Bøger udgivet af Talonbooks

In 1990, during Operation Desert Storm, a troubled Canadian soldier and a teenage Palestinian black-marketeer meet in the Qatari desert and become unlikely and secret friends. But the tenuous friendship is severed after a horrifying act inside the Canadian base.This play rips the mask off recent western peacekeeping operations and challenges Canadas long-treasured myths. Cast of 3 to 5 men.

An affair born of a correspondence with a distant admirer leads the lovers to an arranged meeting in Australia.

Relationships at the end of the millennium, among people and with nature. Cast of 3 women and 2 men.

Poems that tell stories on many different levels: through sound, visual images, political insights, non-narrative fusion and linguistic music.

A student's life changes when sponsors a Salvadoran refugee as a class project. Cast of 2 women and 3 men.

The ill-fated love between a wandering musician and a Cape Breton coalminer's daughter. Cast of 2 women and 3 men.

A vivid, contemporary travelogue by Fred A. Reed. From Bosnian actuality to Macedonian potentiality, Reeds travels in this region lead him to encounter a landscape inscribed with a shocking testimony: ethno-racialist aspirations remain the only coin in which peoples feel they can express their belonging, their social solidarity the only credible alternative to the blight of free market globalism.

"Bread and Salt"--symbolic blessings for a new home--is a joyous affirmation of vision and courage in hard times.

Her star rising as a Hollywood diva, Frances Farmer chooses to join the socialist Group Theatre in New York. This idealistic, raucous and non-conforming movie star, pursued by the Government for her alleged communist connections, was finally incarcerated with the help of her mother at Steilacoom, a Seattle psychiatric hospital, where she was lobotomized and released as "cured" in 1949. Saint Frances of Hollywood has taken the biographical details of Frances Farmer's life and transformed them into a mesmerizing and quintessential classic tragedy.

A collection of prose poems on the hyperbolic absurdities of multiculturalism in action.

Tough-minded reappraisals of canonicity, modernism, postmodernism, marginality and post-coloniality in Canadian writing.

On a Friday morning in a frighteningly well-groomed living room in Scarborough, Lindalou, 31, is packing up to return to Cape Breton after visiting her mother for the first time in five years. When Lindalou's 16-year-old son, Curtis, steps out for a pack of cigarettes and does not return, Lindalou fears the worst, and Curtis' disappearance is the catalyst for a harrowing weekend. The writing of The Weekend Healer, Bryden MacDonald says, began with a desire to explore the ideas of babies raising babies, the definitions of family, the beauty in what is perceived as obscenity, the pagan soul, and the nature of lies. But ultimately The Weekend Healer is about the birth of reluctant heroes in a confused and congested world.

Its the spring of 1963. The young Quebec author Marie-Claire Blais, bursting with energy and talent, has just won a coveted Guggenheim fellowship. She chooses Cambridge, Massachusetts, as the place where she will begin her writers apprenticeship with her mentor, Edmund Wilson. American Notebooks is much more than a fascinating autobiographical account of the intellectual flowering of a great writer.

Canada's most linguistically innovative poet takes on the "linear binary traps" of conventional logic, history and politics.

Writing about the death of one's father or of close friends brings into sharp focus the essential relation between language and death as it was so beautifully expressed on the temple walls of Ancient Egypt. When one looks at the hieroglyphs through a contemporary eye, one sees - experiences - the spectacle of writing, the performance through which the bleakness of death and desert are transformed into something that continues to live, if only in the writer's mind... The journal entries of Cartouches were not written in the usual traditional diary form in which a day's events are recorded. They were, like the poems, "fashioned" as a process of writing through which the writer gives meaning to events that may (or may not) have happened. These events become hieroglyphs - iconic moments, if you will - framed within the pages of a book.

A faded queen finds his life slipping away when his young lover meets a new man. Cast of 3 men.

It is June 20, 1952, a decade after the events described in The Fat Woman Next Door Is Pregnant, the first volume of Michel Tremblay's series of autobiographical fiction. The mystic, yet palpable instant of summer's arrival is experienced simultaneously by the fat woman's son (who is never named) and Marcel. These moving, profoundly different epiphanies of a transforming world, seen through the memories of the characters, set the stage for the action of the novel which takes place in the space of this single, evocative day. The fat woman's son experiences this moment as an episode of profound personal objectification - he sees himself as in a photo of that larger, inclusive moment. Marcel, on the other hand, literally seizes the moment, and stores it in his school bag as a physical thing. It is also the day of final exams at the Ecole Saint-Stanislas where the fat woman's son, a boy who lives inside the books he loves, is in the "gifted" class, and his cousin Marcel, the "mad" family terror, is in the class for "slow learners". Racked by envy at what he sees as Marcel's genius - his ability to create and function in another dimension of reality - the gifted child blanks out during the French exam. The first quarter of the moon - which rises over the final scenes of the novel in which the fat woman's son recognizes and acknowledges his cousin Marcel's genius - is an exquisitely crafted and resonant metaphor for the symbiotic relation between the imaginary and the real, the privileged "educated elite" and the "great unwashed", innocence and experience, sanity and madness.

Fred Reed went to Iran driven by discontent with the official Western view of that country as a den of fundamentalist fanatics and terrorists. Not surprisingly, he found that the Iranians had reasons - excellent reasons - for acting as they did. The Iran-Iraq war, cynically prolonged by the Western powers who armed Saddam Hussein against Khomeini's poorly armed but highly motivated revolutionary guards and volunteers, furnished the most conclusive example. Iranian history, in its meeting with the peculiar traditions of Shi'ite Islam, provided a wealth of others. In Persian Postcards, Iranians of many persuasions speak on the issues of their society, on regional politics, on the role of religion in life, on public and private morality. We meet artists and filmmakers, philosophers and mollahs, establishment men and dissidents, women speaking on women's issues and on life, members of parliament and "terrorists". Persian Postcards is more than a journalistic report, an academic treatise, or a travel book, although it enfolds elements of all three. It explores an unknown quarter, a territory inhabited by people of culture, dignity and poetic genius, moved by force which defy the impoverished classification theology of Reason and Technique. Persian Postcards is not only about Iran. It is about us.

Two grown sisters confront the memory of their parents tragic death.This revised edition of Forever Yours, Marie-Lou, which played at the 1990 Stratford Festival, is John Van Burek and Bill Glasscos translation of Michel Tremblays original French text.Cast of 3 women and 1 man.

Life Without Instruction is based on a true story and a real trial. Artemisia Gentileschi's father, the late-Renaissance painter Orazio Gentileschi, takes the unusual step of having his daughter trained in the art of painting under the instruction of his friend, Agostino Tassi. Tassi rapes Artemisia, and is taken to trial by both Artemisia and Orazio. As usual, the person really on trial in this rape case is the woman, who is publically humiliated and forced to endure the torture of thumb screws. Yet through this ordeal Artemisia not only emerges as a strong and independent woman: She comes into her own as talented painter. Finally defying the manipulations of the men who had taken it upon themselves to orchestrate her life for her, Artemisia defiantly says to one of them - her father - "I'm not your little girl, anymore. I'm something else. Something truly unspeakable. An artist!" Sally Clark describes Life Without Instruction as "a revenge play".

Dramas that encourage reflection on the past and our children's future: "Life Science," "2B WUT UR" and "Cost of Living."

Here are twenty-one user-friendly tales, set in the Okanagan Valley, Austria, Washington, Nanaimo, the Yukon, Iceland, Germany, the future - and Daphne's Lunch Diner. The Rain Barrel is George Bowering's first collection of short stories since 1983. Ten years in the making, these stories display Bowering's meticulous attention to the details of his craft and his enormous sympathy for the increasingly precarious predicament of the twentieth-century reader.

The Angel of Solitude presides over the lives of eight young lesbian women who strive to achieve an all-female utopia within which homophobia, their pasts and their differences are abolished. As the narrative unfolds, we realize that none of the women are present directly - they come into being, and live their lives, only in and through the memories, observations and imaginations of each of the others. Thus, their mission to establish a fortress for themselves remains inconclusive; they have too much to overcome, both within themselves and in the world at large, to abandon their individual struggles for the sake of the group.

A "crucible-inspired" drama surrounding an inquiry into a doubtful molestation incident in a small town daycare, All Fall Down is a play about witch-hunting in the late twentieth century. The rumours and whispers in the community - every suspicion of the unusual, the eccentric, the unexplained - are added to the growing body of evidence that a heinous evil is afoot in the quiet innocence of the daycare centre. No distinction between circumstantial and substantive evidence is made: the evil is too profound, the threat too great. How, in such a poisoned atmosphere, does one maintain one's sanity and reason, one's imagination, compassion and sense of fairness? How does one determine what actually took place? What does one do in the absence of proof?

Witty, prickly and fresh, Playing Bare is a mordant satire on the relation between theatre and life. An accomplished actress is on the verge of a nervous breakdown as she directs Samuel Beckett's Waiting for Godot. In her deranged effort to expose the emptiness of playing fictional characters, she casts the lead roles with a pair of non-actors whose lives mirror those of the characters they play. Her search for the ultimate theatrical experience - life becoming art - takes the action in hilarious and insightful directions.

Frank, having dedicated his life to the unremarkable, and Walker, paranoid since being struck by lightning at age three, attempt to flee from each other and end up following each other instead. They find themselves in a run-down hotel operated by deaf and misdirected Willy and blind Alice, who has a murderous dislike for visitors. Morris Panych's brilliant tale reminds us all that fear can become a self-fulfilling prophecy.