Bob Edwards, the Great White North's equivalent to H. L. Mencken, remains a singular figure in Canadian journalism. His newspapers, published in Wetaskiwin, Leduc, High River, Strathcona, Winnipeg, Port Arthur, and most famously Calgary, skewered politics, society, and business leaders with a fearlessness and outrageousness rarely seen then, now, or in between. As editor James Martin points out in his illuminating introduction, Bob Edwards seems more modern the farther back in history he recedes; he was the granddaddy of Gonzo Journalism à la Hunter S. Thompson, a freewheeling cultural critic in the spirit of Lester Bangs, a pioneer of satirical reform as evidenced in Frank magazine, and a spoofer of the po-faced reporting of his day in precisely the same way that The Onion is now. Irresponsible Freaks, Highball Guzzlers and Unabashed Grafters features mountains of Edwards's superb aphorisms, a generous helping of his longer and lesser-known works, and some choice items which have never before seen print, as well as miraculous archival discoveries and many cartoons from Edwards's celebrated Eye Opener. It is a welcome addition to the Bob Edwards canon for those who thought they knew everything about him, and an eye-opening introduction to the uninitiated: "He was writing this stuff a hundred years ago!"

Bob Edwards, the Great White North's equivalent to H. L. Mencken, remains a singular figure in Canadian journalism. His newspapers, published in Wetaskiwin, Leduc, High River, Strathcona, Winnipeg, Port Arthur, and most famously Calgary, skewered politics, society, and business leaders with a fearlessness and outrageousness rarely seen then, now, or in between. As editor James Martin points out in his illuminating introduction, Bob Edwards seems more modern the farther back in history he recedes; he was the granddaddy of Gonzo Journalism à la Hunter S. Thompson, a freewheeling cultural critic in the spirit of Lester Bangs, a pioneer of satirical reform as evidenced in Frank magazine, and a spoofer of the po-faced reporting of his day in precisely the same way that The Onion is now. Irresponsible Freaks, Highball Guzzlers and Unabashed Grafters features mountains of Edwards's superb aphorisms, a generous helping of his longer and lesser-known works, and some choice items which have never before seen print, as well as miraculous archival discoveries and many cartoons from Edwards's celebrated Eye Opener. It is a welcome addition to the Bob Edwards canon for those who thought they knew everything about him, and an eye-opening introduction to the uninitiated: "He was writing this stuff a hundred years ago!"

Forty-six years later those words still ring true: there has since been no book that has brought to life early Calgary the way that Eye Opener Bob does. Perhaps more importantly, it's the closest we'll ever get to Robert Chambers Edwards—Eye Opener Bob —the irrepressible editor of Calgary's most singular newspaper, and the city's most singular denizen. Bob Edwards was a true Canadian original, the prototypical hard-drinking, pull-no-punches editor of the Calgary Eye Opener—at the time the largest paper between Vancouver and Toronto, with a circulation of over 30,000 copies. A paper with the power to elect or dethrone governments, to bring the mighty CPR to reform its ways, and to skewer the pretensions of society like few before or since. Eye Opener Bob brings this fascinating character to life in all his glorious self-contradictions. MacEwan arrived in the city at just the right time to write Eye Opener Bob—the old Sandstone City hadn't yet been whitewashed over by the new money from the Leduc gusher, and there were still living people who had known Edwards. MacEwan ferreted out their stories as only he could do, combined the interviews with hard research, and the result is Grant MacEwan's best book by a country mile. Eye Opener Bob can be enjoyed on its own or as a companion piece to the new compilation of Edwards's writing, Irresponsible Freaks, Highball Guzzlers, and Unabashed Grafters: A Bob Edwards Chrestomathy.

Made-in-Canada-Humour is an interdisciplinary survey and analysis of Canadian humour and humorists in the nineteenth and twentieth centuries. The book focuses on a variety of genres. It includes celebrated Canadian writers and poets with ironic and satiric perspectives; oral storytellers of tall tales in the country and the city; newspaper print humorists; representative national and regional cartoonists; and comedians of stage, radio and television. The humour gives voice to Canadian values and experiences, and consequently, techniques and styles of humour particular to the country. While a persistent comic theme has been joking at the expense of the United States, both countries have influenced one another’s humour. Canada’s unique humorous tradition also reflects its emergence from a colonial country to a postcolonial and postmodern nation with contemporary humour that addresses gender and racial issues.

A visually rich, historically epic tale of cattle ranching in southern Alberta, focusing on multi-generational family-owned ranches that are still in existence today. In the 1880s, a group of fledgling cattle ranchers descended on the plains of southern Alberta. They were drawn by the promise of the West, where the grass seemed endless and they could ranch under the arch of the Chinook-the warm Pacific wind that swooped down the eastern slopes of the Rockies to melt the snow and clear the land for year-round grazing. They came with wild optimism, but their ambition was soon tempered by the brutal reality of a frontier land. Ranching under the Arch is a tale of survival, perseverance, and prosperity in the face of struggle, loss, and loneliness. Following over a dozen ranches still in operation that have roots dating to the late nineteenth century, historian D. Larraine Andrews recounts the culture that developed around this unique vocation. These ranches have endured as vibrant enterprises, sometimes into the fifth generation of the same family, sometimes with new faces and dreams to change the focus of the narrative. Drawing from historical archives, diaries, and personal accounts, and illustrated by informative maps, fascinating archival imagery, and stunning contemporary photography, Ranching under the Arch is an epic portrait of the "Cattle Kingdom" and its place in Alberta history.

Selected for Poetry in Transit 2009 The Fly in Autumn is a nuanced work with an absurdist twist in which recognizable landscapes--of North Vancouver quays and piers and harbour fog--are sometimes irrevocably altered by water-light into places of the mind alive with the hundred thousand thoughts everyone collects in a day. Risking unease, using language both tender and ironic, Zieroth's poems range from the cockiness of flight, from Dick and Jane readers to insurance clerks and blind nurses, and to the inevitability of decline. Still, the poet remains alert to the re-emergence of his boyhood hope: to be brave, to ship out, to learn to sleep on waves.