Benjamin Britten, sailing uncomfortably close to the wind with his new opera, Death in Venice, seeks advice from his former collaborator and friend, W. H. Auden. During this imagined meeting, their first in twenty-five years, they are observed and interrupted by, among others, their future biographer and a young man from the local bus station. Alan Bennett’s new play is as much about the theater as it is about poetry or music. It looks at the unsettling desires of two difficult men, and at the ethics of biography. It reflects on growing old, on creativity and inspiration, and on persisting when all passion’s spent: ultimately, on the habit of art.** Views: 5
In Cities of Refuge, Michael Helm’s keenly anticipated new novel, a single act of violence resonates through several lives, connecting closeby fears to distant political terrors. At the story’s centre is the complex, intensely charged relationship between a 28-year-old woman and the father who abandoned her when she was young. One summer night on a side street in downtown Toronto, Kim Lystrander is attacked by a stranger. Thrown deep into turmoil, in the weeks and months that follow, she confronts her fear by returning to the night, in writing, searching for harbingers of the incident, and clues to the identity of her assailant. The attack also torments Kim's father, Harold, an historian of Latin America. As he investigates the crime on his own, the darkest hours from his past revisit him, and he gradually begins to unravel. Entwined in their story are Kim’s ailing mother, Marian; Father André Rowe, whose mission to guide others involves him in a decision with troubling consequences; Rodrigo Cantero, a young Colombian man, living illegally in the city; and Rosemary Yates, a woman whose faith-based belief in the duty to give asylum to any who seek it, even those judged guilty, draws Harold to her, before a fateful choice changes the future for them all.* *Cities of Refuge is a novel of profound moral tension and luminous prose. It weaves a web of incrimination and inquiry, where mysteries live within mysteries, and stories within stories, and the power to save or condemn rests in the forces of history, and in the realm of our deepest longings.From the Hardcover edition.Review"[A] stunning read..., gripping, thought-provoking, ultimately haunting.... Cities of Refuge may be the future of The Canadian Novel: intrinsically and internally varied, polyvalent, confident, contemporary and challenging. If this is the future, bring it on."— Edmonton Journal "Michael Helm has never quite gained the acclaim his accomplished work merits. His new novel ... might just change that."— Globe and Mail "[W]hat [Helm] shows in a remarkable display of multiple-perspective sympathy, is how, in a world where we’re all inter-connected as never before, guilt and innocence are all but impossible to apportion with finality.... Cities of Refuge establishes him as one of Canada’s most commanding writers." — Montreal Gazette "Smart, soulful writers usually get noticed in Canada. So it’s a bit mystifying that Michael Helm, despite some major short list appearances, hasn’t already achieved star status. Cities of Refuge should get him the attention he deserves...." — Now magazine"'Where is the Great Toronto Novel?'.... Hats off ... to Michael Helm for Cities of Refuge.... The novel's thematic breadth pushed Helm into the front ranks of Canadian novelists."— Quill and Quire "[A] powerful...novel.... What is best ... is Helm's patient evocation of his deeply wounded characters."— Globe and MailFrom the Hardcover edition.About the AuthorMichael Helm is the author of The Projectionist, a finalist for The Giller Prize, In the Place of Last Things, a finalist for the Rogers Writers' Trust Fiction Prize and a regional Commonwealth Writers’ Prize for Best Book, and, most recently, Cities of Refuge. His writings on fiction, poetry, and photography have appeared in North American newspapers and magazines, including Brick, where he serves as editor. He teaches at York University, in Toronto. Views: 5
SUMMARY:
Calliope Reaper-Jones is Death's Daughter. She owes a debt to Cerberus, the three headed dog that guards the gate's of hell-a debt that involves a trip to Purgatory, Las Vegas, ancient Egypt, and a discount department store that's more frightening than any supernatural creature she'll ever encounter. Views: 5
"A kick-butt ride from start to finish." —Monsters and Critics To save her father, Hollywood stuntwoman and vampire hunter Dawn Madison must enter the vampire Underground, where she will encounter an unthinkable betrayal. Views: 5
On a cold, quiet day between Christmas and the New Year, a man's body is found in an abandoned apartment. His friends look on, but they're dead, too. Their bodies found in squats and sheds and alleyways across the city. Victims of a bad batch of heroin, they're in the shadows, a chorus keeping vigil as the hours pass, paying their own particular homage as their friend's body is taken away, examined, investigated, and cremated.All of their stories are laid out piece by broken piece through a series of fractured narratives. We meet Robert, the deceased, the only alcoholic in a sprawling group of junkies; Danny, just back from uncomfortable holidays with family, who discovers the body and futiley searches for his other friends to share the news of Robert's death; Laura, Robert's daughter, who stumbles into the junky's life when she moves in with her father after years apart; Heather, who has her own place for the first time since she was a teenager; Mike, the Falklands War vet; and all the others. Theirs are stories of lives fallen through the cracks, hopes flaring and dying, love overwhelmed by a stronger need, and the havoc wrought by drugs, distress, and the disregard of the wider world. These invisible people live in a parallel reality, out of reach of basic creature comforts, like food and shelter. In their sudden deaths, it becomes clear, they are treated with more respect than they ever were in their short lives.Intense, exhilarating, and shot through with hope and fury, Even the Dogs is an intimate exploration of life at the edges of society--littered with love, loss, despair, and a half-glimpse of redemption. From Publishers WeeklyThis mercifully short third novel from McGregor (If Nobody Speaks of Remarkable Things) is told from the various perspectives of a loosely connected band of down-and-outers linked by Robert, a hopeless alcoholic whose wife has taken their daughter and left him alone in his flat, which has since become a gathering place for the members of McGregor's cast. Robert's death sets in motion the novel's events—it would be misleading to call it a plot—starting with the police taking away his body. For the most part, we're with Danny, whose past gradually comes to light via an expletive-laced narration that verges on incoherence: his foster home upbringing; his relationship with Robert's daughter, Laura, whom Danny is trying to contact; and of course, his heroin addiction, which provides much of the novel's subject matter. In the process, we learn about the group that frequented Robert's flat, a motley crew who provide plenty of sordid stories. But the central mystery—how did Robert die?—goes nowhere, and the spliced-in set pieces that describe the stages Robert's body undergoes on its way to eventual cremation don't do any favors for this misfire. (Feb.) Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. From BooklistIn his third novel, two-time Booker nominee McGregor follows a band of ghostly drug addicts, who act as a Greek chorus as they witness their friend Robert’s body being carted out of his squalid apartment and taken to the morgue. Among them is Danny, an abused victim of the foster-care system; Steve, a traumatized war vet; and Heather, a once-popular groupie now an aging wreck. Robert himself gave into alcoholism years ago after his wife left him, taking their young daughter with her. Paralyzed by their desertion, he continued to drink himself into oblivion while serving as the toastmaster to neighborhood addicts, who, in turn, exhaust themselves in an endless round of scoring, eating, scrounging up money, and scoring again. With its complex flashback structure, fractured inner monologues, and grim characters, this novel makes for dense reading. Yet McGregor succeeds in paying homage to the dispossessed and the hopeless, who live and die on the margins of society. --Joanne Wilkinson Views: 5
