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"If you are a fan of the great outdoors and love to hike or would like to start hiking, Michael Haynes writes an invaluable trail guide. Go out and buy the book and then go explore. You will not be disappointed." -- Edwards Book BlogA fresh new edition of the bestselling guide, now with full-colour maps and images.The National Capital Region and its environs offer an extraordinary variety of hiking. And there's no better person to guide you than Michael Haynes. From the urban oasis of the Ottawa Greenbelt to the pastures and lakes of Eastern Ontario and the rugged hills and winding rivers of western Quebec, Michael Haynes offers hikers an authoritative guide to 50 of the best trails in the area: from short urban trails to full-day wilderness excursions and even a few mid-winter hikes. With each trail accompanied by a full-colour elevation map and beautifully composed photographs, this book is the perfect accompaniment for your next adventure in Ottawa, Gatineau Park, and beyond.

""So what if I left language by the pier. Metaphor's a raft," declares Andrew DuBois as he leads readers through a fractured past and present -- from "slummy memories of streets" to a "a charnelhouse (?) of possible clowns" -- defamiliarizing, critiquing, and satirizing a wide range of conversational forms in the style of Wallace Stevens and Michael Palmer. Yet, as "lives at time degenerate into victory competitions," and the poet alternates between searching for an escape from the mundane and accepting that "merely being there together is a dull catastrophe," we recognize that a formally wry, almost flippant, voice has become caught in language's web. The surfaces of the poems begin to feel like thin ice, a brittle coating over which we skate for as long as it lasts. Danger lurks here: the poet must play the puppet, not the puppeteer and we must surrender, body and soul, into language as element."--

"In this experimental long poem sequence, Alyda Faber transforms the portrait poem into runic shapes, ice shelved, sculpted, louvered on a winter shoreline. Twenty years after her mothers death, Faber untethers herself from the mother she thinks she knows with wild analogies: depicting her mother variously as King Lears Kent, a Camperdown elm, a black-capped chickadee, Neil Peart, Pope Innocent X, and a funnel spider. While embodying the passionate relationship between mother and daughter, Fabers poems also expose the thorn in the flesh, the inability of mother and daughter to give each other what they most want to give. Endlessly discovered, yet ultimately unknowable, the poets mother is complex, mystifying, and unwavering: courageous in her decision to leave all that she knew behind; bewildering in her fidelity to a damaging marriage; steadfast in her devotion to a God who is at once adamant and the source of ephemeral beauty."--

"Molly Lamb and Bruno Bobak shot to prominence as war artists during the Second World War. Marrying shortly after the end of the war, they moved first to Vancouver and then, in 1960, to Fredericton, where they settled permanently. Molly's paintings were vibrant and colourful, featuring dynamic crowd scenes and wildflowers that seem to wave on the page. In contrast, Bruno painted near-abstract cityscapes, stunning landscapes, and distorted bodies wracked with inner torment that are unique in Canadian art. In this book, acclaimed author Nathan M. Greenfield brings to light the private and public lives of two of the most important figures in 20th century Canadian art. Combining archival research with Molly's diaries and letters, interviews with friends and contemporaries, and an analysis of paintings by both artists, he develops an intimate portrait of their life and art: their critical acclaim, commercial success and a turbulent marriage that lasted over fifty years -- until Bruno's death in 2012. The biography covers Bruno and Molly's artistic output, their marriage, and their wider lives. Greenfield covers their whole lives, including discussion of their work as war artists in the second world war and their later careers."--

Incisive and intensely felt, Stewart Cole's striking debut collection reminds us that we too live in an age of anxiety, disoriented by doubt, up late and compelled to confront the unanswerable. Sirens draw us to the inevitable fact of human suffering, black-winged redbirds perch aloof above our daily commutes, sex denies and drives our hunger for fidelity, and the comet speaks before it strikes. In an unabashed celebration of intellect and a visceral engagement with our shadowy impulses, Cole's voice veers between the playful and the grave, pillow-talk and eulogy. And despite the odds, love -- private, public, and free of false sentiment -- emerges cloaked in a wit and intelligence at once elusive and warm. From the urbane and civil to the lustful and dark, the poems of Questions in Bed, in an impressive synthesis of content and contour, despict the heat-seeking of our driven days and insomniac nights.

The images flash by, one after the other, and intuition supplies the connections. For a year, Herménégilde Chiasson captured fragments of conversation, and he compressed and polished them into sentences for two speakers, He and She. Numbering these utterances from one to 999, Chiasson left 1000 blank, mute testimony to the incompleteness of human communication.

At one moment, a pure abstraction, at the next, an incontrovertible presence of hooves, antlers, and fur. The beating heart of this assured debut by Richard Kelly Kemick is the Porcupine caribou herd of the western Arctic. Following the caribou through their annual cycle of migration, Kemick orchestrates a suite of poems both encyclopedic and lyrical, in which the caribou is both metaphor and phenomenon, both text and exegesis. He explores what we share with this creature of blood and bone and what is hidden, alien, and ineffable. "Caribou Run" serves notice that a formidable new talent has been let loose on the terrain of Canadian poetry. - 20160304"

A CBC New Brunswick Book List Selection"The same stage, but different actors," explains Wilson. "There is something interesting to me about separating people from their environment, about keeping the focus on the individual."James Wilson's studio portraits capture subjects from all walks of life. They document soldiers and street people, builders and bakers, artists and labourers. There is an intimate intensity in his photographs, which together form a timeless collage of life and faces from the early twenty-first century.Wilson's portraits are also the product of a purposeful gaze, distinctive observations in black-and-white. All window-lit, all photographed in his studio, all with the same black background, these photographic portraits open a door into the worlds and at times the unguarded emotions of the individual subjects.James Wilson: Social Studies accompanies an exhibition that will open at the Beaverbrook Art Gallery in Fredericton, NB, in June 2020.

An explosive book that exposes the truth about breast cancer screening.

Depuis près de quatre décennies, Marlene Creates s'attarde avec sensibilité aux rapports entre l'expérience humaine et le monde naturel, privilégiant l'acte plutôt que l'artefact, le moment plutôt que le monument. Dès ses premières oeuvres, des interventions éphémères sur le terrain, et jusqu'à ses plus récentes explorations de poésie in situ dans la forêt boréale et de photographie comme médium actif, où elle laisse le ruissellement de l'eau sur l'objectif brouiller son autoportrait, Creates exerce sa grande vigilance écologique et culturelle pour nous amener à mieux comprendre le monde naturel et les ' lieux ' que nous y occupons.Sous la direction des commissaires-critiques Susan Gibson Garvey et Andrea Kunard, Marlene Creates: Lieux, sentiers et pauses propose au lecteur, en plus d'une large gamme des oeuvres photographiques de Marlene Creates, un examen critique de sa démarche multidisciplinaire (assemblages, croquis de cartes mémoires et poèmes sur vidéo) grâce aux essais de Gibson Garvey, de Kunard, de l'historienne de la photographie Joan M. Schwartz, de l'écrivain écologiste Robert Macfarlane et du poète Don McKay.Marlene Creates: Lieux, sentiers et pauses accompagne l'importante rétrospective itinérante organisée par la Galerie d'art Beaverbrook, en partenariat avec la Dalhousie Art Gallery.

Stately and majestic, yet scuffed with wear and disillusion, the poems of Smaller Hours mount the sky like columns and fora of some ancient ruin. Through these halls, Kevin Shaw tracks Eros, clearing away the rubble and polishing the marble, along the way exploring queer ways of keeping time. Music and movies, clocks and inventors populate these poems. History casts a shadow over all.Kevin Shaw's debut collection is a tour de force of control and grace; musical lines anchored by powerful rhythms dance into the reader's ear. The speakers of these lyrics encounter Nijinsky in a waiting room, Ovid at the laundromat, or re-enact a devastating flood after a night of drinking. From a mixtape full of quarter-century-old regrets, to the sensuality of a harmonica buzzing against pursed lips, to the violence and hope of Stonewall, Smaller Hours collapses the past with the present, and the personal with the public, taking a sideways glance at historical figures from across a gay bar's crowded dance floor.

Marlene Creates has sensitively probed the relationship between human experience and the natural world for almost four decades, choosing a path that privileges the act over the artifact, the moment over the monument. From her early works that record her ephemeral actions in the land to her later explorations of poetry in situ in the boreal forest, and of photography as an active medium -- where, for example, the rush of water over the lens transforms the artist's own image -- Creates leads us with an environmental and cultural consciousness to a greater understanding of the natural world and our "places" in it.Under the direction of curator-critics Susan Gibson Garvey and Andrea Kunard, Marlene Creates: Places, Paths, and Pauses offers not only a broad view of her work in photography but also a critical appreciation of her multi-disciplinary approach (assemblages, memory-map drawings, and video-poems) through essays by Gibson Garvey and Kunard, photographic historian Joan M. Schwartz, nature writer Robert Macfarlane, and poet Don McKay.Marlene Creates: Places, Paths, and Pauses is designed to accompany a touring retrospective exhibition organized by the Beaverbrook Art Gallery in partnership with Dalhousie Art Gallery.

A provocative and piercing novel that explores the meaning we find within the random architecture of despair and joy.

Allison LaSorda's Stray shows the formation of a considerable poetic talent. These poems are sun-bleached, at once gritty, raw, and playful. LaSorda can conjure childhood memories of beaches and ice cream, ponder the elemental force of the ocean, and plumb the depth of loss in a coal mine disaster. In this remarkable collection, she presents the messiness of daily life with emotional honesty and humour. With deft word play and a musical sense, Stray examines intimacy, memory, and decay, often betraying existential bewilderment. In this dazzling and disarming debut, LaSorda breathes fresh life into Canadian poetry.

Lawren Harris doit sa renommée à ses peintures emblematiques de montagnes, de lacs et d'icebergs. Cela dit, pendant une grande partie de sa carrière, sa démarche artistique se rapproche davantage de celle de peintres comme Georgia O'Keeffe, Arthur Dove, Raymond Jonson et Emil Bisttram que celle de ses compatriotes du Groupe des Sept. À l'instar de ses contemporains américains, Harris s'intéresse aux écrits de Ralph Waldo Emerson et Walt Whitman, ainsi qu'aux théories de Vassily Kandinsky. Au milieu des années 1920, il souscrit au modernisme international et emprunte la voie de l'abstraction.Dans Vers de nouveaux sommets, Roald Nasgaard et Gwendolyn Owens mettent l'accent sur la vie intérieure de Harris, sa détermination d'exprimer l'esprit de la modernité et les peintures résolument abstraites qui marquent cette période de son oeuvre.

This description is for the Inuktitut edition.Nunatsiavut, tânna Inuit nunakKatigengituk Canada-mit pitâlauttut namminik kavamamik 2005-imi, sanaKattajut sananguatausimajunik adjiKangitunik nunatsualimâmit Canadamiungutlutik ammalu ukkiuttatop KikKanganettuk Inuit sananguataumajut. Silatsualimâmi siKinganeluattuk inigijautluni Inutuinnanut, tamakkua satjugiamit inuit Nunatsiavummi iniKainnatut napattop killingani, ammalu Inuit allanguattingit ammalu sananguatingit Nunatsiavummit pitâsongunginnatut adjigengitunik ukiuttattumi ammalu ukiuttattoKattangimmijuk pigutsianginnik, taikkunangat atuKattasimajut takuminattunik sanagalagiamik suliagijanginnit.Allanguattet nunanganit piusituKanginnit atuKattasimavut ukkusitsajannik ammalu Kijunik sananguagiamut; amilinnik, tuttujannik, ammalu Kisinik atuttausonik sanaKattajut; ammalu tagiulinnit ivinik sanaKattamijut, ammalugiallak allasajannik, kikiatsajak, Kallunâttajak, sapangak, ammalu alakkasâjannik. MânnaKammik, sanagalasimavut sanajaunginnatunik takugatsausongutlutik, ilautillugit minguattausimajut, allanguattausimajut, nenittausimajut, adjiliuttausimajut, taggajâliuttausimajut, ammalu maggalinnit, atautsikut atutlutik piusituKannik atunginnatamminik nutângutlutik ammalu nigiugijausimangitunut piusitKatlutik.SakKijâjuk: Allanguattausimajut ammalu sananguatausimajut Nunatsiavummit sivulligijauvuk angijotluni nuititausimajuk allanguattausimajunit Labrador Inunginnit. Sanajauluasimajuk angijummagimmik apvitattitaulluni takugatsauniattilugit âkKisuttausimajuk taikkununga taijaujunut The Rooms Prâvinsikkut Allanguattausimajunik Takujapvinganut St. John's-imit, atuagak pitaKalangavuk ungatâni 80-nik sanajaugesimajunut 45-init adjigengitunit sananguatinut, kinakkoningit iluanemmijut sananguatet, ammalu angijummagik allataumajuk sananguatet pitjutigillugit Nunatsiavummit allasimajuk Heather Igloliorte.SakKijâjuk pivitsaKattisijuk atuatsiKattajunut, katitsuiKattajunut, allanguattinut piusituKaujunut, ammalu katitsuiKattajunut sunatuinnanik sananguatausimajunit siKinittini ammalu taggatinni takujagiattulâkKut taikkununga adjiKangitunut, sanajautsiasimajunut, ammalu takuminattusiavannik suliagijausimajunut Inuit sananguatinginnut ammalu allanguattinginnut Nunatsiavummit.

This description is for the French edition.Le Nunatsiavut, région inuite du Canada qui possède une administration autonome depuis 2005, a une production artistique à part dans le monde de l'art canadien et de l'art inuit circumpolaire. Population inuite la plus méridionale au monde, le peuple côtier du Nunatsiavut a toujours vécu à cheval sur la limite forestière, et les artistes et artisans inuits du Nunatsiavut ont eu accès à une flore et une faune arctique et subarctique très diversifiées, à partir desquelles ils ont créé des oeuvres d'une surprenante variété.Les artistes du territoire se sont traditionnellement servis de la pierre et du bois pour sculpter, de la fourrure, du cuir et de la peau de phoque pour l'art mobilier et des graminées marines pour la vannerie, ainsi que de la laine, du métal, du tissu, des perles et du papier. Plus récemment, ils ont travaillé avec des techniques que l'on retrouve en art contemporain, comme la peinture, le dessin, la gravure, la photographie, la vidéo et la céramique, sans pour autant délaisser les matériaux traditionnels, utilisés de manière novatrice et inusitée.SakKijâjuk. Art et artisanat du Nunatsiavut est la première publication d'importance sur l'art des Inuits du Labrador. Écrit pour accompagner une exposition itinérante majeure conçue par The Rooms Provincial Art Gallery Division de St. John's, l'ouvrage comprend plus de 80 reproductions d'oeuvres de 45 artistes, une présentation de ces derniers et un essai de fond sur l'art au Nunatsiavut signé par la commissaire Heather Igloliorte.SakKijâjuk « être visible » - prendre sa place - dans le dialecte inuktitut du Nunatsiavut) constitue une occasion unique pour les lecteurs, collectionneurs, historiens de l'art et amateurs d'art du Sud comme du Nord de créer une relation particulière avec le travail différent, novateur et toujours saisissant des artistes et artisans inuits contemporains du Nunatsiavut.

SakKijâuk: to be visibleA rare opportunity to come into intimate contact with the distinctive, innovative, and often spectacular work of the contemporary Inuit artists and craftspeople of Nunatsiavut.

"Tying a salmon fly is either the ultimate expression of insanity or a sublime act of faith." -- Topher Browne, from the Foreword The Atlantic salmon, the king of the rivers, is the ultimate prize for the angler. This beautifully illustrated volume brings together exquisite examples of nearly 300 salmon flies, tied by some of the best fly tiers and fishers in North America. Patterns tied by the author, Jacques Héroux, accompany those by renowned tiers Allen Kay, Marc LeBlanc, Marc A. LeBlanc, Paul LeBlanc, Bob MacDonald, Steve Silverio, and Frank Walsh.Conveniently organized into four sections -- bombers and dry flies, bugs, streamers, and wet flies -- this rich compendium includes colour photographs of flawlessly tied specimens complemented by detailed lists of materials. Biographical notes on each tier and a brief history of the art of fly tying round out the volume.A beautiful tribute to the fly tier's art and an invaluable reference, Atlantic Salmon Flies illustrates the ingenuity and creative impulse behind the flies that hook the king of fish.« Selon le point du vue, monter une mouche à saumon est l'expression d'une folie ou un acte de foi. » - extrait de l'avant-propos de Topher BrowneLe saumon atlantique, le roi des rivières, est la récompense la plus convoitée du pêcheur. Ce livre superbement illustré réunit des exemples de près de 300 mouches à saumon, montées par certains des meilleurs monteurs de mouches et pêcheurs de l'Amériques du Nord. Des modèles montés par l'auteur, Jacques Héroux, côtoient d'autres montés par des mouteurs renommés: Allen Kay, Marc LeBlanc, Marc A. LeBlanc, Paul LeBlanc, Bob MacDonald, Steve Silverio et Frank Walsh.Reparti en quatre sections - bombers et mouches sèches; bugs; streamers; et mouches noyés - ce recueil abonde en photographies-couleur de mouches impeccablement montées, accompagnées de listes détaillées des matériels utilisés. Des notes biographiques des chaque monteur ainsi qu'un bref historique de l'art du montage de mouches complètent le recueil.Livre de référence précieux, Mouches pour le saumon atlantique rend hommage aux artistes de la mouches, reflétant l'ingéniosité et l'élan créateur qui inspirent ces pêcheurs à la recherche du roi des poissons.

Otolith -- the ear stone -- is a series of bones that help us to orient ourselves in space. In her debut collection, Emily Nilsen turns the reader's attention outward, revealing an intertidal state between the rootedness of place and the uncertainty of human connection. These poems are full of life and decay; they carry the odours of salmon rivers and forests of fir, of salal growing in the fog-bound mountain slopes. Combining a scientist's precision and a poet's sensitivity, Nilsen lets nothing escape her attention, whether the geography of nostalgia or the relentless migration of time.

Alden Nowlan once wrote of a desire to leave behind "one poem, one story / that will tell what it was like / to be alive." In an abundance of memorable poems, he fulfuilled this desire, with cancour and subtlety, emotion and humour, sympathy and truth-telling.HIs range is remarkable. Nowlan's poems take us from nightmarish precincts of fear and solitude to the embrace of friendship and family. The visual shaping of his poems, his handling of line-lengths, stanzas, and pauses demonstrate an uncanny skill in suggesting and embodying the rhythms of speech.Delving into experiences of violence and gentleness, of alienation and love, his poetry reveals our shared humanity as well as our perplexing and sometimes entertaining differences. The autobiographical threads are interwoven with fantasies, an astute historical consciousness, and a keen awareness of the shiftings and transformations of selfhood.He has long been one of Canada's most-read and -beloved poets. Now the true range of his poetic genius is available in a single volume.

They fought at Ypres in the fall of 1915, and at the Battle of the Somme at Courcelette and Regina Trench in 1916. They carried on to Vimy Ridge, Hill 70, and Passchendaele in 1917. They were part of the battles at Amiens and the Hundred Days campaign of 1918. The 26th Battalion was one of only a few Canadian infantry units to serve continuously on the Western Front from 1915 until the Armistice in 1918. More than 5,700 soldiers passed through its ranks: 900 were killed and nearly 3,000 were wounded. Only 117 of the original 1,150 recruits returned home after the war ended.A Family of Brothers tells the powerful story of the "Fighting 26th," from their mobilization to the aftermath of the war. Using letters, newspaper accounts, war diaries, and other official documents, Brent Wilson offers a compelling account of the soldiers at the front and those behind the lines, their experiences of the war and how their lives would be transformed upon their return to the Canada.A Family of Brothers is volume 25 of the New Brunswick Military Heritage Series.

What is left of us when we are gone? In this assured debut collection, Alyda Faber examines the ties that bind us to one another and to the Earth we inhabit. Her unflinching gaze explores the imperfections of our fleeting existence, our ambitions, our relationships, our flawed humanity. In these quiet, sometimes unsettling poems, she documents the search for home, the longing to belong, to love, and to be loved. She also turns to the ways love can curve toward pain: how we carelessly hurt one another, yet find the grace to forgive and carry on.

It was over in seconds. In the early hours of January 12, 2008, seven members of the Bathurst High School basketball team and the coach's wife died instantly when their 15-passenger van collided with a tractor-trailer. Their families and the entire community were shattered. Isabelle Hains and Ana Acevedo lost their sons to the crash. They also lost their trust in a school system they believed would protect their children. Driven by circumstances that they never expected, the two mothers marshalled their grief and transformed themselves into agents of change. It was Isabelle and Ana who shamed the provincial government into holding an inquest. It was Isabelle and Ana who pushed the province into following the inquest's recommendations. And it was Isabelle and Ana's long journey through the legal system that made it safer for children to travel to extra-curricular activities -- both in New Brunswick and throughout Canada. Driven reveals the harsh and surprising truths behind one of Canada's worst school tragedies and the determination of two women who fought for justice in the names of their children.

From award-winning writer Margaret Sweatman, a piercing story about the perils of idealism.

Two men freeze solid during a blizzard, their bodies posed until spring. A minister discovers his wife's Internet infidelities. A former nun discusses "Hanging up the Habit" on a talk show. A ski jumper takes off . . . and never lands. In an unmistakable chorus of Atlantic accents, Running the Whale's Back offers a host of stories from Eastern Canada's brightest literary talents. Exploring the precarious terrain of faith and doubt, these authors pen rough-hewn, weather-beaten accounts of spirituality and religion. Consider yourself forewarned: there's grit in these stories. The authors poke and prod, unearthing philosophies and leitmotifs rarely examined. As they leap from subject to subject, surfacing and diving, we encounter intense ruminations on life and death, morality and immorality, peace and desire -- and even a miracle or two.