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Drafts, Fragments, and Poems
The first appearance of this award-winning writer's work since the 1940s, this collection, which includes an introduction by John Ashbery, restores Joan Murray's striking poetry to its originally intended form. Though John Ashbery hailed Joan Murray as a key influence on his work, Murray’s sole collection, Poems, published after her death at the early age of twenty-four and selected by W. H. Auden for inclusion in the Yale Series of Younger Poets, has been almost entirely unavailable for the better part of half a century. Poems was put together by Grant Code, a close friend of Murray’s mother, and when Murray’s papers, long thought to be lost, reappeared in 2013, it became clear that Code had exercised a heavy editorial hand. This new collection, edited by Farnoosh Fathi from Murray’s original manuscripts, restores Murray’s raw lyricism and visionary lines, while also including a good deal of previously unpublished work, as well as a selection of her exuberant letters.
Dancing on the Edge
In her haunting fourth collection, National Poetry Series winner Joan Murray takes the challenge of performing poetry's original and still necessary tasks in the uncertain landscape of a new millennium. Widely praised for the exceptional humanity and technical virtuosity of her earlier collections, Murray now explores the daily struggles of life and death in the natural world, the hidden pleasures and ironies of life in small-town America, the vulnerable underside of artistic communities, and the myriad complexities that pervade our dreams and relationships in this new century. With wit, generosity, and unflinching honesty, Murray gives us poems that mourn and praise, illuminate and challenge.
The Best of the Group of Seven
A stunning, full-colour collection of the brilliant paintings that revolutionized Canadian art. In the early twentieth century a group of young artists strived to create, in Lawren Harris’s words, paintings that would “embody the moods and character and spirit of the country.” The fifty-four breathtaking colour plates in this book confirm their success. Well-loved landscapes, like Tom Thomson’s Jack Pine, appear beside some unexpected treasures like Edwin Holgate’s Nude in a Landscape. The essays by Joan Murray and Harris give historical context to the Group of Seven, and fascinating captions provide biographical notes and insightful critiques of each member’s style. No Canadian library is complete without this beautiful volume.
Confessions of a Curator
In this witty and compelling defence of the art field itself, Joan Murray, one of the country's most outspoken art historians, discusses the great figures of Canadian art and the rise of our national are in institutions such as the Art Gallery of Ontario.
Isn't Forever
None
A Treasury of Tom Thomson
Tom Thomson's most influential paintings as chosen by his friends and collectors, illustrating a moving, untold story in Canadian art. In spring 1918, Lawren Harris and J.E.H. MacDonald, two members of the soon-to-be-formed Group of Seven, met in the Studio Building in Toronto. Their friend Tom Thomson had died the year before, and they determined to establish him as one of Canada's great artists. Most of his paintings and sketches were stacked up in the studio. They would select the best, mark their comments on the back of these works and make sure they got into Canada's most prestigious public and private collections. These two great artists had been Thomson's mentors and friends, teaching...
Tom Thomson
Focuses on one series in his work--trees.
Northern Lights
We are drawn immediately to their powerful, dramatic visions of a vast and austere land. To commemorate the 75th anniversary of the founding of the Group of Seven, contemporary Canadian art expert Joan Murray has chosen more than 125 works of art for inclusion in this volume, including some paintings never before seen by the public. (1994)
Lawren Harris
A brief history of the life and work of the Canadian artist and founding member of the Group of Seven.
The Story of Shaw's Saint Joan
The literary genetics of Shaw's most famous play are here examined for the first time. The sources of Saint Joan are closely compared with the original shorthand manuscript and that is compared with its subsequent revisions. This evidence is supplemented by facts drawn from Shaw's correspondence in print, in the British Library, and in private collections, and by accounts both in print and in the correspondence of people who knew Shaw at the time of his writing Saint Joan. The manuscript and its revisions are examined in the light of all that has been written about the play since it first appeared in 1923. Tyson examines the events that led Shaw to write Saint Joan, establishes the times and...
