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'There is probably no single quality or characteristic - besides love of the countryside - that must inevitably distinguish a rural writer,' notes W.J. Keith. However, 'what distinguishes rural writing that belongs to literature from that belonging to natural history, agricultural history, etc., is, as Richard E. Haymaker has observed, the writer's "means of revealing Nature as well as describing her"...In the final analysis the rural essayist paints neither landscapes nor self-portraits; instead he communicates the subtle relationship between himself and his environment, offering for our inspection his own attitudes and his own vision. We may be asked to look or to agree, but more than anything else we are invited to share. Ultimately, then, the best rural writing may be said to provide us, in a phrase adapted from Robert Langbaum, with a prose of experience.' Keith argues that non-fiction rural prose should be recognized as a distinct literary tradition that merits serious critical attention. In this book he tests the cogency of thinking in terms of a 'rural tradition,' examines the critical problems inherent in such writing, and traces significant continuities between rural writers. Eleven of the more important and influential writers from the seventeenth century to modern times come under individual scrutiny: Izaak Walton, Gilbert White, William Cobbett, Mary Russell Mitford, George Borrow, Richard Jefferies, George Sturt/'George Bourne', W.H. Hudson, Edward Thomas Williamson, and H.J. Massingham.In examining these writers within the context of the rural tradition, Keith rescues their works from the literary attic where they have too often been relegated as awkward misfits. When studied together, each throws fascinating light on the others and is seen to fit into a loose but nonetheless discernible 'line.'

English prose literature --- Pastoral literature, English --- History and criticism.

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"For eight years Keith Morton codirected a safe-space program for youth involved in gang or street violence in Providence, Rhode Island. Getting Out is a result of the innovative perspectives he developed as he worked alongside staff from a local nonviolence institute to help these young people make life-affirming choices. Rather than view their violence as pathological, Morton explains that gang members are victims of violence, and the trauma they have experienced leads them to choose violence as the most meaningful option available. To support young people as they "unlearned" violence and pursued nonviolent alternatives, he offered what he calls a "Youth Positive" approach that prioritizes healing over punishment and recognizes them as full human beings. Informed by deep personal connections with these youth, Morton contends that to help them, we need to change our question from "What is wrong with you?" to "What happened to you?"--Page 4 de la couverture.

Jeunes difficiles --- Jeunes délinquants --- Gangsters --- Ex-gangsters --- At-risk youth --- Juvenile delinquents --- Gang members --- Ex-gang members --- Services --- Rééducation --- Services for --- Rehabilitation --- United States.

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This Awareness of Beauty is the first book to consider the orchestral and wind band music of Canadian composer Healey Willan, who was known primarily for his choral work. A succinct biography accompanies historical, analytical, and critical investigations of Willan’s instrumental music, asserting Willan’s seminal place in Canadian music and the significance of his orchestral and wind band music both nationally and internationally.Each composition is investigated in chronological order to illustrate the composer’s evolution as a creator of instrumental music from his early years in England to his later, and more notable, accomplishments in Canada. Willan’s orchestral music may be seen as both a reaction to and a stimulus for the significant improvement in Canadian orchestral performance during the 1930s and 40s, a factor in the creation of his large-scale compositions, including two symphonies and a piano concerto.Although much has been written about Willan, most of it has centred on his choral work, with biography and/or musicology as the frame of reference; this project considers his instrumental music in terms of performance, provides historical context for many of the works included, and corrects errors that have crept into the literature.

Willan, Healey, --- Criticism and interpretation. --- Band music --- Orchestral music --- Willan, Healey, -- 1880-1968 -- Criticism and interpretation. --- Willan, Healey, -- 1880-1968. -- Band music. --- Willan, Healey, -- 1880-1968. -- Orchestra music. --- History and criticism. --- Canadian music. --- Healey Willan. --- orchestral music. --- wind band music.

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Charles G.D. Roberts (1860-1943) was one of Canada's most productive writers. In a literary career that extend over six and a half decades he published some three hundred and fifty poems, over two hundred short stories, nine full-length novels, six other books (including travel guides, histories, and a translation), and a considerable number of articles, essays, and prefaces. The purpose of this selection of critical prose and 118 chronologically arranged poems is to make available to students of Canadian literature the main materials upon which a considered appreciation of Roberts' writing can be based. Desmond Pacey has aptly described Roberts' literary career as 'a rapid development, a sudden decline, a long silence, and a late revival.' This patter is equally true of his life. In the first period of his life (until 1897 when he left for New York) he established himself as a significant Canadian poet and man of letters. The second, from 1897 to 1925, was a period of wandering abroad. At this time prose took precedence over poetry and Roberts emerged as a 'cosmopolitan' figure. The third, from 1925 until his death in 1943, dates from his return to Canada. He worked actively for the recognition of Canadian literary achievement, was honoured for his services to the country, and enjoyed a late flowering of his poetic talents. Because he was such a prolific writer, Roberts' most enduring work is always in danger of being buried under the dross. This statement is particularly true of his prose, which hitherto has been uncollected and difficult to locate. However, Roberts' very real and substantial contribution to the critical assessment of Canadian literature as well as to the literature itself should not be overlooked and it is hoped that this selection of both critical prose and poetry will redress the balance of attention given to his work.

Canadian poetry