Writing In Our Time

In Our Time is the title of Ernest Hemingway's first collection of short stories, published in 1925 by Boni & Liveright, New York, and of a collection of vignettes published in 1924 in France titled in our time. Its title is derived from the English Book of Common Prayer, "Give peace in our time, O Lord". The stories's themes – of alienation, loss, grief, separation – continue the work Hemingway began with the vignettes, which include descriptions of acts of war, bullfighting and current events. The collection is known for its spare language and oblique depiction of emotion, through a style known as Hemingway's "theory of omission" (iceberg theory). According to his biographer Michael Reynolds, among Hemingway's canon, "none is more confusing ... for its several parts – biographical, literary, editorial, and bibliographical – contain so many contradictions that any analysis will be flawed."

Process poetics is about radical poetry — poetry that challenges dominant world views, values, and aesthetic practices with its use of unconventional punctuation, interrupted syntax, variable subject positions, repetition, fragmentation, and disjunction. To trace the aesthetically and politically radical poetries in English Canada since the 1960s, Pauline Butling and Susan Rudy begin with the “upstart” poets published in Vancouver’s TISH: A Poetry Newsletter, and follow the trajectory of process poetics in its national and international manifestations through the 1980s and ’90s. The poetics explored include the works of Nicole Brossard, Daphne Martlatt, bpNichol, George Bowering, Roy Kiyooka, and Frank Davey in the 1960s and ’70s. For the 1980-2000 period, the authors include essays on Jeff Derksen, Clare Harris, Erin Mour, and Lisa Robertson. They also look at books by older authors published after 1979, including Robin Blaser, Robert Kroetsch, and Fred Wah. A historiography of the radical poets, and a roster of the little magazines, small press publishers, literary festivals, and other such sites that have sustained poetic experimentation, provide context.

Just as authors create books, books create authors — and these essays by thirty-one writers for young people offer a fascinating glimpse at the books that inspired them the most. What if you could look inside your favorite authors’ heads and see the book that led them to become who they are today? What was the book that made them fall in love, or made them understand something for the first time? What was the book that made them feel challenged in ways they never knew they could be, emotionally, intellectually, or politically? What book made them readers, or made them writers, or made them laugh, think, or cry? Join thirty-one top children’s and young adult authors as they explore the books, stories, and experiences that changed them as readers — for good. Some of the contributors include: Ambelin Kwaymullina Mal Peet Shaun Tan Markus Zusak Randa Abdel-Fattah Alison Croggon Ursula Dubosarsky Simon French Jaclyn Moriarty

George Orwell set out ‘to make political writing into an art’, and to a wide extent this aim shaped the future of English literature – his descriptions of authoritarian regimes helped to form a new vocabulary that is fundamental to understanding totalitarianism. While 1984 and Animal Farm are amongst the most popular classic novels in the English language, this new series of Orwell’s essays seeks to bring a wider selection of his writing on politics and literature to a new readership. In Why I Write, the first in the Orwell’s Essays series, Orwell describes his journey to becoming a writer, and his movement from writing poems to short stories to the essays, fiction and non-fiction we remember him for. He also discusses what he sees as the ‘four great motives for writing’ – ‘sheer egoism’, ‘aesthetic enthusiasm’, ‘historical impulse’ and ‘political purpose’ – and considers the importance of keeping these in balance. Why I Write is a unique opportunity to look into Orwell’s mind, and it grants the reader an entirely different vantage point from which to consider the rest of the great writer’s oeuvre. 'A writer who can – and must – be rediscovered with every age.' — Irish Times

From John Berger, the Booker Prize-winning author of G., A Painter of Our Time is at once a gripping intellectual and moral detective story and a book whose aesthetic insights make it a companion piece to Berger's great works of art criticism. The year is 1956. Soviet tanks are rolling into Budapest. In London, an expatriate Hungarian painter named Janos Lavin has disappeared following a triumphant one-man show at a fashionable gallery. Where has he gone? Why has he gone? The only clues may lie in the diary, written in Hungarian, that Lavin has left behind in his studio. With uncanny understanding, John Berger has written oneo f hte most convincing portraits of a painter in modern literature, a revelation of art and exile.

THE TIME OF OUR TIME is a selection of Mailer's best work, chosen by Mailer himself, and ingeniously arranged as a literary retrospective. It is a masterly, boisterous portrait of our times, seen through the fiction and reportage of a great writer. Included are passages from THE NAKED AND THE DEAD, THE ARMIES OF THE NIGHT and THE EXECUTIONER'S SONG, as well as many of his other works and his best-known magazine pieces from Marilyn Monroe to Madonna. This giant omnibus is a testament to Mailer's enormous energies, his vast curiosity, and his amazing talent and amounts almost to a self-chosen literary 'autobiography'.

A New York Times Editor's Choice 1924. George Mallory is arguably the last great British explorer, having twice tried—and failed—to conquer Mount Everest. The mountain has haunted him, but his attempts have captivated the hearts of a nation desperate to restore its former glory after World War I. Yet George has sworn to his wife, Ruth, that he will not mount a third attempt. He will remain with her and their three children instead of again challenging the unreachable peak. Then, one afternoon, Ruth reads a telegram addressed to George: “Glad to have you aboard again.” And with this one sentence, the lives of the Mallorys, and the face of the nation, are irrevocably changed. A beautifully rendered story about the need for redemption and the quest for glory, Above All Things is a captivating blend of historical fact and imaginative fiction. It is a heartbreaking tale of obsession, sacrifice, and what we do for love and honor.

SHORTLISTED FOR THE 2017 MAN BOOKER PRIZE A NEW YORK TIMES AND GUARDIAN BEST BOOK OF 2017 Autumn. Season of mists and mellow fruitfulness. That’s what it felt like for Keats in 1819. How about Autumn 2016? Daniel is a century old. Elisabeth, born in 1984, has her eye on the future. The United Kingdon is in pieces, divided by a historic, once-in-a-generation summer. Love is won, love is lost. Hope is hand-in-hand with hopelessness. The seasons roll round, as ever. Ali Smith’s new novel is a meditation on a world growing ever more bordered and exclusive, on what richness and worth are, on what harvest means. It is the first installment of her Seasonal quartet—four stand-alone books, seperate yet interconnected and cyclical (as the seasons are)—and it casts an eye over our own time. Who are we? What are we made of? Shakespearean jeu d’esprit, Keatsian melancholy, the sheer bright energy of 1960s pop art: the centuries cast their eyes over our own history making. Here’s where we’re living. Here’s time at its more contemporaneous and its most cyclic. From the imagination of the peerless Ali Smith comes a shape-shifting series, wide-ranging in time-scale and light-footed through histories, a story about aging and time and love and stories themselves.