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Structured in three parts, "On the Material" is a meditation on how language holds the materiality of the physical world.

In kiskisomitok ¿¿¿¿¿¿¿: ¿¿¿¿¿ to remind each and one other, nêhiyaw educator reuben quinn uses the spirit marker writing system as a foundation for teaching ¿¿¿¿¿¿¿¿¿ nêhiyawewin. The spirit marker writing system holds forty-four spirit markers and fourteen minor spirit markers. Some people call that system the star chart. Each spirit marker holds a law. These laws are meant to guide us in ways that support us in life. They are meant to guide us in ways of living well with the elements: fire, land, water, and air. The spirit markers remind us that these elements form the foundations of all relationships on earth.

Written in the midst of wildfires and atmospheric rivers, The Middle extends award-winning poet Stephen Collis's investigation of threatened climate futures into a poetics of displacement and wandering. The fulcrum of a trilogy begun with A History of the Theories of Rain, The Middle hikes the shifting treelines of our warming world to reflect on the way all life is in motion, fleeing the rising heat. Taking up the human-plant relationship in particular, each of The Middle's linked sequences finds itself somewhere on a mountain, in the company of trees (or the ghosts of now absent trees), climbing in altitude, or heading north. Across the poem's three sections, Collis employs various forms of citational practice, rooted in his long engagement with the idea of a "poetic commons" where writing is made out of what one is reading. This practice is a kind of entanglement, a form of literary seed dispersal, where words are blown, carried, and scattered from one textual field to another, akin to the mammals, fish, crustaceans, reptiles, rodents, birds, insects, plants, grasses, and trees in motion on our dangerously heating planet.

Three people gaze out their living room window as the days pass. Across the street in Withrow Park life goes on - or is it a dream?Then a knock at the door. Time has found them, hiding in plain sight. Or possibly it's just a man in a wrinkled suit. But Janet, Marion, and Arthur must act now or forever be devoured by their own indifference. They can no longer live on the periphery of their own lives. They must invite the young man to dinner.

A new play from award-winning playwright and novelist Anosh IraniIn a Mughlai restaurant in Toronto, a late-night visit from a mysterious stranger rattles the cage and shatters the peace. Now Ayub must face reality, the family he's left behind, and the dreams he's abandoned, all while keeping the restaurant clean to a mirror shine.Behind the Moon is a painfully beautiful story of love and loss, freedom and faith, the meaning of brotherhood, and how we begin a new life.

Feast follows a comfortable North American family as they contend with compounding global crises and the end of things as we know them. Each member of the family deals with the coming troubles in their own ways. Twenty-something daughter Isabel increasingly turns to activism. Her mother Julia fortifies their home in preparation. And her father Mark lets his increasingly extractive foodie cravings precipitate the family's unravelling as he turns to super-competent, underemployed fixer and logistics genius Chukwuemeka Okonkwe for help satisfying his urge to consume more. Moving from North America to Beirut to Mombasa, with stops along the way at Starbucks, the Centre for Avant-Garde Geography, and a cave on the island of Lampedusa, Feast spans the globalized world and beyond, offering a wild, magic-realist take on the uncertainties and anxieties of the early twenty-first century.

**Twentieth anniversary edition of Farrant's beloved memoir of coming of age with an absent mother in a vanished time**The setting is Vancouver Island, the year 1960. It is the era of the Three Stooges and the Red Menace, the apex of plastic, Arborite, and everything turquoise: high heels, pedal pushers, refrigerators, even cars. Throughout her childhood, Marion Farrant heard wild family stories of the sophisticated life her mother, Nancy, led far away in Australia. Nancy's world of riches and men seemed light years away from Cordova Bay on Vancouver Island, where Marion lived a working-class life with her aunt and uncle. But things changed the year she entered her teens. That year, Nancy threw everyone into a flurry with the surprise announcement that she was coming for a visit. This new edition of Farrant's beloved memoir of her fourteenth summer, capturing a lost time and place with love and hilarity, includes five companion stories, an introduction by Lynne Van Luven, and a preface by the author. Witty, tender, and wry, My Turquoise Years is a book for anyone who remembers being a teenager.

Chambersonic imagines the book as an acoustic chamber. This collection of poems, essays, performance scores, and audio recordings comes alive with documents, rehearsals, and reverberations, all populated by an ensemble of players, instruments, and materials that make sound together. A conductor fades in and out; the audience acts as choreographer; agencies, noises, and situations test their volumes and energies - until voices morph into rebellious notation, signalling the near-silenced, the dissonant, and the ignored.

When Zero, the hero of our story, stumbles upon a mysterious manuscript, they're thrown into a journey across centuries, continents, and concepts. They travel throughout the Muslim world, from Sumeria to India to Baghdad. They learn about Europe as other and outside. They're guided by the cryptic mirror the manuscript provides as it traces a history of the number zero.A Jamali Rad's No Signal No Noise is a playful poetic hybrid, sitting somewhere between philosophical treatise, epic poem, and experimental novel. It is the first installment in The Self-Inscribing Machine series, a speculative history of the binary and its prototypes, that traces concepts of Self and Other as well as the mathematical, cultural, and philosophical foundations of the machines that drive the contradictions of capital.

A site-specific engagement with an ecosystem of Mnidoo Mnising (Manitoulin Island), Conversations with the Kagawong River raises the possibility of collaboration with the more-than-human. The author spent several years learning to listen to the Gaagigewang Ziibi (Kagawong River) and to follow the rhythms and patterns of its flora and fauna, the weather and the water. She invited the participation of various collaborators - woodpeckers, otters, currents, ice, grasses. The resulting poems, supported by local Elders, language speakers, and historians, make visible the colonial, environmental, and social processes that construct an ecosystem and (settler) relationships to it.

Investigating whose safety really matters in the most expensive city in the nation, cop city swagger conducts a threat assessment of Vancouver's police. Holding close lived and living connections to the Downtown Eastside and Chinatown neighbourhoods, Eng juxtaposes the police's and the city's institutional rhetoric with their acts of violence against marginalized people, presenting a panoramic media montage of structural harm and community care.

I'm Looking Forward to Hearing Back from You grapples with time, asking how to fully live with the present while also being attentive to possible futures and to the lost temporalities buried within the now. It was written haltingly over a decade shaped and troubled by climate change and environmental collapse, the global rise of populist fascism, an invigorated politics of bodily control (biopolitics), mass forced displacement of people, increasing disparities in wealth and resources, and a general understanding that daily life is getting meaner, unsustainably expensive, and generally shitty. Yet underneath this manure, very strong buds have tried to push through - mutual care, deeper social justice, an ethos of living more and working less, environmental action, and more ethical ways of being. This book is about trying to live through the last ugly decade. It's an angry-funny book about cities and trees, about human and more-than-human labour, about decolonizing temporalities, and about futurity.

"Slow Scrape is, in the words of Layli Long Soldier, 'an expansive and undulating meditation on time, relations, origin and colonization.' Lukin Linklater draws upon documentary poetics, concrete-based installations, event scores, and other texts composed in relation to performances written between 2011 and 2018. The book cites memory, Cree and Alutiiq languages, and embodiment as modes of relational being and knowledge. The book unfolds a poetics of relation and action to counter the settler colonial violences of erasure, extraction, and dispossession. Slow Scrape can be read alongside Lukin Linklater's practice as a visual artist and choreographer."--

Travelling alone through time, Africa, and unnamed lands, a traveller searches for Dr. David Livingstone, the ¿discoverer¿ of Africa. Throughout her quest for knowledge and for Livingstone, she visits many peoples, listens to their stories and their silences, and learns about their Silence. Suspense, parables, and dreams play major parts as the story twists and turns toward the traveller¿s confrontation with Livingstone-I presume.Looking for Livingstone explodes Western assumptions about the ¿silence¿ of Indigenous peoples as it beautifully gives voice to the Ancestors to whom it is dedicated.

A stunning new play by star Québec playwright Michel Marc Bouchard.

In Inuit mythology, sila means air, climate, or breath. Bilodeaus play of the same name examines the competing interests shaping the future of the Canadian Arctic and local Inuit population. Equal parts Inuit myth and contemporary Arctic policy, the play Sila features puppetry, spoken word poetry, and three different languages (English, French, and Inuktitut).There is more afoot in the Arctic than one might think. On Baffin Island in the territory of Nunavut, eight characters including a climatologist, an Inuit activist and her son, and two polar bears find their values challenged as they grapple with a rapidly changing environment and world. Sila captures the fragility of life and the interconnectedness of lives, both human and animal, and reveals in gleaming tones that telling the stories of everyday challenges especially raising children and maintaining family ties is always more powerful than reciting facts and figures.Our changing climate will have a significant impact on how we organize ourselves. Nowhere is this more apparent than in the Arctic, where warming temperatures are displacing entire ecosystems. The Arctic Cycle eight plays that examine the impact of climate change on the eight countries of the Arctic poignantly addresses this issue. Sila is the first play of The Arctic Cycle. With its large-as-life polar bear puppets, the play is evocative and mesmerizing, beautifully blurring the boundaries between folklore and science.

A history of modern Iran, and a revealing first-hand account by Irans first female vice-president, Massoumeh Ebtekar, of the 1979 revolutionary students who captured the American embassy in Tehran. Ebtekar sets out to correct decades of misrepresentation by the Western media of what the aims of the Iranian students and the populist revolution they personified were, and have since remained.

Two friends pass the time together playing a made-up game in which they name people, places, or things and debate whether they are successful or not; in other words, whether they are winners or losers. Each friend seeks to defeat the other, and because one of these men grew up economically privileged and the other did not, the competition very quicklyheats up.Marcus Youssef is associate artistic producer at Vancouver's NeWorld Theatre and teaches theater at Concordia University in Montreal.James Long has been making theater since 1995 and is artistic director of Theatre Replacement in Vancouver..

Fred A. Reeds fifth book on the Middle East and the wars of the Ottoman succession traces the roots of Islamic fundamentalism, as currently enacted by Hezbollah and other Islamic fundamentalist organizations, to the iconoclasts of sixth- and seventh-century Damascus.