i love this book... it is so rhythmical and sensual. i got it for my husband on our wedding day. it was perfect.

I'm a great fan of this series of books - each takes a poem and an artist, and blends the words of the poem with the images of the artist to create a harmonious, well-matched whole. Dance Me To The End Of Love is the most successful of the sequence, with Matisse's gliding, extravagantly curvaceous artwork and Leonard Cohen's beautiful song-poem floating around, in and out of each other, the words complementing the images complementing the words. It is a beautiful book to look at and to read, to savour and enjoy. Matisse was an artist whose images had all the flying poise and grace of the dancer, and is the only possible artist who could have complemented Leonard Cohen's song. I am delighted to possess this book, and can read it over and over again, admiring the beauty and vision of the person who set the typeface and layout of the pages. If you love beautiful things, and admire Matisse, this is a book you must have casually tossed onto your coffee table - see how many people lean forward and glance inside, and are riveted immediately.

This isn't a book of poetry, it is a book of one poem, beautifully matched with work by Matisse. I have now given it to two different couples for their weddings. Words and pictures to make your heart soar, Cohen and Matisse seemed to be talking to each other with their art.

A readable precis not just of Ortona, but of the entire Moro River campaign (the title is a bit of a misnomer). Covers ground ably covered by Daniel Dancocks in D-DAY DODGERS and by Gerry Nicholson in the official history THE CANADIANS IN ITALY, but really offers no new insights into how the battle of Ortona itself was fought. A good book for anyone looking for a general description of the Canadians in the Moro, and some good interviews with vets, but again - the appendices are strewn with errors, there has been almost no research done regarding the German side of the story, and the actual fighting in Ortona isn't touched until page 251, and takes up less than 100 pages of this 400 page book. Anyone expecting a detailed study of the house-to-house struggle tht came to be known as "Little Stalingrad" will be sorely disappointed, as I was.

Very little here that hasn't been covered in other volumes already.

When I saw this in a bookstore in Toronto this past summer, one of my sons knew it would be the perfect birthday gift, as my dad [and, of course, his grandfather] fought with the Canadian Army throughout the battles of Sicily and Italy.

Dad was a sergeant with an anti-tank battery with the 1st Anti-Tank Regiment, and while he was reluctant to discuss the war in any detail, there were times - especially with a few beers under his belt - when he would open up. Even then, however, the horrific battles at the Moro River and Ortona were off usually limits.

Then, in the early days of his brief battle with Alzheimer's disease, he spoke of those days in the halting, limited vocabulary that is the bane of the disease's sufferers. And I remember him telling how his AT battery would be called in to blast away the top floors of some high buildings in the town and open up gaps in the rubble for the Shermans.

He also spoke of the spooky German withdrawal, saying one day they moved into position only to find them "all gone ... all gone."

How thrilling it was to see these events covered in Mr. Zuehlke's book. Thank you, sir, for the one of the best volumes on the Canadian effort in that theatre of the war.

A gripping story of one of Canada's important contributions in WWII. Hard to put the book down once started. An excellent illustration of what is perhaps the classic Canadian experience of the war. The author calls upon all possible sources in order to present a complete account of the overall battle, including the complete Canadian advance from the Moro, leading up to the streetfighting battle itself. A fine job by Mark Zuehlke, who could be the Stephen Ambrose of Canada.
P.S. My father was at Ortona, for him it was just another job. He should be proud.

As the #1 fan of The Red Green show, having watched since the first season, recorded every episode, watched each at least 200 times, own all the DVD's and VHS tape specials, etc... it's hard to say this is not a good book, but it's just not. The humor here is not 'Red Green' it's Steve Smith... it's not geared toward the average middle-aged man, it's geared toward yuppies who would call this 'levity'... So, do yourself a favor, read the sample pages available on this page before you buy the book... it doesn't get any better. I think part of the charm of Steve Smith is his facial expressions... so, written word is out of his element. But maybe I'm just making excuses for him... the fact remains, this book is not in the least bit funny or insiteful. Red Green is funny, Steve Smith is 'witty', but just barely, at that. Steve, stick to what made you famous instead of selling out to the yuppy, office, New York Times crowd.

There are people like me out there, people who are not old. We get a bad rap, which is fine, but then again, we're not old, so we don't really care. However, in this book everyone can get and enjoy a dose of worldly wisdom from Steve Smith, the head honcho from the Public Television show "The Red Green Show."

I admit, I almost didn't give this book five stars. At times the jokes are stale, and the various essays can sometimes be short. However, the total entertainment value is maintained. And really, aren't old people supposed to have stale jokes? ;-)

Sarcasm aside, Steve Smith has a sharp mind and makes great points about getting older. And in a way it helps show us young people that getting old is not something we can dodge, but that it can be done with optimism. Get it, read it, share it.

READING IT I found myself laughing aloud in the public space. I know that some liberal, artsy-fartsy Canuck snobs roll their eyes if Red Green's cult TV show is mentioned, but the man has a marvellously wry sense of humor that keeps hitting the mark without ever being offensive. Yet the ugly utilitarian snout of Political Correctness gets smashed to bits too. It's amazing how just the plain old common sense arrived at from the real life observations could make you roar with laughter.
This is the populist humor at its democratic best.
Well, yes. The answer is yes. The Canadians have it. The sense of humor that is. Eh? Eh!

Our lab used this book for a study group on effective scientific writing. We are located in Korea, so with the exception of the instructor and I, all participants were not native speakers of English. As a result, this review is from the viewpoint of foreign students. It is based on chapter reviews written by the members of our lab after finishing the book.

The book is just what it claims to be, a step-by-step approach to writing a scientific manuscript intended for publication. The first chapter helpfully furnishes a checklist (Table 1.3) for preparing a research paper. The chapter is actually a summary of the rest of the book so a reader already in the process of writing can easily find which chapter they wish to skip to via Table 1.3.

In the subsequent chapters, the authors provide good advice accompanied by helpful tables, examples and exercises, although the figure chapter could have used more tips on actually preparing the figures. Examples of poorly prepared and corrected figures would be a useful study aid. One student suggested that the second chapter on computer use was not particularly informative for graduate-level students. Regarding the chapter on grammar (chapter 6), another student pointed out that in some scientific articles, ungrammatical sentences are not corrected in order to effectively deliver the point.

The overall use of informal expressions and phrases seemed intended to make the text livelier for English-speaking students, but was confusing for several participants with English as a second language. We would like to suggest that the authors take their own advice and refrain from using slang and jargon. Several of us liked Appendix 2 and thought it was a good read for those unfamiliar with the practice of journal editors.

Apparently the authors had intended to attract those who had not already submitted a manuscript to read their book, but Successful Scientific Writing contains many helpful pointers for published scientists and journal editors, as well.

it is unfortunate the authors did not review the most recent scientific style and format conventions of the council of biology editors(accepted internationally) that were published in 1994. had they done so, they would not have made a number of the errors that show up scattered about in the text. i use parts of this text , especially the exercises, in a course i teach on scientific writing and have to make the corrections as we go along

Words can hardly express the beauty and cleverness of "Successful Scientific Writing" by Matthews, Bowen and Matthews as a step-by-step guide on how to write scientific reports for publication in English. I am using this book for a course that I teach on scientific writing at the Postgraduate School of Health Sciences at Aarhus University in Denmark, and I find it to be perfect! Before this book was published, there was none that dealt so well and so entertainingly with so many aspects of what it actually takes to prepare a manuscript for publication in a scientific journal. Many young (and old) scientists are good thinkers, but they are often poor writers! Thus, although they may have been able to design and carry out an experiment, they often lack the ability to express what they have done clearly and concisely. This book is for them! The first few chapters provide mainly words of encouragement for getting the writing process underway. There are also remarkable bits of advice, such as the notion of avoiding certan snacks that could derail ones momentum. In my view, the crux of the book appears in chapters 5, 6 and 7 in which extraordinarily lucid and practical instructions and exercises are presented for improving one's ability to write scientifically. There are also tips on how to optimize word-processing so that the manuscript submitted to the editor of a journal is most likely to be accepted for publication. Perhaps some old-timers in Science can do without this book, but they should nevertheless have a copy of it on hand for their students.

I must admit that when I bought this book I thought I was going to get some interesting glimpse of life aboard Titanic and of its sinking through Canadian passengers, but I was disappointed. This is more like a book of the family history of each Canadian passenger. It rarely delves into interesting Titanic facts and instead reminds us of information that has already been written. I must say though, there are some little gems of information present but they are too few and aren't realy delt with. A good reads though.

It seems just about everyone is writing a book on the Titanic these days, and many of these new titles are worthy additions to the literature. But it is a rare and exciting discovery when you find a book that breaks completely new ground uncovering a portion of the Titanic story never told before.

Alan Hustak's book is one of these groundbreading works. His book is about the 130 passengers on the Titanic that were bound for Canada. He writes about who these people were, why they were on the ship, as well as their eventual fates. He tells about people from all walks of life from the proud and wealthy in first class to the immigrants in third class.

In retrospect, it is amazing that a book on this subject has not been written sooner. Some of the most recognizable names of the drama, Arthur Peuchen, the Countess of Rothes, the Allison baby - even Eva Hart, all were bound for Canada. Yet in most other titles their Canadian connection is barely mentioned, if not completely ignored.

The author has put an important, but neglected, aspect of the Titanic story back into the spotlight.

Whoever said there is nothing more to be written about the TITANIC, needs to spend time with this publication! One may have previously thought the Canadian prensence on-board the ill-fated liner would have dissipated into history. Hustak has re-written the definition of research with "TITANIC-The Canadian Story". A must read for the historian. I can only wish it were in hardcover so the constant reading & reference might be disguised.

This is a good fictional story, well written but I like his earlier work 'Lives of the Saints' much better, from story development and plot prspectives.

i had originally that that this book would have contained much of the same essence that "live of the saints" had, but i was blown away by the way nino ricci ended Victor's story in "WSHG".
the bizarre fascination with his sister, and longing for a relation with her was ill mannered/nasty , but yet i still continued to finish the novel. the only tick i had about this novel was the ending. it seemed to much of an easy way out, and nino ricci should have thought of sumthing drastic happening to Victor?Vittorio

The atmosphere Ricci creates in WHERE SHE HAS GONE is enveloped in sorrow. As the story of Victor and Rita unfolds, the deep melancholy grows.

Victor and Rita are half-siblings; Rita the product of their mother's affair in her small Italian town while her husband (Victor's father) was in Canada setting the foundation for a new life for his family Over the course of the first two books in the trilogy, their mother dies after giving birth to Rita on the ocean liner bringing them to Canada, and Victor and Rita are raised together for a few years on his father's farm, until Rita is adopted by a nearby couple.

The siblings grow up and grow apart, until the opening of WHERE SHE HAS GONE, where they meet again in Toronto-Victor as a grad student/writer and Rita just starting university. The relationship they develop as adults is complicated and sad, but compelling. Ricci's language is distilled to a very simple, effective style, that suits the mood he creates beautifully.

All three books in the trilogy are highly recommended, but it's not necessary to have read the first two to be moved by the last (though I'm sure after reading WHERE SHE HAS GONE you'll want to).

This book is the perfect complement to Mr. Lyon's first book on the Can Am series.

Rather than a race by race account, the book presents a quick season overview, a review of the machines of that year and then takes a focus on one or two personalities whose impact affected that year most strongly. Most of the material is new and it is fascinating. The material on Jim Hall and Peter Bryant alone make this book a must read for anyone who saw these cars race or wished that they had.

If you're only going to buy one book, buy Can Am. If you want a broader view of the series, the men and the machines, then Can Am Photo History is the book. Together, they're an awesome set.

As I spent many summers at Mid Ohio Sports Car Course watching these cars, the memories and insights into these awesome cars are irreplaceable.

First of all, I have to say that I loved Pete's first book on this subject,"Can-Am". When I heard he was doing a second book, I was a bit skeptical. Was he simply milking the topic for a few more bucks? How could he top the original? Well, he did it! With its in-depth and very enlightening interview format (there's even an interview with Denny Hulme, done shortly before his death) and its wealth of superb all-new photographs, this book is a Can-Am lovers dream! Lyons captures the look and feel of the old, "real" Can-Am as we remember it, and as those who lived it remember it. My sole complaint: Too short! Tack another 100 pages onto the next one, Pete!

Besides the hundreds of wonderful photographs, Pete Lyons has put together a delightful, insiteful, and informative collection of history, anecdotes, interviews, and technical details. Mr. Lyons has made a great contribution to the history of motorsport by commiting to print these interviews with the giants of the sport. His reporting is very up close and personal and imparts a rich human element to those heady days of thunder.

I give five stars for content, but only about three stars for publishing quality. Certainly this edition is clear enough and the photographs are of sufficient resolution to provide detailed study, but I personally would pay $100 for a premium edition printed on high quality stock with high quality inks.

Now if we could persuade Mr. Lyons to turn his keen eye towards the Grand Touring Prototype era of the late 80s-early 90s...

NOTE: This review may contain crucial spoilers.
The novel, The Wars, is as much a story about war as it is about a young man's troubles with love. In fact, were it not for the dreary setting, this novel would still hold its own as a masterpiece. Whilst roaming the blooded fields, Robert Ross, a nineteen-year-old Canadian, struggles with the concept of love. This is truly an amazing story in that, although circumstances are tough, the predominant theme is still love, a quality that cannot fade away. The ugly truth of soldiers and war is brought about in a way that only parallels the love story, further confusing young Robert.
Being known as one of the greatest novels concerning World War I, the logical place to start is how the author, Timothy Findley, expressed his views of the war in the trenches. He details everything from the chlorine gas used, to the dreaded rifts that could collapse at any instant. 'The ammonia in their urine would turn the chlorine into harmless crystals that could not be breathed.' (page 141) I thought it was actually educational to learn this; not for the fact that I would ever be presented with this challenge, but because it is an interested tidbit about the war, that made me appreciate to what great lengths soldiers undertook to stay alive. The toughest thing to deal with, was that dying by bomb was at times preferable than just sitting in the trenches. No one could stand watching their friends being torn apart by bullets, and the thought that if bombed they could all die together, was pleasing to them.
'He'd found a model he could emulate ' a man to whom killing wasn't killing at all but only throwing.' (page 32) This would have to be one of my favorite passages of the novel. Timothy Findley portrays Robert as a man who does not like to kill, as can be seen in the scene when he must shoot the horse. Therefore, he made an ingenious attempt to find a reason for the Canadian to kill. 'Throwing' hardly sounded like a gruesome word, and if Robert stuck this term into his head, he could 'throw' as much as he wanted. His mindset is shattered when an important event arises. 'The sound of it would haunt him to the day he died.' Referring to a bird singing, this is said right after a German is spotted, seemingly unarmed, who lets them retreat. Robert thought he was safe, until the man was killed. Next to the German was a sniper rifle. The thought of knowing that he could have and would have been killed at any instant shattered Robert's ideas of killing, leading him into madness later on.
Robert's trouble with understanding women begins with this passage: 'All because he wouldn't fight a man she didn't love and whom he'd never seen.' (page 13) He could not understand why he must 'defend his honor' by fighting a man who was interested in his love. 'Being loved was letting others feed from your resources''
Timothy Findley's writing is filled with beautiful passages and a sense or realism is attained by his style of writing. Sometimes, the best way to clearly 'show' something, is by writing in mixed words and unfinished sentences. The style of writing is not only unique to a few authors, but can convey the madness around the characters. For a novel of World War I, the style is used to its most powerful and intense extreme.

I guess I'll be the token American to review this work.

I first read Pilgrim in November of 2000. It easily became one of my "desert-island-dozen" choices. From that point, I made it a mission to read as much of Timothy Findley as I could. So I started with "The Wars".

Although this book seems short at first(my copy checks in at a mere 254 pages)don't be fooled, this book is much deeper than that. His Hemingway-esque approach keeps the pages turning quickly. It moves so quickly that by the time you've finished it, your left in awe as if hit by a truck you never saw coming.

The tale would definitely fall in the "coming of age" category. As it is set in France during World War One, the potential for making a man out of a boy is clearly evident. The protagonist, Robert Ross, surrounded my the madness of war reaches his breaking point and, in an act that would seem unjustly called treasonist, finds the essence of true humanity among fields of mortar fire, poison gas, and flame throwers.

As I said this book moves quickly (I read it in two days). With such a short time commitment and so much reward, you owe it to yourself to read this book.

This book was great. One of the few that I wish never ended. Plus it was written by a Canadian, a true bonus. His use of imagery and historical facts make a effective one-two punch for your imagination. A must read for any war enthusist. Much more to tell but I do not want to ruin it for you.

fred.

A way to a reader's heart, according to this novel, is through the stomach. Using rather bland prose but obviously piquant analogies -- to make it easy on the brain, I suppose -- Taylor serves up the late twentieth century urban food scene as a multi-course meal for thought about where we are in our relation to where we happen to be living.

When we meet Chef Jeremy Papier, his world of cooks and kooks is neatly divided into Bloods, "who are respectful of tradition," and Crips, "who are critical and "post-national." Enter Dante Beal, another "foreigner" of sorts, who is the Devil incarnate, as identified by the young and sickly son of Jeremy's old friend. Dante has brought the rage of culinary post-nationalism to new highs -- or should we say lows -- with his chain of Inferno coffee shops ... and, yes, this is a not-so-subtle wink-wink at the proliferation of Starbucks in the Western world.

Love, sex, family ties, and other character-shaping aspects take a minor flavoring role in this novel in which battles are fought not with wits or sabers but faddish chef's knives and subterfuge is squirreled -- literally....

The real protagonist of this novel is an idea that tries to reclaim the "local" from the many ways it has been hijacked by multiculturalism, globalization, post-nationalism, post-modernism, and other post-isms. Blood is where it's at in the kitchen. It is blood that sanctifies place, the novel implies.

The Crip cooks have drained their fusion dishes of the power of blood when they went borrowing isolated ingredients of local foods from here and there. Their notion of place is nothing more than the pride of self, or so the novel implies. Though their intentions may be good ... well, you know what they say: the road to hell is paved with good intentions.

Which brings us Taylor's reinterpretation of Dante's Inferno reduced, like a fine sauce, to the notion of the globalization of food experience with no place or no self, however fused, in mind ... only expansion. And if you recall the original Dante's Inferno, you will surely remember that the worst place in hell was reserved for those who betrayed their country, who sinned against place....

I have to hand it to Taylor: he has certainly cooked up a plot that is sure to please different philosophical appetites. His quest for the binding power of the local reminds me of my own struggles around this issue.

I was once a transplant in Vancouver myself (as the author seem to be), and this novel captured for me something of the feel of that city that I could never quite articulate back then: the great divide between people's quiet desperation and their utter lack of awareness of the roots of their psychic anemia.

Food is THE staple of life, the most primordial element of mankind's continuing survival. Without food, without sustenance, man withers and dies, empty and unsatisfied. Food is good, and everyone knows it. So why do we continually shovel it down our throats without a thought as to the preparation, the presentation, the simple TASTE of the substance? We need food, but we rarely give two thoughts as to its true importance in our lives.

Timothy Taylor has come to the same conclusion, that man has ignored the nobility of food and its prepartion for long enough. It's time to remind the common folk of what good food can be, an entire experience that can be savoured in one's mind for weeks on end. Taylor has risen to this challenge with admirable verve; his STANLEY PARK is a true feast for the mind.

STANLEY PARK (named after a famous park in Vancouver, British Columbia) follows the exploits of Jeremy Papier, chef par excellance. Unfortunately for Jeremy, what he has in talent, he lacks in financial acumen, and his restaurant (The Monkey's Paw) is continually on the verge of complete collapse. Jeremy is a Blood; that is, a chef respectful of local culinary traditions and customs, using only local produce for his meals. He finds it increasingly difficult to match wits with the Crips, chefs who consider themselves artists first and foremost, creating unusual meals though unorthodox combinations of foods (eg., Prawns with Spiced Yam Wafers, Grappa and Thai Ginger Cream). In a culture where being hip is being odd, Jeremy is all the odder for sticking to his Blood guns. Add to the mix an increasing pressure by famous coffee businessman Dante (owner of Dante's Inferno coffeehouses, a thinly veiled attack on Starbucks)to purchase Jeremy's talent and restaurant, and a father who has taken to living in Stanley Park to study the homeless, and Jeremy's life has taken on mythic proportions of personal angst.

Aas may be expected, Taylor excels in his detailed descriptions of life within a restaurant; the highs, the lows, the dizzying speed of food preparation and service, the exhaustion of a day's work, the pleasure of creating something that will be destroyed within minutes. Taylor captures the focussed pressure of a busy restaurant that will be intimately familiar with anyone in the service industry, and possibly stupefying to anyone without previous experience. The amount of talent and work that can go into every meal is rendered with perfect prose; Taylor's descriptions of food rank among the best, alongside Laura Esquivel's LIKE WATER FOR CHOCOLATE and a particularly vivid passage from Richard Condon's PRIZZI'S HONOUR that still haunts this reviewer years later. And Jeremy's efforts to avoid the collapse of his dream are on par with the desperate real-life efforts to stave off bankruptcy in Johnathan Harr's A CIVIL ACTION, but far funnier.

Taylor also nicely captures Jeremy's anxiety of 'selling out' to Dante; as an antidote, he begins to hang out with his father every night in the park, preparing meals for the homeless from whatever materials are readily available in a large park (use your imagination). Jeremy's ultimate success, combining these two diverse factions of his life, leads to a final act of culinary greatness that is all the more appealing for its rather unusual menu.

Taylor, however, falters in a subplot concerning the past disappearance of two children in Stanley Park many decades previous. While Jeremy's father becomes infatuated with the rmyth that has grown around the children, Taylor's final meaning concerning this subplot remains ambiguous at best. It is an interesting story, but it jars the reader away for the main plot, and never firmly gels as a complete element of the story.

Otherwise, STANLEY PARK is a joy to read, a wondrous creation almost equal to the meals Jeremy creates. The fact that the mouth waters at Taylor's descriptions of Jeremy's feasts is proof enough of his talent as a writer. Luckily, Taylor can also pull off an interesting plot with remarkable characterizations as well.

Defnitely worth reading ... humanistic and delivers a great story while touching on important themes for all of us...

Professor Granatstien has presented readers with a very interesting book with "Who Killed Canadian History?". It has generated a great deal of debate within history cirlces - both good and bad.

The book itself is a quick read, coming in at a very short 149 pages. the main thrust of Grantstien's argument is that the pursuit of social history in Canada (which encompasses many fields such as Native and feminist histories) has swung too far. The result is that few people emerging out of the public chool system know much about thier national history. In fact, Grantstien claims that we are losing our history. The book is a polemic in this regard. Grantstien casts a wide net of blame in what he percieves to be the decline of historical knowledge in Canada.

Of course, this all begs the question as to whose "history" Dr. Grantstien is referring to? By no means is Canadian history dead. Critics of Granatstien and others like him such as Michael Bliss, believe that the history these people are advocating is that of a bygone era. Before the revolution in "social" history of the laet 1960s and early 1970s history tended to be based on the actions of the proverbial dead, white, male, politician (see Donald Creighton). The history that Grantstien advocates is usually cast in this light. The implication being that this history will once again marginalize the stories of women, natives, minorities, etc...

I personally do not believe that is what the debate is about. Grantstien is unfairly cast as some unsensitive brute who wants to turn the clock back to when the writing of history was much easier. When in reality he is simple percieving the historiographical trend as similar to a pendulum. If indeed social history was marginalized in the past, than "traditional" history (that which focuses on politics, the individual, etc...) has been marginalized in the current context. What he seeks is a happy middle ground, one in which both "social" and "traditional" history recieve the same amount of attention.

If you are interested in this book, then you should also look up some of the reactions it has generated among other historians. The Canadian Historical Review is where the debate seems to be most intense. An article by A.B. McKillop sumarizes the argument that "social" historians have against Granatstien, while an article by Bryan Palmer in the Dec. 1999 issue presents a very interesting third point of view that is quite different from both that of Grantstien and McKillop (I personally think the Palmer article is the better, even if he harbours some resentment over the marginalization of Marxist theory from the "cutting edge" of the discipline). If you wish to read something by supporters of the Grantstien thesis you can check-out an article by Robin Fisher in the 100th issue of BC Studies in 1994. Michael Bliss has also put out some material on this issue as well.

A very impressive book! Prof Granatstein has done a marvelous job presenting the changes the presentation of Canadian History has undergone in the past 30 years. I was particularly impressed with his treatment of various "schools of thought" which have come to dominate - ie post-structuralist, feminist, social/marxist, etc... He recognizes that these schools have made valuable contributions to the study of Canada's History, but points to some of their major shortcomings - chiefly their inability to provide a cohesive narrative for our last 300 years. While these interpretations can be extremely enlightening, they lose their effect when the reader has no foundation or "story" to compare them against - a foundation that used to be provided in the elementary and high school years. The only regret I had after reading the book was that it was so short - it would have been nice to see Granatstein develop and back-up his thesis in greater depth. But it's still a must read for all Canadians!

A friend of mine is a History Major at the local univeristy, and she had the distinct pleasure of having taken a class with Prof. Granatstein before he retired. She passed this book to everyone she knew, and I was lucky to get my turn with it early.

Canada has a rich and diverse culture, and its history is often scoffed (indeed, I can remember my family, all of us immigrants from England, saying, "Canada doesn't *have* any history.") This notion is wrong, and yet, it perpetuates.

Why?

Well, the question of who killed Canadian History is what Granatstein tackles in this book. It is a quick read, but one you'll re-read, and is a pithy and witty account of how fragmented our educational system is on the concept of teaching Canadian History. There are relevant facts scattered throughout this book, and statistics that made me, for one, ashamed of the Canadian educational system. Granatstein speaks of changes that need to be made on both the educational system front and in post-educational institutions, and has put together a book that sincerely, and objectively, points out why Canadian History is so lost.

Who Killed Canadian History? We, the Canadians, did. It's time to turn that around.