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  • 1
    catalogue cover
    Mend the Living Maylis de Kerangal, Jessica Moore Canada
    9780889229730 Paperback FICTION / Literary Publication Date: January 27, 2016
    $19.95 CAD 5 x 8.5 x 1 in | 340 gr | 224 pages Carton Quantity: 39 Canadian Rights: Y Talonbooks
    • Marketing Copy


      Mend the Living is the story of a heart transplant, centred around Simon Limbeau, the boy whose heart is given, and his family.

      Taking place within exactly twenty-four hours, the novel traces the thrill of an early-morning winter surf session, the terrible accident that follows, and all the urgency and compassion of the hospital workers, and shock and grief of Simon’s family as they negotiate the question of organ donation. Maylis de Kerangal offers glimpses into the thoughts and affective lives of each of the characters: Simon, at the core of the novel; Marianne and Sean, his parents, who have been estranged for some months; Revol, the chief surgeon, music enthusiast, and studier of hallucinogenic plants; Cordelia Owl, the capable new nurse who is reeling from a night spent with her former lover; Thomas Rémige, the hospital coordinator, an opera singer, and aficionado of goldfinches; Virgilio, the silvertongued, light-fingered surgeon; Juliette, Simon’s girlfriend, who is building a labyrinth inside a Plexiglass case, waiting for Simon’s call.

      The novel also touches upon Claire, the recipient of the heart, whose life has been limited by her condition, who reflects philosophically on what it means to have someone else’s heart beating inside you.

      Weaving from hospital corridors to the wild waves of the Atlantic, from the narrow streets of Paris to the countryside in Algeria where goldfinches still sing, from the most intimate details of grief within a car in Le Havre to universal considerations of science, compassion, and humanity, Mend the Living is a powerful and vast-ranging book. In her trademark masterful use of language, playing with pacing and tension and a vibrant vocabulary, Maylis de Kerangal gives us a metaphysical adventure that is at once both collective and intimate.

      Maylis de Kerangal is the author of several novels in French. Her earlier work, Naissance d’un pont (published in English as Birth of a Bridge), won le prix Médicis and le prix Franz Hessel in 2010. Her novella Tangente vers l’est was the winner of the 2012 Prix Landerneau. In 2014, her fifth novel, Réparer les vivants (published in English as Mend the Living), was released to wide acclaim, winning the Grand Prix RTL-Lire award and the student choice novel of the year from France Culture and Télèrama. de Kerangal lives in Paris, France.

      Jessica Moore translated Maylis de Kerangal’s novel Birth of a Bridge and, earlier, Jean-François Beauchemin’s Turkana Boy. She is the author of Everything, Now, part lyric, part memoir, published in 2012 by Brick Books. She is also a songwriter – Beautiful in Red is her debut album.
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    • Awards & Reviews

      Man Booker International Prize 2016, Long-listed
      Wellcome Book Prize 2017, Winner
      Reviews for the French novel

      “One of the most fascinating writers of her generation ... If this book, for which the author attended a heart transplant, is extremely moving, it’s partly because she brings us into the interiority of her characters by rendering each person’s relationship to time during the twenty-four hours of the story. With Mend the Living, Maylis de Kerangal moves from technical considerations to metaphysics, from exteriority to interiority. She attains ever higher heights.”
      Le monde des livres

      “The most outstanding [literary] achievement of the beginning of 2014 ... Mend the Living is Maylis de Kerangal’s most beautiful work to date ... Far from being simply the story of a heart transplant, this novel is a modern epic that examines our relationship to death, in as much detail as our relationship to language ... A book of such beauty it will take your breath away.”

      “Maylis de Kerangal holds back (as a good novelist should) from giving answers to these enormous questions around organ donation; but she brings them up with a breathtaking acuity. One thing becomes clear in our reading: human beings are not pure spirit – the body also has soul.”
      Le Figaro littéraire

      “The human heart, our most elemental necessity, is the novel’s focus, both literally and metaphorically, and the story we enter is told with great heart, and great hopefulness. Written in the grand narrative tradition, the novel reads like a Greek tragedy, like a long, sumptuous passage from Homer. It’s concerns are that broad, and that timeless. There is even a Delphic chorus in the form of cheering soccer fans who are both oblivious to the events occurring in the novel and, yet, strangely, provide an accompanying song of life-giving exuberance … The novel is beautifully paced, every now and then catching its breath with brief, lighter asides and these asides are welcome because, by now, we, the readers, who have become so immersed in the story, are breathless with grief and hope ourselves.”?
      Vancouver Sun

      “From its glorious 300-word first sentence to the stately canopic imagery of its climactic scenes, Mend the Living, beautifully translated from the French by Jessica Moore, mimics the rhythm of the processes it depicts – the troughs and peaks of grief and protocol, of skills utilised and acceptance finally achieved.”
      The Guardian

      “An unusual and often-ravishing novel … Ms. de Kerangal’s long, rolling sentences pulse along in systolic thumps, each beat punctuated by a comma; they’re packed with emotional intensity and florid imagery … The entire hospital in this book pounds with life.”
      New York Times Books
      “Moving … because of – not despite – its scientific context … The vocabulary fits each character’s stream of consciousness, challenging the reader to follow the author’s copious research into professional jargons, and teenage slang. … a novel that goes to the heart of what it means to be a human being.”
      The Independent
      “The story unfolds in an intricate lacework of precise detail … These characters feel less like fictional creations and more like ordinary people, briefly illuminated in rich language … This novel is an exploration not only of death but of life, of humanity and fragility, ‘because the heart is more than the heart.’”
      New York Times blog
      “Maylis de Kerangal navigates perfectly between the epic and the intimate; let’s just say that her writing will shake you to your very core.”
      “De Kerangal’s novel pulses with life … It’s clear de Kerangal has done extensive research, and the novel contains a wealth of medical knowledge. But her prose is more than just technical; the writing is uncommonly beautiful and never lacking humanity. This poetic interrogation of our contemporary medical reality affords a view only literature can provide.”
      Publishers Weekly
      “… winning and effective … A sophisticated medical drama whose pulse-pounding strength diminishes a touch too quickly.”
      Kirkus Reviews
      “Heartbreaking; I’ve seldom read a more moving book … De Kerangal is a master of momentum, to the extent that when the book ends, the reader feels bereft. She shows that narratives around illness and pain can energize the nobler angels of our nature and make for profoundly lovely art. One longs for more …”
      The Guardian
      “Ably translated by Jessica Moore … long sentences wind across the page, taking in philosophical digressions … De Kerangal’s intellectual flights are balanced out by detailed descriptions of the donation process itself: the various diagnoses, the necessary conversations with the donor’s grieving family, the hasty delivery of the organs in their chilled containers. Throughout, the author handles this difficult subject with enormous subtlety and tact.”
      The Independent
      “Flamboyant writing combined with a tragic subject make the author’s fifth novel a searing, unforgettable read … [a] gut-wrenching saga … De Kerangal explores the contradiction of death enabling life. … [an] extraordinary novel that etches itself in the mind …”
      Irish Times
      “This breathless novel has all the beauty of a Greek tragedy. It is also a hymn to creation and a meditation on the relationship between the body and consciousness, life and death.”
      “Among the most fascinating writers of her generation. With Mend the Living, Maylis de Kerangal attains even greater heights.”
      Le Monde
      “Reading Mend the Living is like stepping into a great ocean of words, all cross-currents and waves, and you just have to dive in and let it take you where it will … De Kerangal turns her novels into multi-dimensional, emotional schematics of the situation they’re examining. Events unfold and a fuzzy cloud of words hovers around them ready to illuminate the imperceptible … Mend the Living covers a short period of time in the lives of only a few people but it reveals whole realms of experience and meaning within that scope. Reading it is a vertiginous experience that you will not soon forget.”
      – European Literature Network
      “A work so moving, so richly layered it strikes you less like an object and more like something divine – like the heart itself. … But it’s not just the unusual format that makes this novel so remarkable: it’s the spot-on rhythm of de Kerangal’s sentences … It’s not an exaggeration to say de Kerangal has written a masterpiece, a stunning feat on par with modern medicine, the love of a parent, a second chance at life.”
      – TheGazette.com
      Mend the Living is the story of a transgression where the heart, liver, lungs, and other organs move beyond their role as sedentary and mortal tools of human mechanics. Here they become travellers on a long journey, and their migration from one body to another brings breath and life.”
      – Hélène Vachon, author of A Matter of Gravity
      “Jessica Moore’s deft, exacting, and nuanced translation brilliantly writes de Kerangal’s magnificent prose into a new English. A deeply compelling and moving read.”
      – Oana Avasilichioaei, author of Limbinal
  • 2
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    Price Paid The Fight for First Nations Survival Bev Sellars Canada
    9780889229723 Paperback SOCIAL SCIENCE / Ethnic Studies Publication Date: August 26, 2016
    $19.95 CAD 5.5 x 8.5 x 1 in | 180 gr | 240 pages Carton Quantity: 30 Canadian Rights: Y Talonbooks
    • Marketing Copy

      Price Paid: The Fight for First Nations Survival untangles truth from some of the myths about First Nations at the same time that it addresses misconceptions still widely believed today.
      The second book by award-winning author Bev Sellars, Price Paid is based on a popular presentation Sellars created for treaty-makers, politicians, policymakers, and educators when she discovered they did not know the historic reasons they were at the table negotiating First Nations rights.
      The book begins with glimpses of foods, medicines, and cultural practices North America’s indigenous peoples have contributed for worldwide benefit. It documents the dark period of regulation by racist laws during the twentieth century, and then discusses new emergence in the twenty-first century into a re-establishment of Indigenous land and resource rights. The result is a candidly told personal take on the history of a culture's fight for their rights and survival. It is Canadian history told from a First Nations point of view.

      Awards and recognition for Bev Sellars’s They Called Me Number One: Secrets and Survival at an Indian Residential School
      - 2014 George Ryga Award for Social Awareness in Literature
      - 2014 Burt Award for First Nations, Métis, and Inuit Literature (third prize)
      - Shortlisted for the 2014 Hubert Evans Non-Fiction Prize (B.C. Book Prizes)
      - More than 40 weeks on the B.C. bestsellers list

      Bev Sellars is a former Chief and Councillor of the Xat’sull (Soda Creek) First Nation in Williams Lake, British Columbia. First elected chief of Xat’sull in 1987, a position she held from 1987-1993 and then from 2009-2015. She also worked as a community advisor for the BC Treaty Commission. Ms. Sellars served as the representative for the Secwepemc communities on the Cariboo Chilcotin Justice Inquiry in the early 1990s. Ms. Sellars has spoken out on racism and residential schools and on the environmental and social threats of mineral resources exploitation in her region.

      Ms. Sellars is the author of They Called Me Number One, a memoir of her childhood experience in the Indian residential school system and its effects on three generations of women in her family, published in 2013 by Talon Books. The book won the 2014 George Ryga Award for Social Awareness, was shortlisted for the 2014 Hubert Evans Non-Fiction, and was a finalist for the 2014 Burt Award for First Nations, Métis and Inuit Literature. Her book, Price Paid: The Fight for First Nations Survival, published in 2016 by Talon Books, looks at the history of Indigenous rights in Canada from an Indigenous perspective. Sellars has a degree in history from the University of Victoria and a law degree from the University of British Columbia. She is currently Chair of First Nations Women Advocating Responsible Mining (FNWARM) and serves as a Senior Advisor to the Indigenous Leadership Initiative (www.ilinationhood.ca).

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    • Awards & Reviews

      “Stern without being pessimistic … readable yet data-rich … The logical reaction to having no idea what to do about an ongoing tragedy in your own country is to put some effort into understanding where the problem came from. This book is a great place to start.” —Broken Pencil
      “Bev Sellars does not mince words in her turbo-charged history lessons. … Price Paid is sometimes painful reading but it is necessary if we are to move forward as a country – First Nations and newcomers together – armed with knowledge and empathy.” —BC BookWorld
      “[Sellars] tells Canada’s history from a perspective that has rarely been used before: … the people who call these lands their ancestral home. … This book is not a recommended read, it is a necessary read – especially for Canadians. … most readers will feel reborn upon reading this book, so hidden is the truth of Canadian history. … Equipped with the truth, Canadians can finally honestly and comprehensively celebrate our country.”
      Pacific Rim Review of Books
      Bev Sellars does not mince words in her turbo-charged history lessons. … Price Paid is sometimes painful reading but it is necessary if we are to move forward as a country – First Nations and newcomers together – armed with knowledge and empathy.”
      BC BookWorld
      “This is a book like no other. Bev Sellars combines her keen insights, her studies in history and law, and her experience as a chief of an ‘Indian reserve’ in British Columbia to produce a book that will open the eyes of Canadians to the reality of life under federal government administration. This book will be a significant contribution to the nationwide campaign of Indigenous people to emancipate themselves from the Indian Act and its administrators in Ottawa. Their aim as Sellars explains is meaningful participation in the decisions that affect their rights and interests. As Bill Wilson (Hemas Kla-Lee-Lee-Kla) writes in the foreword, ‘Truth and knowledge are wonderful things.’ Indeed.”
      —Paul L.A.H. Chartrand, IPC, Professor of Law, retired Former commissioner, Royal Commission on Aboriginal Peoples (1991–1996)
      “A timely tome. So much of Native Canadian history has been swept under the rug by mainstream historians. Fortunately, books like this, written by Native authors themselves, are finally coming out of the closet, so to speak. And the timing couldn’t be better. Our country so needs these books. Our country so needs these voices.”
      —Tomson Highway
      “By beginning to unveil some painful truths in Canada’s ‘hidden history,’ Chief Bev Sellars provides context and deep understanding that remain at the root of the troubled relationship between Canada and Aboriginal peoples. Some individuals will find these stories troubling, but as painful as these stories are, they must be told if we are to ever have reconciliation and understanding between Aboriginal and non-Aboriginal Canadians.”
      —Mary Simon, co-chair, Canadians for a New Partnership, former Canadian ambassador, and president of Inuit Tapiriit Kanatami One
      “Reconciliation between Aboriginal and non-Aboriginal peoples in Canada will advance only when non-Aboriginal Canadians learn, accept, remember, and respect Aboriginal perspectives and interpretations of our shared past and future. Bev Sellars’s powerful truth-telling about the cost to Aboriginal peoples of our history is essential reading for all Canadians.”
      —Phyllis Senese, Professor Emerita of History, University of Victoria
      “Sellars uses a broad brush with personal detail here and there to help readers understand Aboriginal issues in Canada today … a good primer.”
      —Chris Arnetttt, author of The Terror of the Coast: Land Alienation and Colonial War on Vancouver Island and the Gulf Islands, 1849–1863
  • 3
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    Running on Fumes Christian Guay-Poliquin Canada, Jacob Homel Canada
    9780889229754 Paperback FICTION / Literary Publication Date: June 25, 2016
    $14.95 CAD 5.5 x 8.5 x 1 in | 200 gr | 160 pages Carton Quantity: 42 Canadian Rights: Y Talonbooks
    • Marketing Copy

      When the electricity inexplicably goes out nationwide, the mundanities of life gradually shift to the rigours of survival. In this post-apocalyptic setting, an unnamed mechanic jumps into his beat-up car and drives east, journeying 4,736 kilometres to reach his dying father.

      As the narrator’s journey becomes one of essentials – gasoline, fresh water only in bottles, and gas-station food – and as the crisis engulfing his surroundings begins to weigh on him ever more, he seeks refuge in a woman, and later, with a fellow traveller he meets on the road. These two kindred souls join him on his path, though they seem to seek a different sort of redemption.

      As the road grows longer, and the narrator’s exhaustion grows in kind, parallels are drawn between his own journey and Thesus’s journey through the primeval Labyrinth. However, the beast that our narrator seeks to slay might not be one of flesh and horn and blood; instead, it is his own failing mental state and his thirst for the apocalypse around him. In the end, the obsession with which he pursues this beast will be his undoing.

      Running on Fumes, is a road novel that carries with it influences of the genre, with its storylines of redemption through distance travelled, often in a failing world that reflects the protagonist’s interior. It is a hazy line that delineates whether the world is reflecting the narrator’s state or whether the narrator’s mindset is reflected by the world, and there remains a level of uncertainty on the truths the narrator speaks.
      Christian Guay-Poliquin was born in Saint-Armand in 1982. He is now developing a thesis project on the hunting narrative and also works in renovation. The pencil on his ear serves to mark his measures as much as it does to record his ideas. Le fil des kilometers (La Peuplade, 2013) is his first novel.

      Born and raised in Montreal, Jacob Homel has translated or collaborated in the translation of a number of works, including Nelly Arcan’s Hysteric and Breakneck, The Battle of London and The Last Genet. In 2012, he won the J.I. Segal Translation Prize for his translation of A Pinch of Time. He currently lives in Montreal.
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    • Awards & Reviews

      ReLit Award for a Novel 2017, Short-listed
      Praise for French edition

      "Le Fil Des Kilomètres reframes the urgency to act in a context of the end of the world and reveals the simplicity of the human psyche, that by distancing conventions and the established order, we must inevitably go to the essentials."
      —impact campus
      “Brilliant and well-mastered writing.”
      La Presse
      “My excitement grew as the kilometres passed ...”
      Littérature du Québec
      “A quest for origins that combines fabulation and reality.”
      Impact Campus
      “A taut story of mental and civil collapse.” –Globe & Mail
      “An original story that incorporates contemporary concerns … unexpectedly topical … Running on Fumes is a Canadian legend processed as Canadian mythology.” —Prairie Fire
      Running on Fumes is a taut tale, a classic road trip that kicks off with just a man and his car (and a bad-tempered cat for company). … Guay-Poliquin’s work is one that pulls you along, the short sections and terse language reflecting both the simplicity and the tension of the journey, and Jacob Homel does an excellent job of bringing this across into English … The novel can be dark at times as the writer hints at what lies ahead, and as the kilometres mount, the mood intensifies. … The cover of the translation, depicting the Minotaur of Greek legend, is apt since the writer frequently draws on the legend as a source for his story. … Running on Fumes is an entertaining novel, with more questions than answers … It is an intriguing story of the way our ghosts can always catch us up, no matter how fast we drive in the opposite direction.” —Québec Reads
      Running on Fumes is a taut tale, a classic road trip that kicks off with just a man and his car… Jacob Homel does an excellent job of bringing this across into English —Québec Reads
      “Simultaneously gritty and poetic, Running on Fumes appeals to our deep-seated fascination with apocalypse, disaster, and the collapse of civilization. … A road trip as an opportunity to examine one’s own life isn’t new; neither is the retelling of the Minotaur myth. By mixing these two and adding a helping of mysterious disaster, Guay-Poliquin offers us a fresh and interesting take on all three themes.”
      —Speculative Fiction in Translation (blog)
      "Guay-Poliquin has somehow managed to turn descriptions of a long black highway through the prairies and a snow-filled landscape seen through a cabin window into an engrossing world where nothing monumental needs to happen in order to keep his readers – at least this one – hooked."
      —Patty Osborne, Geist magazine
      “[A] great road story.”
      Geist magazine
  • 4
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    Injun Jordan Abel Canada
    9780889229778 Paperback POETRY / Canadian Publication Date: March 25, 2016
    $16.95 CAD 5.5 x 8.5 x 0.35 in | 140 gr | 96 pages Carton Quantity: 70 Canadian Rights: Y Talonbooks
    • Marketing Copy

      Award-winning Nisga’a poet Jordan Abel’s third collection, Injun, is a long poem about racism and the representation of indigenous peoples. Composed of text found in western novels published between 1840 and 1950 – the heyday of pulp publishing and a period of unfettered colonialism in North America – Injun then uses erasure, pastiche, and a focused poetics to create a visually striking response to the western genre.

      After compiling the online text of 91 of these now public-domain novels into one gargantuan document, Abel used his word processor’s “Find” function to search for the word “injun.” The 509 results were used as a study in context: How was this word deployed? What surrounded it? What was left over once that word was removed? Abel then cut up the sentences into clusters of three to five words and rearranged them into the long poem that is Injun. The book contains the poem as well as peripheral material that will help the reader to replicate, intuitively, some of the conceptual processes that went into composing the poem.

      Though it has been phased out of use in our “post-racial” society, the word “injun” is peppered throughout pulp western novels. Injun retraces, defaces, and effaces the use of this word as a colonial and racial marker. While the subject matter of the source text is clearly problematic, the textual explorations in Injun help to destabilize the colonial image of the “Indian” in the source novels, the western genre as a whole, and the Western canon.
      Jordan Abel is a Nisga’a writer currently completing his PhD at Simon Fraser University, where he is focusing on digital humanities and indigenous poetics. Abel’s conceptual writing engages with the representation of indigenous peoples in anthropology and popular culture.

      His chapbooks have been published by JackPine Press and Above/Ground Press, and his work has appeared in numerous magazines and journals across Canada, including Prairie Fire, Capilano Review, and Canadian Literature. He is an editor for Poetry Is Dead magazine and the former editor for PRISM international and Geist. Abel’s first book, The Place of Scraps (Talonbooks), was a finalist for the Gerald Lampert Memorial Award and won the Dorothy Livesay Poetry Prize. Un/inhabited, Abel’s second book, was co-published by Project Space Press and Talonbooks.

      CBC Books named Abel one of 12 young Writers to Watch (July 2015).
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    • Awards & Reviews

      Canadian Griffin Poetry Prize 2017, Winner
      “Jordan Abel’s book of poetry, Injun, destabilizes Western texts and forces us to engage in a new conversation with the literature that has been a cornerstone for writers, readers, and critics for hundreds of years. … Injun is an artful exploration of the brutal colonialism that informs which voices are priviledged. … Injun isn’t just good; it is singular and essential.” —vallum
      Injun is an artful exploration of the brutal colonialism that informs which voices are priviledged. … Injun isn’t just good; it is singular and essential.” —vallum
      “The poet breaks words, even as lands and languages have been broken by colonial power. Fragmented and fugitive pieces lie at the heart of Injun. … Injun nevertheless has the same astonishing impact as his earlier work in re-establishing the presence of Indigenous culture against silence and absence. Techniques of collage and pastiche restore the margins, invert dichotomies of paleface and redskin, and rearrange legends, myths, and rituals. … Injun’s brackets alert us not only to what is enclosed, but also to what has escaped.”—Malahat Review
      “In Injun, Abel carefully un-writes ninety-one Western novels in the public domain … While Injun is conceptually difficult and, indeed, demanding in the most productive of ways, the remarkably condensed, although potent, lines that Abel un-creates from within the body of such a disturbing collection of texts are demonstrative of his unique ability to converge conceptual, political, and affective registers seamlessly. … Injun recasts the book as a textual object … It is no wonder that Abel has received so much critical attention, as he is one of the most innovative and thrilling poets writing today.”
      Canadian Literature
  • 5
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    Slick Reckoning Ken Belford Canada
    9780889229785 Paperback POETRY / Canadian Publication Date: October 03, 2016
    $16.95 CAD 5.5 x 8.5 x 0.75 in | 140 gr | 96 pages Carton Quantity: 70 Canadian Rights: Y Talonbooks
    • Marketing Copy

      In these thoughtful, yet playful poems, Belford builds a poetry experience for the curious reader can open anywhere, read, and read on.

      Although the phrasing of his lines is unusual, Ken Belford’s poetry is not easily forgotten. His poetry collections, like this one, his slick reckoning, are experiences the curious reader can open anywhere, read, turn the page, and read on. It’s not necessary to begin at the beginning nor to read to the end to get a good sense of what this poet is about. Read a little, or read a lot, he’s worth it.

      Ken Belford is a timber framer. He has managed a northern wood lot, from which he has milled his own lumber, carrying out most of the timbers for his buildings on his back. These thoughtful, yet playful poems tell of powerful connections artfully made, of an earned sense of how things work, and an intimate awareness of the cycle of all things.
      For more than half his life, Ken Belford lived “back of beyond” in the Skeena mountains, in Gitxsan territory. He lived, all that time, “around the corner” from the colonizer. He is an unusual man, not your usual white guy, and his reputation has to do with land, and how people live on it.

      The “self-educated lan(d)guage poet” has said that living for decades in the “back country” has afforded him a unique relationship to language that rejects the colonial impulse to write about nature, but speaks from the regions of the otherCurrently living in Prince George, British Columbia, with his activist wife, Si, Belford continues to write outside the boundaries of the conventional forms of the various schools of poetry.

      His seven previous books of poetry are Fireweed, The Post Electric Caveman, Pathways into the Mountains, lan(d)guage, when snakes awaken, ecologue, Decompositions, and Internodes.
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  • 6
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    Pound @ Guntánamo Clint Burnham Canada
    9780889229792 Paperback POETRY / Canadian Publication Date: April 06, 2016
    $17.95 CAD 5.5 x 8.5 x 1 in | 140 gr | 112 pages Carton Quantity: 81 Canadian Rights: Y Talonbooks
    • Marketing Copy

      Throughout these poems is a meeting of obscene or politically charged material, as well as commentary on language usage under extreme circumstances of duress such as the Arab Spring. This is poetry written under conditions of wartime. The title implies an analogy between Ezra Pound, imprisoned at Pisa after World War II, and the inhabitants of the military and CIA prisons at Guantánamo Bay.

      Poems cross the page or are more architectural, in tight columns, or curve like a cyberpunk office tower. Entire continents are leaped across in a line or two: “from Burquitlam Plaza to Redondo Beach metro stop/Bush with Burqas for the B.U.” but written in a city where bus drivers fix their trolley lines, and Squamish is a place you drive to, in your imagination, during a job interview conducted over the phone.

      Place, in this poetry, is both a name (but whose name? the colonizer? first nation? mall developer?) and a root that grows in one’s popular culture as the only way to recognize the war machine (“why Cadence Weapon left Friendster / why the Flava Flav transformer twins’re buck-toothed”). A final word on style: Burnham’s language is compressed like an MP3 file (a format that uses lossy compression).
      Clint Burnham is widely published as a critical theorist, poet, and author of books on digital culture. He is the author of book-length studies of Steve McCaffery and Fredric Jameson, a novel titled Smoke Show (2005), and several books of poetry, including The Benjamin Sonnets, published in 2009. His most recent critical book is The Only Poetry That Matters: Reading the Kootenay School of Writing (2012). His most recent art writing includes a catalogue essay on Canadian photographer Kelly Wood; an essay on Edward Burtynsky is in the forthcoming Petrocultures collection from McGill-Queens. During a residency at the Urban Subjects Collective in Vienna in 2014–15, Burnham wrote books on Slavoj Žižek and digital culture, and on Fredric Jameson and Wolf of Wall Street.

      Burnham is an associate member of the SFU Department of Geography and a member of SFU’s Centre for Global Political Economy. He is a founding member of the Vancouver Lacan Salon and can be followed on twitter @Prof_Clinty.
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    • Awards & Reviews

      “The twenty poems of Pound @ Guantanamo exist in a space both temporal and geographic, as well as virtuall … Originally emerging from the 1980s and 90s small press community in and around Toronto, Burnham’s work since landing west has broadened, connecting to a wide and varied history of language poetry and social engagement … Burnham composes, perhaps, ironically so, poems that wrestle with the notion that more than talking or issuing statements (or writing poems) is enough. There has to be action associated with the speaking, otherwise, what’s the point?”
      Arc Poetry Magazine
  • 7
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    th book bill bissett Canada
    9780889229808 Paperback POETRY / Canadian Publication Date: April 12, 2016
    $19.95 CAD 6 x 9 x 0.5 in | 220 gr | 176 pages Carton Quantity: 42 Canadian Rights: Y Talonbooks
    • Marketing Copy

      New poems from Canada’s shaman of sound and performance poetry, bill bissett.

      bissett’s innovations in sound poetry, have shaped poetry, music, painting, and publishing and stimulated, provoked, influenced, shocked, and delighted audiences for half a century. In this new collection of concrete poems, bissett writes “poemes uv greef transisyun n sumtimes joy byond binaree constraints if evreething goez what is aneething accepting nihilism lettr texting as an approach 2 heeling sorrow denial.
      bill bissett’s charged readings, which never fail to amaze his audiences, incorporate sound poetry, chanting, and singing, the verve of which is only matched by his prolific writing career – more than seventy books of bissett’s poetry have been published.

      A pioneer of sound, visual, and performance poetry – bissett composes his poems as scripts for pure performance and has consistently worked to extend the boundaries of language and visual image, honing a synthesis of the two in the medium of concrete poetry.

      Whether paying tribute to his hometown lunaria or exercising his native tongue dissent, bissett continues to dance upon the cutting edge of poetics and performance works.

      bissett was recently a featured poet on the Heart of a Poet series, produced in conjunction with Bravo! TV.

      Among bissett’s many awards are the Sheri-D Wilson Golden Beret Award for Spoken Word (2014); George Woodcock Lifetime Achievement Award (2007); B.C. Book Prizes Dorothy Livesay Prize (2003) for peter among th towring boxes / text bites; and B.C. Book Prizes Dorothy Livesay Prize (1993) for inkorrect thots.
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    • Awards & Reviews

      Reviews for ths is erth thees ar peopul
      “His poetry addresses the limitless discussion of the boundaries between the personal and the political.”– National Post
      Reviews for hungree throat
      “An interesting and intriguing reading/viewing of the struggles of coming to terms with, and visualizing, a tumultuous world and ‘how we feel abt unsirtintee.’ ”
      Canadian Literature
      “bill bissett, still relevant to younger audiences, balances multiple platforms, different genres, different ways of being, corporal, ephemeral, healthy, unhealthy, solvent and stuck, of sound and unsound mind. th book is a catalogue of prescriptions for getting through the pain, and this time more than before he doesn’t flinch at the details. … the art of reading bill is quite simple and very rewarding. He paints with words and music, orchestrating the apparent randomness of creation with an ironic intelligence that leaps just as high off the page as it does on stage. … We are lines that intersect and interact. In [bissett’s] perfect world, there are no degrees of separation as we move in and out, interact, love and accept one another.”
      Pacific Rim Review of Books
  • 8
    catalogue cover
    Human Tissue Weyman Chan Canada
    9780889229815 Paperback POETRY / Canadian Publication Date: April 08, 2016
    $17.95 CAD 6 x 9 x 1 in | 180 gr | 160 pages Carton Quantity: 51 Canadian Rights: Y Talonbooks
    • Marketing Copy

      Weyman Chan’s fifth collection takes poetry to the laboratory, splicing a layered, tactile network that is Human Tissue.

      Short lyric poems navigate personal experience and memory, then weave into serial poems such as “Parables for Frankenstein,” diving into the material conditions of hybridity to construct the symbiotic self of a prototype misfit. “Panic Room,” another serial poem probes the loner whose isolation at a house party takes a sinister turn, and “Unboxing the Clone” explores the causality of creation, where “trace beings” are felt in flesh and voiced in colloquial speech.

      Human Tissue creates a language that is intimate while acknowledging relations to the social environment. Accompanied by the tones of an erhu, archaic Anglo-Saxon language jostles with Chinese, and self-censure meets Faust and Judith Butler to ask the vital questions of origin. Chan shows us how we come to settle with histories of uncertain origin, the presence of science and technology in the mediated body, and how we forge “not-knowing” as a vibrant way of being.
      Weyman Chan was born in Calgary in 1963, to immigrant parents from China. He has published poems and short stories in a wide variety of literary journals and anthologies. He won the 2002 National Magazine Awards silver prize for his poem “At Work,” and the 2003 Alberta Book Award for his first book of poetry, Before a Blue Sky Moon. His second book, Noise from the Laundry, was a finalist for the 2008 Governor General’s Award for Poetry and the 2009 Acorn-Plantos Award for People’s Poetry.
      Marketing & Promotion
    • Awards & Reviews

      “We get only what is absolutely necessary, what adds to the image being presented. The end result is economic, vivid, and clear.” —The Cascade

      “[Chan] explores a vision of humanity in a technologically charged world … Human Tissue exudes a sense of immediacy and simultaneously displays a modernist influence … Technological terms, academic topics, and scientific language blend with an arsenal of colloquial terms … This clash of tradition and the contemporary, of the informal and the technical, contributes to the sense of anxiety in Chan’s poetry … [The combined effect is] a carefully crafted expression of being flesh in a partly robotic world.”—Canadian Literature

  • 9
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    We the Family A Play George F Walker Canada
    9780889229822 Paperback DRAMA / Canadian Publication Date: March 15, 2016
    $17.95 CAD 5.5 x 8.5 x 0.5 in | 170 gr | 128 pages Carton Quantity: 66 Canadian Rights: Y Talonbooks
    • Marketing Copy

      Canada’s master playwright applies his trademark black humour and incredibly crisp dialogue to the family and multiculturalism.

      We the Family follows the ripple effects within two culturally and racially divergent families when their children wed. The list of characters in We the Family reads like an ethnic joke, which, indeed, it is, at least in part: the son of the main characters, David and Lizzie Kaplan, a Jewish–Irish-Catholic mixed marriage, marries the daughter of Jenny Lee, a Chinese-Canadian widow. The supporting cast includes a Russian, a Palestinian, and an Italian, with Pakistanis, Sicilians, and still more Russians offstage in the wings.

      By the end of the play, Walker has deconstructed the dysfunctional Kaplan and Lee families and family love as well. Through the play’s pervading treachery, with family members and lovers betraying each other in horrific ways, he satirizes the hypocrisy of expounding family values while behaving with vicious preoccupation. These hyphenated Canadians certainly aren’t “nice,” and no quantity of “sweet-and-sour matzah balls” (which the Kaplan matriarch serves at the multicultural wedding reception) can hide the nasty taste.

      Cast of 3 men and 7 women.
      George F. Walker is one of Canada’s most prolific and popular playwrights. He has written more than twenty plays and has created screenplays for several award-winning Canadian TV series.

      During a ten-year absence, he mainly wrote for television, including the television series Due South, The Newsroom, This Is Wonderland, and The Line, as well as for the film Niagara Motel (based on three plays from his Suburban Motel series). Walker returned to the theater with And So It Goes (2010). Since that time he has published King of Thieves (2013); Dead Metaphor (2015, a series of three plays that include Dead Metaphor, The Ravine, and The Burden of Self Awareness); and Moss Park and Tough! The Bobby and Tina Plays (2015). After Class, a series of plays that address education and parenting, will be published in 2017.

      Awards and honours include investiture as a Member of the Order of Canada (2005); National Theatre School Gascon-Thomas Award (2002); two Governor General’s Literary Awards for Drama (for Criminals in Love and Nothing Sacred); five Dora Mavor Moore Awards; and eight Chalmers Canadian Play Awards.
      Marketing & Promotion
    • Awards & Reviews

      Reviews for Parents’ Night
      “As in all of Walker’s best work, there is a lot happening on several levels. We laugh at the foibles of parents and teachers as Walker piles misfortune on coincidence on looming disaster. It is extremely funny and bitingly satirical. But then we are aware of a deep sadness under the surface. These are human beings struggling to survive against harsh odds and in the most taxing of circumstances. There is also abundant compassion for teachers. Deeper still is Walker’s smouldering anger at the floundering educational system and at a society that actively discriminates against the poor and the marginalized.”
      Toronto Star

      Reviews for The Bigger Issue
      The Bigger Issue is, well, a bigger play in terms of what it tackles. But the confrontations here are economic as well as educational; the difference between haves and have-nots drive the action, and not just in the classroom.”
      NOW Toronto

      If you have a taste for cynical and irreverent humour, death and depravity with a drum roll, this darkly comic culture clash will be right up your alley.” – Mooney on Theatre
  • 10
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    Inside the Seed Jason Rothery Canada
    9780889229860 Paperback DRAMA / Canadian Publication Date: March 29, 2016
    $18.95 CAD 8.5 x 5.5 x 1 in | 160 gr | 144 pages Carton Quantity: 63 Canadian Rights: Y Talonbooks
    • Marketing Copy

      Winner of the 2015 Jessie Richardson Award for Outstanding Original Script

      Inside the Seed is a contemporary version of Oedipus Rex reimagined as a darkly comic political thriller.

      Mirroring controversial real-life scientific and corporate controversies, Inside the Seed concerns a once-brilliant scientist who made a startling discovery: a bio-engineered form of rice that could save an overpopulated world on the brink of catastrophic famine. The play examines how good, smart, well-intentioned individuals are drawn into, and corrupted by, complex institutional systems, be they corporate, military, or governmental.

      Cast of 5 men and 4 women.
      Jason Patrick Rothery’s produced, full-length work as a playwright and collaborative creator includes: the space between us(Tziporah Productions), (re)birth: ee cummings in song (Soulpepper), Inside the Seed, Wedgie (Upintheair), Something to Do with Death, POLITIkO (Ghost River), The Drop, and Re:Generation (THEATREboom). Jason was the co-creator of The Walking Fish Festival (Vancouver), co-founder and festival director of the Calgary International Fringe Festival, resident playwright of the second Soulpepper Academy, and the erstwhile artistic director of Ghost River Theatre (Calgary), where he mounted dozens of productions and tours including NiX, presented as part of the 2010 Cultural Olympiad. Jason is currently a PhD student in Communication Studies at Carleton University, where he is studying historical and contemporary narrative systems manifest in various media platforms, including theater and video games. As a component of his doctoral research, he is adapting China Miéville’s celebrated novel The City & The City for a co-production between Vancouver-based theater companies Upintheair and The Only Animal. Inside the Seed won the 2015 Jessie Richardson Award for Outstanding Original Script.
      Marketing & Promotion
    • Awards & Reviews

      “A scathing look at a fictitious corporation so large it has lost track of its subsidiaries: while one part of the company is growing genetically modified rice, another is manufacturing defoliants. It’s about a corporation eager to ship 100,000 tons of its ‘Golden Rice’ to Africa without knowing – or caring – about the “statistically insignificant” incidents of birth defects the product causes ... Although it’s clear the playwright condemns corporations such as this, he sets up the debate fairly: millions of starving Africans will benefit from the shipment of the rice and [the main character] really does not know about the birth defects. But there are others who do know and don’t care; or who know but are prepared to make a deal.”
      Vancouver Courier
      Inside the Seed has important subject matter wrapped up in a sexy stylish production. Its corporate machinations are compelling and a little frightening when you realize most of the plot points are based on
      real-life examples.”
      Charlebois Post

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