The book contains 58 beautiful wood prints. From the Introduction: "The prints in this Book represent some eighteen years of attempting to push back masses of black and cut outward toward the light. With engraving tools called burins, the wood block must be carefully shaved away to reveal what will appear as white in the finished print. I am re3minded of the feeling Michelangelo is said to have had as he chipped away at a block of stone, a sense that he was setting free the captive figure inside." - Michael McCurdy

Toward the Light: A Wood Engravings

McCurdy, Michael

Porcupines Quill

<p>A new edition of this title may be available from Tundra Books.</p>

The Tinderbox: A Novel

Teen & Young Adult

Brandis, Marianne

Brandis, Gerard

Historical Fiction

The Tinderbox

First published in 1969, Ray Smith's Cape Breton is the Thought-Control Centre of Canada remains as refreshing, innovative and important today as it has in every previous incarnation. Sophisticated, playful, crafted, sly, self-referential and extremely funny, it marks the beginning of a long and important, if unfortunately under appreciated, career by one of Canada's best humorists and innovative story-tellers.

Cape Breton Is the Thought Control Centre of Canada

Literature & Fiction

SMITH, RAY

Short Stories & Anthologies

The Sign of the Scales

Brender à Brandis, Gerard

`In this extraordinary cycle of poems, we hear and are spell-bound by the voice of Marilyn Monroe. Her vulnerability and toughness, her narcissism and immaturity, and above all the mystery of Monroe's innocence are perfectly conveyed. Bowering sees both that her character's suffering is genuine and that it is self-indulgent. She gives us the luminescence of Monroe, embodies her in the rhythm of voice and in the visual images of self and world through which Monroe lived. She gives us Monroe's darkness, and also her faith in perfect love, her belief that there is no sin, no death, that nothing bad can happen.' - Constance Rooke

Anyone Can See I Love You

Bowering, Marilyn

Poetry

`In 1986, Jane Urquhart published her first novel, The Whirlpool, to almost universal critical acclaim. When it met with a negative response, it tended to offend or bemuse because of its imaginative content. In The Whirlpool, Urquhart treated reality with contempt. She was clearly a courageous stylist with a unique vision. Now, with Storm Glass, the courage of the stylist is confirmed and the uniqueness of the vision is expanded. `Though most of the stories here predate the writing of The Whirlpool, the reader is given the chance, once again, to explore the territory of dreams and memory so vividly established in that book. Clearly, this is a milieu in which Urquhart excels. `Other times and other places lend their colour to most of the stories in this collection. Windows and glass are also prominent. Some of the characters have no names and all of them are dreamers, though what they dream is hardly the stuff of which good sleep is made. Storm Glass is exhilarating precisely because the dreams of which it tells are so disturbing: disturbingly real and disturbingly familiar. Most readers will recognize the impulse here to wake up and escape the dream, but most will also recognize the tantalizing magic of dreams that keeps us going back for more.' (Timothy Findley Books in Canada)

Storm Glass

URQUHART, JANE.

United States

The White Line presents a selection of 46 wood engravings by 29 artists culled from a larger exhibition which opens in October 1990 at the Carnegie Gallery, Dundas, Ontario. The exhibition is an attempt to document the widest possible range of work done in the medium in Canada since the end of World War II. Three of the early practitioners represented include W.J. Phillips, H.E. Bergman and Laurence Hyde. Hyde, for example, began his study of wood engraving at Central Tech in Toronto in the early 1930s and continued sporadically until he completed the illustrations for Tolstoy's War and Peace in 1985. Sylvia Hahn's work also forms a link with the period before the war, as she studied with Franklin Carmichael at OCA and printed on the press he kept in his office. Rosemary Kilbourn was exposed to wood engraving when she studied in England after the war. She received no formal training in the medium at that time, but she does claim she was shown how to hold a burin by Stanley Lawrence of T.N. Lawrence & Son, the venerable firm in Bleeding Heart Yard where so many of the world's wood engravers have congregated to buy their supplies and books and to delight in the enthusiasm and gentlemanly manners of Mr. Lawrence. The early engravers were often more familiar with work done in England by Eric Ravilious or Robert Gibbings, or in America by Lynd Ward or Rockwell Kent, than with the images of their compatriots. Such is unfortunately still largely the case, but it is hoped The White Line will provide the basis of a context for the contemporary work of artists such as George Walker, Nancy Jackson, Wesley Bates and Bruce Bradshaw. After the exhibition closes in Dundas, it will travel -- to Brampton, Grimsby, St. Catharines, Timmins, Edmonton, Moncton, Belleville and Kitchener/Waterloo.

The White Line

Arts & Photography

History & Criticism

A new edition of this title may be available from Vintage (Canada).

Flight Paths of the Emperor

HEIGHTON, Steven

Contemporary

Children's Books

History

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