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Fleetwood Mac is a rare rock band breed. Their musical triumphs are vast and storied, but their inner, soap opera relationships are just as legendary as their hit records. The band originally formed with Mick Fleetwood, John and Christine McVie in 1967. But it wasn’t until 1975 that guitarist Lindsey Buckingham and then-girlfriend and musical partner, Stevie Nicks, joined and the best-known incarnation of the group came together. Looking to replace recently departed guitarist, Bob Welch, Fleetwood heard Buckingham-Nicks’ self-titled album, and liked it enough to ask for an introduction to Buckingham. Fleetwood invited him to join Fleetwood Mac, but he would only agree on one condition: Nicks would become a member of the band as well. The new lineup included three members who could write songs and sing lead vocals - Christine McVie, Buckingham and Nicks, who all brought different sensibilities to their lyrics. The new band broke through with the self-titled album, Fleetwood Mac (1975), which sold over five million copies.
ReCalling Early Canada is the first substantial collection of essays to focus on the production of Canadian literary and cultural works prior to WWI. Reflecting an emerging critical interest in the literary past, the authors seek to retrieve the early repertoire available to Canadian readers-fiction and poetry certainly, but family letters, photographs, journalism, and captivity narratives are also investigated. Filling a significant gap in Canadian criticism, the authors demonstrate that to recall the past is not only to shape it, but also to reshape the present. This fresh interest in the cultural past, informed by new approaches to historical inquiry, has resulted in a unique and diverse investigation of more than two centuries of a little known "early Canada." Foreword by Carole Gerson.
Material Cultures in Canada presents the vibrant and diverse field of material culture studies in Canadian literary, artistic, and political contexts today. The first of its kind, this collection features sixteen essays by leading scholars in Canada, each of whom examines a different object of study, including the beaver, geraniums, comics, water, a musical playlist, and the human body. The book’s three sections focus, in turn, on objects that are persistently material, on things whose materiality blends into the immaterial, and on the materials of spaces. Contributors highlight some of the most exciting new developments in the field, such as the emergence of “new materialism,” affect theory, globalization studies, and environmental criticism. Although the book has a Canadian centre, the majority of its contributors consider objects that cross borders or otherwise resist national affiliation. This collection will be valuable to readers within and outside of Canada who are interested in material culture studies and, in addition, will appeal to anyone interested in the central debates taking place in Canadian political and cultural life today, such as climate change, citizenship, shifts in urban and small-town life, and the persistence of imperialism.
Are you living a full life today? Do you feel alive and passionate about what you are doing? Do you want more love, freedom, passion, peace, abundance, life balance, confidence, or joy in your life? In The True You, author and life coach Jennifer M. Blair helps you uncover your authenticity, inspire your creativity, break down barriers, and empower yourself to live your best life A compilation of fifty-three previously published essays, The True You provides provocative life perspectives and life coaching exercises to help you gain insight into what is truly important in your life. She gives you the tools to make lasting change. Through gentle, probing questions, concrete tips, and writing prompts, Blair addresses the timeless and universal struggle to free yourself from societal and personal shackles in order to reach your full potential. The True You examines who you really are; explores the depths of your own greatness while discovering how it matches your dreams and desires; and then assists you to evolve into the best version of yourself, fully living the life you want.
'Flatland' is a conceptual, graphic-based rewriting of E.A. Abbott's sci-fi classic: a fictional guide to concept of multiple dimensions of reading which will appeal to those interested in design and architecture as well as unusual writing and poetry.
Is market-driven research healthy? Responding to the language of “knowledge mobilization” that percolates through Canadian postsecondary education, the literary scholars who contributed these essays address the challenges that an intensified culture of research capitalism brings to the humanities in particular. Stakeholders in Canada's research infrastructure—university students, professors, and administrators; grant policy makers and bureaucrats; and the public who are the ultimate inheritors of such knowledge—are urged to examine a range of perspectives on the increasingly entrepreneurial university environment and its growing corporate culture.
Dan Farrell's second volume of poetry is an examination of a discourse that everyone knows about but few people have examined in detail: the response of people to Rorschach inkblot patterns. By turns profound and hilarious, this book is an insightful statement about the relentless drive to make meaning out of nothing. The online version features a dynamic inkblot, designed by Brian Kim Stefans, to test your own poetic/psychological state of being.
'Retyping On the Road is not only a remarkable performance – of endurance, concentration, and apprenticeship – it is also a deadpan experiment in textual literary criticism. Kerouac's original typescript was oriented toward the writer. Morris' practice collapses reader and writer, reorienting Kerouac's typescript to the digital, discontinuous unit of the published codex page. In doing so, Morris both inverts Kerouac's style of production – pecking slowly and methodically where his predecessor sped along at a reputed one-hundred-words-per-benzedrine-fuelled-minute – and he simultaneously fulfils its legend. A constrained and unexpressive homage to the era that heralded unconstrained and improvisatory expressionism, Getting Inside Jack Kerouac's Head showcases the critical power of the extended techniques of conceptually rigorous 'uncreative writing.' In the process it reclaims Truman Capote's Parthian shot as a point of pride: 'it isn't writing at all – it's typing.' And type – as Kerouac used the word in On the Road – is all about genre.' (Professor Craig Dworkin, University of Utah)