James Gifford – författare

On October 15, 1954, Hurricane Hazel battered southern Ontario, leaving in its wake a terrible toll: thousands homeless, million in property damage, and, worst of all, 81 people dead. Hazel destroyed bridges, submerged towns, and drowned unsuspecting Ontarians in their homes and cars. Raymore Drive in Weston was decimated when the Humber River swelled by eight feet, taking the lives of 32 residents in only one hour. In Etobicoke, five volunteer firemen drowned while trying to reach marooned motorists. Towns and villages from Toronto north to Timmins felt Hazel's fury. After the storm, people walked the now-surreal streets of their towns: cars upside-down and wrapped in power lines, iceboxes and dead cows hanging from trees, houses flattened, toys and furniture floating down the street. On the 50th anniversary of the storm, Jim Gifford has captured that fatal night in the voices of those who survived it, from residents who lived along the surging Humber River to a policeman who rescued families from their rooftops to firemen and Boy Scouts who searched for victims along the riverbanks. Including more than 100 never-before-published photographs, Hurricane Hazel: Canada's Storm of the Century documents one of the worst natural disasters in Canadian history.

On October 15, 1954, Hurricane Hazel battered southern Ontario, leaving in its wake a terrible toll: thousands homeless, million in property damage, and, worst of all, 81 people dead. Hazel destroyed bridges, submerged towns, and drowned unsuspecting Ontarians in their homes and cars. Raymore Drive in Weston was decimated when the Humber River swelled by eight feet, taking the lives of 32 residents in only one hour. In Etobicoke, five volunteer firemen drowned while trying to reach marooned motorists. Towns and villages from Toronto north to Timmins felt Hazel’s fury.After the storm, people walked the now-surreal streets of their towns: cars upside-down and wrapped in power lines, iceboxes and dead cows hanging from trees, houses flattened, toys and furniture floating down the street.On the 50th anniversary of the storm, Jim Gifford has captured that fatal night in the voices of those who survived it, from residents who lived along the surging Humber River to a policeman who rescued families from their rooftops to firemen and Boy Scouts who searched for victims along the riverbanks. Including more than 100 never-before-published photographs, Hurricane Hazel: Canada’s Storm of the Century documents one of the worst natural disasters in Canadian history.

On October 15, 1954, Hurricane Hazel battered southern Ontario, leaving in its wake a terrible toll: thousands homeless, million in property damage, and, worst of all, 81 people dead. Hazel destroyed bridges, submerged towns, and drowned unsuspecting Ontarians in their homes and cars. Raymore Drive in Weston was decimated when the Humber River swelled by eight feet, taking the lives of 32 residents in only one hour. In Etobicoke, five volunteer firemen drowned while trying to reach marooned motorists. Towns and villages from Toronto north to Timmins felt Hazel’s fury.

After the storm, people walked the now-surreal streets of their towns: cars upside-down and wrapped in power lines, iceboxes and dead cows hanging from trees, houses flattened, toys and furniture floating down the street.

On the 50th anniversary of the storm, Jim Gifford has captured that fatal night in the voices of those who survived it, from residents who lived along the surging Humber River to a policeman who rescued families from their rooftops to firemen and Boy Scouts who searched for victims along the riverbanks. Including more than 100 never-before-published photographs, Hurricane Hazel: Canada’s Storm of the Century documents one of the worst natural disasters in Canadian history.

Edward Taylor Fletcher was a nineteenth-century literary figure almost completely forgotten by history. Poet, travel writer, essayist, surveyor, philologist, and translator, Fletcher shared many characteristics with the great literary figures of the time. Yet his writing represents a significant departure from his contemporaries and a close reading of his work reshapes our understanding of the Canadian long poem and the cultural values of Canadian poetry.  Fletcher spoke English, French, German, Italian, and other modern languages fluently and he studied or translated literary works in Icelandic, Finnish, Polish, Hebrew, Greek, Latin, and Sanskrit (among several others). His poetry interweaves Canadian landscapes with modern and ancient traditions of the East and West and integrates allusions and innovations from several different literary traditions including the Kalavela, the Mahabharata, and the Poetic Edda. By recuperating Fletcher's nineteenth century works, James Gifford uncovers a unique Canadian literary voice who explored content, style, and concerns unlike the popular colonial narratives of his time.

“…the proverb says that whoever sees the world from the back of an elephant learns the secrets of the jungle and becomes a seer. I had to be content to become a poet.”—Lawrence DurrellBest known for his novels and travel writing, Lawrence Durrell defied easy classification within twentieth-century Modernism. His anti-authoritarian tendencies put him at odds with many contemporaries—aesthetically and politically. However, thanks to a compelling recontextualization by editor James Gifford, these thirty-eight previously unpublished and out-of-print essays and letters reveal that Durrell’s maturation as an artist was rich, complex, and subtle. Durrell fans will treasure this selection of rare nonfiction, while scholars of Durrell, Modernist literature, anti-authoritarian artists, and the Personalist movement will also appreciate Gifford’s fine editorial work. Foreword by Peter Baldwin.“Gifford’s scholarly command of the archives shows—especially his working intimacy with the unpublished archived words of Durrell’s editors, publishers, and collaborators. I have no doubt that this collection will serve as a starting point for any number of new critical ventures into the life and writing of Lawrence Durrell.”—Charles Sligh, University of Tennessee at Chattanooga

Gifford's invigorating work of metacriticism and literary history recovers the significance of the "lost generation" of writers of the 1930s and 1940s. He examines how the Personalism of anarcho-anti-authoritarian contemporaries such as Alex Comfort, Robert Duncan, Lawrence Durrell, J.F. Hendry, Henry Miller, Elizabeth Smart, Dylan Thomas, and Henry Treece forges a missing link between Late Modernist and postmodernist literature. He concludes by applying his recontextualization to four familiar texts by Miller, Durrell, Smart, and Duncan, and encourages readers to re-engage the lost generation using this new critical lens. Scholars and students of literary modernism, twentieth-century Canadian literature, and anarchism will find a productive vision of this neglected period within Personal Modernisms.