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In her home on Empire Avenue, Donna Whalen was stabbed 31 times. Her friends, family, and neighbours believed it was her abusive boyfriend, Sheldon Troke. But the evidence is all circumstantial, providing a daunting challenge for police and prosecutors-and the course of justice takes many unpredictable twists and turns before the truth is finally revealed.
The A List edition of Michael Winter’s brilliant fictional memoir, This All Happened depicts one man’s descent from love to fury over a calendar year. Featuring an introduction by Lisa Moore. In this journal-a-clef, we are exposed to the kernel of truth that exists in each day. Told from the viewpoint of Gabriel English, This All Happened opens windows onto a richly textured, fast-paced filmic compilation of daily vignettes over one year. Gabriel’s promises and actions early in the year have their repercussions by the end. Gabriel’s passion for Lydia Murphy leads him into paroxysms of jealousy — but he never abandons his shrewdly witty perspective on the vagaries of modern love.
Henry Hayward has been living life the way he's wanted—working hard, playing hard—but when his girlfriend tells him she's leaving, it destroys him. In a quest to recover, he joins an army-affiliated contracting crew that takes him overseas to a Canadian base in Afghanistan. In the company of friends, he begins to mend: having laughs and being rebellious, blithely unaware of all he's left behind. But everything changes during a roadside incursion when a routine patrol turns fatal. And Henry, who survives, knows in his heart that he is responsible. Upon returning home, tormented by guilt, he resolves to take care of the people and places around him: Martha Groves, whose boyfriend was killed in Afghanistan; his friends and neighbours; and a summer home that needs revitalizing. Henry tries his best to seek roots after a rootless life, collecting around himself a "community of a hundred people" for whom he cares deeply and is responsible. But he hasn’t factored in family history and social infidelity—and Martha has a revelation of her own that may change everything. Minister Without Portfolio illuminates the power and violence of self-creation. It asks: To whom are we beholden? Who do we adopt—and who couldn't we live without? It is an emotionally affecting work, filled with truths about the frailties and miracles of human nature, by a writer of exceptional talent.
Fiction. Short Stories. Longlisted for the 2013 Scotiabank Giller Prize. A sharply original debut collection, HOW TO GET ALONG WITH WOMEN showcases Elisabeth de Mariaffi's keen eye and inventive voice. Infused with a close and present danger, these stories tighten the knot around power, identity, and sexuality, and draw the reader into the pivotal moments where--for better or for worse--we see ourselves for what we truly are.
When Donna Whalen is stabbed thirty-one times in her home on Empire Avenue in St. John’s, her friends, family, and neighbours believe the culprit to be her abusive boyfriend, Sheldon Troke. But the evidence is circumstantial, the testimonies tainted by personal bias and attempts at deception. Police and prosecutors face a daunting challenge, and the course of justice, with all its intricacies and failings, takes many unpredictable turns before the truth is finally revealed. In this extraordinary novel, Michael Winter has mined the records of Sheldon’s trial—thousands of pages of court transcripts, police wiretaps, newspaper reports, private letters and diary entries—and distilled their raw, naked truth into a mesmerizing work of documentary fiction that captures the myriad voices of the people involved.
Michael Winter's The Big Why takes the tradition of the historical novel and twists it into the cool, sinuous, entertaining shape we've all been waiting for. His characters are real and from the past, but the lives they live feel contemporary and emotionally modern. Winter's version of the American artist Rockwell Kent is an over aged, erotically fleckless Huck Finn ready to leave the superficial art world of New York and light out for the territory. Only he heads the wrong way: north and east to Brigus, Newfoundland, before and at the beginning of World War One. A socialist and a philanderer, certain in the greatness of his work, he is drawn north by a fascination for the rocky Atlantic coast and by the example of Brigus's other well–known resident, fabled Arctic explorer Robert Bartlett. But once in Newfoundland, Kent discovers that notoriety is even easier to achieve in a small town than in New York. As events come to a head both internationally and domestically and the war begins, Kent becomes a polarizing figure in this intimate, impoverished community, where everyone knows everyone and any outsider is suspect, possibly even a German spy. Writing in Kent's voice, Michael Winter delivers a passionate, witty, and cerebral exploration of what makes exceptional individuals who they are—and why.
The Oxford Handbook of Canadian Literature provides a broad-ranging introduction to some of the key critical fields, genres, and periods in Canadian literary studies. The essays in this volume, written by prominent theorists in the field, reflect the plurality of critical perspectives, regional and historical specializations, and theoretical positions that constitute the field of Canadian literary criticism across a range of genres and historical periods. The volume provides a dynamic introduction to current areas of critical interest, including (1) attention to the links between the literary and the public sphere, encompassing such topics as neoliberalism, trauma and memory, citizenship, material culture, literary prizes, disability studies, literature and history, digital cultures, globalization studies, and environmentalism or ecocriticism; (2) interest in Indigenous literatures and settler-Indigenous relations; (3) attention to multiple diasporic and postcolonial contexts within Canada; (4) interest in the institutionalization of Canadian literature as a discipline; (5) a turn towards book history and literary history, with a renewed interest in early Canadian literature; (6) a growing interest in articulating the affective character of the "literary" - including an interest in affect theory, mourning, melancholy, haunting, memory, and autobiography. The book represents a diverse array of interests -- from the revival of early Canadian writing, to the continued interest in Indigenous, regional, and diasporic traditions, to more recent discussions of globalization, market forces, and neoliberalism. It includes a distinct section dedicated to Indigenous literatures and traditions, as well as a section that reflects on the discipline of Canadian literature as a whole.
Novelist Gabriel English travels back to his hometown of Corner Brook, Newfoundland with his friend, David Twombly and they learn more about each other along the way.
“In June a few years ago I set out to visit some of the World War One battlefields of Europe – the slope and valley and river and plain that the Newfoundland Regiment trained on, and fought over and through and under.” So begins Michael Winter’s extraordinary narrative that follows two parallel journeys, one laid on top of the other like a sketch on opaque paper over the lines of an old map. The first journey is that of the young men who came from Newfoundland’s outports, fields, villages and narrow city streets to join the storied regiment that led many of them to their deaths at Beaumont-Hamel during the Battle of the Somme on July 1, 1916. The second journey is the author’s, taken a century later as he walks in the footsteps of the dead men to discover what remains of their passage across land and through memory. Part unconventional history, part memoir-travelogue, part philosophical inquiry, Michael Winter uniquely captures the extraordinary lives and landscapes, both in Europe and at home, scarred by a war that is just now disappearing from living memory. In subtle and surprising ways, he also tells the hidden story of the very act of remembering – of how the past bleeds into the present and the present corrals and shapes the past. As he wanders from battlefield to barracks to hospital to hotel, and finally to a bereft stretch of land battered by a blizzard back home, Winter gently but persistently unsettles us – startling us with the unexpected encounters and juxtapositions that arise from his physical act of walking through the places where the soldiers once marched, this time armed with artifacts and knowledge those earlier souls could not have, yet undone by the reality of their bodily presence beneath the earth. In this unusual, poignant and beautiful book, Michael Winter gives us a new way of looking at a powerful piece of history that, he reminds us, continues to haunt our own lives.
No other person has done more to celebrate and encourage the short story in Canada than John Metcalf. For more than five decades he has worked tirelessly as editor, anthologist, writer, critic, and teacher to help shape our understanding of the form and what it can do. The long-time editor of the yearly Best Canadian Stories anthology, as well as a fiction editor at some of the pre-eminent literary presses in the country for more than forty years, he has worked to support and champion several generations of our best writers. Literature in Canada would be far less without his efforts. Sifting through a lifetime of reading, writing, and thinking about the short story in this country, and where it fits within the larger currents of world literature, Metcalf’s magisterial The Canadian Short Story offers the most authoritative book on the subject to date. Most importantly, it includes an expanded and reconsidered Century List, Metcalf’s critical guide to the best Canadian short story collections of the last 100 years. But more than a critical book, The Canadian Short Story is a love-letter to the form, a passionate defense of the best of our literature, and a championing of those books and writers most often over-looked. It is a guide not only to what to read, but also one, its author’s most fervent desire, which aims to make better readers of us all.