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M.A.C. Farrant’s latest book The Strange Truth About Us: A Novel of Absence was described in The Globe and Mail as
a full-bodied incarnation of the vitality and the gravity of the fragment as literary form. It fairly vibrates with what Paz calls the “contrapuntal unity” of fragments connecting, reflecting and deflecting in variable relation to each other.

Recently on the Lemon Hound blog, Steven W. Beattie of Quill & Quire included the “frank surrealism” of Morse’s Minor Episodes / Major Ruckus among a handful of books that
are not the kinds of books that would appeal to the cozy sensibilities that seem to be driving so much of our literary culture these days.
With ever shrinking space available for book news and reviews, and in the wake of rumours that The National Post is scaling back its arts and books section, Beattie goes on to ask an interesting question that may or may not pertain to both of these books of unconventional fiction.
[If] the major media outlets and award juries tend to focus solely on predictable, easygoing fare, where does that leave writers who have ambitions to do something different or less familiar?
An interesting thought indeed. Discuss.

Monday May 6, 2013 in Meta-Talon
Way More Than A Thousand Words: Coping with Emotions and Otters Launch
Ash Tanasiychuk takes pictures. Of Dina Del Bucchia. Nuff said. Oh, and Otters!
Monday April 29, 2013 in Meta-Talon
Other People’s Moccasins: Joanne Arnott Interviews Wanda John-Kehewin
Joanne Arnott interviews Wanda John-Kehewin about her new book In the Dog House:
I can’t really say there were many poets of the past that influenced my writing. I think when I really started to be inspired was when I heard that there were other Native writers, and that wasn’t until I moved to the West Coast in 1991. For some reason I didn’t think it was actually something an “Indian” could do. There weren’t any books in the library that were by First Nations people when I was growing up.
Thursday April 25, 2013 in Meta-Talon
Text in the City: Music Somewhere Near a Griffin
Garry Thomas Morse on poetry prizes and/or music in poetry. Whatever!
Not to pull an academy-bashing Joaquin Phoenix, but strictly off the record, I’ve never understood how prizes relate to poetry, exactly, and a number of acclaimed poets have confessed a similar sentiment in my presence, in one way or another. One would hope that a poet only gets into the racket out of an imperative need to do so, if not a compulsive love, implying all the emotions and forms of resentment love can contain. In that case, how can a prize for being the greatest lover compare to said love itself?
Tuesday April 16, 2013 in Meta-Talon
From book to stage with My Turquoise Years
Monica Miller discusses M.A.C. Farrant’s memoir, adapted for the stage at the Arts Club Theatre:
The story is quintessentially Canadian and a nostalgic view of growing up in BC in the 60s. Taking place in Cordova Bay, a 15-minute drive from Victoria, the play speaks to multiple generations about the traditions of family. My Turquoise Years challenges the preconceived notion of the traditional nuclear family, and reinforces the idea of choosing who we love and care for as our family, sticking by them, and supporting them.
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.