New Releases by Timothy Findley

Mars 1945, un palace abandonné des Alpes autrichiennes, un écrivain, disciple d'Ezra Pound et, comme lui, zélateur du fascisme, entreprend de couvrir les murs et les plafonds du récit de sa prodigieuse existence. Aux échos de la Chine de 1924 vont se succéder ceux de l'Angleterre et de la France de 1936, puis des Bahamas en 1942. Dans cette fresque décadente et perverse, des personnages insensés, souvent empruntés à la réalité, comme Ribbentrop, Hess, Lindbergh, Hemingway, et surtout ceux qui vont devenir le duc et la duchesse de Windsor, se croisent et se mêlent. Voici un roman époustouflant où, pour une fois, c'est la fiction qui prend sa revanche sur la réalité : car la littérature, c'est la vérité.

À la fin des années 1960, Hooker Winslow, jeune garçon de onze ans, passe son été dans une maison cossue de la campagne canadienne. Livré à lui-même entre une mère qui ne quitte plus sa chambre, un père paralysé par l’échec de son couple, et un frère aîné qui se réfugie dans l’alcool et la poésie, il observe les événements qui se succèdent au cours d’un été qui s’achèvera tragiquement. Huis-clos familial dévastateur, emmurement des êtres dans le silence, désagrégation des sentiments jusqu’à la folie... l’auteur nous mène avec habileté dans un roman à couper le souffle, qui illustre magistralement la défaite de la parole. Paru en 1967, Le Dernier des fous est le premier roman de Timothy Findley (1930-2002), auteur de Guerres, chefs-d’œuvre qui a obtenu le prestigieux prix du Gouverneur général en 1977. Il se place parmi les plus grands écrivains du XXe siècle. En 1996, il a été fait Chevalier de l’ordre des Arts et des Lettres.

Sono le prime ore del mattino del 17 aprile 1912 nel giardino della casa al numero 18 di Cheyne Walk, a Londra, quando il dottor Greene accerta che l’uomo in pigiama bianco e vestaglia di seta blu, che giace riverso sull’erba ancora fredda e umida, è tecnicamente morto. L’uomo si chiama Pilgrim e qualche ora prima, dopo aver attraversato il giardino con in una mano il cordone di seta della sua veste da camera e, nell’altra, una robusta sedia Sheraton, si è impiccato all’acero più alto del parco. Prima di apporre la propria firma al certificato di morte, Greene decide, tuttavia, di rivolgersi all’illustre collega Hammond, che prontamente accorre e, dopo un rapido esame del corpo, non può che convenire che Pilgrim è «morto come può essere morto un uomo». Mezz’ora dopo, però, il cuore dell’uomo riprende a battere, e poco più tardi ritorna anche il respiro... Deciso, con ogni evidenza, a morire e, con altrettanta evidenza, incapace di farlo, Pilgrim si rifugia nel più assoluto mutismo, al punto che alla bella ed enigmatica Lady Sybil Quartermaine, la sua più cara amica, non resta che condurlo alla clinica psichiatrica Burghölzli di Zurigo, dove conduce le sue originali ricerche Carl Gustav Jung. «Ho vissuto molte vite, dottor Jung... Vidi la prima rappresentazione di Amleto e l’ultima recita dell’attore Molière. Fui amico di Oscar Wilde e nemico di Leonardo...» Le confessioni del suo singolare paziente penetrano a fondo nell’animo e nella mente di Jung. Chi è Pilgrim? Un mitomane profondamente malato, un geniale millantatore oppure la vittima di una strana maledizione? E chi è, a sua volta, lui, Carl Gustav Jung, con quella sua personalità piena d’arroganza e d’intuizione, di compassione e di disumanità? Romanzo ambizioso, fantastico, metafisico, nel quale fanno la loro apparizione personaggi come Henry James, Oscar Wilde e Monna Lisa, L’uomo che non poteva morire può essere letto come uno straordinario racconto sulla nascita dell’Europa del XX secolo, oppure come un romanzo sull’eterno conflitto tra distruzione e creazione, o, infine, come una magnifica storia sugli abissi insondabili dell’identità umana.

Ageless. Sexless. Deathless. Timeless. Pilgrim is a man who cannot die, an astounding character in a novel of the cataclysmic contest between creation and destruction. Pilgrim is Timothy Findley’s masterwork, a finalist for the Giller Prize, and a national bestseller that has smashed the author’s own impressive sales records. It is 1912 and Pilgrim has been admitted to the Burghölzli Psychiatric Clinic in Zürich, Switzerland, having failed—once again—to commit suicide. Over the next two years, it is up to Carl Jung, self-professed mystical scientist of the mind, to help Pilgrim unlock his unconsciousness, etched as it is with myriad sufferings and hopes of history. Is Pilgrim mad, or is he condemned to live forever, witness to the terrible tragedy and beauty of the human condition? Both intimate and expansive in its scope, with an absorbing parade of characters—mythic, fictional and historical—Pilgrim is a fiercely original and powerful story from one of our most distinguished artists.

Here is the powerful, haunting "Lemonade,"where a young boy's world is shattered by his mother's self-destruction, and eleven other stories, including "Dinner along the Amazon,"an unusual journey into the complexities of contemporary relationships. Introduction by Frances Itani Frances Itani is the bestselling, award-winning author of Deafening. She has also published five acclaimed short story collections, three poetry collections, and a children's book. Frances Itani lives in Ottawa.

Mars 1945... Dans un palace perdu au cœur des Alpes autrichiennes, un écrivain américain, grand admirateur d'Ezra Pound dont il partage la fascination pour le fascisme, entreprend de tapisser le plafond et les murs de la " prodigieuse " histoire de son existence. Aux bruits et à la fureur de la Chine de 1924 vont succéder les échos de la France et de l'Angleterre de 1936, puis ceux des Bahamas de 1942. Une fresque décadente et perverse pleine de tumulte et d'orages, où les enfers personnels tiennent lieu de paradis perdus, traversée par des personnages imaginaires maudits et cruels et par d'autres, empruntés à la réalité, comme Ribbentrop, Hess, Lindbergh ou Hemingway. Deux d'entre eux, deux êtres étranges et somme toute fascinants retiennent aussi l'attention : les futurs duc et duchesse de Windsor. Un roman inoubliable où la fiction l'emporte sur la réalité. Elle ne l'imite pas mais la crée. On y croit comme on adhère à la vérité. C'est tout l'art époustouflant de Timothy Findley.

Book description to come.

En 1939, peu avant qu'éclate la Seconde Guerre mondiale, Charlie Kilworth, jeune accordeur de pianos, interroge son passé. Qui fut son père ? Compte tenu des problèmes psychiques de sa mère, comment assumer de devenir à son tour père ? Il décide alors d'entreprendre une lente et douloureuse réappropriation de l'histoire de sa famille. Peu à peu, le personnage de sa mère, Lily Kilworth femme sujette à des crises d'épilepsie qui étaient la terreur de son entourage, dans une famille qui dissimulait au grenier et dans sa mémoire les traces de la folie d'autres ancêtres, émigrés irlandais - devient le centre du roman. Toutes les figures de l'intolérance familiale, de la marginalisation et de l'exclusion se succèdent. Progressivement, dans une fresque ample et admirablement construite, Timothy Findley brosse le portrait d'une famille canadienne de l'Ontario du début du siècle à la Seconde Guerre mondiale, hantée par la folie de Lily.

Cast size: large.

Timothy Findley is on the bestseller lists — again. Pilgrim, hisnewest and most ambitious novel yet, has gone like a bullet to the upperechelons of all the Canadian lists. Findley fans are out in full force, and manywill be looking for another Findley fix. Inside Memory: Pages from a Writer’sNotebook will satisfy the craving with equally wonderful doses of memories,love and laughter. Now repackaged in the popular new PerennialCanada imprint, InsideMemory invites the reader to share Findley’s life and work. Drawing fromhis personal journal entries and eclectic reflections, recollections and even anout-take from one of his early novels, the award-winning author shares hisextraordinary life with his readers. From his early days as an actor in London’s West End, through to histransition to a writer, Findley entertains with the fascinating people and reallife settings that have shaped his life. At the same time, he reveals thecreative landscape of his mind and his work, a journey that shows how memoryinforms and infuses every aspect of his books. Above all, Findley tells greatstories, showing once again that he is a true master of his craft.

Expanded versions of columns originally publishing in Harrowsmith magazine.

Findley has written a small gem of a novel in this World War II story set on the Home Front. Findley uses the device of a family photo album to recall the personal history and memories of the boy, Matthew Forbes, whose parents' marriage is dissolving during the time of the false peace of wartime Canada.

Narrated by Charlie Kilworth, whose birth is an echo of his mother's own illegitimate beginnings, The Piano Man's Daughter is the lyrical, multilayered tale of Charlie's mother, Lily, his grandmother Ede, and their family. Lily is a woman pursued by her own demons, "making off with the matches just when the fires caught hold," "a beautiful, mad genius, first introduced to us singing in her mother's belly." It is also the tale of people who dream in songs, two Irish immigrant families facing a new and uncertain future in turn-of-the-century Toronto. Finally, it is a richly detailed tribute to a golden epoch in our history and of a generation striking the last, haunting chord of innocence.The Piano Man's Daughter is a symphony of wonderful storytelling, unforgettable characters, and a lilting, lingering melody that plays on long after the last page has been turned.

The Trials of Ezra Pound is a stark portrayal of Ezra Pound at the end of his public life. Based upon the preliminary hearings of the trials held in Washinton, D.C. in late 1945 and early 1946, Timothy Findley reveals what the original transcripts do not - Pound's emotionally charged interpretation of the events and his self-destruction. By letting Pound pace impatiently between time and place, Findley conducts a rare dramatic dance in The Trials of Ezra Pound - he takes the trial beyond one courtroom and into the realm of all humanity and it is here, in the light of Ezra Pound's harsh contradictions, that Findley asks the reader not to judge, but how to judge.