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Cahiers-Papers 53-1
The Giller Prize (1994–2004) and Scotiabank Giller Prize (2005–2014): A Bibliography Andrew David Irvine* For the price of a meal in this town you can buy all the books. Eat at home and buy the books. Jack Rabinovitch1 Founded in 1994 by Jack Rabinovitch, the Giller Prize was established to honour Rabinovitch’s late wife, the journalist Doris Giller, who had died from cancer a year earlier.2 Since its inception, the prize has served to recognize excellence in Canadian English-language fiction, including both novels and short stories. Initially the award was endowed to provide an annual cash prize of $25,000.3 In 2005, the Giller Prize partnered with Scotiabank to create the Scotiabank Giller Prize. Under the new arrangement, the annual purse doubled in size to $50,000, with $40,000 going to the winner and $2,500 going to each of four additional finalists.4 Beginning in 2008, $50,000 was given to the winner and $5,000 * Andrew Irvine holds the position of Professor and Head of Economics, Philosophy and Political Science at the University of British Columbia, Okanagan. Errata may be sent to the author at [email protected]. 1 Quoted in Deborah Dundas, “Giller Prize shortlist ‘so good,’ it expands to six,” 6 October 2014, accessed 17 September 2015, www.thestar.com/entertainment/ books/2014/10/06/giller_prize_2014_shortlist_announced.html. 2 “The Giller Prize Story: An Oral History: Part One,” 8 October 2013, accessed 11 November 2014, www.quillandquire.com/awards/2013/10/08/the-giller- prize-story-an-oral-history-part-one; cf. -
Hunger Makes Me a Modern Girl: a Memoir Free
FREE HUNGER MAKES ME A MODERN GIRL: A MEMOIR PDF Carrie Brownstein | 256 pages | 05 Nov 2015 | Little, Brown Book Group | 9780349007922 | English | London, United Kingdom Hunger Makes Me a Modern Girl by Carrie Brownstein: | : Books Look Inside. Oct 27, Minutes Buy. Before Carrie Brownstein became a music icon, she was a young girl growing up in the Pacific Northwest just as it was becoming the setting for one the most important movements in rock history. Seeking a sense of home and identity, she would discover both while moving from spectator to creator in experiencing the power and mystery of a live performance. With Sleater-Kinney, Brownstein and her bandmates rose to prominence in the burgeoning underground feminist punk-rock movement that would define music and pop culture in the s. With deft, lucid prose Brownstein proves herself as formidable on the page as on the stage. That quality has become obvious over the course of eight albums with bandmates Corin Tucker and Janet Weiss… and now in her refreshingly forthright new memoir, Hunger Makes Me a Modern Girl. Instead, she candidly recounts the panic attacks and stress-induced shingles she experienced on tour. More important, it shows how compelling she is when she opens up. She carries a lot of humor and gentle self-deprecation throughout the work. For Carrie Brownstein, who grew up in the Riot Grrrl movement in the Pacific Northwest, they did: She started out playing in countless punk bands until settling on one with her BFF and romantic partner, Corin Tucker, which they eventually turned into the best rock band of all time, Sleater-Kinney. -
Words and Guitar
# 2021/24 dschungel https://jungle.world/artikel/2021/24/words-and-guitar Ein Rückblick auf die Diskographie von Sleater-Kinney Words and Guitar Von Dierk Saathoff Vojin Saša Vukadinović Zehn Alben haben Sleater-Kinney in den 27 Jahren seit ihrer Gründung aufgenommen, von denen das zehnte, »Path of Wellness«, kürzlich erschienen ist. Ein Rückblick auf die Diskographie der wohl besten Band der Welt. »Sleater-Kinney« (LP: Villa Villakula, CD: Chainsaw Records, 1995) 1995 spielten die beiden Gitarristinnen Corin Tucker und Carrie Brownstein erst seit einem Jahr unter dem Namen Sleater-Kinney, waren nach Misty Farrell und Stephen O’Neil (The Cannanes) aber bereits bei der dritten Besetzung am Schlagzeug angelangt, der schottisch-australischen Indie-Musikerin Lora MacFarlane. Nach einer frechen Single und Compilation-Tracks auf Tinuviel Sampsons feministischem Label Villa Villakula erschien dort das Vinyl vom Debütalbum, die CD-Version aber auf Donna Dreschs Queercore-Label Chainsaw. Selten klang Angst durchdringender als auf diesem derben wie dunklen Erstlingswerk, das mit zehn Liedern in weniger als 23 Minuten aufwartet. Corin Tucker kreischt sich die Seele aus dem Leib und Carrie Brownsteins Schreien auf »The Last Song« stellt mit Leichtigkeit ganze Karrieren mediokrer männlicher Hardcore-Bands in den Schatten. Mit Sicherheit nicht nur das unterschätzteste Album der Bandgeschichte, sondern des Punk in den neunziger Jahren überhaupt. »Call the Doctor« (Chainsaw Records, 1996) Album Nummer zwei zeigte eine enorme musikalische Weiterentwicklung. »Call the Doctor« ist das streckenweise intelligenteste Album von Sleater-Kinney, das sich einerseits vor der avancierten Musikszene im Nordwesten der USA verneigte, in der die Band entstanden war (Olympia, Washington), zugleich aber äußerst eigenständig vorwärtspreschte und bei allem Zorn auf die Ausprägungen misogyner Kultur Anflüge von Zärtlichkeit nicht scheute: Selten wurde Unsicherheit so ehrlich vorgetragen wie auf »Heart Attack«. -
Allison Wolfe Interviewed by John Davis Los Angeles, California June 15, 2017 0:00:00 to 0:38:33
Allison Wolfe Interviewed by John Davis Los Angeles, California June 15, 2017 0:00:00 to 0:38:33 ________________________________________________________________________ 0:00:00 Davis: Today is June 15th, 2017. My name is John Davis. I’m the performing arts metadata archivist at the University of Maryland, speaking to Allison Wolfe. Wolfe: Are you sure it’s the 15th? Davis: Isn’t it? Yes, confirmed. Wolfe: What!? Davis: June 15th… Wolfe: OK. Davis: 2017. Wolfe: Here I am… Davis: Your plans for the rest of the day might have changed. Wolfe: [laugh] Davis: I’m doing research on fanzines, particularly D.C. fanzines. When I think of you and your connection to fanzines, I think of Girl Germs, which as far as I understand, you worked on before you moved to D.C. Is that correct? Wolfe: Yeah. I think the way I started doing fanzines was when I was living in Oregon—in Eugene, Oregon—that’s where I went to undergrad, at least for the first two years. So I went off there like 1989-’90. And I was there also the year ’90-’91. Something like that. For two years. And I met Molly Neuman in the dorms. She was my neighbor. And we later formed the band Bratmobile. But before we really had a band going, we actually started doing a fanzine. And even though I think we named the band Bratmobile as one of our earliest things, it just was a band in theory for a long time first. But we wanted to start being expressive about our opinions and having more of a voice for girls in music, or women in music, for ourselves, but also just for things that we were into. -
ELLIE GOULDING Corin Tucker Band
SEPTEMBER/OCTOBER 2012 ISSUE MMUSICMAG.COM SPOTLIGHT Chris Crisman John Clark CORIN TUCKER BAND The indie rocker chooses musical Seth Lorinczi, Sara Lund, democracy for her new album Corin Tucker, Mike Clark AFTER WRITING ALL THE SONGS Despite the group effort, Kill My working parent, she’s searching for balance on her 2010 solo debut, 1,000 Years, Blues is still defined by Tucker’s voice and between job and family. “That perspective Corin Tucker took a more collaborative her perspective. Backed by volatile riffs comes through on certain songs,” she approach on her latest. Kill My Blues and hooky melodies, she sounds more explains. “‘Constance’ is definitely a song was very much a team effort, as Tucker assured than on her previous release. about being a parent and watching your and her backing musicians jammed out “Making a record after Sleater-Kinney was children grow up and move on. The whole the tunes in their rehearsal space. “We hard,” she says. “It was a real emotional record is really about moving on, and how needed to open more doors for the band challenge.” Having locked in a sense of good that is, and how hard that is.” to evolve,” Tucker says. “That meant writing confidence, Tucker drew inspiration from Not all the tunes are autobiographical. all the songs together and not having it be recent social and political developments with Tucker’s coy about which ones are about just my solo project.” the women’s movement, and from stories her, but whatever their origin the singer Tucker, 39, spent a dozen years writing from her own life and those around her. -
Longlisted & Shortlisted Books 1994-2018
Longlisted & Shortlisted Books 1994-2018 www.scotiabankgillerprize.ca # The Boys in the Trees, Mary Swan – 2008 13 Ways of Looking at a Fat Girl, Mona Awad - 2016 Brother, David Chariandy – 2017 419, Will Ferguson - 2012 Burridge Unbound, Alan Cumyn – 2000 By Gaslight, Steven Price – 2016 A A Beauty, Connie Gault – 2015 C A Complicated Kindness, Miriam Toews – 2004 Casino and Other Stories, Bonnie Burnard – 1994 A Fine Balance, Rohinton Mistry – 1995 Cataract City, Craig Davidson – 2013 The Age of Longing, Richard B. Wright – 1995 The Cat’s Table, Michael Ondaatje – 2011 A Good House, Bonnie Burnard – 1999 Caught, Lisa Moore – 2013 A Good Man, Guy Vanderhaeghe – 2011 The Cellist of Sarajevo, Steven Galloway – 2008 Alias Grace, Margaret Atwood – 1996 Cereus Blooms at Night, Shani Mootoo – 1997 Alligator, Lisa Moore – 2005 Childhood, André Alexis – 1998 All My Puny Sorrows, Miriam Toews – 2014 Cities of Refuge, Michael Helm – 2010 All That Matters, Wayson Choy – 2004 Clara Callan, Richard B. Wright – 2001 All True Not a Lie in it, Alix Hawley – 2015 Close to Hugh, Mariana Endicott - 2015 American Innovations, Rivka Galchen – 2014 Cockroach, Rawi Hage – 2008 Am I Disturbing You?, Anne Hébert, translated by The Colony of Unrequited Dreams, Wayne Johnston – Sheila Fischman – 1999 1998 Anil’s Ghost, Michael Ondaatje – 2000 The Colour of Lightning, Paulette Jiles – 2009 Annabel, Kathleen Winter – 2010 Conceit, Mary Novik – 2007 An Ocean of Minutes, Thea Lim – 2018 Confidence, Russell Smith – 2015 The Antagonist, Lynn Coady – 2011 Cool Water, Dianne Warren – 2010 The Architects Are Here, Michael Winter – 2007 The Crooked Maid, Dan Vyleta – 2013 A Recipe for Bees, Gail Anderson-Dargatz – 1998 The Cure for Death by Lightning, Gail Arvida, Samuel Archibald, translated by Donald Anderson-Dargatz – 1996 Winkler – 2015 Curiosity, Joan Thomas – 2010 A Secret Between Us, Daniel Poliquin, translated by The Custodian of Paradise, Wayne Johnston – 2006 Donald Winkler – 2007 The Assassin’s Song, M.G. -
Melophobe Months 2012 Music Reviews
Melophobe Months 2012 Music Reviews Walter Biggins This is issue #6 of Afronaut. Published by Afronaut Press, February 2013. Text and design © 2013 Walter Biggins. The following issues are available at Quiet Bubble (http://quietbubble.wordpress.com/zines/): Demo Tapes: Essays by Walter Biggins, 2005-2010 (issues #4 & 5, May 2011). A Tribute to Whitney Balliett (issue #3, October 2010). The Patter of Raindrops: The Wonderful Worlds of Hayao Miyazaki (issue #2, February 2010). Letters to Mr. Konigsberg (issue #1, October 2009). Muñeco: A 24-Hour Comic (issue #0, November 2000). For more information, please contact me at [email protected] or check out my blog: quietbubble.wordpress.com. Introduction. Something’s happened to me over the last five years. I listen to, and trust, pop music far less than I did in my twenties, and the pop that I still listen to is radically different than what I grew up with. My ears cock, like a cat’s, more toward jazz, avant-garde, and instrumental hip-hop now than to the rock, rap, R&B, and beat-driven fare that sustained me for twenty years. To be fair, jazz was always there, ever since I bought a $20 CD of Miles Davis’s Capitol/Blue Note years in a cold January morning in 1994. I bought it from Sound Warehouse, a chain that’s long gone, because the cover was cool and Davis—with his close-cropped hair and natty suit—looked cooler than I could ever hope for. It was a sophistication to aspire toward, and to try and impress girls with. -
Mavis Gallant F Ancine P Ose Damon Galgut Aleksanda
Brick celebrates Mavis Gallant, with contributions from Michael Helm, Francine Prose, Alison Harris, Michael Ondaatje, and Nadia Szilvassy & Tara Quinn. A LITERARY JOURNAL Aleksandar Hemon talks to Eleanor Wachtel Obi Nwakanma in conversation with Madeleine Thien Grant Buday on Thomas De Quincey Damon Galgut on E. M. Forster Andrew H. Miller watches The Clock The watch continues to tick where the story stops. — stops. story the where tick continues to The watch permanence. grief without are the look, The lie, the David L. Ulin traces our expressions Myrna Kostash searches for Eliza McLean William Everson meets Theodore Dreiser ichard Sanger says goodbye to Seamus Heaney Tara Quinn follows Leonard Woolf to Sri Lanka Jim Harrison misses Paris A dispatch from Siberia by Sean Michaels A ri on Tolstoy by Jessica Michalofsky Amitava Kumar’s train stories Mark Marczyk’s notes from Ukraine Mavis Gallant Mavis Poems by Jan Zwicky and Sharon Olds Photograph of Mavis Gallant by Alison Harris. eviews by Laurie D Graham, John McIntyre, $. and ebecca Silver Slayter MAVIS GALLANT FANCINE POSE DAMON GALGUT And Zachary Lazar on Angola Prison’s Passion Play, ALEKSANDA HEMON SHAON OLDS ZACHAY LAZA with photographs by Deborah Luster £. DEBOAH LUSTE MICHAEL HELM OBI NWAKANMA JIM HAISON MADELEINE THIEN JAN ZWICKY The New Brick Reader Summer Special A Brick subscription plus The New Brick Reader — only $55* Subscribe, Renew, or Give! Visit BrickMag.com and click on “The New Brick Reader Summer Deal.” *plus shipping for the Reader Offer expires August -
The Appropriation and Packaging of Riot Grrrl Politics by Mainstream Female Musicians
Popular Music and Society, Vol. 26, No. 1, 2003 “A Little Too Ironic”: The Appropriation and Packaging of Riot Grrrl Politics by Mainstream Female Musicians Kristen Schilt “RIOT GIRL IS: BECAUSE I believe with my wholeheartmindbody that girls constitute a revolutionary soul force that can, and will, change the world for real” (“Riot Grrrl Is” 44) “Girl power!” (Spice Girls) Introduction Female rock musicians have had difficulty making it in the predominantly white male rock world. Joanne Gottlieb and Gayle Wald note that women’s participation in rock music usually consists of bolstering male performance, in the roles of groupie, girlfriend, or back-up singer (257). Even in punk rock, women are often treated as a novelty by the music press and cultural critics. Male bands such as the Sex Pistols and the Damned achieve rock notoriety while their female counterparts, like the Slits and the Raincoats, sink into obscurity. However, 1995 saw an explosion in the music press about a new group of female musicians: the angry women. Hailed in popular magazines for blending feminism and rock music, Alanis Morissette topped the charts in 1995. Affectionately named the “screech queen” by Newsweek, Morissette combined angry, sexually graphic lyrics with catchy pop music (Chang 79). She was quickly followed by Tracy Bonham, Meredith Brooks, and Fiona Apple. Though they differed in musical style, this group of musicians embodied what it meant to be a woman expressing anger through rock music, according to the music press. Popular music magazines argued that musicians like Morissette were creating a whole new genre for female performers, one that allowed them to assert their ideas about feminism and sexual- ity. -
The Road Past Altamont
Canadian Literature / Littérature canadienne A Quarterly of Criticism and Review Number 223, Winter 214, Agency & Affect Published by The University of British Columbia, Vancouver Editor: Margery Fee Associate Editors: Joël Castonguay-Bélanger (Francophone Writing), Stephen Collis (Poetry), Glenn Deer (Reviews), Kathryn Grafton (CanLit Guides), Daniel Laforest (Francophone Writing), Laura Moss (Reviews), Karis Shearer (Reviews) Assistant Editor: Tiffany Johnstone (Reviews) Past Editors: George Woodcock (1959-1977), W. H. New (1977-1995), Eva-Marie Kröller (1995-23), Laurie Ricou (23-27) Editorial Board Heinz Antor University of Cologne Kristina Fagan Bidwell University of Saskatchewan Alison Calder University of Manitoba Carrie Dawson Dalhousie University Cecily Devereux University of Alberta Janice Fiamengo University of Ottawa Carole Gerson Simon Fraser University Helen Gilbert University of London Susan Gingell University of Saskatchewan Faye Hammill University of Strathclyde Paul Hjartarson University of Alberta Lucie Hotte University of Ottawa Coral Ann Howells University of Reading Smaro Kamboureli University of Toronto Jon Kertzer University of Calgary Ric Knowles University of Guelph Louise Ladouceur University of Alberta Patricia Merivale University of British Columbia Judit Molnár University of Debrecen Linda Morra Bishop’s University Lianne Moyes Université de Montréal Maureen Moynagh St. Francis Xavier University Reingard Nischik University of Constance Ian Rae King’s University College Julie Rak University of Alberta Roxanne Rimstead Université de Sherbrooke Sherry Simon Concordia University Patricia Smart Carleton University David Staines University of Ottawa Cynthia Sugars University of Ottawa Neil ten Kortenaar University of Toronto Marie Vautier University of Victoria Gillian Whitlock University of Queensland David Williams University of Manitoba Mark Williams Victoria University, New Zealand Herb Wyile Acadia University Editorial Margery Fee Spies in the House of Literary Criticism 6 Articles Ranbir K. -
The Albums We're Looking Forward to in 2015
The albums we’re looking forward to in 2015 CHRISTOPHER POLK/GETTY IMAGES Kendrick Lamar. GLOBE STAFF AND CORRESPONDENTS JANUARY 05, 2015 Sneakattack releases might be the new normal for the biggest albums, but here are some major releases already scheduled for the first few months of 2015 — subject to change, naturally. KENDRICK LAMAR Title TBA The Los Angelesbased MC has the daunting task of following up his critically and commercially successful “good kid, m.A.A.d. city,” but if any artist is up to the challenge, it’s Lamar. The mercurial rapper has debuted two songs, the wellreceived, Isley Brothers sampling “i,” and a dazzling, determined untitled track he performed on “The Colbert Report.” Lamar is poised for a banner year; some reports claim his sophomore set could be imminent, possibly with a Beyoncélike stealth launch. (Early 2015) KEN CAPOBIANCO JUSTIN TOWNES EARLE “Absent Fathers” CONTINUE READING BELOW ▼ A bookend to September’s “Single Mothers,” Earle’s latest is the other side of the coin. “Absent Fathers” completes a poignant song cycle about the messy nature of family dynamics. The country singersongwriter knows plenty about the subject matter: His single mother mostly raised him while his father, altcountry renegade Steve Earle, struggled to kick drugs and get his life back on track. (The younger Earle would follow in Dad’s footsteps, too.) “Absent Fathers” was recorded in the same sessions for its predecessor, but Earle felt like he had made two separate albums. (Jan. 13) JAMES REED SLEATERKINNEY “No Cities to Love” Ever since SleaterKinney went quiet in 2006, guitarist Carrie Brownstein’s comedy career has taken off in earnest thanks to “Portlandia.” But anyone counting on “No Cities to Love” to show nine years of accumulated dust hasn’t been paying attention: Brownstein and drummer Janet Weiss blew the doors off in 2011 with Wild Flag, and singer/guitarist Corin Tucker dropped the fiery “Kill My Blues” the next year. -
Art-Rock Legends Pylon to Release Pylon Box
ART-ROCK LEGENDS PYLON TO RELEASE PYLON BOX NOVEMBER 6, 2020, VIA NEW WEST RECORDS COMPREHENSIVE 4xLP BOX SET REMASTERED FROM THE ORIGINAL TAPES FEATURES EIGHTEEN UNRELEASED RECORDINGS INCLUDES 200-PAGE HARDBOUND BOOK WITH WRITINGS BY MEMBERS OF R.E.M., GANG OF FOUR, THE B-52’s, SONIC YOUTH, SLEATER-KINNEY, MISSION OF BURMA, DEERHUNTER, STEVE ALBINI, ANTHONY DECURTIS, AND MORE STANDALONE REISSUES OF STUDIO LPS GYRATE (1980) AND CHOMP (1983) TO BE RELEASED ON VINYL FOR THE FIRST TIME IN NEARLY 35 YEARS; AVAILABLE ACROSS DIGITAL PLATFORMS TODAY PYLON COLLECTION EXHIBIT TO OPEN SEPTEMBER 18 AT THE HARGRETT LIBRARY, UNIVERSITY OF GEORGIA SPECIAL COLLECTIONS BUILDING JITTERY JOE’S COFFEE ROASTING COMPANY ANNOUNCES PYLON BUZZ BLEND INDUCTED INTO THE ATHENS MUSIC WALK OF FAME NPR MUSIC EXPLORES PYLON’S LASTING INFLUENCE WITH UNRELEASED RECORDINGS “THE HUMAN BODY” & “3X3 (LIVE)” TODAY Seminal art-rock legends Pylon will release Pylon Box on November 6, 2020, via New West Records. The comprehensive 4xLP box set includes their studio albums Gyrate (1980) and Chomp (1983), which have been remastered from their original tapes and will be available on vinyl for the first time in nearly 35 years. Pylon Box includes 47 total tracks, 18 of which are previously unreleased recordings. In addition to the remastered studio albums, the collection also includes Pylon’s first ever recording, Razz Tape. The previously unreleased 13-track session predates the band’s legendary 1979 debut single “Cool” b/w “Dub.” Also included is Extra, an 11-song collection featuring a recording made before frontwoman Vanessa Briscoe Hay joined the band, along with the “Cool” b/w “Dub” single (which Rolling Stone named one of the “100 Greatest Debut Singles of All Time” this year), the rare recording “Recent Title,” the original single mix of “Crazy,” five previously unreleased studio and live recordings, and more.