Regina's Secret Spaces: Love and Lore of Local Geography is an anthology of essays and poems by eighty writers, artists, architects, musicians, patrons of the arts, and cultural theorists who were inspired by and answered the call of editors Lorne Beug, Anne Campbell and Jeannie Mah to share their favourite "Regina secret." Some submissions were quirky and whimsical, delighting in those things -- small, yet significant -- which bring joy and connect us to the place we live; others were more serious and more theoretical, examining power structures -- both past and present -- and how these have shaped and are yet shaping the city. Reflective, engaging and insightful, all express an abiding fondness for the city of Regina.

Wilf Perreault is in a class of artists known primarily for a single subject – in his case, the humble urban back alley. Coteau Books proudly joins forces with the MacKenzie Art Gallery to present a coffee-table book with more than a hundred full-colour images, accompanied by essays discussing the work of the artist best known as “Wilf”. Wilf Perreault contains an additional treat – 11 pieces of creative prose and poetry by Saskatchewan literary artists responding to Wilf's work in general, or to specific paintings that have inspired them. Walking up the alley with Wilf Perreault, we see how his work fits perfectly into the tradition established by Saskatchewan artists from Ernest Lindner to Joe Fafard to David Thauberger. His paintings are rendered in a breathtaking detail that asks us to take another, closer, look at the everyday. Born in the small Franco-Saskatchewan community of Albertville, Wilf Perreault studied art at the University of Saskatchewan and has been painting and teaching art in Regina since the early 1970s.

Indigenous media challenges the power of the state, erodes communication monopolies, and illuminates government threats to indigenous cultural, social, economic, and political sovereignty. Its effectiveness in these areas, however, is hampered by government control of broadcast frequencies, licensing, and legal limitations over content and ownership.Indigenous Screen Cultures in Canada explores key questions surrounding the power and suppression of indigenous narrative and representation in contemporary indigenous media. Focussing primarily on the Aboriginal Peoples Television Network, the authors also examine indigenous language broadcasting in radio, television, and film; Aboriginal journalism practices; audience creation within and beyond indigenous communities; the roles of program scheduling and content acquisition policies in the decolonization process; the roles of digital video technologies and co-production agreements in indigenous filmmaking; and the emergence of Aboriginal cyber-communities.

When writers place food in front of their characters – who after all do not need sustenance – they are asking readers to be alert to the meaning and implication of food choices. As readers begin to listen closely to these cues, they become attuned to increasingly layered stories about why it matters what foods are selected, prepared, served, or shared, and with whom, where, and when. In Canadian Literary Fare Nathalie Cooke and Shelley Boyd explore food voices in a wide range of Canadian fiction, drama, and poetry, drawing from their formational blog series with Alexia Moyer. Thirteen short vignettes delve into metaphorical taste sensations, telling of how single ingredients such as garlic or ginger, or food items such as butter tarts or bannock, can pack a hefty symbolic punch in literary contexts. A chapter on Canada’s public markets finds literary food voices sounding a largely positive note, just as Canadian journalists trumpet Canada’s bountiful and diverse foodways. But in chapters on literary representations of bison and Kraft Dinner, Cooke and Boyd bear witness to narratives of hunger, food scarcity, and social inequality with poignancy and insistence. Canadian Literary Fare pays heed to food voices in the works of Tomson Highway, Rabindranath Maharaj, Alice Munro, M. NourbeSe Philip, Eden Robinson, Fred Wah, and more, inviting readers to listen for stories of foodways in the literatures of Canada and beyond.

Saskatchewan and ghost stories. They go together like a grinning scarecrow in a whisper-dry October field. In 1995, Dundurn successfully published and reprinted numerous times the original Ghost Stories of Saskatchewan. Since that time, an eerie wealth of supernatural accounts have surfaced in this seemingly quiet prairie province. In this third collection, a quiet cemetery apperas to be a portal between the worlds of the living and the dead, a Victorian mansion-turned-restaurant in Moose Jaw remains occupied by the spectral image of the original lady of the house, and a weary traveller near Flaxcombe stops for coffee in a diner that burned to the ground a decade earlier. There are historical tales and personal accounts, legends and lore. And there is much to keep the dedicated ghost fan awake late into the night. Here the reader will find triple the history, mystery, and chills from one of Canada’s established authors int he paranormal genre.

While many volumes devoted to the punk and hardcore scenes in America grace bookstore shelves, CanadaOCOs contributions to the genre remain largely unacknowledged. For the first time, the birth of Canadian punkOCoa transformative cultural force that spread across the country at the end of the 1970sOCois captured between the pages of this important resource. Delving deeper than standard band biographies, this book articulates how the advent of punk reshaped the culture of cities across Canada, speeding along the creation of alternative means of cultural production, consumption, and distribution. Describing the origins of bands such as D.O.A., the Subhumans, the Viletones, and Teenage Head alongside lesser-known regional acts from all over Canada, it is the first published account of the first wave of punk in places like Regina, Ottawa, Halifax, and Victoria. Proudly staking CanadaOCOs claim as the starting point for many internationally famous bands, this book unearths a forgotten musical and cultural history of drunks and miscreants, future country stars, and political strategists."

Arguably, public art is experienced daily by more people than most offerings in galleries, yet our notion of what constitutes public art is surprisingly limited. Public Art in Canada broadens the critical discussion by exploring public art's varied means of engaging with public space and the public sphere. Annie Gérin and James S. McLean have assembled contributions from new and established Canadian scholars, curators, and artists. Each contributor enlivens our understanding of public art as a practice and its place in the social and aesthetic formation of which it is a part. As a result, the book provides an overview of the current debates in the field of public art that are informed by the theories and critical literature of art history, communication studies, cultural studies, sociology, and urban studies. The rigorous essays and original works of art collected in this volume present a compelling demonstration of the strategies, aesthetic and otherwise, used by artists to elicit intellectual, sensual, or emotional responses that can only be obtained through artistic practices in public places. Public Art in Canada is a major contribution to the study of Canadian art and culture.