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Hugh Garner’s Best Stories received the Governor General’s Literary Award for English-language fiction in 1963. The collection consists of twenty-four stories composed between the late 1930s and the early 1960s and reflects the immense flux of the mid-century, from the Great Depression to the Spanish Civil War, World War II, the Civil Rights movement, and second-wave feminism. Garner takes on issues ranging from anglophone–francophone conflict in Canada to racism in the American South, from the disenfranchisement of First Nations people to the mistreatment of the mentally disabled. Best Stories is not only notable for the devastating precision of its prose, but also for its contribution to the Spanish Civil War literary canon. This new edition brings short fiction by Garner into conversation with the wider canon of Canadian and transnational leftist and proletarian literature.
Includes explanatory notes and textual notes.
Beginning in the 1890s, reaching its first full realization by modernist writers in the 1920s, and brought to its heyday during the Canadian Renaissance starting in the 1960s, the short story has become Canada's flagship genre. It continues to attract the country's most accomplished and innovative writers today, among them Margaret Atwood, Mavis Gallant, Alice Munro, Carol Shields, and many others. Yet in contrast to the stature and popularity of the genre and the writers who partake in it, surprisingly little literary criticism and theory has been devoted to the Canadian short story. This collection redresses that imbalance by providing the first collection of critical interpretations of a range of thirty well-known and often-anthologized Canadian short stories from the genre's beginnings through the twentieth century. A historical survey of the genre introduces the volume and a timeline comparing the genre's development in Canada, the US, and Great Britain via representative examples completes it. The collection is geared both to specialists in and to students of Canadian literature. For the latter it is of particular benefit that the volume provides not only a collection of interpretations, but a comprehensive introduction to the history of the Canadian short story. Reingard M. Nischik is professor and chair of American Literature at the University of Constance, Germany.
V is for Vulnerable by Seth Godin is a full-color ABC book for grown-ups, with a powerful message about doing great work. V is for Vulnerable looks and feels like a classic picture book. But it's not for kids, it's for hardworking adults. It highlights twenty-six of Seth Godin's principles about treating your work as a form of art, with illustrations by acclaimed cartoonist Hugh MacLeod. A sample: A is for Anxiety, which is experiencing failure in advance. Tell yourself enough vivid stories about the worst possible outcome and you'll soon come to believe them. Worry is not preparation, and anxiety doesn't make you better. F is for Feedback, which can be either a crutch or a weapon. Use it to make your work smaller, safer, and more likely to please everyone (and fail in the long run). Or use it as a lever to further push you to embrace what you fear and what you're capable of. This is unlike any previous Godin book and makes a great gift, both for loyal fans and those who've never read him before. Seth Godin is the author of thirteen international bestsellers that have changed the way people think about marketing, the ways ideas spread, leadership and change including Permission Marketing, Purple Cow, All Marketers are Liars, The Dip and Tribes. He is the CEO of Squidoo.com and a very popular lecturer. His blog, www.sethgodin.typepad.com, is the most influential business blog in the world, and consistently one of the 100 most popular blogs on any subject.
A comprehensive portrait of the great French political thinker explores his life, work, travels in the United States, and writing of "Democracy in America."
Wedding in White, by William Fruet; Three Women, by Hugh Garner; The Devil's Instrument, by W.O. Mitchell; The Pile, The Store, and Inside Out, by Mavor Moore; Westbound 12:01, by Brock Shoveller.
Toronto's Cabbagetown in the Depression...North America's largest Anglo-Saxon slum. Ken Tilling leaves school to face the bleak prospects of the dirty thirties-where do you go, what do you do, how do you make a life for yourself when all the world offers in unemployment, poverty and uncertainty? "As a social document, Cabbagetown is as important and revealing as either The Tin Flute or The Grapes of Wrath. Stern realism has also projected upon the pages of a whole gallery of types, lifelike and convincing. He is well fitted to hold the mirror up to human nature." Globe and Mail. Cabbagetown was first published in an abbreviated paperback edition in 1950 and was published in its entirety in 1968. This, the first quality paperback edition, contains the full unexpurgated text of Cabbagetown.
" ... Documents the history and development of [Post-colonial literatures in English, together with English and American literature] and includes original research relating to the literatures of some 50 countries and territories. In more than 1,600 entries written by more than 600 internationally recognized scholars, it explores the effect of the colonial and post-colonial experience on literatures in English worldwide.
The #1 New York Times Bestseller: “A hilarious take on that age-old problem: getting the beloved child to go to sleep” (NPR). “Hell no, you can’t go to the bathroom. You know where you can go? The f**k to sleep.” Go the Fuck to Sleep is a book for parents who live in the real world, where a few snoozing kitties and cutesy rhymes don’t always send a toddler sailing blissfully off to dreamland. Profane, affectionate, and radically honest, it captures the familiar—and unspoken—tribulations of putting your little angel down for the night. Read by a host of celebrities, from Samuel L. Jackson to Jennifer Garner, this subversively funny bestselling storybook will not actually put your kids to sleep, but it will leave you laughing so hard you won’t care.