Books published by publisher Goose Lane Editions

For many years, Maud Lewis was one of Nova Scotia's best-loved folk painters. In the 1990s she was embraced by the rest of the country when the landmark exhibition of her work The Illuminated Life of Maud Lewis travelled across Canada. By the time the tour was over, half a million people had become acquainted with her delightful work. Between 1938, when she married Everett Lewis, until her death in 1970, Maud Lewis lived in a tiny one-room house near Digby, Nova Scotia. Over the years, she painted the doors inside and out, the windowpanes, the walls and cupboards, the wallpaper, the little staircase to the sleeping loft, the woodstove, the breadbox, the dustpan, almost everything her hand touched. Her house was a joy to behold, and it became a magnet for tourists as well as a focal point in her village. In 1979, after Everett Lewis died, the Maud Lewis Painted House Society worked diligently to raise funds to acquire, preserve, and display the house as part of the cultural heritage of the area as well as a memorial to their beloved artist. In 1984, the house and its contents were purchased by the Province of Nova Scotia for the Art Gallery of Nova Scotia. In The Painted House of Maud Lewis, Laurie Hamilton, the conservator at the Art Gallery of Nova Scotia, shows how all the different parts of the house — the building itself, the painted household items, even the wallpaper — were catalogued, conserved, and prepared for exhibition. The preliminary stages of conservation treatment began in 1996 in a most unusual location: the Sunnyside Mall in Bedford, just outside Halifax, where conservators worked in full view of the public. The conservators used established techniques and invented new ones to complete their unique project and documented every stage of the restoration photographically. The book also features more than sixty-five colour photos including several taken by noted photographer Bob Brooks in 1965 for the Star Weekly. Today, anyone can visit the tiny house that has become a folk art phenomenon. The restoration story spans two decades, but the story of the Painted House continues as each new visitor to the Art Gallery of Nova Scotia finds delight and inspiration in Maud Lewis's joyous vision.

Mickalene Thomas's vivid paintings, collages, and photographs explode off the wall. Their larger-than-life women stare back and down at the viewer, confronting them head on. Over the course of her prolific career, Thomas has created a body of work that expands notions of beauty, gender, sexuality, and race, offering a complex vision of what it means to be a Black woman.In Femmes Noires, Thomas moves breezily between pop culture and the long history of Western and African art, inserting images of Black women into iconic paintings. At times she poses them nude; at other times, she draws on elements as diverse as 1970s black-is-beautiful images of women, Edouard Mamet's odalisque figures, the mise-en-scène studio portraiture of James Van Der Zee and Malick Sidibé, and her own collection of personal portraits and staged scenes. Her ability to detect and contain contradictions and to wrestle with stereotypes translates into powerful, self-possessed depictions of Black women that confront and subvert stereotypes.Femmes Noires is a bold examination of Thomas's work and her artistic practise at an important moment in history. It blends writing from iconic Black writers and essayists (Alice Walker, Chimamanda Ngozi Adichie, Edwidge Danticat, and Lorraine O’Grady) with 120 reproductions from Thomas's oeuvre (collages, paintings, film stills, and photographs). Original essays by Andrea Andersson, visual arts curator of the Contemporary Art Center of New Orleans; Julie Crooks, curator at the Art Gallery of Ontario; and writer-art critic Antwaun Sargent complete the book.Mickalene Thomas: Femmes Noires accompanies an international touring exhibition organized by the Art Gallery of Ontario and the Contemporary Art Centre in New Orleans. It will open at the AGO in late November 2018.

In 1954 Hurricane Hazel caused such destruction around Lake Ontario that it's a vivid memory half a century later. In 2003 Hurricane Juan so devastated the Halifax, Nova Scotia, area that complete recovery will take decades. In the fall of 2005, Hurricane Katrina, immediately followed by Rita and Wilma, held North America and the world spellbound. In fact, 2005 was a record breaking year for tropical storms, with four Category 5 hurricanes, seven tropical storms before August 1, the strongest hurricane in the Atlantic basin, and the costliest and third deadliest hurricane in US history. Yet few people know more about hurricanes than the horror they witness in the media. What are hurricanes? How are they formed, and where do they get their names? What should you do if a hurricane is headed in your direction? An indispensable reference book, Hurricanes: What You Need to Know answers these questions and more by combining science with handy tips, quick facts, checklists, satellite images, photographs and stories about some of North America's most devastating tropical storms.

Inspired by travel writer Ted Simon, Tony Robinson-Smith quit his job in Japan, returned home to England, and then set out once more with only a a knapsack, a map, and a dream to travel the world with both feel on the ground. Nearly six years later, he returned home having fulfilled his dream and then some. Using his journals and memories as his primary sources, Robinson-Smith tells an exhilarating story that begins and ends in England. His adventures include hair-raising trips on African buses, a death-defying sail across the South Atlantic, a journey by boat along a tributary of the Amazon, and a cross-Canada cycling tour done the hard way, from east to west. Robinson-Smith tells his gripping tale in an affable style with a sense of the comedic. His eye is trained more upon adventure than his own ruminations. With little idea of what he wants or will gain, he takes on the world solo, with only the notion of an approximate direction and a suspicion that enlightenment lies just over the horizon.

Maud Lewis has become one of Canada's favorite folk artists, and her buoyant winter pictures of nature, pets, farm animals, and people at work and play are among her most charming. Her hands were twisted with arthritis, but Maud earned her living by painting Christmas cards and pictures and selling them from her tiny gaily painted one room house beside the highway near Digby, Nova Scotia.

In 1841, the American poet Henry Wadsworth Longfellow heard the story of Acadian lovers, separated by the Expulsion and reunited at the end of their lives. He elaborated this simple tale into his long narrative poem, Evangeline: A Tale of Acadie. Published in 1847, it soon gained worldwide popularity, and by 1865, both North American and European French versions were in print. In reinventing "the best illustration of the faithfulness and constancy of women that I have ever heard of or read," Longfellow offered Acadians a believable story about their ancestors. They adopted it as a distillation of their history, a true legend of their past. The tragic story of Evangeline and Gabriel has captivated Acadians and non-Acadians ever since. Evangeline, the dutiful 17-year-old daughter of an elderly Grand Pré farmer, is in love with Gabriel, the blacksmith's son. Before the two can exchange vows, British soldiers march into the village, burn it to the ground, order the villagers into ships, and send them far from their Nova Scotia homeland. In the mayhem, Evangeline witnesses her father's death from a broken heart and loses sight of Gabriel. Her desperate continent-wide search for her childhood sweetheart — taking her from the cypress groves of Louisiana to a forest mission in the Ozark Mountains — is one of the most affecting accounts of unfulfilled love ever written. More phantom than woman by the end, Evangeline is a hero of mythic proportions. This sumptuously produced commemorative edition of Evangeline: A Tale of Acadie coincides with the 400th anniversary of the founding of Acadia. As well as the complete text of the poem, it features more than 40 engravings from an enchanting Victorian Evangeline published in 1866 by Bell and Daldy, London.

Inspired by travel writer Ted Simon, Tony Robinson-Smith quit his job in Japan, returned home to England, and then set out once more with only a a knapsack, a map, and a dream to travel the world with both feel on the ground. Nearly six years later, he returned home having fulfilled his dream and then some. Using his journals and memories as his primary sources, Robinson-Smith tells an exhilarating story that begins and ends in England. His adventures include hair-raising trips on African buses, a death-defying sail across the South Atlantic, a journey by boat along a tributary of the Amazon, and a cross-Canada cycling tour done the hard way, from east to west. Robinson-Smith tells his gripping tale in an affable style with a sense of the comedic. His eye is trained more upon adventure than his own ruminations. With little idea of what he wants or will gain, he takes on the world solo, with only the notion of an approximate direction and a suspicion that enlightenment lies just over the horizon.

Using the artifacts of the Metepenagiag archeological site, archaeologist Patricia Allen tells the stories of one of the oldest villages in Canada.Written with the assistance of the elders of the Red Bank First Nation and illustrated by Mi'kmaq artist Roger Simon and Maliseet photographer Patrick Polchies, this book is ideal for children aged 10-12.