In this startlingly original vision of Canada, renowned thinker John Ralston Saul argues that Canada is a Métis nation, heavily influenced and shaped by Aboriginal ideas: Egalitarianism, a proper balance between individual and group, and a penchant for negotiation over violence are all Aboriginal values that Canada absorbed. An obstacle to our progress, Saul argues, is that Canada has an increasingly ineffective elite, a colonial non-intellectual business elite that doesn't believe in Canada. It is critical that we recognize these aspects of the country in order to rethink its future.

“One of the most gratifying, even inspirational, things about the American theatre today is the very existence of Jon Robin Baitz. With A Fair Country his writing continues to push our theatre out of the parlor and into the political.” – Linda Winer, Newsday “Baitz is occupying theatrical territory that once was the turf of Arthur Miller and Lillian Hellman, though he writes in his own idiosyncratic voice… He has a gift for familial confrontations that are vicious, funny, brutal, and bizarre.” – Vincent Canby, New York Times (Broadway Production) “Few American playwrights have the ability to write such pointed dialogue, and fewer yet are able to marry their domestic drama with the larger political and social issues that concern Baitz.” – Richard Christiansen, Chicago Tribune (Broadway Production) “A sizzling new play.” – Howard Kissel, New York Daily News (Broadway Production) A subtle and powerful exploration of the personal impact of politics on an American family stationed in South Africa during the time of apartheid. Jon Robin Baitz is the author of Three Hotels, The Film Society, Other Desert Cities, The End of the Day, and The Substance of Fire, which he adapted into a major motion picture. He was the showrunner on ABC’s Brothers & Sisters. He also wrote the screenplay for the upcoming film Stonewall directed by Roland Emmerich. He lives in New York.

New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.

Canada has no greater interpreter and champion than John Ralston Saul, who for years has been challenging our common notions of Canada. These four books examine our history and myths, our relationships and modern reality, and together brilliantly portray a unique and remarkable country. Reflections of a Siamese Twin In Reflections of a Siamese Twin, Saul turns his eye to an examination of Canada itself. Caught up in crises—political, economic, and social—Canada continues to flounder, unable to solve or even really identify its problems. Instead, we assert absolute differences between ourselves: we are English or we are French; Natives or Europeans; early immigrants or newly arrived; from the east or from the west. Or we bow to ideologies and deny all differences in the name of nationalism, unity, or equality. In a startling exercise in reorientation, John Ralston Saul makes sense of Canadian myths—real, false, denied—and reconciles them with the reality of today’s politics, culture, and economics. A Fair Country In this startlingly original vision of Canada, John Ralston Saul argues that Canada is a Métis nation, heavily influenced and shaped by Aboriginal ideas: Egalitarianism, a proper balance between individual and group, and a penchant for negotiation over violence are all Aboriginal values that Canada absorbed. An obstacle to our progress, Saul argues, is that Canada has an increasingly ineffective elite, a colonial non-intellectual business elite that doesn’t believe in Canada. It is critical that we recognize these aspects of the country in order to rethink its future. The Comeback Historic moments are always uncomfortable, Saul writes in this impassioned argument, calling on all of us to embrace and support the comeback of Aboriginal peoples. This, he says, is the great issue of our time—the most important missing piece in the building of Canada. The events that began late in 2012 with the Idle No More movement were not just a rough patch in Aboriginal relations with the rest of Canada. What is happening between Aboriginals and non-Aboriginals is not about guilt or sympathy or failure or romanticization of the past. It is about citizens’ rights. It is about rebuilding relationships that were central to the creation of Canada. These relationships are just as important to its continued existence. Wide in scope but piercing in detail, The Comeback presents a powerful portrait of modern Aboriginal life in Canada illustrated by a remarkable selection of letters, speeches, and writings by Aboriginal leaders and thinkers, showcasing the extraordinarily rich, moving, and stable indigenous point of view across the centuries. Louis-Hippolyte LaFontaine and Robert Baldwin Here, Saul argues that modern Canada did not begin in 1867; rather its foundation was laid years earlier by two visionary men, Louis-Hipplyte LaFontaine and Robert Baldwin. Opposites in temperament and driven by intense experiences of love and tragedy, together they developed principles and programs that would help unite the country. After the 1841 union, the two leaders of Lower and Upper Canada worked to create a reformist movement for responsible government run by elected citizens instead of a colonial governor. During the “Great Ministry” of 1848 to 1851—despite violent opposition—they set about creating a more equitable nation. They revamped judicial institutions, established a public education system, made bilingualism official, and designed a network of public roads. Writing with verve and deep convictions, Saul restores these two extraordinary Canadians to rightful prominence.

One of the most striking features of cultural life in South Africa has been the extent to which one area of cultural practice - theatre - has more than any other testified to the present condition of the country, now in transition between its colonial past and a decolonized future. But in what sense and how far does the critical force of theatre in South Africa as a mode of intervention continue? In the immediate post-election moment, theatre seemed to be pursuing an escapist, nostalgic route, relieved of its historical burden of protest and opposition. But, as the contributors to this volume show, new voices have been emerging, and a more complex politics of the theatre, involving feminist and gay initiatives, physical theatre, festival theatre and theatre-for-education, has become apparent. Both new and familiar players in South African theatre studies from around the world here respond to or anticipate the altered conditions of the country, while exploring the notion that theatre continues to 'intervene.' This broad focus enables a wide and stimulating range of approaches: contributors examine strategies of intervention among audiences, theatres, established and fledgling writers, canonical and new texts, traditional and innovative critical perspectives. The book concludes with four recent interviews with influential practitioners about the meaning and future of theatre in South Africa: Athol Fugard, Fatima Dike, Reza de Wet, and Janet Suzman.