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In 1989, Michael Boyd (then director of the Tron Theatre in Glasgow, now director at the Royal Shakespeare Company) staged his acclaimed British premiere of The Guid Sisters (Les Belles Soeurs) by the great Québécois playwright Michel Tremblay. It has come to be seen as a defining moment in the modern history of Scottish drama.
The play, in which Germaine invites 14 female friends and family round to her modest apartment to help her stick the million trading stamps she has won into books, was translated beautifully by Martin Bowman and the late Bill Findlay. The east-end Montreal vernacular (known as joual, or ‘horse language’) was seamlessly transformed into a Scots, working-class demotic.
Twenty-three years on from that seminal production, Edinburgh’s Royal Lyceum and the National Theatre of Scotland are restaging the drama, with a cast led by Kathryn Howden and Karen Dunbar. Excitingly, it will be directed by leading Québécois director Serge Denoncourt, famous for his work with, among others, Tremblay and Cirque du Soleil.
The holiday season is upon us, and perhaps you are considering giving the gift of a good book! Here are the most lovely and readable and immediately compelling books we have produced recently to help you in your quest. Order soon to have them delivered in the next couple of weeks! (And did you know that ours come nicely packaged?)Tuesday December 3, 2013 in Meta-Talon
by Chloë Filson
In a recent Meta-Talon article, “Reflections on Regionalism,” Megan Jones referred to the “quietly profound writers that dwell in far-off corners and dense urban hotbeds of this vast country.” This description points to one of the most important – or at least one of the most critically discussed – tensions in Canadian literature: urban vs. rural.Thursday November 28, 2013 in Meta-Talon
Tuesday November 26, 2013 in Meta-Talon
“With this magazine cover, I know it’s only a prototype, but with this cover, we decided to concentrate on the mole. This may look to you and me like an ordinary, and might I add rather famous, mole on a human face. Yet if we were to make that assumption, we would both be making a rather naive supposition.”
Candy blinked and stifled a yawn.
“Because,” roared F with wild eyes, nearly startling Candy out of her seat, “the mole is not a real mole at all!”
“Okay, Doc, I believe you. Just chill, okay.”
We gratefully acknowledge the financial support of the Canada Council for the Arts; the Government of Canada through the Book Publishing Industry Development Program; and the Province of British Columbia through the British Columbia Arts Council for our publishing activities.