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Coach House at Fifty
Coach House at Fifty looks back at an underreported slice of the complex history of one of Canada’s most celebrated small, literary publishers, and particularly the impact of changing technologies on book design and production at the shop on bpNichol Lane in the shadow of Rochdale College in Toronto. Curator Dennis Reid reminisces about ‘The Old Coach House Days’ (1964–66) when the press released early poetry books by Wayne Clifford and Joe Rosenblatt. Michael Ondaatje was an unknown, and the production technology was primarily 19th-century letterpress augmented with silkscreen. Simon Fraser professor John Maxwell picks up the narrative in ‘The Early Digital Period’, starting in ...
The Porcupine's Quill Reader
The Porcupine's Quill "Reader" celebrates and promotes the work of a small publishing house in the village of Erin, Ontario. The fact that authors published here have had four Governor General Award nominations in four years suggest that editor John Metcalf and publisher Tim Inkster must be doing something right. The "Reader" contains 20 short stories and assorted gossipy anecdotes and photographs of the authors giving readings and socializing. (And yes, this creates a feeling of being the voyeur at the family picnic, and yes, you might wonder why you would want to be a voyeur there of all places.) Inkster has long been known for quality book design and treats readers to brief arcane chats about typeface selection and paper size. Interesting if you like knowing why some books look and feel so much better than others, easy to skip if you don't.'
A calendar of days
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Drawing on Type
Drawing on Type is the life-story of one of Canada’s more colourful book-world characters -- Frank Newfeld, designer, illustrator and storyteller extraordinaire. It is a wide-ranging account, beginning with Newfeld’s youth in England during the Second World War and leading to his involvement in the book trade in Canada. Eventually becoming Art Director, and subsequently, Vice-President of Publishing at McClelland & Stewart, he went on to co-found the Society of Typographic Designers of Canada (now the Graphic Designers of Canada), and to run the illustration program at Sheridan College. Newfeld pulls no punches: he is critical of a college system that infantalizes its students; of childrens’-book illustrators that insult young readers’ intelligence; of authors, artists, designers and editors who condescend to their collaborators. Yet he is as unflinching in his evaluations of himself as he is in his evaluations of others, for Drawing on Type is also a reckoning of self.
An Illustrated Alphabet for the Illiterate
`Sin creates [ an inclination to sin; it engenders vice by repetition of the same acts. This results in perverse inclinations which cloud conscience and corrupt the concrete judgement of good and evil. Thus sin tends to reproduce itself and reinforce itself, but it cannot destroy the moral sense at its root.' -- Para. 1865, Catechism of the Catholic Church, 1994.
A Brazilian Alphabet for the Younger Reader
`P. K. Page's A Brazilian Alphabet succeeds in being both whimsical and elegiac at once. This mixture of pleasures gives us the feeling we are reading a text long remembered and well-loved, while at the same time charming us with surprises.'
James Reaney on the Grid
‘Set up a trellis for flowering plants to climb all over: it’s there but unseen, supporting all that floral leaf-green beauty.’ In James Reaney on the Grid, Stan Dragland examines an artist fiercely loyal to his artistic practice, deploying the metaphor of the grid to explore the inherited literary patterns and archetypes underpinning works of London poet, playwright and educator James Reaney. With extensive references to Reaney’s considerable oeuvre (from early publications such as A Suit of Nettles and The Box Social to what is arguably his master work, The Donnellys), and to an eclectic collection of theorists, artists and contemporaries whose ideas inform and respond to Reaney’s, Dragland seeks to reveal not only what Reaney’s work is about but also what it does. In so doing, he takes readers by the hand in a surprisingly personal ramble through the processes and productions of one of Southern Ontario’s most influential writers.
Fabulous Fictions & Peculiar Practices
In Fabulous Fictions and Peculiar Practices, politics and economics sprawl comfortably alongside prurient dissertations on sex, marriage and aging as Leon Rooke and Tony Calzetta masterfully unfold a narrative of society’s indifference to the sorry plight of the artist. In this unique confluence of image and text, a pompous bank president delivers a rousing oration to his number cruncher clerks, and the painter Cézanne faces off against a disquieting muse and the cold rejection of the artistic community. Art critics, reveling in their own pedantry, find perverse enjoyment in professing ridiculous opinions. And God himself makes a cameo appearance—fearsome, irreverent and, it must be said, at times lecherous.... Satirical, playful and provocative, Fabulous Fictions is a madcap tour de force unlike anything you’ve ever seen or heard before.
Pentecost
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After Identity
For decades, the field of Mennonite literature has been dominated by the question of Mennonite identity. After Identity interrogates this prolonged preoccupation and explores the potential to move beyond it to a truly post-identity Mennonite literature. The twelve essays collected here view Mennonite writing as transitioning beyond a tradition concerned primarily with defining itself and its cultural milieu. What this means for the future of Mennonite literature and its attendant criticism is the question at the heart of this volume. Contributors explore the histories and contexts—as well as the gaps—that have informed and diverted the perennial focus on identity in Mennonite literature, even as that identity is reread, reframed, and expanded. After Identity is a timely reappraisal of the Mennonite literature of Canada and the United States at the very moment when that literature seems ready to progress into a new era. In addition to the editor, the contributors are Ervin Beck, Di Brandt, Daniel Shank Cruz, Jeff Gundy, Ann Hostetler, Julia Spicher Kasdorf, Royden Loewen, Jesse Nathan, Magdalene Redekop, Hildi Froese Tiessen, and Paul Tiessen.
