With letters from Mordecai Richler, Mavis Gallant, and Brian Moore Getting Started is a wonderful memoir, a collection of extraordinary letters, and a brilliant recreation of a time when Canadian writers were set to make their mark in the world for the first time. Writer Brian Moore emigrated from Ireland to Canada in the late 1940s and found work at the Montreal Gazette, where he also found William Weintraub embarking upon a career as a freelance journalist. When he travelled to Paris, Weintraub saw an old friend and former Gazette writer, Mavis Gallant, who filled him in on the tribulations of the expatriate writer’s life ( “My room is enormous and the radiator very small indeed” ). Gallant introduced Weintraub to another Montreal writer, Mordecai Richler, also pursuing a career as a novelist while living a gloriously Bohemian life. Weintraub joined Richler for a while in Ibiza (he later introduced him to Brian Moore), and later they kept in touch. ( “Dear Bill: I got your highly unintellectual letter yesterday and it confirmed my suspicions that you slipped a chair under your arse in the Deux Magots as soon as you arrived in Paris and probably haven’t moved since.” ) In these years, Gallant had her short stories published for the first time in the New Yorker, Moore methodically churned out money-making thrillers while working on The Lonely Passion of Judith Hearne , and Richler wrote his first acclaimed book, The Acrobats . Weintraub, meanwhile, returned to Montreal, where he saw published his brilliant comic novel, Why Rock the Boat? William Weintraub weaves together his own memories of the 1950s with letters both to and from his literary colleagues. The letters and his recollections are always fascinating, often hilarious, and provide intimate insight into the lives and work of some of Canada’s finest contemporary writers. From the Hardcover edition.

This is Morton Shulman's own fast- moving story of his eight years in politics. It is sharp but full of public concern, opinionated but self-critical, serious in intent but often hilarious in the telling. It reflects perfectly the life-style of its author-- there is never a dull moment. During his eight years as a member of the provincial Legislature, Morton Shulman's name was rarely off the front pages. Here Shulman tells the dramatic stories behind the headlines, and the stories that never made the front page. For Shulman, an "unrepentant capitalist" millionaire, the decision to run for the NDP was a chance to get back at the Conservative government that had fired him as Coroner. But it became much more than that, as Shulman, the man who always was approachable, became an unofficial ombudsman for the province and the people. Shulman's career as a Member of the Legislature was as stormy as his record in office as Chief Coroner. He smuggled a camera into the House and took pictures of government members asleep during debates. Disguised as a workman, he walked into the INCO plant at Sudbury and spent the night measuring sulphur dioxide levels which proved that in spite of government inspectors' assurances the pollution levels were dangerously high. He exposed Mafia connections with union leaders, politicians and police, and ended up with a Mafia contract on his life and a full-time police guard. He put on a hard hat and walked unchallenged into the Pickering Nuclear Power Plant to show that there was virtually no security in this potentially dangerous area. All these capers had but one goal -- to expose the bureaucratic bungling that affected and sometimes even endangered the lives of the ordinary Canadians who paid the tax bill. One after another he took on the Departments of Labour, Health, Highways, Reform Institutions, Natural Resources, Energy, the Attorney General, Bell Canada and more. His eight years as a Member of the Legislature brought some changes in government policies, Royal Commissions and numerous editorials about the situations he brought to public attention. Sometimes he lost, but the degree of public trust in Morton Shulman brought him national attention. There's never been another Member like Shulman.

Enigmatic and explosive, Irving Layton was indisputably one of this country's most controversial literary figures. His flamboyant style and outspokenness won him friends and enemies. His visceral and lyrical poetry earned him reverence and international acclaim. In Waiting for the Messiah, first published in 1985, Layton writes openly about his life and the discordant impulses that shaped him into the provocative poet and personality that he became. With the vitality, passion, and intimacy that characterizes his verse, his memoir -- covering the years between 1912 and 1946 -- sheds welcome light on Irving Layton's public persona, and gives further substance to one of the most impressive bodies of work in Canadian poetry. His self-portrait teems with insight and energy, and paints a picture of a colourful life, from its beginnings in Montreal's Jewish ghetto. As a high-spirited, life-loving, and sensual boy, he reacted against anti-Semitism and poverty that surrounded him, rejecting his parents' values and orthodox beliefs. He battled his way through an educational system that provided no outlet for his imagination. Layton's "crazy need for experience" drove him to embrace or challenge all that he encountered, and he recounts his first experiences with sex and death, his associations with literary friends and rivals, his relationships with women. Equally compelling is his description of Montreal in the forties as a city crackling with literary and political energies. It was in the ferment of this milieu that Layton ripened as a poet In Waiting for the Messiah, Layton unleashes his sparkling prose style. He is bold and revealing, scathing and witty. The result is a rich and entertaining memoir of a life which as "commuted daily between heaven and hell" and produced poems which have made a lasting contribution to Canadian literature.

This engaging autobiographical account traces the remarkable life and career of John Meisel, Canadian political scientist, professor, and public intellectual. The memoir is witty and insightful, filled with stories and personalities that will both inspire and challenge readers the world over. Peter C. Newman, former editor of Maclean's and the Toronto Star, has this to say about the book:,"John Meisel is a national treasure - with a Moravian accent. His life and times have bridged fabulous careers in academia and public affairs, anointing each with the grace of his thoughts and the cadence of his words. This is a book for the ages." Learn more about the book through Wintergreen Studios Press (www.wintergreenstudiospress.com).

Much of A.M. Klein's finest prose is to be found in the mass of uncompleted work that he abandoned at the time of his breakdown, and that became accessible only when his papers were deposited in the National Archives. Notebooks offers a generous selection of this work, revealing previously unsuspected facets of Klein's character and artistry. The fiction, criticism, and memoirs collected here focus on Klein's exploration of the role of the artist. The works illuminate crucial periods of his career, especially the early 1940s, when he was transforming himself into a modernist, and the early 1950s, when he was struggling to overcome the misgivings about his art that were to lead to his final breakdown. The semi-autobiographical text which Klein referred to as 'Raw Material' and the unfinished novel of prison life entitled 'Stranger and Afraid' cast a new light on Klein's often frustrating relationship with the Montreal Jewish community. In 'Marginalia' he discusses poetic form and technique and makes observations on the nature of poetry, thereby providing insights into his own concerns as a writer. In 'The Golem,' a profoundly ambiguous treatment of the act of creation, a self-portrait emerges of a storyteller who has lost faith in the power and value of his story. The volume includes a critical introduction, that places the material in the context of Klein's other works, as well as textual and explanatory notes.