Photo credit: Allyson Kukel
Gillian Jerome and John Steffler will be reading at the Atwater Library Auditorium
1200 Atwater Avenue
Thursday, April 14, 2011 at 7:00 pm
Gillian Jerome‘s first book of poems, Red Nest won the 2010 ReLit Poetry Prize and was short-listed for the Dorothy Livesay Poetry Prize. Her first book of non-fiction, Hope In Shadows, Stories and Photographs from Vancouver’s Downtown Eastside (with Brad Cran) won the 2008 City of Vancouver Book Award and was shortlisted for a BC Book Prize. She teaches literature at UBC, poetry to kids at inner-city schools, and workshops with Geist magazine, and edits poetry for Event Magazine.
Recently named to the shortlist of the prestigious Griffin prize, poet and novelist
JOHN STEFFLER has also won the Thomas Head Raddall award and the Books in Canada First Novel Award, and was shortlisted for the Governor-General’s Award for his novel The Afterlife of George Cartwright. His seven books of poetry include the acclaimed 1998 collection That Night We Were Ravenous, which won the Atlantic Poetry Prize. Steffler was Canada’s Parliamentary Poet Laureate from 2006 to 2008. Lookout, his latest collection, was published last spring by McClelland and Stewart.
If you’ve missed seeing poetry readings, you can listen to recordings on the Atwater website
While working as a security guard, meek and geeky Adam meets a beautiful girl named Evelyn who’s only too eager to remake and remodel him. She gets him a haircut, suggests new clothes and manoeuvres him into dropping his old friends. He’s bewildered but happy about the attention his new image is getting. He likes the new man that, through her tutelage, he’s become. But the creepy feeling of nothing being what it seems pervades the story—a sense fully justified in the shocking payoff that closes the play.
Even in Quebec, home to a robust domestic publishing industry, European Union trade negotiators (no strangers to cultural protectionism) are seeking a foothold.At the same time, our farm system of smaller Canadian publishers and emerging writers needs more support, so that the next Margaret Atwood or Michael Ondaatje can be introduced to the world stage.
Marc Béland dirige ses acteurs de manière formidable. Il impose un niveau de jeu où l’expression, l’émotion et le langage corporel s’appuient sur une grammaire actuelle, en gardant le minimum de décorum qui sied à une famille royale. Il n’y a rien d’affecté dans ce Hamlet-là où tout est mis en oeuvre pour débusquer l’hypocrisie de la cour du roi Claudius (Alain Zouvi), souverain fratricide, inceste et calculateur, qui a tout du politicien téflon. On se moque ainsi beaucoup des détours langagiers de Polonius (Jean Marchand, toujours délicieux) et Hamlet ne manque jamais une occasion de décocher une flèche ironique.
