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There's something fresh and fantastic in Aurian Haller's view of the world. In Song of the Taxidermist, he demonstrates both a fascination and unease with the independence of the body -- its resistance to the self's colonizing imperative. Employing a powerful visual and intellectual imagination, a camera and a roving curiosity, he investigates the ways that flesh inhabits the spaces around us. Building upon the stories of famous taxidermied specimens -- the celebrated French giraffe, Zarafe, and the Alaskan sled dog, Togo -- he explores what it means when the shell of a being becomes iconic in a culture: how place, an idea, or a quality might fill a standing skin. Like his compatriots Erin Mouré, Roo Borson, and Michael Ondaatje, Aurian Haller pushes beyond the constraints of the short lyric or narrative moment to experiment with larger thematic forms. This stunning new collection, so carefully executed in image and phrasing, so agile in its metaphors, is both astonishing in scope and lush in its imaginative landscape.

SUMMER, 1974 -- Six teenaged boys died and fifty-four were injured in an explosion on the Canadian Forces Base in Valcartier, Quebec. A live grenade inadvertently made its way into a box of dud ammunition, and its pin was pulled during a lecture on explosives safety. One hundred and forty boys survived, each isolated in their trauma, yet expected to carry on with their lives. Thirty-four years later, Gerry Fostaty, an 18-year-old sergeant that summer and one of the first on the scene after the explosion, received an unexpected email from his former sergeant-major, triggering a journey into memory -- a quest for a true picture of what had happened on that day. In As You Were, Fostaty has pieced together the story of how a series of preventable mistakes led to tragedy. The only full account of an event that received minor attention at the time, As You Were is the story of a normal day turned horrific; how duty, responsibility, and honour make ordinary people take extraordinary measures; and how the military did their best to ignore this devastating incident. The M207 Grenade: The M207 grenade is a fragmentation hand grenade. It is lemon shaped and has a coil of notched steel covered with a smooth, thin, steel layer. Within the coil is an explosive centre. When detonated, the core shatters the coil and the steel casing, transforming the broken particles into high-velocity, irregularly shaped projectiles that can cause casualties up to fifteen metres away. It is a very effective anti-personnel device. That is, it was designed to kill and injure soldiers or anyone within its effective range. Because of its effectiveness, the design has been widely copied by many nations. On the morning of July 15th, 1974, a Warrant Officer organized and selected the display items and the dummy explosives that he would use in the explosives safety lecture. All of them were display models and the dummies. They were painted bright colours and marked to make them distinct from the live models and easily recognizable. One never has to guess with these. The gaudy colours and markings indicate at a glance that they were dummies. The live explosives were olive green. The Warrant Officer carefully chose the items to reflect a wide range of ordinance, including grenades, anti-personnel mines, and rockets.

Jack Chambers was an artist of deep feeling and conviction. A founder of Canadian Artists' Representation, a filmmaker who created dreamlike explorations of consciousness and a painter who believed in the sanctity of sight, he lived an intensely affirmative life. In Jack Chambers: Light, Spirit, Time, Place and Life, Dennis Reid and his team of curator-writers bring the artist's sensibility and his world view into focus, grouping works of all media into threads that highlight ways of seeing and of being present in the world. A brilliant draughtsman and remarkable painter, Jack Chambers spent his early adulthood travelling and studying in Europe. When he returned to his hometown of London, Ontario, in 1961, he found himself at the centre of a vibrant arts scene that would become the backdrop for his films and surrealist-influenced works based on dream-like evocations of memory. There was also, in Chambers, a little bit of the mystic who believed he could see beyond the surface of things. To enter into the world presented by this book is to enter a space of reflection, where seeing is heightened and the world around us, painting by dreamlike painting and drawing by radiant drawing, becomes truly luminous. In this unprecedented book, Dennis Reid has gathered together several writers to document various ideas in Chambers's work. Each essayist has looked at a sensation or connecting presence to explore an idea that sits as intertwining thread through the whole of Chambers's short career. Each have approached their subject with a combination of long-standing interest in the artist, acute fascination with a moment in Chambers's career and sensitivity to the particularities of his art. Together, they provide profound insight into the artist and his defining artistic processes. Essayists featured in Jack Chambers: Light, Spirit, Time, Place and Life include art critic Sarah Milroy, celebrated poet and art writer Christopher Dewdney, journalist Gillian MacKay, literary scholar Ross Woodman and art historian Mark Cheetham. Writers Michael Ondaatje and Susan Crean and painters John Scott and Eric Fischl have also contributed personal reflections in a variety of forms. Rounding out the book is an introductory essay on Jack Chambers -- the man, his life and his practice -- by editor-curator-writer Dennis Reid. Jack Chambers: Light, Spirit, Time, Place and Life is the first major publication on the work on one of Canada's most recognized and broadly influential artists. Drawing on the large collection of the artist's work held by the Art Gallery of Ontario, it features more than a hundred colour plates, an extensive chronology and a complete catalogue of the works held by the AGO.

Two hundred years ago, the winds of war swept the United States and British North America, fanning the conflict raging on land and at sea. Naval combat churned the waters of the Great Lakes while privateers and government vessels engaged in a guerre de course in the Bay of Fundy and the Gulf of Maine. In Battle for the Bay, Joshua M. Smith tells the complete story of the warships that defended the eastern waters of British North America. Fighting the Americans and the elements, and risking shipwreck, capture, and imprisonment, the crews of the Provincial sloop Brunswicker, His Majesty's schooner Bream, and His Majesty's brig of war Boxer fought for King and country -- and a little profit. Although seldom operating in squadrons, these naval vessels escorted British ships between ports, patrolled the Bay for hostile forces, and raided the enemy coast, playing a vital role in this crucial war. Battle for the Bay: The Naval War of 1812 is Volume 17 in the New Brunswick Military Heritage Series.

Art collections tell stories that reflect the interests of the collector and his or her times.Masterworks from the Beaverbrook Art Gallery advances a dramatic narrative in the epic tale of multi-millionaire business tycoon, pushy newspaper publisher, shrewd politician, master propagandist, published author, and great philanthropist Sir William Maxwell (Max) Aitken, also known as Lord Beaverbrook.In 1959, Sir Max Aitken opened the Beaverbrook Art Gallery in Fredericton, New Brunswick, which introduced an exemplary collection of paintings. Amassed by Lord Beaverbrook and his entourage of curators and colleagues, the Gallery's founding collection formed the core of what is now one of the finest and most significant collections of British art in North America. Featuring works by J.M.W. Turner and Lucian Freud, Graham Sutherland and Walter Sickert as well as signature pieces by Thomas Gainsborough, John Constable, John Singleton Copley, Eugène Delacroix, Joshua Reynolds, and Salvador Dalí, these masterworks represent the distinctive nature and quality of the Gallery's exquisite collection.For the first time, these major works have been brought together in this lavish publication. Featuring more than 75 colour reproductions, Masterworks from the Beaverbrook Art Gallery also includes essays on the history of the collection and individual masterpieces by six major writer-critics: art historian and Dalí scholar Elliott H. King; James Hamilton, author of Turner: A Life; Richard Calvocoressi, Director of the Henry Moore Foundation; writer-curator Angus Stewart; art historian Katharine Eustace; and curator and principal author of this publication, Terry Graff of the Beaverbrook Art Gallery. Rounding out the book is the story of the dispute between the Gallery and the two Beaverbrook foundations by journalist Marty Klinkenberg and Beaverbrook Art Gallery Director and CEO Bernard Riordon.

Remember these slogans? "Anything Goes." "They wear longer because they're made stronger." Remember pearl-snap Western shirts? Scrubbies? George W. Groovey? Cowboy Kings? Red Straps? If you do, chances are you've owned a few pairs of GWGs in your time. One of Canada's great cultural icons. GWG was an integral part of growing up in the 20th century. The products of the Great Western Garment Company were as Canadian as hockey, toques, and Tim Hortons, staples for some generations, defining cool for others. When Wayne Gretzky said, "I grew up in GWGs," he was speaking for millions of Canadians from coast to coast. Here, at long last, is the complete, lushly illustrated history of the Great Western Garment Company, including archival photographs, advertisements, product photos, and insights on the long history of this iconic Canadian company. From its humble roots in Edmonton in 1911 to its final factory closing in 2004, GWG remains firmly fixed in the Canadian psyche and still holds a place in Canadian hearts.

A stark, primitive bicycle, looking suspiciously like the one the city used to designate a bike path; a giant zipper, pulling asphalt open on a busy commuter route; a giant's footprint, left behind after stomping through the sleeping city. By 2004, Roadsworth had pulled off close to 300 pieces of urban art on the streets of Montreal. Where would the nocturnal street artist strike next? Nowhere -- or so it seemed. In the fall, he was charged with 51 counts of public mischief. Then the citizens of Montreal rallied their support. A year later he was let off with a slap on the wrist. Since then, Roadsworth has continued to intervene in public spaces. He now travels the world, executing commissioned work for Cirque du Soleil and The Last O (cycled over in the Tour de France), and for cities, galleries, public institutions and arts festivals. In his brilliantly inventive art, Roadsworth takes the urban landscape and turns its constituent elements on their heads, both indicting our culture's excesses and celebrating what makes us human (lest we forget).

From privateers to peacekeepers, from sailing ship battles to submarine espionage, New Brunswick's recorded naval history dates back to the first European incursions. Bounded on three sides by the ocean and with a network of navigable rivers, the sea has dominated the province's history. The battles between the English and the French led to seaborne invasion and the expulsion of the Acadians. When the Americans and British plundered each other for patriotism and profit in the War of 1812, New Brunswick built its own navy to protect its shipping. In 1881, the new Dominion of Canada chose New Brunswick as its first naval base, and three decades later, MP George Foster initiated the parliamentary debate that led to the founding of the modern Canadian Navy. This fact-filled volume tells the story of the province's unique contribution to Canada's storied naval history, culminating with a description of how, by the Naval Centennial year of 2010, the bulk of the modern Canadian fleet was designed and constructed in New Brunswick.

The Scare in the Crow races across the back roads like a muscle car making a beer run. Then it pauses, in haunting contemplation of a walk through the woods. Armstrong's poems inhabit the fantasia of this world -- in the peculiarities of taxidermy, crowds watching a house wash away in a spring flood, old tombstones cast over a riverbank, or rumours of a sighting of the extinct eastern panther. Gothic shadows of dead friends and strangers inhabit the lost cause of failing farms and industries, eroding communities, children dispersed, the names of distant cousins slipping through loose fingers. With blistering wit, Armstrong invites us to laugh at the zaniness of life. From moments of melancholy emerges an unflinching gaze at people who cling to life and livelihood the only way they know how. And always, she senses the pulse of the natural world -- beautiful, transformative, and populated with the perceptions of animal minds.

Shortlisted, Independent Publishers Book Award, PoetryThe Qingming Shanghe Tu scroll, sometimes called "Spring Festival by the River," was thought to have been painted by Zhang Zeduan before 1127, when the Northern Song capital of Bian-Iiang was overrun by the invading Jin. Inspired by the figures in the scroll, Geddes found stories demanding to be told, tales of the droll, exacting, sometimes turbulent life of cities. In shimmering verse, Geddes captures the voice of the painter himself and those of the underprivileged, with their not-so-subtle forms of dissent. Cleverly illustrated to intertwine East and West in dialogue, this ingenious volume juxtaposes a reproduction of the scroll that reads from back to front (experienced as Chinese reads) with Geddes' poems, which read from front to back.

Authentic. Original. Inimitable. Mary Majka is one of Canada’s great pioneering environmentalists. She is best known as a television host, a conservationist, and a driving force behind the internationally acclaimed Marys Point Western Hemispheric Shorebird Reserve on the Bay of Fundy. Sanctuary gives full expression to the intensely personal story of Mary’s life. A daughter of privilege, a survivor of World War II Poland, an architect of dreams, Mary Majka became a passionate environmentalist intent on protecting fragile spaces and species for generations to come. In this amazing story of determination and foresight, Deborah Carr reveals a complex, indomitable, thoroughly human being — flawed yet feisty, inspiring and inspired.

The campaign in Afghanistan transformed Canada into a warrior nation. What does this say about our country and its future? "A country once proud of its role as a peace-making moderate is being reconstructed as a Canada defined by war, violence and death. Noah Richler has taken the trouble to tell us why Canadians should worry." -- Desmond Morton, author of Who Speaks for Canada? "A fine polemic . . . You don't have to agree with everything Noah Richler says -- I don't -- but you must take him seriously." -- Margaret MacMillan, author of Paris 1919 "A tonic to the spirit, Richler's book explores the rootedness of Canadian values and connects them to the experience of life in an enormous and damn lucky country." -- James Laxer, author of Tecumseh and Brock "Noah Richler has written an important book of great clarity, insight and courage. This book deserves to be read and discussed in every political office, classroom, book club and legion hall in the country." -- Ron Graham, author of The Last Act

In this splendid new collection, Jeffery Donaldson shifts deftly between the incisive short lyric and the extended meditation, oscillating between detachment and engagement. In "Torso," the headless sculpture of Apollo is both chiselled rock and the changeling child of multiple observers. In "Enter, PUCK," elements of a hockey game twist in the fascinating funhouse mirror that lines the depths of Donaldson's personal Platonic cave. Revealing a mind at once conversant with literary deities and the subtleties of the everyday, Guesswork confirms that exacting craftsmanship, supple syntax, and an unerring sense of rhythm are everything but guesswork.

On the same fateful day, two adolescents escape destinies that would scar them for the rest of their lives. Romain, awkward and contemplative, resolves to abandon a lineage of wealth. Éléna, resourceful and single-minded, flees a home of blood and thunder. From the initial meeting of these two wounded souls, Christine Eddie weaves a fable for all times. As the story ensnares others within its elegant web -- a doctor nursing a bruised heart, a teacher harbouring dark secrets -- the struggles of a family of singular character transform Eddie's luminous tale into an ode to friendship, a sonnet on our relationship with nature, and a passionate elegy to love.

She's depressed, they say. Apathetic. Bridget Murphy, almost eighteen, has had it with her zany family. When she is transferred to the children's hospital's psych ward after giving birth to a baby and putting it up for adoption, it is a welcome relief -- even with the manic ranting of a teen stripper and lurid come-ons of a young megalomaniac. But this oasis of relative calm is short-lived. Christmas is coming, and Uncle Albert arrives to whisk Bridget back to the bedlam of home and the booze-soaked social life that got her into trouble in the first place. Her grandmother raves from her bed, banging the wall with a bedpan through a litany of profanities. Her father curses while her mother tries to keep the lid on developmentally delayed Uncle Rollie. The baby's father wants retribution, and her friends don't get that she's changed.

Science has long been considered the very definition of modernity, the source of the empiricism and skepticism, openness and civility that distinguishes modern societies from previous social orders. Lately this view of science has come under intense scrutiny, as historians, philosophers, and scientists themselves have begun to ask fundamental questions about the institution of science. In this collection of invigorating interviews, David Cayley talks to some of the world's most provocative thinkers about the nature of scientific knowledge. Touching upon a rich array of subjects, he probes how our understanding of science has begun to shift and alter our view of the world.

At 31 years of age, Cyrus F. Inches set off to fight in the Great War, soon afterwards joining the First Canadian Heavy Battery. He was determined to survive without losing his sense of humour and love of story, despite the horrors and deprivations that he witnessed. By the time the War had concluded, he had written hundreds of letters, detailed diary entries, and a short history of the battles and movements of his artillery unit. Undisturbed for more than 90 years, Cyrus Inches's voluminous papers, compiled and edited for Uncle Cy's War, provide a compelling, human, and sometimes humorous portrait of life on the front lines during the First World War, including first-person observations of the battles at Ypres, the Somme, and Mons.

Once a work is completed, when and how do writers and other artists embrace their next creative work? In this fascinating book, Monique LaRue gives a tantalizing glimpse of the contour of time shaped by inspiration rather than the movement of the clock. Moving from the philosophical to the personal, she provides a view of how each of her novels has come into existence -- the personal context in which each came to be and the social context in which each was received.LaRue uses two important words in her approach to this "between-time" of creative possibility. The first, "meander," from the Greek name for Maiandros, has come to signify "wandering at random." Like Northrop Frye, she distinguishes between "Kairos," the mysterious, unpredictable moment when the creative impulse is released, and "chronos," or passing time. This ephemeral moment, as explained by LaRue, is of time but not in it. Given this paradox, it should come as no surprise that LaRue's between-time of writing creatively has no name. Mortality brings time and its passage unceasingly to mind. Yet, the mental action of moving freely through meandering associations during the time between works becomes the criterion for thinking creatively.Une fois une oeuvre achevée, quand et comment écrivains et artistes abordent-ils leur prochaine création? Dans cet ouvrage passionnant, Monique LaRue nous donne un avant-goût alléchant des contours du temps tracés, dans ce cas, par notre imaginaire et non par les aiguilles de l'horloge. Naviguant entre la philosophie et l'expérience personnelle, elle nous livre un aperçu de la genèse de chacun de ses livres -- tant les circonstances personnelles dans lesquelles chacun a vu le jour que le contexte social qui les a accueillis.Deux mots clés émergent de la démarche de LaRue dans son exploration de cet « entre deux temps » du potentiel créatif. Le premier, « méandre », provenant du terme grec « Maiandros » qui veut dire « errer au hasard ». À l'instar de Northrop Frye, elle distingue entre « Kairos », le moment mystérieux et imprévisible où l'élan créateur est libéré, et « Chronos », le temps qui passe. Pour Larue, ce moment éphémère, surgit du temps sans toutefois en faire partie. De par ce paradoxe, il n'est guère surprenant de constater que l'« entre-temps » de l'écriture créative dont traite LaRue est innommé, Notre mortalité nous renvoie inlassablement au temps. Pourtant, la pensée créative exige une activité mentale qui évolue librement, serpentant, au cours de ce temps entre deux oeuvres, au gré des aléas des associations méandres.

Written over a twenty-month period, this book of poetry is an elegant testimony to the beautiful and the good. Serge Patrice Thibodeau's One pays homage to the vibrancy and vigor of the natural world and the precarious immediacy of the everyday.