Cabbagetown Diary

Robert Fulford called it “a remarkable glimpse of the underbelly of Toronto,” but the reviews that greeted the publication of Cabbagetown Diary in 1970 were decidedly mixed. The novel’s rowdy concoction of grit and violence and rooming-house sleaze had a strongly polarizing effect on its readers. Many admired the frankness of Butler’s depiction of a sordid environment, and others deplored the obscenity of the language and the dangerous and careless ways in which his characters behave, bent as they are on downward self-transcendence. But Cabbagetown Diary was undeniably a promising debut by a young writer whose brash tone and pungent subject matter were unique in Canadian writing at that time. The novel takes the form of a diary written by a disaffected young Toronto bartender, Michael, over the course of his four-month liaison with Terry, a naive teenager who is new to the city. Michael introduces her to his friends and his inner-city haunts, to drink and drugs, and to the nihilist politics espoused by some in his circle. With hard-bitten cynicism and flashes of dark humour, Michael relates the vicissitudes of their summer together. This reissue of Cabbagetown Diary includes a biographical sketch by Charles Butler and an afterword by Tamas Dobozy.

“The most important book to be written in more than 40 years about the rise of Canadian literature... Arrival: The Story of CanLit brims and crackles, in equal measure, with information and energy.” — Winnipeg Free Press A Globe and Mail Top 100 Book National Post 99 Best Books of the Year In the mid-twentieth century, Canadian literature transformed from a largely ignored trickle of books into an enormous cultural phenomenon that produced Margaret Atwood, Alice Munro, Michael Ondaatje, Mordecai Richler, and so many others. In Arrival, acclaimed writer and critic Nick Mount answers the question: What caused the CanLit Boom? Written with wit and panache, Arrival tells the story of Canada’s literary awakening. Interwoven with Mount’s vivid tale are enlightening mini-biographies of the people who made it happen, from superstars Leonard Cohen and Marie-Claire Blais to lesser-known lights like the troubled and impassioned Harold Sonny Ladoo. The full range of Canada’s literary boom is here: the underground exploits of the blew ointment and Tish gangs; revolutionary critical forays by highbrow academics; the blunt-force trauma of our plain-spoken backwoods poetry; and the urgent political writing that erupted from the turmoil in Quebec. Originally published to coincide with the 150th anniversary of Canadian Confederation, Arrival is a dazzling, variegated, and inspired piece of writing that helps explain how we got from there to here.

Recent years have witnessed an increase in the attention given to the later stages of criminal careers. Research upon this topic has charted the main factors associated with the termination of criminal careers, outlined some of the possible reasons behind these relationships and started to develop theoretical explanations for such relationships. Collected together for the first time are some of the most important contributions to this field of research. The collection focuses upon the initial explorations into this topic, the most commonly observed findings, the cessation of offending by specific offender-types and theoretical matters. An introductory essay by the editor provides a thorough overview of the work in this area and highlights the reasons why the termination of criminal careers will become increasingly important to criminologists and criminal justice policy makers alike.

This landmark study explores the cultural and literary history of unemployment in Canada from the 1920s to the 1970s, which were crucial decades in the formation of our current conception of Canada as a nation. Writing Unemployment asks how writers with diverse political affiliations participated in and protested against the discursive framing of unemployment. It argues that Depression-era conceptions of unemployment shaped later twentieth-century understandings of both worklessness and citizenship. By examining novels, short stories, poetry, manifestos, and agitprop, Jody Mason situates the literary history of the cultural left in a broader context, challenges the dominant literary-historical narrative of the pioneer settler, and contributes to new scholarship on Canada’s modern period. By bridging close textual readings with book and publishing history, economic and sociological analysis, and original archival research, Writing Unemployment offers new ideas on work by many of Canada’s most important writers.

Hugh Garner was a hard-drinking, opinionated tough guy who fought with editors, publishers and everyone else he considered part of the Establishment. Yet beneath this brash, angry exterior, Garner was a writer of sensitive short stories and a novel, Cabbagetown, that has become a Canadian classic. Garner's stories were drawn from his own rough, adventurous life, a life portrayed in all its wildness and pathos in The Storms Below. From an impoverished childhood in Toronto's working-class Cabbagetown to his time riding the rails in the Depression, from the Spanish Civil War to the Royal Canadian Navy, from youthful radicalism to cantakerous, middle-aged conservatism, Paul Stuewe chronicles the many passages of Garner's controversial career. A definitive biography of a unique Canadian writer, drawing on extensive interviews with Garner's family, friends and colleagues, The Storms Below has the excitement and emotional impacy of a good novel.

Treating poverty not simply as a theme in literature but as a force that in fact shapes the texts themselves, Rimstead adopts the notion of a common culture to include ordinary voices in national culture, in this case the national culture of Canada.