is already gone and yet remains all around her, no matter where she is. In every captivating detail of Coulter’s world, A Year of Days offers readers an intimate odyssey of experience and a cathartic finish.
When the topic is sex, fear and embarrassment prevent frank and meaningful communication between teens and adults. Using participatory theatre can break the uncomfortable silence, and with over 700 performances across Canada, Jane Heather's play Are We There Yet? has been an effective tool for teaching teen sexuality since 1998. The play and program were the subject of a major impact assessment and researchers of many kinds examined how and why theatre can make change. This comprehensive, well-organized volume by two leading experts offers a rich diversity of material and analysis. The play appears in the volume and is available for separate purchase as a reproducible PDF, and a video production of examples of theatrical participation is included on a pocketed DVD. Theatre, Teens, Sex Ed will be a valuable resource for academics, practitioners, and specialist readerships in the fields of theatre, sex education, sociology, and public health. Contributors: Shaniff Esmail, Brenda Munro, Tracy L. Bear, James McKinnon, and the Are We There Yet? Community University Research Alliance.
“That Canada remains a society haunted by its war history seems clear....”
Since 1977, a new generation of Canadian writers and artists has been mapping the cultural landscapes formed by the memories of war we have inherited, and also the ones we are expected to forget. Challenging, even painful, the art and literature in Grace’s magisterial study build causeways into history, connecting us to trials and traumas many Canadians have never known but that haunt society in subtle and compelling ways. A contemporary scholar of the period under examination, Grace exemplifies her role as witness, investing the text with personal, often lyrical, responses as a way of enacting this crucial memory work. This comprehensive study is intended for Canadians, scholars, and students interested in literature, theatre, and art relating to memories of the world wars.
This exhibition catalogue celebrates the life and work of avant garde poet and playwright Wilfred Watson. Drawing on the rich collection of letters, notebooks, manuscripts and sketchbooks in the University of Alberta Archives’ Wilfred Watson Fonds, this exhibition traces Watson’s development from his early encounters with the work of T.S. Eliot, Dylan Thomas and Emily Carr to his decades-long engagement with the writing of Gabriel Marcel, Wyndham Lewis, and Marshall McLuhan, and from his initial work on stage to his career-changing involvement in the Edmonton theatre community centred on Studio Theatre, Walterdale Theatre and the Yardbird Suite. The archives include a rich correspondence between Wilfred Watson and his wife, Sheila Watson, and many notebook entries describing the two writers' lifelong dialogue.
Conrad Kain Editor Zac Robinson Introduction Zac Robinson Translator Maria Koch, John Koch Foreword Chic Scott
Conrad Kain is a titan amongst climbers in Canada and is well-known in mountaineering circles all over the world. His letters to Amelie Malek—a life-long friend—offer a candid view into the deepest thoughts of the Austrian mountain guide, and are a perfect complement to his autobiography, Where the Clouds Can Go. The 144 letters provide a unique and personal view of what it meant to immigrate to Canada in the early part of the twentieth century. Kain’s letters are ordered chronologically with annotations, keeping the sections in English untouched, while those in German have been carefully translated. Historians and mountain culture enthusiasts worldwide will appreciate Kain’s genius for description, his passion for nature, his opinions, and his musings about his life.
Gifford’s invigorating work of metacriticism and literary history recovers the significance of the “lost generation” of writers of the 1930s and 1940s. He examines how the Personalism of anarcho-anti-authoritarian contemporaries such as Alex Comfort, Robert Duncan, Lawrence Durrell, J.F. Hendry, Henry Miller, Elizabeth Smart, Dylan Thomas, and Henry Treece forges a missing link between Late Modernist and postmodernist literature. He concludes by applying his recontextualization to four familiar texts by Miller, Durrell, Smart, and Duncan, and encourages readers to re-engage the lost generation using this new critical lens. Scholars and students of literary modernism, 20th century Canadian literature, and anarchism will find a productive vision of this neglected period within Personal Modernisms.