From Kenneth Radu: The Sculptures of John Félice Ceprano

These works fall to the force of nature every year and are rebuilt in new formations in late spring and summer when the river releases itself from winter’s grip. The rock remains, the art vanishes, only to reappear, because the artist is moved to do so, change and transformation being essential to his aesthetic. And that’s a rather exciting concept. Ceprano’s purpose is not to create a never changing artifact, but to celebrate the phenomenon of change itself.

Space for a Pen, part III, by Kenneth Radu

John Ruskin attached a tower to his bedroom on his mountainside estate, Brantwood, on the shores of Coniston Water in Cumbria. Unlike Sackville-West’s, his tower room windowed on all sides, almost a capsule, offered a corner in which to escape from recurring nightmares or to watch the stars.

Movement, migration, and an inhospitable corner of Montreal, by Linda Leith

These Filipinos and Guatamalans and Nigerians live in poverty and in fear and, unlike the immigrants of earlier days, they have little hope, ever, of becoming Canadian citizens. In comparison, the Alis were fortunate, for they could stay here and build a new life for themselves.

From Elaine Kalman Naves: Peter Behrens' The O’Briens

Members of the eponymous family are so bicultural that their conversation often and readily slips from English to French. It’s difficult not to read into the author’s intent the desire to pen “a” if not “the” great Canadian novel.