The Piano Man S Daughter

Now an important title in the newly redesigned PerennialCanada series, Timothy Findley’s The Piano Man’s Daughter continues to be one of his most popular books ever. The novel’s reissue follows on the heels of Findley’s newest novel,Pilgrim, released in late 1999 and sure to attract even more new readers to the Findley fold. A glorious reverberation of a time when change was reaching a crescendo and yet hope and renewal were always to be found, The Piano Man’s Daughter is the story of Lily Kilworth and her son Charlie, a young piano tuner, who must find answers to the questions that define his life. Who was his father? And, given the swirl of madness enveloping his mother, does he dare become a father himself? Set at the turn of the century and inspired by the history of Findley’s own mother’s family, this is a remarkable novel that sings with love and loss, a wonderful burst of reading pleasure.

Timothy Findley's The Piano Man's Daughter continues to be one of his most popular books ever.A glorious reverberation of a time when change was reaching a crescendo and yet hope and renewal were always to be found, The Piano Man's Daughter is the story of Lily Kilworth and her son Charlie, a young piano tuner, who must find answers to the questions that define his life. Who was his father? And, given the swirl of madness enveloping his mother, does he dare become a father himself? Set at the turn of the century and inspired by the history of Findley's own mother's family, this is a remarkable novel that sings with love and loss, a wonderful burst of reading pleasure.

Just before the outbreak of the Second World War, a young piano tuner, Charlie Kilworth, faces two enigmatic questions: Who was his father? And, does he dare become a father himself, knowing that madness consumed his mother? A loving and magical tale, The Piano Man’s Daughter is a classic work by one of Canada’s most beloved writers.

Ripostes is a collection of essays on some salient features of the Canadian literary landscape, a number of which were first published in the Toronto Star, many of which appear in these pages for the first time. Included are essays on Atwood, Findley, Ondaatje and Margaret Laurence, as well as thematic explorations of Canadian literature such as an account of the demise of the Survival school of Canadian writing, a look at the recent history of the Writers' Union of Canada, an examination of the role of fathers in Canadian fiction, a study of the strange attraction of many of our writers to the occult, and so on. The tone is considered, and critical rather than celebratory, although the essays are respectful of the genuine achievements of Canadian literature in the past few decades. They try to clear the air, as it were, of boosterism, political correctness, and other attitudes which hinder the appreciation and reception of good writing. This is an honest re-appraisal of Canadian literature, undertaken at a time when we need no longer be overcome with relief and euphoria over the fact that some of our authors are now world famous, or at least world famous in Hoboken, New Jersey.

Timothy Findley (1930-2002) was one of Canada’s foremost writers—an award-winning novelist, playwright, and short-story writer who began his career as an actor in London, England. Findley was instrumental in the development of Canadian literature and publishing in the 1970s and 80s. During those years, he became a vocal advocate for human rights and the anti-war movement. His writing and interviews reveal a man concerned with the state of the world, a man who believed in the importance of not giving in to despair, despite his constant struggle with depression. Findley believed in the power of imagination and creativity to save us. Tiff: A Life of Timothy Findley is the first full biography of this eminent Canadian writer. Sherrill Grace provides insight into Findley’s life and struggles through an exploration of his private journals and his relationships with family, his beloved partner, Bill Whitehead, and his close friends, including Alec Guinness, William Hutt, and Margaret Laurence. Based on many interviews and exhaustive archival research, this biography explores Findley’s life and work, the issues that consumed him, and his often profound depression over the evils of the twentieth-century. Shining through his darkness are Findley’s generous humour, his unforgettable characters, and his hope for the future. These qualities inform canonic works like The Wars (1977), Famous Last Words (1981), Not Wanted on the Voyage (1984), and The Piano Man’s Daughter (1995).

"A black blacksmith from Alabama decides to make a name for himself through hard work, thrift and the relentless acquisition of land in Atlanta, Georgia. He has a loving and mutually supportive relationship with his wife Bira, five beautiful daughters and one son who is handicapped. The household is run according to a strict discipline and timetable, everyone to her or his task. As the daughters grow up, the blacksmith is most particular as to who they consort with and in which order they will eventually marry. Suitors must be educated and on their way to acquiring wealth in order to assure the blacksmith that his daughters will be appropriately provided for in the future. Then along comes the Piano Man who has been brought up principally in the North and in Europe, who is circumspect and sophisticated, and who is dazzling at the piano and in appearance. Furthermore, he is about to become a professor of music at the local university. This man is a catch worthy of one of the blacksmith's daughters - of Minnelsa, the eldest - or so the blacksmith decides. Then June, the rebellious youngest daughter has already determined otherwise. She has seen the Piano Man playing in the dive in the forest and this man is for her. To clinch the deal, the blacksmith tells the Piano Man that if he marries Minnelsa, he will be given a house and 50 acres of land as a dowry. For the previously itinerant Piano Man, this represents a grand settling down indeed. However, the strikingly attractive and musical June has other ideas."--Publisher's website.

Double-Voicing the Canadian Short Story is the first comparative study of eight internationally and nationally acclaimed writers of short fiction: Sandra Birdsell, Timothy Findley, Jack Hodgins, Thomas King, Alistair MacLeod, Olive Senior, Carol Shields and Guy Vanderhaeghe. With the 2013 Nobel Prize for Literature going to Alice Munro, the “master of the contemporary short story,” this art form is receiving the recognition that has been its due and—as this book demonstrates—Canadian writers have long excelled in it. From theme to choice of narrative perspective, from emphasis on irony, satire and parody to uncovering the multiple layers that make up contemporary Canadian English, the short story provides a powerful vehicle for a distinctively Canadian “double-voicing”. The stories discussed here are compelling reflections on our most intimate roles and relationships and Kruk offers a thoughtful juxtaposition of themes of gender, mothers and sons, family storytelling, otherness in Canada and the politics of identity to name but a few. As a multi-author study, Double-Voicing the Canadian Short Story is broad in scope and its readings are valuable to Canadian literature as a whole, making the book of interest to students of Canadian literature or the short story, and to readers of both.