Harbour Publishing – förlag

A gorgeous full-colour coffee table book celebrating the art of one of BC’s finest potters, My Life as a Potter recounts Mary Fox’s long journey to the peak of her craft. Part memoir, part coming-of-age story and part handbook for ceramicists, Fox’s narrative expresses the passion she feels for her work and the joy she has found in living the life of a studio potter.

A potter since the early 1970s, Fox is recognized for creating exquisite forms and distinctive textured glazes. She has shown her works internationally and at galleries across Canada. In this book she shares her plans to leave behind a legacy of support and mentorship for young artists, in the form of an artist-in-residence program steered by the Mary Fox Legacy Project Society. Royalties from this book will benefit the project.

Readers with an interest in the technical aspect of Fox’s work will especially appreciate the richly illustrated chapters on technique and artistic process. This book is for anyone who has ever been curious about the life of a professional potter, anyone hoping to become a potter themselves and anyone who believes that art has the power to guide us through life’s myriad challenges and hardships.

Nobody knows bad ideas quite like Michael V. Smith. In his new collection of poetry, he speaks to an intangibility of sense, or a sense beyond the rational. Bad Ideas explores the inevitability of loss and triumph with characteristic irony and tenderness. Through this dazzling collection of a remembered life, hung out to ogle like laundry on the line, Smith recalls a mother who discovers a sex tape, a man who dreams of birthing his own son and a woman who blends her baby girls into milkshakes.

Bad Ideas is a testament to how an altered perspective effects change, how stories can be recast. The collection forms itself into an exercise in which optimism is a practiced art recaptured in dreams and prayers and combined to acknowledge the unknowable, the contradictory, the ungraspable: "An evening is composed / in a hundred unchoreographed / dramas"; "I pull a Clark Kent / transform, dressed as a monk / in burgundy and gold robes. I think / this will protect me, but it doesn't"; "Dear Hatred, sweet / Hatred, do you not move our enemies / to know us better?" Hyperbolic and sincere, this collection brawls with the unquantifiable themes of family, loneliness and love.

Near Miss considers the relationship between close calls and the tenuous conditions of contemporary life. From actual cataclysms such as meteor collisions and volcanic eruptions to everyday failures and accidents, these inventive poems collide with the perpetual unease created by life’s unpredictability while contemplating mortality, fragility, gratitude and hopefulness.

... When the Emergency Broadcast

System proclaims this is only a test, you

leave the TV on because you’ve gotten

used to the sound. You keep waiting

for the heat to come on, for the regular

broadcast to resume, for a new sensation

to quicken inside you like the sight

of that fleet of ghost-planes lifted

from the desert, reanimated, hovering

over your house as if everything is fine.

— “Decommissioned Planes”

Outside, America criss-crosses the Canadian–American border to understand dilemmas that occur across a variety of scales, from global spheres to the most intimate domestic spaces. Sarah de Leeuw digs through grief, loss, aging, technological frustration, environmental degradation, nationalism and confusion to grasp the state of the world. These poems are tethered to everything from climate change and scientific discovery to the death of parents, resource extraction, divorce and career changes, touching down on whale extinctions, lounges in international airports and debris slides, on suiciding pilots and sinkholes, astronauts, grocery store magazines, earthquakes and even sinking ferries and pop stars.

Composed over a period of profound illness, Visual Inspection is a searching reflection on poetry, power and our embodied lives. Shaped by matching elements of literary history, poetic practice, contemporary art, politics and ecology with Rader’s own experience of chronic illness and pain, Visual Inspection writes into and through what is accessible to our minds and bodies. Part memoir, part essay, part poetic investigation, the text guides us through kaleidoscopic meditations on disability, access, vision, redaction, pain, illness and death. Set primarily in the central Okanagan, Visual Inspection is a codex of references, artifacts and associations that, taken as whole, revisions access as process and art as experience.

Patricia Sorbara has been a political operative for more than forty years—a mainstay in the background of both federal and provincial politics in Ontario, dedicating her career to the Liberal Party. She’s worked for and with Liberal Opposition Leaders, Premiers, Members of Parliament, Members of Provincial Parliament and more candidates than any staffer could imagine. Sorbara became known as the woman to have on side, the one who knows the ground game and never backs down from a challenge. In December of 2014, all of that changed. A potential candidate in Sudbury, ON, went to the media with the allegation that Sorbara, acting on behalf of the Party, had offered a bribe in exchange for stepping down from a nomination race. She was blindsided.

While on trial in Sudbury in the fall of 2017, Sorbara found herself leaning on the unique education of decades in politics, one that came with being a lifelong female political staffer, which saw her through the first emotional moments of the trial to the eventual verdict nearly seven weeks later. But it didn’t end there. In Let ’Em Howl: Lessons from a Life in Backroom Politics, Sorbara shares her best lessons from the back room—the ones that sustained her in the darkest hours—illustrated by stories featuring key political figures in Canadian politics. The result is required reading for anyone interested in Canadian politics or government.

Renaissance Normcore belts like a classically trained riot grrrl, composing catchy tunes in the key of fear and desire. Building on the dreamy emotional landscapes she plumbed in If I Were in a Cage I’d Reach Out for You, Barclay navigates even sharper peaks and valleys in her second collection to examine the links between intimacy and power. Tracking the paradoxical impulses of anguish and joy that underpin daily life in our hostile neoliberal climate, these poems are both abject and sweet as they repurpose loss into life and test the bounds of how much a poem can hold.

Un-Canadian: Islamophobia in the True North is a provocative warning to Canadians that the values they cherish are being eroded through a pattern of political, legal and social prejudice directed towards Muslims in Canada since September 11, 2001. Featuring never-before-published interviews with key politicians and journalists, influential Muslim leaders and ordinary Canadians who have suddenly found themselves thrust into what might become a full-fledged culture war, this book sounds the alarm about our politicians, our commitment to the rule of law and the changing value of our citizenship.

Spanning settings from dark prison cells in Guantanamo Bay and Syria to the gilded corridors of power on Parliament Hill, this book centres on fundamental notions of social cohesion and the value of Canadian citizenship—issues which continue to make headlines. Canadians who are worried about the direction our country is headed will consider this a must-read.

There are too many stories about Indigenous women who go missing or are murdered, and it doesn’t seem as though official sources such as government, police or the courts respond in a way that works toward finding justice or even solutions. At least that is the way Wren StrongEagle sees it.

Wren is devastated when her twin sister, Raven, mysteriously disappears after the two spend an evening visiting at a local pub. When Wren files a missing persons report with the local police, she is dismissed and becomes convinced the case will not be properly investigated. As she follows media reports, Wren realizes that the same heartbreak she’s feeling is the same for too many families, indeed for whole Nations. Something within Wren snaps and she decides to take justice into her own hands. She soon disappears into a darkness, struggling to come to terms with the type of justice she delivers. Throughout her choices, and every step along the way, Wren feels as though she is being guided. But, by what?

Written and illustrated in the tradition of the Kwantlen people, Joseph Dandurand's second book is an endearing tale of two sisters and their connection with nature.

In the water sat a sturgeon, born there, so they say, thousands of years ago, though the sturgeon themselves have been here for two hundred million years. It was at first a little egg, a big egg, born into the river. Now the sturgeon is back but how did it get here? How did the first sturgeon come to be? Earth and the river, moons and suns and clouds. Time, thousands of years and the Skwó:wech has seen it all. But what gift does the sturgeon have for us?

So begins this second charming story for children by Kwantlen storyteller Joseph Dandurand. The sturgeon, spirit of the great river, eludes human fishers until two young sisters neglect to follow their mother’s instructions. What follows provides a moving exploration of the importance of sharing and kinship with all other living things.

The story is told with grace and simplicity by a master storyteller in the great tradition of the Kwantlen people. Accompanied by Elinor Atkins’s illustrations, A Magical Sturgeon is a touching follow-up to Dandurand’s bestselling children’s book The Sasquatch, the Fire and the Cedar Baskets.

A stunning debut poetry collection confronting colonialism, relationships, grief and intergenerational wounds.

Cut to Fortress considers the possibility of decolonization through a personal lens, urging for a resistance that is tied using cord and old-growth tree roots; a resistance that tethers us all together in this contemporary existence.

With an upbringing in Surrey, fraught familial conflicts, the passing of his older brother and its influence on his world view, Bige slices through the forts built overtop occupied Turtle Island to examine their origin and his own. His journey climbs into the mountains while he reconnects with his Dene and Cree cultures like a gripping hand on jagged rock. His path draws into the concrete urban streets that Wetako-medicine lurks through, especially for his people. The labour of these travels brings him to the springs where healing passed-down traumas becomes possible by drawing water through vulnerability.

Award-winning author Darren Groth’s epic story of a dog who will protect the last remaining member of his family, an intellectually disabled boy, at all costs as human civilization crumbles around them.

In a time of isolation and scarcity, a regressive regime rules with absolute power, turning neighbour against neighbour and crushing dissidence with deadly force. A microcosm of this monstrous time: the tiny Pacific Northwest town of Gilder.

In a house on the fringes of the decimated hamlet, Tao—a failed service dog turned pet—wakes to find his leash tied to the stairs, his hind leg broken and his family killed. With the world he knows shattered, there is one course of action: lay with his slain masters and wait for the enemy—the “hounds”—to return and end his life.

But it is not the hounds that find him—it is Kasper, fifteen years old, disabled, limited ability to speak, sole survivor of the family. With the discovery of Boy, Tao understands he now has a duty: guide the last living member of his pack through the ravaged streets of Gilder to safety. The destination? The only refuge he can conceive in a world gone mad? The site of his training five years before.

Boy in the Blue Hammock is an epic tale of loss and loyalty, of dissent and destruction, of assumption and ableism. With a powerful narrative and evocative prose, the novel poses one of the important questions of our time: When evil silences the people, who will protect those without a voice?