With the author's characteristic eloquence and honesty, I Hope We Choose Love proposes heartfelt solutions on the topics of violence, complicity, family, vengeance, and forgiveness. Taking its cues from contemporary thought leaders in the transformative justice movement such as adrienne maree brown and Leah Lakshmi Piepzna-Samarasinha, this provocative book is a call for nuance in a time of political polarization, for healing in a time of justice, and for love in an apocalypse.

    For the first time, his story is told in Brett Morgen’s Kurt Cobain: Montage of Heck, a fully authorized feature documentary released in 2015. Brett Morgen is writer, director, and producer of Kurt Cobain: Montage of Heck. Visual artist Frances Bean Cobain, Cobain’s daughter, is executive producer. This riveting book accompanies Morgen’s documentary and delve further into the material created for the film, presenting an illuminating and honest portrait of the Nirvana frontman that captures the contradictions that made up his character. The book is composed of the extended versions of the exclusive interviews featured in the film. The book also showcases the film’s incredible visuals with a mixture of animation stills, rare photography, and other treasures from Kurt Cobain’s personal archive. Director Brett Morgen also offers his personal thoughts on the creation of the film and the need to shatter the mythos that surrounds Cobain.

    Though it sold miserably, the record made music history by documenting a burgeoning regional sound, the raw fusion of heavy metal and punk rock that we now know as grunge. But it wasn’t until five years later, with the seemingly overnight success of Nirvana’s “Smells Like Teen Spirit,” that grunge became a household word and Seattle ground zero for the nineties alternative-rock explosion.Everybody Loves Our Town captures the grunge era in the words of the musicians, producers, managers, record executives, video directors, photographers, journalists, publicists, club owners, roadies, scenesters and hangers-on who lived through it. The book tells the whole story: from the founding of the Deep Six bands to the worldwide success of grunge’s big four (Nirvana, Pearl Jam, Soundgarden and Alice in Chains); from the rise of Seattle’s cash-poor, hype-rich indie label Sub Pop to the major-label feeding frenzy that overtook the Pacific Northwest; from the simple joys of making noise at basement parties and tiny rock clubs to the tragic, lonely deaths of superstars Kurt Cobain and Layne Staley.Drawn from more than 250 new interviews—with members of Nirvana, Pearl Jam, Soundgarden, Alice in Chains, Screaming Trees, Hole, Melvins, Mudhoney, Green River, Mother Love Bone, Temple of the Dog, Mad Season, L7, Babes in Toyland, 7 Year Bitch, TAD, the U-Men, Candlebox and many more — and featuring previously untold stories and never-before-published photographs, Everybody Loves Our Town is at once a moving, funny, lurid, and hugely insightful portrait of an extraordinary musical era.

    And, of course, there's her mother - whether she's writing another ingratiating letter to the Queen or referring to Tom Jones as 'Thumb Jone'.But Zaiba's story is also one of anxiety and seemingly irreconcilable opposites. Growing up she is constantly torn between two identities: 'British' and 'Muslim'. Alienated at school and confused at home, the racism she encounters as a child mirrors the horrors she experiences at the hands of Bangladeshi interrogators as a journalist years later.Five years after the 7/7 attacks galvanized debates about Muslim-British identity, We Are A Muslim, Please is a stirring and enchanting memoir. We see, through Zaiba's childhood eyes, the poignancy of growing up in a world whose prejudices, contradictions and ambiguities are at once distressing and utterly captivating.

    She loves houses: viewing them, negotiating their price, dreaming up interior plans, hiring tradespeople to do the work and overseeing renovations. She loves houses so much that she’s moved thirty-two times.There are good reasons for her latest house move, but after viewing sixty homes, Jane and her husband succumb to the emotional fatigue of an overheated English housing market and buy a wreck in the town of Bristol that is overpriced, will require more money to renovate than they have and that neither of them particularly like.As Jane’s nightmare renovation begins, her mind returns to the Canadian homes where she grew up with parents who moved and renovated constantly around the Toronto area. Suddenly, the protective seal is blown off Jane’s memory of a strict and peripatetic childhood and its ancillary damage—lost friends, divorces, suicide attempts—and the past threatens to shake the foundations of her marriage. This latest renovation dredges a deeper current of memory, causing Jane to question whether in renovating a house she is in fact attempting to renovate her past.With humour and irreverence, Open House reveals that what we think we gain by constantly moving house actually obscures the precious and vital parts of our lives that we leave behind.This is a memoir that will appeal to anyone whose pulse quickens at the mere mention of real estate.

    Spontaneous and frank, they are unusual for their narrative interest: Montgomery's gifts as a storyteller are as much evidence here as in her novels.This first volume of the immensely successful Selected Journals of L.M. Montgomery launched in 1985, takes Montgomery to 1910, the year before her marriage, when she left Prince Edward Island. The autobiographical content will fascinate every devoted reader of the Anne books. But the Montgomery journals are especially interesting because they provide a unique social history and the privilege of viewing closely the life of a remarkable woman. Comprising perhaps the most vivid and detailed memoir in Canadian letters, the journals join Anne of Green Gables in ensuring Montgomery's lasting place in Canadian literature. This volume is a rich and engrossing prelude to the whole.

    Nearly two decades on, though, Aaron "Gene Ween" Freeman and Mickey "Dean Ween" Melchiondo preside over one of the most devoted cult fan bases in American music. So how exactly did Ween manage to transcend joke-band oblivion?One answer is that, in the years following their MTV breakthrough, Ween gradually polished their output, turning their staunchly primitive musical sketches into hi-fi paintings. Chocolate and Cheese, released in 1994, marked Freeman and Melchiondo's first crucial steps in this direction. Based on new, in-depth interviews with both members of Ween, as well as producer Andrew Weiss and associates ranging from Josh Homme (Queens of the Stone Age) to Spike Jonze, this book explores the song-by-song creation of Chocolate and Cheese and how the album served as a bridge between Ween's original two-guys-and-a-4-track incarnation and the rich, virtuosic rock & roll force they would later become.

    How can such sublime work have been produced by a man who (when we can discern his personality at all) seems so ordinary, so opaque—and occasionally so intemperate? John Eliot Gardiner grew up passing one of the only two authentic portraits of Bach every morning and evening on the stairs of his parents’ house, where it hung for safety during World War II. He has been studying and performing Bach ever since, and is now regarded as one of the composer’s greatest living interpreters. The fruits of this lifetime’s immersion are distilled in this remarkable book, grounded in the most recent Bach scholarship but moving far beyond it, and explaining in wonderful detail the ideas on which Bach drew, how he worked, how his music is constructed, how it achieves its effects—and what it can tell us about Bach the man. Gardiner’s background as a historian has encouraged him to search for ways in which scholarship and performance can cooperate and fruitfully coalesce. This has entailed piecing together the few biographical shards, scrutinizing the music, and watching for those instances when Bach’s personality seems to penetrate the fabric of his notation. Gardiner’s aim is “to give the reader a sense of inhabiting the same experiences and sensations that Bach might have had in the act of music-making. This, I try to show, can help us arrive at a more human likeness discernible in the closely related processes of composing and performing his music.” It is very rare that such an accomplished performer of music should also be a considerable writer and thinker about it. John Eliot Gardiner takes us as deeply into Bach’s works and mind as perhaps words can. The result is a unique book about one of the greatest of all creative artists.

    As in his first trip with Alberto Granado, this second journey was an encounter with the roots of indigenous America, with the incipient people’s movements and all the beauty and suffering of a continent oppressed for centuries.“The name of the sidekick has changed from Alberto to Calica, but the trip is the same: two free-spirits spanning out over South America without knowing exactly what they're looking for or which way is north,” wrote Guevara in his travel diary.The two friends explore Bolivia, Perú and Ecuador, alternating their enthusiasm for travel and youthful antics with revealing discoveries about social and political reality in Latin America, in the end turning the trip into a profound journey of self-discovery that would change them forever.The book presents previously unpublished photos from Calica’s personal album that portray the childhood and youth of the two friends in the town of Alta Gracia in the Province of Córdoba, Argentina, as well as their trip together.Alberto Granado, friend of both Ernesto and Calica, prologues the book and finishes with these words:“Thank you, Calica, for having brought this breath of fresh air and showing us our friend just as he was, is and always will be: a man of flesh and blood.”

    Drawing on new interviews with key figures in the Grohl story, this definitive biography includes the stories of the 2007 multi-platinum opus Echoes, Silence, Patience & Grace, 2011’s Wasting Light, which saw Grohl reunited with Nirvana producer Butch Vig, and Sonic Highways, their homage to classic rock.

    Her subjects range from shaving her knuckles in grade school, to a shopping trip gone horribly awry, to dealing with internet trolls, to feeling out of place at an Indian wedding (as an Indian woman), to parsing the trajectory of fears and anxieties that pressed upon her immigrant parents and bled down a generation. Alongside these personal stories are pointed observations about life as a woman of colour, where every aspect of her appearance is open for critique, derision or outright scorn. Where strict gender rules bind in both Western and Indian cultures, forcing her to confront questions about gender dynamics, racial tensions, ethnic stereotypes and her father's creeping mortality--all as she tries to find her feet in the world.

    At age thirteen, he is mentally and developmentally between one and three years old and will need constant care for the rest of his life. Brown travels the globe, meeting with genetic scientists and neurologists as well as parents, to solve the questions Walker’s doctors can’t answer. In his journey, he offers an insightful critique of society’s assumptions about the disabled, and he discovers a connected community of families living with this illness. As Brown gradually lets go of his self-blame and hope for a cure, he learns to accept the Walker he loves, just as he is. Honest, intelligent, and deeply moving, The Boy in the Moon explores the value of a single human life.

    A father, mother and son convicted of murder. The shocking truth about the “ honourless crime” that stunned a nation.On the morning of June 30, 2009, police in a small eastern Ontario city made a ghastly discovery: four females dead in a car submerged in a shallow canal. Sisters Zainab Shafia, 19, Sahar Shafia, 17, Geeti Shafia, 13, and Rona Mohammad Amir, 50, floated serenely inside the car, seemingly the victims of a terrible accident. That morning, Mohammad Shafia, his wife Tooba and their son, Hamed, arrived at the Kingston police station to report the four missing. In a sweeping covert investigation that spanned three continents, police uncovered layers of lies in the Shafias’ story and they developed a horrifying theory: Zainab, Sahar, Geeti and Rona had been the victims of a meticulously plotted family murder � Canada’ s first mass honour killing.In Without Honour, award-winning journalist Rob Tripp draws on three years of exhaustive research and exclusive interviews to make sense of a senseless crime in a way no other writer could. His unprecedented access tells a story beyond anything the jury heard: a story about a patriarch who fled war and strife in Afghanistan but who did not leave behind his devotion to repressive tradition. Tripp was the first journalist on the scene as the news broke and the only reporter to attend every day of court sessions, through to the convictions of Shafia, Tooba and Hamed on four counts each of first-degree murder, fuelled by what Ontario Superior Court Judge Robert Maranger called a “ twisted notion of honour.” In this gripping and compassionate account, Tripp reveals the heartbreaking and stunning truth about the desperate lives of four women who died in the pursuit of freedom.

    Curious about what had prompted a young urban artist to suddenly embrace nature she decided to follow him for a year to find out.Observing two artists through seasonal shifts and migrations, Birds Art Life celebrates the particular madness of chasing after birds in a big city, and explores what happens when the principles of birdwatching are applied to other aspects of art and life. It looks at the ecology of urban spaces and the creative and liberating effects of keeping your eyes and ears wide open. Far from seeking the exotic, Kyo discovers joy in the birds she spots in city parks and harbours, along eaves and on wires. In a world that values big and fast, Kyo begins to look to the small, steady, slow accumulations of knowledge, and the lulls that give way to contemplation.Moving between the granular and the grand, peering into the inner landscape as much as the outer one, Birds Art Life asks how we are shaped and nurtured by our passions, and how we might come to love and protect not only the world’s natural places but also the challenging urban spaces where so many of us live.

    An enlarged edition, including thirty pages of illustrations (sculpture and drawings) as well as Pound's later pieces on Gaudier, was brought out in 1970, and is now re-issued as an ND Paperbook. The memoir is valuable both for the history of modern art and for what it shows us of Pound himself, his ability to recognize genius in others and then to publicize it effectively. Would there today be a Salle Gaudier-Brzeska in the Musée de L'Art Moderne in Paris if Pound had not championed him? Gaudier's talent was impressive and his Vorticist aesthetic important as theory, but he was killed in World War I at the age of twenty-three, leaving only a small body of work. Pound knew Gaudier in London, where the young artist had come with his companion, the Polish-born Sophie Brzeska. whose name he added to his own. They were living in poverty when Pound bought Gaudier the stone from which the famous "hieratic head" of the poet was made. Pound arranged exhibitions and for the publication of Gaudier's manifestoes in Blast and The Egoist. And he wrote and sent packages to him in the trenches, where Gaudier––a sculptor to the last––carved a madonna and child from the butt of a captured German rifle, just two days before he died.