Strangers On The Horizon

On April 22, 1912, during the third day of the US Senate investigation into the loss of Titanic, it was learned that there had been a steamer in sight of Titanic. This steamer had failed to respond to distress rockets that were being sent aloft from the stricken Titanic as she slowly sank beneath the surface of the Atlantic following a collision with an iceberg. The following day, on April 23, 1912, a story was printed in a small New England newspaper that claimed that a small tramp steamer, the SS Californian, had seen the lights and rockets of Titanic, and had refused to come to her aid.This book takes a new look into what has since been called the Californian affair. It is significantly different from previous treatments of this highly contentious subject in that it does not try to simply interpret or reinterpret every single word that eyewitnesses said in 1912. Instead, it takes a novel approach of applying specific analytical techniques to test the many conflicting and contradictory statements that were made in 1912 in order to find the reality of what took place. It includes detailed analysis of distances, bearings, headings, speeds, drift rates, ranges of visibility and other quantifiable information that has never before been examined in any great detail. It provides answers to the question of where was Californian relative to Titanic that night, and were they in sight of each other. This book also looks into the role played by several other vessels that were in the area that memorable night, delving into some of the claims made afterward concerning rescue attempts and movements. In addition, the book also explores the moments leading up to, and immediately following, Titanic's collision with an iceberg, piecing together a detailed moment-by-moment picture of the events and actions that took place from the time the fatal iceberg was first spotted, to the time that the iceberg was last seen fading astern into the dark of night.

Publics and the City investigates struggles over the making of urban publics, considering how the production, management and regulation of 'public spaces' has emerged as a problem for both urban politics and urban theory. Advances a new framework for considering the diverse spatialities of publicness in relation to the city Argues that a city's contribution to the making of publics goes beyond the provision of places for public gathering Examines a series of detailed case studies Looks at the relationship between urbanism, public spheres, and democracy

The Strangers, a breathtaking companion to Vermette's bestselling debut The Break, is a fierce exploration of race, class, inherited trauma, and matrilineal bonds that--despite everything--refuse to be broken. Cedar, Phoenix, and Elsie--these are the Strangers, each haunted in her own way. Cedar grapples with the pain of being separated from her mother, Elsie, and her sister, Phoenix. From a youth detention center, Phoenix gives birth to a baby she'll never get to raise. And Elsie, struggling with addiction and determined to turn her life around, is buoyed by the idea of being reunited with her daughters and striving to be someone they can depend on, unlike her own distant mother. Between flickering moments of warmth and support, the women diverge and reconnect, fighting to survive in a fractured system that pretends to offer success but expects them to fail. Facing the distinct blade of racism from those they trusted most, they urge one another to move through the darkness, all the while wondering if they'll ever emerge safely on the other side.

Winner of the Amazon.ca First Novel Award and a finalist for the Rogers Writers’ Trust Fiction Prize and the Governor General’s Literary Award, The Break is a stunning and heartbreaking debut novel about a multigenerational Métis–Anishnaabe family dealing with the fallout of a shocking crime in Winnipeg’s North End. When Stella, a young Métis mother, looks out her window one evening and spots someone in trouble on the Break — a barren field on an isolated strip of land outside her house — she calls the police to alert them to a possible crime. In a series of shifting narratives, people who are connected, both directly and indirectly, with the victim — police, family, and friends — tell their personal stories leading up to that fateful night. Lou, a social worker, grapples with the departure of her live-in boyfriend. Cheryl, an artist, mourns the premature death of her sister Rain. Paulina, a single mother, struggles to trust her new partner. Phoenix, a homeless teenager, is released from a youth detention centre. Officer Scott, a Métis policeman, feels caught between two worlds as he patrols the city. Through their various perspectives a larger, more comprehensive story about lives of the residents in Winnipeg’s North End is exposed. A powerful intergenerational family saga, The Break showcases Vermette’s abundant writing talent and positions her as an exciting new voice in Canadian literature.

“Strawberries and cigarettes still taste like you.” Arya, a voguish overachiever gets into IIT and finds herself in a whirlwind of reckless antics and youthful highs. She is a misfit at the prestigious engineering college as she resolves to pursue art. As life happens on campus that seems estranged to her, she keeps chasing highs with her friends until she stumbles upon an art instructor. The irrevocable collision of their worlds turns out to be an aesthetic awakening for Arya. She is caught up in an exquisite affair of love and pain as she encounters strangers on the way who make her world tragical and magical in their own ways.

NEW YORK TIMES EDITORS’ CHOICE • “A powerful, heartbreaking, necessary masterpiece.”—Cheryl Strayed, #1 New York Times bestselling author of Wild The moving story of what one woman learned from fostering a newborn—about injustice, about making mistakes, about how to better love and protect people beyond our immediate kin May you always feel at home. After their decision not to have a biological child, Sarah Sentilles and her husband, Eric, decide to adopt via the foster care system. Despite knowing that the system’s goal is the child’s reunification with the birth family, Sarah opens their home to a flurry of social workers who question them, evaluate them, and ultimately prepare them to welcome a child into their lives—even if it means most likely having to give the child back. After years of starts and stops, and endless navigation of the complexities and injustices of the foster care system, a phone call finally comes: a three-day-old baby girl named Coco, in immediate need of a foster family. Sarah and Eric bring this newborn stranger home. “You were never ours,” Sarah tells Coco, “yet we belong to each other.” A love letter to Coco and to the countless children like her, Stranger Care chronicles Sarah’s discovery of what it means to mother—in this case, not just a vulnerable infant but the birth mother who loves her, too. Ultimately, Coco’s story reminds us that we depend on family, and that family can take different forms. With prose that Nick Flynn has called “fearless, stirring, rhythmic,” Sentilles lays bare an intimate, powerful story with universal concerns: How can we care for and protect one another? How do we ensure a more hopeful future for life on this planet? And if we’re all related—tree, bird, star, person—how might we better live?

Fed up, frustrated and fast approaching forty, Charlie Simpson hasn’t had many high points in her life just lately. The only peak on the horizon is her ambition to climb Everest, if she could only get organised and save up the cash. Unfortunately, though, she has more pressing things to deal with; her eldest son moving out, her father moving in, and her best friend moving two hundred miles away. She finds solace, however, via her newly acquired modem, when she stumbles upon a stranger who’s a like-minded soul. Like-minded, perhaps, but no fantasy dream date. Though virtual, he’s of the real-life variety – he may be a hero, but he has a wife. Charlie hasn’t got a husband, but she certainly has principles, and they’re about to be hauled up a mountain themselves. And, of course, her mum’s always said she shouldn’t talk to strangers. The question is, is now the time to start breaking the rules? 'A fantastic book that gets you hooked from the first page' New Woman 'It's wonderfully funny and rather inspiring...I enjoyed it hugely and I confess I read it all in one go, wolfing it down like a delicious box of chocolates' Judy Astley ‘A charming and optimistic novel about modern love’ – Hello Magazine ‘A laugh out loud read’ – Real magazine 'I absolutely loved it - hooray for Julia! this is funny, original, well-written and unguessable - I had no idea how it would end. It also has the very best closing paragraph I've read in years. Completely wonderful, dazzlingly entertaining, unputdownaable' Jill Mansell

The Strangers Book explores how various nineteenth-century African American writers radically reframed the terms of humanism by redefining what it meant to be a stranger. Rejecting the idea that humans have easy access to a common reserve of experiences and emotions, they countered the notion that a person can use a supposed knowledge of human nature to claim full understanding of any other person's life. Instead they posited that being a stranger, unknown and unknowable, was an essential part of the human condition. Affirming the unknown and unknowable differences between people, as individuals and in groups, laid the groundwork for an ethical and democratic society in which all persons could find a place. If everyone is a stranger, then no individual or class can lay claim to the characteristics that define who gets to be a human in political and public arenas. Lloyd Pratt focuses on nineteenth-century African American writing and publishing venues and practices such as the Colored National Convention movement and literary societies in Nantucket and New Orleans. Examining the writing of Frederick Douglass in tandem with that of the francophone free men of color who published the first anthology of African American poetry in 1845, he contends these authors were never interested in petitioning whites for sympathy or for recognition of their humanity. Instead, they presented a moral imperative to develop practices of stranger humanism in order to forge personal and political connections based on mutually acknowledged and always evolving differences.