In this graceful, haunting, and evocative novel, the Gulf War becomes a touch-stone for Suzanne's meditation on her mother's life in World War II. Taken is a tribute to women whose lives have been taken over, or even taken, by war. In the end, out of the wreckage of grief and power, love and lightÑhowever changedÑendure.
Opening doors, dreaming awake, tracing networks of music and meaning, Marlatt’s poetry stands out as an essential engagement with what matters to anyone writing with a social-environmental conscience. Rivering includes poems inspired by the village of Steveston where, before the war, a Japanese-Canadian community lived within the rhythms of salmon on the Fraser River delta. Also gathered into Rivering: lesbian love poetry from Touch to my Tongue; a transformance of Nicole Brossard’s Mauve; passages from The Given, winner of the 2009 Dorothy Livesay Poetry Prize; a traditional “Kuri” song from the Noh drama, The Gull; and an unpublished excerpt from the chamber opera “Shadow Catch.” Difficult, beautiful, heart-breaking realities of the twenty-first century are urgently immediate in selections from Liquidities: Vancouver Poems Then and Now. All of the poems speak to Marlatt’s poetics of place and of language as passage between distant or disparate human beings, and between human beings and the more-than-human world. The selections are framed by Susan Knutson’s deeply attentive critical introduction and by Marlatt’s “immediacies of writing,” a new lyrical essay investigating the act of writing. Closing with a walking meditation situated by her Buddhist practice, Rivering is both a “pocket Marlatt” and an introduction to one of the best poets of our time.
From one of Canada's most influential poets, poems written in response to the discovery of letters by her father. These poems explore a sense of place and home on Canada's West Coast now on the brink of global climate change. "There Then" permeates any "Here Now" of immigrant consciousness and highlights the impermanent quality of "home.
Winner of the Dorothy Livesay Poery Prize Finalist for the Pat Lowther Memorial Award “You remember — what is it you remember? / the feel of home, that moment of coming into your body. . . ” So begins Daphne Marlatt’s haunting and multi-layered long poem, which reads with all the urgency and depth of a novel. Set in present-day and 1950s Vancouver, The Given begins with the news of a mother’s death, then opens up to become an intricate tapestry of lives, as Marlatt deftly interweaves the past with the present, replicating the arc of memory itself, while questing for — and questioning — the meaning of home and identity. Circling around the narrator’s mother — theatrical, troubled, imprisoned in the small existence of a 1950s housewife, and a persistent presence in the lives of others — The Given is a ceremony performed for her, and for all “those who have left, who go on burning in us.” In luminous, deeply resonant fragments, Marlatt resoundingly answers the drive to live with deep attention in a now that is, for all of us, “tangled in the past.”
Opening doors, dreaming awake, tracing networks of music and meaning, Marlatt’s poetry stands out as an essential engagement with what matters to anyone writing with a social-environmental conscience. Rivering includes poems inspired by the village of Steveston where, before the war, a Japanese-Canadian community lived within the rhythms of salmon on the Fraser River delta. Also gathered into Rivering: lesbian love poetry from Touch to my Tongue; a transformance of Nicole Brossard’s Mauve; passages from The Given, winner of the 2009 Dorothy Livesay Poetry Prize; a traditional “Kuri” song from the Noh drama, The Gull; and an unpublished excerpt from the chamber opera “Shadow Catch.” Difficult, beautiful, heart-breaking realities of the twenty-first century are urgently immediate in selections from Liquidities: Vancouver Poems Then and Now. All of the poems speak to Marlatt’s poetics of place and of language as passage between distant or disparate human beings, and between human beings and the more-than-human world. The selections are framed by Susan Knutson’s deeply attentive critical introduction and by Marlatt’s “immediacies of writing,” a new lyrical essay investigating the act of writing. Closing with a walking meditation situated by her Buddhist practice, Rivering is both a “pocket Marlatt” and an introduction to one of the best poets of our time.
Ana Historic is the story of Mrs. Richards, a woman of no history, who appears briefly in 1873 in the civic archives of Vancouver. It is also the story of Annie, a contemporary, who becomes obsessed with the possibilities of Mrs. Richards's life. Ana Historic was Daphne Marlatt's first novel, and was originally published by Coach House Press in Canada and The Women's Press in the U.K. The French translation was published by Les ditions du remue-m nage.
Winner of the Dorothy Livesay Poery Prize Finalist for the Pat Lowther Memorial Award “You remember — what is it you remember? / the feel of home, that moment of coming into your body. . . ” So begins Daphne Marlatt’s haunting and multi-layered long poem, which reads with all the urgency and depth of a novel. Set in present-day and 1950s Vancouver, The Given begins with the news of a mother’s death, then opens up to become an intricate tapestry of lives, as Marlatt deftly interweaves the past with the present, replicating the arc of memory itself, while questing for — and questioning — the meaning of home and identity. Circling around the narrator’s mother — theatrical, troubled, imprisoned in the small existence of a 1950s housewife, and a persistent presence in the lives of others — The Given is a ceremony performed for her, and for all “those who have left, who go on burning in us.” In luminous, deeply resonant fragments, Marlatt resoundingly answers the drive to live with deep attention in a now that is, for all of us, “tangled in the past.”
In this graceful, haunting, and evocative novel, the Gulf War becomes a touch-stone for Suzanne's meditation on her mother's life in World War II. Taken is a tribute to women whose lives have been taken over, or even taken, by war. In the end, out of the wreckage of grief and power, love and lightÑhowever changedÑendure.
Treating Drinkers and Drug Users in the Community is the second book in a new collection from Addiction Press. Addiction Press was set up with the express purpose of communicating current ideas and evidence in this expanding field, not only to researchers and practising health professionals, but also to policy makers, students and interested non-specialists. These publications are designed to address the significant challenges that addiction presents to modern society. The drugs field has undergone a phase of rapid change in recent years and all the non-medical treatment interventions for those with alcohol problems and dependence can be equally helpful for drug users. This has opened the way for unification of alcohol and drug treatment services at a clinical level, with potential for more efficient service provision and for effective interventions which can be readily adopted in a wide range of settings. Modern drug and alcohol services and all professionals working with substance users will benefit from the initiatives and procedures discussed in this book. Key features * Describes a wide range of treatments for young people and adults with drug and alcohol dependence * Integrates alcohol and drug prevention and treatment * Provides an invaluable and accessible guide for many different professionals * Sets out assessment criteria, questionnaires, and a joint treatment framework
For his part, John has no choice but to take the Frenchman's place - as master of a chateau, director of a failing business, head of a large and embittered family, and keeper of too many secrets.".
Classic horror stories by one of masters of the form. Full of bone-chilling tales, this collection includes "The Birds," the basis for the Alfred Hitchcock film of the same title, and other creepy classics. Daphne du Maurier wrote some of the most compelling and creepy novels of the twentieth century. In books like Rebecca, My Cousin Rachel, and Jamaica Inn she transformed the small dramas of everyday life—love, grief, jealousy—into the stuff of nightmares. Less known, though no less powerful, are her short stories, in which she gave free rein to her imagination in narratives of unflagging suspense. Patrick McGrath’s revelatory new selection of du Maurier’s stories shows her at her most chilling and most psychologically astute: a dead child reappears in the alleyways of Venice; routine eye surgery reveals the beast within to a meek housewife; nature revolts against man’s abuse by turning a benign species into an annihilating force; a dalliance with a beautiful stranger offers something more dangerous than a broken heart. McGrath draws on the whole of du Maurier’s long career and includes surprising discoveries together with famous stories like “The Birds.” Don’t Look Now is a perfect introduction to a peerless storyteller.
FROM THE BESTSELLING WRITER OF REBECCA 'The House on the Strand is prime du Maurier . . . ' NEW YORK TIMES 'She wrote exciting plots . . . a writer of fearless originality' GUARDIAN 'No other popular writer has so triumphantly defied classification . . . ' MARGARET FORSTER When Dick Young's friend, Professor Magnus Lane offers him an escape from his troubles in the form of a new drug, Dick finds himself transported to fourteenth-century Cornwall. There, in the manor of Tywardreath, the domain of Sir Henry Champerhoune, he witnesses intrigue, adultery and murder. The more time Dick spends consumed in the past, the more he withdraws from the modern world. With each dose of the drug, his body and mind become addicted to this otherworld and his attempts to change history bring terror to the present and put his own life in jeopardy.
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