Böcker utgivna av Goose Lane Editions

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.

His iconic paintings of mountains, lakes, and icebergs made him famous. Yet, for much of his career, Lawren Harris had more in common with American painters such as Georgia O'Keeffe, Arthur Dove, Raymond Jonson, and Emil Bisttram than with his Canadian compatriots in the Group of Seven. Like his American contemporaries, Harris was drawn to the writings of Ralph Waldo Emerson and Walt Whitman and to the ideas of artist Vassily Kandinsky. By the mid-1920s, he had embraced international modernism and set out on a unique journey into abstract art.In Higher States, Roald Nasgaard and Gwendolyn Owens focus a lens on Harris's colourful interior world., his all-consuming interest in expressing the essence of modern life, and the audaciously vivid abstract paintings that emerged.

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.

Carmelita McGrath's Escape Velocity -- the long awaited follow-up to her Atlantic Poetry Prize-winning collection To the New World -- culls overlooked fragments from domestic lives and ferries them on unpredictable journeys. A conversation with a telemarketer becoms a monologue on overcoming loss, stray animals provoke cautionary tales shared between generations of women, and junk mail fosters a meditation on necessity, debt, and the inevitability of one's passing. From the elegiac to the playful to the meditative, McGrath effortlessly shifts from a natural refinement to a near-breathless elegance. Well worth the wait, Escape Velocity marks the return of McGrath's receptive intelligence as it gathers strength and takes flight.

The house is still standing is peopled with charlatans, gingerbread men, children and savants -- the thousands and the particular. Within Adrienne Barrett's nimbly built first collection, poems deke and swerve, from the wry to the theatrical to the intimate. Whether riffing on the secret identities of public intellectuals and pop icons or penning elegiac verse, Barrett's voice is strong, anchored and inviting. Although she takes her readers through both "substance / and its downfall," in the end, the structure is sound; she is holding it up.

On a frigid night in 1805, Amos Babcock murdered his sister. Acting on what he believed were instructions from God, Babcock stabbed and disembowelled Mercy Hall, then dumped her body in a snowbank. We know the who and the how. Now we know the why. The Ballad of Jacob Peck is an absorbing account of how isolation, duplicity, and religious mania drove a decent man to commit a heinous act. In this re-investigation of a crime from the Canadian frontier, the saga of Jacob Peck, Amos Babcock, and Mercy Hall remains as controversial and riveting today as it was two centuries ago. Forensic scientist Debra Komar dissects the historical record to answer the question: was the itinerant preacher Jacob Peck -- who gave "God's instructions" to Amos -- legally culpable in the slaying?

It's an economic powerhouse and the largest trading partner of many western countries. After it loosened the restrictions on its economy in the late 1980s, many thought that Western-style political reform would follow in China. Instead, the Chinese government adopted its own version of democracy, allowing for a market-driven economy while cracking down on individual expression and freedoms and any action that might challenge the decisions of the ruling party. More than 20 years after the Tiananmen Square uprising, people still ask the fundamental question: why has China not embraced democracy? Now, in this remarkable book, Michel Cormier exposes the stillborn legacy of democratic reform in China. In The Legacy of Tianamen Square, veteran journalist Michel Cormier examines the century-long battle to bring democracy to China. It begins with a handful of brave souls led by Sun Yat-sen at the turn of the twentieth century and peaks with the student uprising of 1989 -- an event now completely erased from the official histories of the country. Using historical research, including transcripts from Party meetings, and candid interviews with dissidents -- Cormier gives a human face to a century of struggle and uncovers the many subtle ways that change is now being achieved, one tiny victory at a time. Translated by Jonathan Kaplansky and updated by the author to reflect events in China, The Legacy of Tiananmen Square is an important addition to the discussion of modern China and its place in the world.

Like the novella in fiction, the long poem is an oft-neglected form. Too long for publication in most literary journals and anthologies, too short to merit a book-length publication, the long poem occupies a lonely space in our literature. Yet, M. Travis Lane is a master of the form, and it's here that her considerable poetic skills reach their apex. Lane's poetry is modernist, dense, and highly allusive, drawing adeptly on classical and biblical sources and imbued with a feminist and ecocritical perspective. Her musical lines, vivid metaphors, and phenomenological acumen reach their highest expression in the long poetic form. There are few that match her brilliance. This exquisite volume brings together, for the first time, the complete collection of Lane's long poems. Together, they offer an astounding journey through five decades of imaginative space and time.

Luminescent paintings form the visual focus of Mary Pratt, a career retrospective that examines every aspect of Pratt's unique creative journey. Her paintings -- Eggs in an Egg Crate, Salmon on Saran, Eviscerated Chickens, Cod Fillets on Tin Foil -- have achieved iconic status. Capturing what she descirbes as "the stuff of life," Pratt elevates the mundane to the monumental.

"There is no great or small art. There is only the striving to make tangible some visual experience that one feels could be thirst quenching to humanity and to oneself." Lucy Jarvis - 20160302"

A man in a darkened workshop, surrounded and obscured by dust clouds. A pair of larger-than-life hands, holding a mallet, ready to strike. Spectacles that play with the idea of turning lies into truth and cynics into believers. A cinder block, precariously suspended above a fragile glass, held in place by a single line of tension. Welcome to John Greer: retroActive.Sculptor, conceptual artist, and unconventional art maker John Greer has been telling stories through his work for more than fifty years. Drawing on his present and past experiences, his travels and exploits, and his anxieties and fears, his work offers poignant meditations on the human environment, all the while challenging the viewer's perspective with humour, intelligence, and a trail of narrative.RetroActive offers a comprehensive view of Greer's work and his commitment to the discourse of sculpture. Stunningly designed by Susanne Schaal and featuring the photographs of Raoul Manuel Schnell, the book contains more than three hundred representations of Greer and his work -- in situ, in galleries, in process -- bringing into focus Greer's significant contributions to the world of art and ideas. Also included in the book are essays by Ray Cronin, Andria Minicucci, Dennis Reid, Ron Shuebrook, David Diviney, Sarah Fillmore, and Vanessa Paschakarnis.John Greer taught at the Nova Scotia College of Art and Design for almost three decades, where his thinking and teaching helped shape contemporary sculpture in Canada. His work has been included in more than fifty solo and sixty group exhibitions and is held in public and private collections around the globe. In 2009 Greer was the recipient of the Governor General's Award in Visual and Media Arts, Canada's highest distinction in the field of art and culture.

Catalogue of an exhibition held at the The Rooms in St, John's, NL, from May to September 2015.

"What constitutes our world? We move through it, but even as we travel, we are trying to recreate home. We're trying to step outside of our comfort zone and at the same time protect ourselves in this vulnerable situation." -- STEPHEN ANDREWS The work of Stephen Andrews has long mediated the successive crises of the contemporary world, exploring conflict, social change and identity. For more than a decade, Andrews confronted the AIDS epidemic personally and artistically. Later, his work registered the impact of the attacks of September 11, 2001, the subsequent "War on Terror", the financial crash of 2008 and a new wave of global protests, from those surrounding the 2010 G20 summit in Toronto to those associated with the Occupy movement and the Arab Spring. Embedding, layering and erasing meaning, Andrews's work creates a triangle, where meaning resides between the process of painting (magical and sensuous), the represented image (a chronicle of fragility and resilience) and the invitation to the viewer (to look carefully and engage). Published to coincide with a major exhibition at the Art Gallery of Ontario, Stephen Andrews POV provides a comprehensive overview of the last fifteen years of Andrews's work, a time when painting has emerged as his primary area of inquiry alongside a multifaceted approach to production that has resulted in drawings, photographs, animations, videos, installations, ceramics and ephemera.

As clouds of war gathered across the Atlantic, the people of Queens County found themselves caught between the forces of tradition and change, struggling to balance military service with their commitments to domestic industry and charitable volunteerism. While their contribution to the military effort may have lagged behind that of the province at large, they were nonetheless determined to supply comforts to men at the front and to remind them that they were not alone in their fight. Their sense of patriotic duty included not only overseas service in uniform but also service at home on the farms and in the coal mines athe fed and fuelled the province. With few exceptions, the men and women of Queens County supported the war by taking care of their own -- both those from the county who volunteered for service and the families they left behind. Drawing on a wide range of archival sources, Till the Boys Come Home links the experiences of the men and women of Queens County on the home front to those of their brothers and sisters serving overseas. The result is a rich portrait of a community at war. Till the Boys Come Home: Life on the Home Front, Queens County, NB, 1914-1918 is volume 22 of the New Brunswick Military Heritage Series.

In 1869, in the woods just outside of the bustling port city of Saint John, a group of teenaged berry pickers discovered sme badly decomposed bodies. The authorities suspected foul play, but the identities of the victims were as mysterious as that of the perpetrator. During a coroner's inquest, an unlikely suspect emerged to stand trial for murder: John Munroe, a renowned architect, well-heeled family man, and pillar of the community. Munroe's trial was the first in Canada's fledgling judicial system to introduce the accused's character as a defence. His lawyer's strategy was as simple as it was revolutionary: Munroe's wealth, education, and exemplary character made him incapable of murder. The press and Saint John's elite vocally supported Munroe, sparking a legal debate that continues to this day. Re-examining this precedent-setting historical crime with fresh eyes, Debra Komar addresses questions that still echo through the halls of justice: Should the accused's character be treated as evidence? Is everyone capable of murder?