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Winner of the 2008 Trillium Book Award for Poetry Write for buyers. Write for bosses. Think hyper. Think branding. Tell your visitor where to go. Poetry and 'plain language' collide in the writing machine that is Human Resources . Here at the intersection of creation and repackaging, we experience the visceral and psychic cost of selling things with depleted words. Pilfered rhetorics fed into the machine are spit out as bungled associations among money, shit, culture, work and communication. With the help of online engines that numericize language, Human Resources explores writing as a process of encryption. Deeply inflected by the polyvocality and encoded rhetorics of the screen, Human Resources is perched at the limits of language, irreverently making and breaking meaning. Navigating the crumbling boundaries among page, screen, reader, engine, writer and database, Human Resources investigates wasting words and words as waste - and the creative potential of salvage. 'In this bad-mouthing and incandescent burlesque, Rachel Zolf transforms a necessary social anger into the pure fuel that takes us to "the beautiful excess of the unshackled referent." We learn something new about guts, and about how dictions slip across one another, entwining, shimmering, wisecracking. For Zolf, political invention takes precedent, works the search engine.' - Lisa Robertson
Social Poesis introduces readers to the work of one of Canada’s most exciting and challenging poets. Through selections from across Rachel Zolf's poetic oeuvre, this book foregrounds the philosophical, ethical, and political questions that inform Zolf's poetry. Selections range from early poems in which Zolf explores transhistorical trauma and queer subjectivity to more recent writings that examine militarism, settler colonialism, and other forms of state-sanctioned violence. Zolf’s poetry enacts what she calls a “social poesis”; she is attuned to questions of ethical responsibility and the role, and limitations, of poetry as a tool for ethical thinking, political engagement, accountability, and bearing witness. Heather Milne's introduction examines Zolf's compositional strategies, tracing the evolution of Zolf’s writing from an autobiographical poetics, in which Zolf as subject/speaker is locatable, toward a poetics that moves beyond the self to address political and ethical relations among subjects of geopolitics and settler colonialism. In her afterword, Zolf focuses on her most recent work, in which poems are composed almost entirely from archival sources and enact a kind of collective assemblage of enunciation.
Kanade, di Goldene Medine offers a broad study of its field, with equal attention to English- and French-language materials and contexts. The volume’s essays highlight the fundamental link between the culture and life of Canadian Jews and their Polish roots. This focus brings Yiddish to the fore, in essays focusing on the history of Canadian Yiddish literature, and the relevance of the language for contemporary Canadian Chasidic communities. However, essays in this volume also highlight the writings of contemporary authors, working both in French and English. Thus, the collection explores culture at the borderlands of three languages, with an eye for the link between New Worlds and Old. Kanade, di Goldene Medine apporte une contribution importante à l’étude de la littérature et la culture juives canadiennes, tout en étant attentif aux textes et contextes anglophone et francophone ainsi qu’à l’univers particulier des juifs hassidiques de Montréal. Le volume tient également compte du lien fondamental entre la créativité des juifs canadiens et leurs racines est-européennes, en particulier polonaises, et de la présence de la langue yiddish − ou de son imaginaire − dans leurs textes sous forme de traduction ou autotraduction. Le lecteur pourra cerner dans ce livre des perspectives transversales qui mettent en relation des itinéraires multiples et diversifiés noués entre le Nouveau Monde et le Vieux.
Gerald K. Stone has collected books about Canadian Jewry since the early 1980s. This volume is a descriptive catalog of his Judaica collection, comprising nearly 6,000 paper or electronic documentary resources in English, French, Yiddish, and Hebrew. Logically organized, indexed, and selectively annotated, the catalog is broad in scope, covering Jewish Canadian history, biography, religion, literature, the Holocaust, antisemitism, Israel and the Middle East, and more. An introduction by Richard Menkis discusses the significance of the Catalog and collecting for the study of the Jewish experience in Canada. An informative bibliographical resource, this book will be of interest to scholars and students of Canadian and North American Jewish studies.
An unflinchingly subversive, aversive, conversive poetic look at the underbelly of Canadian settler-colonial experience.
Poetry Matters explores poetry written by women from the United States and Canada, which documents the social and political turmoil of the early twenty-first century and places this poetry in dialogue with recent currents of feminist theory including new materialism, affect theory, posthumanism, and feminist engagements with neoliberalism and capitalism. Central to this project is the conviction that a poetics that explores the political dimensions of affect; demonstrates an understanding of subjectivity as posthuman and transcorporeal; critically reflects on the impact of capitalism on queer, racialized, and female bodies; and develops an ethical vocabulary for reimagining the nation state and critically engaging with issues of democracy and citizenship is now more urgent than ever before. Milne focuses on poetry published after 2001 by writers who mostly began writing after the feminist writing movements of the 1980s, but who have inherited and built upon their political and aesthetic legacies. The poets discussed in this book—including Jennifer Scappettone, Margaret Christakos, Larissa Lai, Rita Wong, Nikki Reimer, Rachel Zolf, Yedda Morrison, Marcella Durand, Evelyn Reilly, Juliana Spahr, Claudia Rankine, Dionne Brand, Jena Osman, and Jen Benka—bring a sense of political agency to poetry. These voices seek new vocabularies and dissenting critical and aesthetic frameworks for thinking across issues of gender, materiality, capitalism, the toxic convergences of nationalism and racism, and the decline of democratic institutions. This is poetry that matters—both in its political urgency and in its attentiveness to the world as “matter”—as a material entity under siege. It could not be more timely or more relevant.
After years of turmoil, another great shadow is growing over Zurkia. Princess Hannah of Avaran—the cousin of Zurkia’s renowned hero, Princess Raja—and Princess Chloe have both been taken against their will by the superior of Wsyrut, Vandal. After two of Raja’s friends, Consula Meeshan and Prince Jafar, fail in their clever attempt to save the two princesses, Raja once again gathers her crew of adventuring companions to devise a new plan. However, Vandal is merely a pawn in an even greater and more dangerous scheme. The vile Hagatha, Queen of Roses, has retrieved her once-lost royal orb and set her sights on becoming queen of the entire kingdom, by any means necessary. Using the power of magic, potions, and trickery, Hagatha infiltrates the villages and legions of Zurkia and begins to amass a powerful and obedient army. With war on the horizon, everything comes into question. Will Raja’s friends’ plan to outplay the naive superior succeed? Will Zurkia’s people be made aware of Hagatha’s evil influence before it is too late? And what will be the cost of all this greed and dishonesty? With a brave heart, the heroes run headfirst into the darkness that threatens to consume everything, and everyone.
Exposing secrets . . . gathering mercy . . . A dark shadow has fallen over the land of Zurkia. Prince Narken, also known as the Dark Prince, has gained his throne in the north, demanding the retrieval of what he believes to be his greatest source of power: a mysterious glowing stone known only as “the orb.” None dare contest his claim to power, nor his obsessive quest to find the stolen object, lest they too be discarded in the castle dungeon. Meanwhile, his niece, Princess Raja and her friends Pavel and Jafar visit Great Aunt Vermisha in Valetta Castle, where they uncover secrets of the past about Raja’s uncle’s cruel and illegal practices. Inevitably, via the words of a wise man and a bribery of gold ingots, both Raja and Narken learn of the orb’s surely unreachable resting place. Thus begins a race against time in the Land of Rousse, as Narken seeks to regain the orb at all costs and Raja aims to intervene, hoping to ultimately keep it away from the Dark Prince. With so much jealousy, evil, and manipulation at work, is it possible to find a resolution based in mercy? Sailing towards an unknown horizon, Raja has no choice but to remain brave in order to unmask the truth.
Beautiful and brilliant sorcerer girls just can't have nice things, huh? All I wanted to do was swipe a little bit of bandit treasure. Now suddenly I'm being chased around by icky trolls, nasty demons, mean mummies, and brooding golem bad boys. And for what? A tiny little artifact that can bring about the end of the world? Hah! I'll show them there's a reason you don't cross Lina Inverse...