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First published in 1995 to promote and legitimize the submerged cultural urge of Canada, Broken Pencil has brought together the best of the independent and alternative arts community who would not otherwise be heard of or touched by the countrys collective consciousness. Featuring a selection of outcast short stories too weird or uncomfortable for serious literary journals and too visceral and punk rock for contemporary mainstream palettes, this collection culled from the magazine introduces the best of Canadian underground fiction and beyond. Ragged and lacking the traditional refinement of metaphor, magical realism, and perfect epiphanies, these pieces breach the surface with sharp, offensive urban fiction where voices are discovered and developed and the words do all the work.
Residing on the border between poetry and prose, Emma Healey masterfully navigates the tension and balance between the two forms. Her writing examines the animate qualities of seemingly inanimate things and explores personal relationships, collective and individual human experiences, as they are distilled through our encounters with such things as the CBC, chain bookstores, the contents of a kitchen, or the expanse of a whole city. Begin With the End in Mind tests the capabilities of the prose poem--the specific rhythmic, lyrical, and syntactic possibilities of the form, and the opportunities for play, renegotiating the more traditional/technical elements of lyric and line that are afforded the prose poet.
Jason Purcell’s debut collection of poems rests at the intersection of queerness and illness, staking a place for the queer body that has been made sick through living in this world. Part poetic experiment and part memoir, Swollening attempts to diagnose what has been undiagnosable, tracing an uneven path from a lifetime of swallowing bad feelings—homophobia in its external and internalized manifestations, heteronormativity, anxiety surrounding desire, aversion to sex—to a body in revolt. In poems that speak using the grammar and logics of sickness, Purcell offers a dizzying collision of word and image that is the language of pain alongside the banality of living on. Beginning by reading his own life and body closely and slowly zooming out to read illness in the world, Purcell comes to ask: how might a sick, queer body forgive itself for a natural reaction to living in a sick world and go on toward hope? In Swollening, Purcell coughs up his own poetics of illness, his own aesthetics of pain, to form a tender collection that lands straight in the gut.
This book contains essays written over the past 25 years about medieval urban communities and about the loyalties and beliefs of medieval lay people in general. Most writing about medieval religious, political, legal, and social ideas starts from treatises written by academics and assumes that ideas trickled down from the clergy to the laity. Susan Reynolds, whether writing about the struggles for liberty of small English towns, the national solidarities of the Anglo-Saxons, or the capacity of medieval peasants to formulate their own attitudes to religion, rejects this assumption. She suggests that the medieval laity had ideas of their own that deserve to be taken seriously.
A history of how neural, behavioural and communicative subdisciplines coalesced in neuroscience to create a promising approach to understanding the relation of mind to brain. It chronicles the expansion of prominent centres of research and the development of innovative apparatus and concepts.
By turns hilarious and poignant, this daring debut novel begins with the violent end of a marriage. The aftershocks of the murder-suicide then resonate through a small town where everybody knows everybody elses business.
Covering Indigenous adventures from Wahpole Island to Northern Saskatchewan to the coast of Vancouver, #IndianLovePoems is a poetry collection that delves into the humour and truths of love and lust within Indigenous communities. Sharing stories in search of The One, or even better, that One-Night-Stand, or the opening of boundaries -- can we say medicine wheel -- this collection fearlessly sheds light on the sharing and honesty that comes with discussions of men, women, sex, and relationships, using humour to chat about the complexities of race, culture and intent within relationships. From discovering your own John Smith to sharing sushi in bed, #IndianLovePoems will make you smile, shake your head, and remember your own stories about that special someone. ?
Teaching Creative Writing in Canada maps the landscape of Creative Writing programmes across Canada. Canada’s position, both culturally and physically, as a midpoint between the two major Anglophone influences on Creative Writing pedagogyy—the UK and the USA—makes it a unique and relevant vantage for the study of contemporary Creative Writing pedagogy. Showcasing writer-professors from Canada’s major Creative Writing programmes, the collection considers the climate-crisis, contemporary workshop scepticism, curriculum design, programme management, prize culture, grants and interdisciplinarity. Each chapter concludes with field-tested writing advice from many of Canada’s most influential professors of fiction, poetry, creative nonfiction and drama. This authoritative volume offers an important national perspective on contemporary and timeless issues in Creative Writing pedagogy and their varied treatment in Canada. It will be of valuable to other creative teachers and practitioners, those with an interest in teaching and learning a creative art and anyone working on cultural and educational landscapes.
A wry comic novel with an acerbic wit, A Hero of Our Time is a vicious takedown of superficial diversity initiatives and tech culture, with a beating heart of broken sincerity. Osman Shah is a pitstop on his white colleague Olivia Robinson’s quest for corporate domination at AAP, an edutech startup determined to automate higher education. Osman, obsessed by Olivia’s ability to successfully disguise ambition and self-interest as collectivist diversity politics, is bent on exposing her. Aided by his colleague turned comrade-in-arms Nena, who loathes and tolerates him in equal measure, Osman delves into Olivia's twisted past. But at every turn, he's stymied by his unfailing gift for cruel observation, which he turns with most ferocity on himself, without ever noticing what it is that stops him from connecting to anyone in his past or present. As Osman loses his grip on his family, Nena, and everything he thought was essential to his identity, he confronts an enemy who may simply be too good at her job to be defeated. A Hero of Our Time cracks the veneer of well-intentioned race conversations in the West, dismantles cheery narratives of progress through tech and “streamlined” education, and exposes the venomous self-congratulation and devouring lust for wealth, power, and property that lurks beneath.
This book offers a radical new theory of the role of poetry in the rise of cultural nationalism. With equal attention to England, Scotland, and Wales, the book takes an Archipelagic approach to the study of poetics, print media, and medievalism in the rise of British Romanticism. It tells the story of how poets and antiquarian editors in the British nations rediscovered forgotten archaic poetic texts and repurposed them as the foundation of a new concept of the nation, now imagined as a primarily cultural formation. It also draws on legal and ecclesiastical history in drawing a sharp contrast between early modern and Romantic antiquarianisms. Equally a work of literary criticism and history, the book offers provocative new theorizations of nationalism and Romanticism and new readings of major British poets, including Allan Ramsay, Thomas Gray, and Samuel Taylor Coleridge.