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Part meditation, part confession, part comedy bit, The Loneliness Machine—Aaron Giovannone’s first full-length collection of poetry—is a strikingly new rendition of the trope of the suffering artist that takes dramatic risks and rarely fails to charm.
Poetry. Compulsively confessional and cracking wise, THE NONNETS is an utterly unique alchemy of poetry and comedy. Aaron Giovannone's latest collection is a book-length sequence of "nonnets"--nine-line poems that Giovannone handles with ruthless dexterity. Capturing transformations from first dates to goodbye texts, from mama's boy to unrepentant shoplifter, from post-industrial downtown to eleventh-century Italian monastery, these poems present a kaleidoscopic world that careens wildly between despair and ecstasy. "Often hilarious, always poignant, Aaron Giovannone's THE NONNETS scoop up handfuls of life and buoy them into air. These poems are to the heart as angel food cake is to the mout...
Part meditation, part confession, part comedy bit, The Loneliness Machine — Aaron Giovannone's first full-length collection of poetry — is a strikingly new rendition of the trope of the suffering artist that takes dramatic risks and rarely fails to charm.
Micheline Maylor's The Bad Wife is an intimate, first-hand account of how to ruin a marriage. This is a story of divorce, love, and what should have been, told in a brave and unflinching voice. Pulling the reader into a startling web of sensuality, guilt, resentment, and pleasure, this collection asks: what if you set off a bomb in your own house? What if you lose love and destroy everything you ever knew? These poems have a disarming immediacy, full of surprising imagery, dark humour, and the bold thoughts of a vibrant and flawed protagonist. Balancing a need for wildness and the space to dwell, The Bad Wife explores the taut confines of those vivid, earthly pleasures that we all know and sometimes can't escape. I forgot the oath: Do no harm. -from "Yesterday, I Went to the Market"
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Even for the casual viewer, the Netflix series Stranger Things will likely feel familiar, reminiscent of popular 1980s coming-of-age movies such as The Goonies, E.T. the Extra-Terrestrial, and Stand by Me. Throughout the series, nods to each movie are abundant. While Stranger Things and these classic 1980s films are all tales of childhood friendship and shared adventures, they are also narratives that reflect and shape the burgeoning cynicism of the 1980s. In Ode to Gen X: Institutional Cynicism in "Stranger Things" and 1980s Film, author Melissa Vosen Callens explores the parallels between iconic films featuring children and teenagers and the first three seasons of Stranger Things, a series...
Class, Identity, and Finding the Right Wine in Schitt’s Creek: A Place To Love analyzes the themes of love, place, and identity. The book argues that Schitt’s Creek’s inclusive ideologies and strongly formed characters encourage a process of self-growth and acceptance as well as the value of community.
The verb esperar means to wait. It also means to hope.—“The Past Was a Small Notebook, Much Scribbled-Upon”, Cora Siré Waiting, that most human of experiences, saturates all of our lives. We spend part of each day waiting—for birth, death, appointments, acceptance, forgiveness, redemption. This collection of thirty-two personal essays is as much about hope as it is about waiting. Featuring literary voices from the renowned to the emerging, this anthology of contemporary creative nonfiction will resonate with anyone who has ever had to wait. Contributors: Samantha Albert, Rona Altrows, Sharon Butala, Jane Cawthorne, Weyman Chan, Rebecca Danos, Patti Edgar, John Graham-Pole, Leslie Greentree, Edythe Anstey Hanen, Vivian Hansen, Jane Harris, Richard Harrison, Elizabeth Haynes, Lee Kvern, Anne Lévesque, Margaret Macpherson, Alice Major, Wendy McGrath, Stuart Ian McKay, Lorri Neilsen Glenn, Susan Olding, Roberta Rees, Julie Sedivy, Kathy Seifert, Cora Siré, Steven Ross Smith, Anne Sorbie, Glen Sorestad, Kelly S. Thompson, Robin van Eck, Aritha van Herk
Governor General’s Award Finalist: A “wry, moving” memoir of a woman retracing her grandfather’s escape from Amsterdam during the Holocaust (Alison Pick, Booker-nominated author of Between Gods). Why couldn’t I occupy the world as those model-looking women did, with their flowing hair, pulling their tiny bright suitcases as if to say, I just arrived from elsewhere, and I already belong here, and this sidewalk belongs to me? When her marriage suddenly ends, and a diary documenting her beloved Opa’s escape from the Nazi-occupied Netherlands in the summer of 1942 is discovered, Naomi Lewis decides to retrace his route to freedom. Travelling alone from Amsterdam to Lyon, she discovers family secrets and her own narrative as a second-generation Jewish Canadian. With vulnerability, humour, and wisdom, Lewis’s memoir of her journey, interspersed with excerpts from her grandfather’s diary, asks tough questions about her identity as a secular Jew, the accuracy of family stories, and the impact of the Holocaust on subsequent generations.