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Cottage Craft has long held a strong reputation for its fine wool, dyed to the palette of the local landscape, and the fine craftsmanship of the women who weave and knit its quality materials. Behind Cottage Craft is the story of a woman of vision and remarkable resolve. Grace Helen Mowat looked upon traditional rural crafts -- knitting, weaving, and rug hooking -- as cash crops for the farm women of Charlotte County, New Brunswick. In 1911, unmarried and with limited means, she commissioned a handful of women to make rugs according to her designs. The Arts and Crafts movement was in full swing -- the rugs sold quickly and Cottage Craft grew into a home-grown business from its base in St. Andrews. Since then, Cottage Craft has continued to grow and, now, three generations later, it attracts customers the world over.

True Concessions charts the moments where beauty is glimpsed like a carnival through a crack in a fence. In verse inhabited by living toys and daylight ghosts, Craig Poile captivates his readers with texture and sound and a language grounded in the quotidian yet informed by tradition. There are no rules when making a poem that sings and shimmers.

In 1942, RAF Flight Controller Robert Wyse became a Japanese prisoner of war on the Indonesian island of Java. In this no-holds-barred account, Wyse describes the harsh conditions he and his fellow prisoners suffered. Subjected to beatings, starvation, debilitating illness, and unbelievably harsh work, Wyse struggled to describe the brutalities he witnessed. Although the punishment for keeping a diary would have been severe, Wyse persevered, scrounging for bits of paper and slivers of pencil and hiding his writing wherever he could until it became too dangerous to continue. Then, in December 1943, he buried his notes in a bottle under his prison hut. Robert Wyse's diaries were retrieved by the Dutch authorities after the war. An historical goldmine of information on life as a prisoner of war, these diaries reveal both the worst and the best of human nature.

An invasion? For teenagers Dryfly Ramsey and Shadrack Nash, poor and ignorant in the world's terms but rich in the lore of the magical Miramichi, the annual influx of American anglers, with their money, fishing gear, and thirst for salmon seems like one. A cast of quirky, unforgettable characters -- Nutbeam, a large-nosed, floppy-eared hermit; Shirley, Brennan Siding's toothless postmistress and Ramsey family matriarch; and Buck, who appears once a year to sire another child -- conspire to capture the imagination in Herb Curtis's now classic novel. In The Americans Are Coming, the voices of Brennan Siding ring out in the rich vernacular of New Brunswick's Miramichi region, a world immersed in myth, folklore, and the sulpherous belch of a nearby pulp mill -- where ghosts and demons are as real as the Lone Ranger or the spring run of gaspereaux.

Imagine you're a young British or European woman caught up in the dramatic reality of war. You fall in love with and marry a soldier from a foreign country. When the war ends, you leave behind all you've ever known -- family, friends, and way of life -- for a new life in Canada. This is the story of nearly two thousand war brides who made their way to New Brunswick to join their servicemen husbands at the end of the Second World War. Arriving in a mainly rural province, these city girls faced culture shock, and social, religious and linguistic differences that would have tested the mettle of many relationships. More than sixty years later, their stories paint a compelling portrait of love, passion, perseverance, and hope in a world torn apart by war.

Rich with literary awards and honours, Alberto Manguel extends his literary genius to address and complete a thoughtfully crafted extrapolation on a paper left unfinished by Northrop Frye in 1943. The result is a succinct yet densely multilayered examination of how various readings of Homer throughout the annals of history cast light upon the human tendency towards war rather than peace and asks what roles writing and reading play to bring the world into better equilibrium. Central to this lecture is the concept of re-binding, a word drawn from the Latin roots for the word religion, which Manguel posits is the essential definition of poetry. Homer's writings, the point of origin of all written verse, are also the first written instance of the binding of imagined, written, and read realities. The semantics of Homer's name and the literal and figurative ramifications of his blindness are investigated as Manguel builds the scaffold for unveiling our own blindness through our desire to read Homer in our own image. We are left to examine our own assumptions.Comblé de prix littéraires et d'honneurs, Alberto Manguel prête son génie littéraire à l'étude et au parachèvement d'une extrapolation songée que Northrop Frye avait laissée en plan en 1943. Il en résulte une analyse succincte mais en replis serrés des multiples lectures d'Homère léguées par les siècles, qui révèle comment ces interprétations éclairent la propension humaine à la guerre plutôt qu'à la paix, ce qui le mène à s'interroger sur le rôle que jouent l'écriture et la lecture quand il s'agit de créer un monde plus équilibré. La notion de re-lier, un mot dont les racines latines sont les mêmes que le mot religion, est au coeur de cette conférence, et Manguel en fait la définition essentielle de la poésie. Les écrits d'Homère, point d'origine de toute la poésie écrite, fournissent aussi la première occurrence d'un lien entre les réalités imaginées, écrites et lues. La valeur sémantique du nom d'Homère et les répercussions concrètes et figurées de sa cécité font partie des éléments que Manguel scrute pour fonder son évocation de notre aveuglement à nous quand nous insistons pour lire Homère à notre propre image. Nous n'avons plus qu'à remettre nos hypothèses.

Dramatizing the lives of Indian women from 1919 to the present, from India to North America, Shauna Singh Baldwin travels from the intimate sphere of family to the public space of office and university. In this powerful collection, some characters say little but know much. Others, imprisoned by silence, use it with bloody force against their oppressors. A few harness the power of wordlessness to seize freedom.

The trip of a lifetime, this unusual collection of stories has something for everyone. Filmmakers, politicians, stand-up comedians, poets, journalists, and carpenters come together through the shared experience of hitching a ride. Governor General Award winner Margaret Avison and American sci-fi novelist Piers Anthony rub shoulders with Randy Bachman and Steven Pinker. Jello Biafra's farcical encounter with shoe-eating cows rivals Alan Dean Foster's whale shark ride and Kage Baker's hilarious account of actors broken down on Interstate 5. Since the '60s and '70s -- the heyday of hitching -- people have thumbed rides worldwide. Money never changes hands, but all manner of social transactions take place. These tales will open your eyes and take you back -- or forward. Just when you think you've heard it all, turn the page. You'll discover you haven't!

"Mother, you may have thought that you have had some great thrills in your life but let me tell you that you will never get a real thrill until you get up in the sky and have control of the plane making sharp turns, banks, glides and climbs." Harry L. Gill enlisted in the Royal Canadian Air Force in 1940 at the age of 18. He flew a Hurricane fighter on missions over France, England, and India and was awarded the Distinguished Flying Medal before being shot down near Burma in 1943. Hurricane Pilot recreates the heady days of flight and fellowship through Gill's own correspondence with his parents and siblings. Depicting the enthusiasm of youth, a sense of humour, his plans for the future, and an attachment to home, this very personal account of war shows how Gill was transformed from a small-town boy to a mature fighter pilot serving in a global war on another continent.

Dans Miller Brittain: Quand les étoiles jetèrent leurs lances, Tom Smart démontre pour la première fois la cohésion de l'imagerie de Brittain et les liens entre le réalisme social de ses premières oeuvres ultérieures, des abstractions figuratives et des compositions d'inspiration surréaliste. Miller Brittain a fait irruption sur la scène artistique canadienne à la fin des années 1930, avec ses dessins et ses peintures du corps humain temples d'émotion et admirablement exécutés. Pendant ses études à l'Art Students League, à New York, il avait intériorisé un point tournant de l'art américain, alors que les modes réalistes traditionnels étaient remis en question par une nouvelle génération d'artistes radicaux selon qui l'art se devait de refléter la vie de l'artiste et les conditions de vie des sujets représentés. À une époque où les paysages du Groupe des Sept dominaient la peinture canadienne, Brittain défia l'establishment avec son sens infallible de la ligne et de la composition, et ses récits humains attrayants. Plus tard, alliant l'art figurative et l'art abstrait, il explora les limites du corps et les confines de la raison afin d'exprimer les profondeurs du désespoir et les sommets de l'extase. Au cours de la Seconde Guerre mondiale, Brittain s'enrôla dans l'Aviation royale du Canada, fut décoré de la Croix du service distingué dans l'Aviation et devint un artiste de guerre canadien. Quand il partait en mission de bombardement, il emportait avec lui un exemplaire des Chants d'expérience, de William Blake. Dans Miller Brittain: Quand les étoiles jetèrent leurs lances, Smart fait voir comment le célèbre poéme ' Le tigre ', de Blake, inspira le motif omniprésent dans les oeuvres de Brittain après la guerre, c'est-à-dire la cominaison de l'étoile et de la lance. Ce qui au départ représentait des faisceaux de projecteurs et des avions abattus devint au fil des années des représentationsiconiques de fleurs et de tiges, de têtes et de cous, de rayons de soleil et de fumée. Allen Bentley appuie les observations de Smart en montrant la profonde influence exercée par les théories de Blake sur l'oeuvre de Brittain dans l'après-guerre.

A small island off the coast of Nova Scotia declares its independence to the world. In this Utopian world, the ocean delivers many a curiosity, including a dead circus elephant and a raven-haired woman. When the turbulence of the 1960s draws the island's inhabitants into politics, the Vietnam War, and the peace movement, and when civilization lays siege, an unexpected character comes to the rescue. Sound impossible? Not on Whalebone Island, a.k.a. the Republic of Nothing. Where else could a psychic castaway, an anarchist-turned-politician, and American refugees cultivate their eccentricities? This new edition of Lesley Choyce's celebrated novel features an afterword by Rush drummer and lyricist Neil Peart, leading readers to discover once again that nothing is everything.

In this resonant collection of unbridled fancy, Peter Richardson's characters hunger for soulful connections in the midst of bedlam and loss. Ranging from a literate vernacular to high diction and low humour, these poems confirm that Richardson is a craftsman of the finest kind, all confidence and mischief, "whistling from scuffmark to scuffmark" as he traipses across the page and into the psyche.

For this original, often provocative book, Kerry Clare has assembled essays that face down motherhood from the other side of the picket fence by some of Canada's finest young writers. There are women who have had too many children or not enough. There are women for whom motherhood is a fork in the road. And there are those who have made the conscious choice not to have children and then find themselves defined by that decision. The M Word: it means something to every woman. Exactly what it means is rarely simple.

Wild Apples: Field Notes from a River Farm marks Wayne Curtis's return to the embrace of home and the colourful lives of the people who inspire him. Simple pleasures like fishing on the Miramichi River and chores like cutting wood, planting beans, and picking crabapples take on new depths of meaning in the telling. The birth of his sister at Christmastime, the story of his mother in her own words, and a memorable trip to the circus recall unexpected moments of family love. These personal essays are a poetic blend of fiction and biography, rich in imagery and uncompromising in their emotional honesty. Taken together, they reveal the bittersweet story of a childhood both blessed and burdened with family tradition and obligations, of dizzying love and loss, and of a young man's struggle to change the patterns of the past.

In Miller Brittain: When the Stars Threw Down Their Spears, Tom Smart demonstrates the cohesion of Brittain's imagery. For the first time, he reveals the links between Brittain's early social realism and his later figurative abstractions and surrealist-inspired compositions. Miller Brittain burst upon the Canadian art scene in the late 1930s with masterful, emotion-filled drawings and paintings of the human form. While studying in New York at the Art Students' League, he had internalized a pivotal moment in American art. Breaking free of traditional realist modes, a radical new generation of artists claimed that art should reflect the life of the artist and the condition of the subjects depicted. At a time when Group of Seven landscapes defined Canadian painting, Brittain challenged the establishment with his unerring sense of line, composition, and engaging human narratives. Later, combining figuration and abstraction, he explored the limites of the body and the borderlands of sanity to express the depths of despair and the heights of ecstasy. During World War II, Brittain joined the Royal Canadian Air Force, received the Distinguished Flying Cross, and became a Canadian war artist. During bombing missions, he carried William Blake's Songs of Innocence and Experience in his pocket. In Miller Brittain: When the Stars Threw Down Their Spears, Smart illustrates how Blake's famous poem "The Tyger" inspired the pervasive motif of Brittain's post-war career: the combination of star and spear. Originally a depiction of searchlights and shot-down aircraft, it became, over the years, Brittain's iconic flowers and stems, heads and necks, sunbursts and smoke. Allen Bentley reinforces Smart's observations by showing the profound influence of Blake's theories on the entire body of Brittain's post-war work.