{"title":"Best sellers","description":"","products":[{"product_id":"the-walrus-slate-merino-toque","title":"The Walrus Slate Merino Toque","description":"\u003cp\u003eMade from 100% merino wool. Made in Canada. Made for Canadian winters.\u003c\/p\u003e","brand":"The Walrus Store","offers":[{"title":"Default Title","offer_id":9996286532,"sku":"","price":36.0,"currency_code":"CAD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0001\/6447\/files\/WalrusStore_Toque_Grey.jpg?v=1793113215"},{"product_id":"the-walrus-red-merino-toque","title":"The Walrus Red Merino Toque","description":"\u003cp\u003eMade from 100% merino wool. Made in Canada. 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His job was to survey the land and flag the boundaries for clear-cutting. As he made his way through the forest, Cronin came across a massive Douglas-fir the height of a twenty-storey building. It was one of the largest trees in Canada that if felled and milled could easily fetch more than fifty thousand dollars. Instead of moving on, he reached into his vest pocket for a flagging he rarely used, tore off a strip, and wrapped it around the base of the trunk. Along the length of the ribbon were the words “Leave Tree.”\u003c\/p\u003e\n\u003cp\u003eWhen the fallers arrived, every wiry cedar, every droopy-topped hemlock, every great fir was cut down and hauled away — all except one. The solitary tree stood quietly in the clear cut until activist and photographer T. J. Watt stumbled upon the Douglas-fir while searching for big trees for the Ancient Forest Alliance, an environmental organization fighting to protect British Columbia's dwindling old-growth forests. The single Douglas-fir exemplified their cause: the grandeur of these trees juxtaposed with their plight. They gave it a name: Big Lonely Doug. The tree would also eventually, and controversially, be turned into the poster child of the Tall Tree Capital of Canada, attracting thousands of tourists every year and garnering the attention of artists, businesses, and organizations who saw new values encased within its bark.\u003c\/p\u003e\n\u003cp\u003eOriginally featured as a long-form article in\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Walrus\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ethat garnered a National Magazine Award (Silver),\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBig Lonely Doug\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eweaves the ecology of old-growth forests, the legend of the West Coast’s big trees, the turbulence of the logging industry, the fight for preservation, the contention surrounding ecotourism, First Nations land and resource rights, and the fraught future of these ancient forests around the story of a logger who saved one of Canada's last great trees.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"The Walrus Store","offers":[{"title":"Default Title","offer_id":7302878953530,"sku":"15","price":22.95,"currency_code":"CAD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0001\/6447\/products\/WEB_Store_Big-Lonely-Doug_740x740_07de6ae0-699b-4979-bdaa-d1788155a92c.jpg?v=1535735402"},{"product_id":"uralkali-potash-mine-3-berezniki-russia-2017-the-anthropocene-project-by-edward-burtynsky","title":"Uralkali Potash Mine #3, Berezniki, Russia, 2017 (The Anthropocene Project) by Edward Burtynsky","description":"\u003cp\u003eEdward Burtynsky has photographs in the National Gallery of Canada, the Museum of Modern Art and the Guggenheim in New York, and other collections around the world.\u003c\/p\u003e\n\u003cp\u003eCover prints are exclusive, professionally printed copies of our award-winning magazine covers. These custom-ordered prints include cover art and the \u003cem\u003eWalrus\u003c\/em\u003e wordmark, but are free of all other decoration. They are reproduced on high-quality archival paper, and are available framed or unframed.\u003c\/p\u003e\n\u003cdiv class=\"cover_printer\"\u003e\n\u003cp\u003e\u003cstrong\u003eStandard cover print dimensions:\u003c\/strong\u003e 10.75” × 14.25” (unframed, including 1 1\/8” white border)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLarge cover print dimensions:\u003c\/strong\u003e 21.5” × 28.5” (unframed, including 1 1\/8” white border)\u003c\/p\u003e\n\u003c\/div\u003e","brand":"The Walrus","offers":[{"title":"Standard \/ Unframed","offer_id":20085543010362,"sku":"","price":99.0,"currency_code":"CAD","in_stock":true},{"title":"Large \/ Unframed","offer_id":20085543108666,"sku":"","price":199.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0001\/6447\/products\/COVER_Burtynsky_NOV18.jpg?v=1538767323"},{"product_id":"the-walrus-book-of-true-crime","title":"The Walrus Book of True Crime","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cdiv class=\"description\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e FROM ITS BEGINNINGS, The Walrus has produced award-winning reporting that journeys to the dark side of human behaviour: con men, corruption, political malfeasance, unsolved murders, and shocking miscarriages of justice.\n\u003cp\u003e \u003c\/p\u003e\nSelected from across the magazine’s sixteen-year history, The Walrus Book of True Crime publishes the best of those sensational tales, capturing, in compelling prose, the full spectrum of the true-crime genre.\n\u003cp\u003e \u003c\/p\u003e\nThis is the perfect book for devotees of crime-driven storytelling, students of deception and depravity, and anyone fascinated by the depths that people can sink to.\u003c\/div\u003e","brand":"The Walrus Store","offers":[{"title":"Default Title","offer_id":23754808229946,"sku":"","price":14.95,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0001\/6447\/products\/The_Walrus_Book_of_True_Crime.jpg?v=1570813379"},{"product_id":"no-more-nice-girls","title":"No More Nice Girls","description":"\u003cp style=\"text-align: center;\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ch1\u003eNo More Nice Girls\u003c\/h1\u003e\n\u003ch1\u003eGender, Power, and Why It’s Time to Stop Playing by the Rules\u003c\/h1\u003e\n\u003ch1\u003eWritten by\u003cspan\u003e Lauren McKeon \u003c\/span\u003e\n\u003c\/h1\u003e\n\u003cdiv class=\"description\"\u003e\n\u003cul class=\"h-desc-ul\"\u003e\n\u003cli class=\"h-desc-list\"\u003e352 Pages\u003c\/li\u003e\n\u003cli class=\"h-desc-list\"\u003e9781487006440\u003c\/li\u003e\n\u003cli class=\"h-desc-list\"\u003e8.5\" x 5.5\"\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"product-section product-section--active\"\u003e\n\u003cdiv class=\"product-section-section\"\u003e\n\u003cp\u003eIn the age of girl bosses, Beyoncé, and Black Widow, we like to tell our little girls they can be anything they want when they grow up, except they’ll have to work twice as hard, be told to “play nice,” and face countless double standards that curb their personal, political, and economic power. Today, long after the rise of girl power in the 90s, the failed promise of a female president, and the ubiquity of feminist-branded everything, women are still a surprisingly, depressingly long way from gender and racial equality. It’s worth asking: Why do we keep trying to win a game we were never meant to play in the first place?\u003c\/p\u003e\n\u003cp\u003eAward-winning journalist and author Lauren McKeon examines the varied ways in which our institutions are designed to keep women and other marginalized genders at a disadvantage and shows us why we need more than parity, visible diversity, and lone female CEOs to change this power game. She uncovers new models of power — ones the patriarchy doesn’t get to define — by talking to lawyers insisting on gender-neutral change rooms in courthouses, programmers creating apps to track the breakdown of men and women being quoted in the news media, educators illustrating tampon packaging with pictures of black bodies, mixed martial artists teaching young girls self-empowerment, entrepreneurs prioritizing trauma-informed office cultures, and many other women doing power differently. As the toxic, divisive, and hyper-masculine style of leadership gains ground, threatening democracy here and abroad, McKeon underscores why it’s time to stop playing by the rules of a rigged game.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eNo More Nice Girls\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003echarts a hopeful and potent path forward for how to disrupt the standard (very male) vision of power, ditch convention, and build a more equitable world for everyone.\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cstrong\u003e******Ships only to Canadian Addresses******\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"product-section product-section--hide\"\u003e\n\u003cdiv class=\"product-section-heading\"\u003e\n\u003ch6\u003e\u003cbr\u003e\u003c\/h6\u003e\n\u003cbr\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"product-section product-section--hide\"\u003e\n\u003cdiv class=\"product-section-heading\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"The Walrus Store","offers":[{"title":"Default Title","offer_id":31257863716922,"sku":"","price":22.95,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0001\/6447\/products\/No_More_Nice_Girls_The_Walrus_Books.jpg?v=1575988866"},{"product_id":"the-age-of-creativity","title":"The Age of Creativity","description":"\u003cblockquote\u003e\n\u003ch1 style=\"line-height: 110%;\"\u003eThe Age of Creativity\u003cbr\u003e Art, Memory, My Father, and Me\u003c\/h1\u003e\n\u003ch2 style=\"line-height: 75%;\"\u003eWritten by Emily Urquhart\u003c\/h2\u003e\n\u003c\/blockquote\u003e\n\u003cdiv class=\"description\"\u003e\n\u003cul class=\"h-desc-ul\"\u003e\n\u003cli class=\"h-desc-list\"\u003e232 Pages\u003c\/li\u003e\n\u003cli class=\"h-desc-list\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003e9781487005313\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"h-desc-list\"\u003e8.5\" x 5.5\"\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"product-section product-section--active\"\u003e\n\u003cdiv class=\"product-section-section\"\u003e\u003cstrong style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 1.4em;\"\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv class=\"product-section-section\"\u003e\n\u003cstrong\u003eA moving portrait of a father and daughter relationship and a case for late-stage creativity from Emily Urquhart, the bestselling author of \u003cem\u003eBeyond the Pale: Folklore, Family, and the Mystery of Our Hidden Genes.\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cbr\u003e \"The fundamental misunderstanding of our time is that we belong to one age group or another. We all grow old. There is no us and them. There was only ever an us\" — from \u003cem\u003eThe Age of Creativity\u003c\/em\u003e\n\u003c\/div\u003e\n\u003cbr\u003eIt has long been thought that artistic output declines in old age. When Emily Urquhart and her family celebrated the eightieth birthday of her father, the illustrious painter Tony Urquhart, she found it remarkable that, although his pace had slowed, he was continuing his daily art practice of drawing, painting, and constructing large-scale sculptures, and was even innovating his style. Was he defying the odds, or is it possible that some assumptions about the elderly are flat-out wrong? After all, many well-known visual artists completed their best work in the last decade of their lives, Turner, Monet, and Cézanne among them. With the eye of a memoirist and the curiosity of a journalist, Urquhart began an investigation into late-stage creativity, asking: Is it possible that our best work is ahead of us? Is there an expiry date on creativity? Do we ever really know when we've done anything for the last time?\u003c\/div\u003e\n\u003cbr\u003e\n\u003cdiv class=\"product-section-section\"\u003e\n\u003cem\u003eThe Age Creativity\u003c\/em\u003e is graceful, intimate blend of research on ageing and creativity, including on progressive senior-led organizations, such as home for elderly theatre performers and a gallery in New York City that only represents artists over sixty, and her experience living and travelling with her father. Emily Urquhart reveals how creative work, both amateur and professional, sustains people in the third act of their lives, and tells a news story about the possibilities of elder-hood.\u003c\/div\u003e\n\u003cbr\u003e\u003cbr\u003e\n\u003cdiv class=\"product-section-section\"\u003e\n\u003cstrong style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 1.4em;\"\u003eAbout the Author\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"product-section product-section--hide\"\u003e\n\u003cdiv class=\"product-section-heading\"\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"product-section product-section--hide\"\u003e\n\u003cdiv class=\"product-section-heading\"\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eEMILY URQUHART is a National Magazine Award–winning writer and has a doctorate in folklore from Memorial University of Newfoundland. Her first book, Beyond the Pale: Folklore, Family, and the Mystery of Our Hidden Genes, was a Maclean’s bestseller, a finalist for the BC National Award for Canadian Non-Fiction, and a Globe and Mail Best Book of 2015. Her freelance writing has appeared in the Toronto Star, The Walrus Magazine, Longreads, the Rumpus, and Eighteen Bridges, among other publications. She is a nonfiction editor for the New Quarterly and teaches creative nonfiction at Wilfrid Laurier University. She lives in Kitchener, Ontario, with her husband and their two children.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"The Walrus Store","offers":[{"title":"Default Title","offer_id":31950699298874,"sku":"","price":22.95,"currency_code":"CAD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0001\/6447\/products\/WalrusBooks_Emily_Urquhart_The_Age_of_Creativity.jpg?v=1599076646"},{"product_id":"death-interrupted","title":"Death Interrupted","description":"\u003cblockquote\u003e\n\u003ch1 style=\"line-height: 110%; text-align: left;\"\u003eDeath Interrupted\u003cbr\u003e\n\u003c\/h1\u003e\n\u003ch4 style=\"line-height: 110%; text-align: left;\"\u003eHow Modern Medicine is Complicating the Way we Die\u003cbr\u003e\n\u003c\/h4\u003e\n\u003ch2 style=\"line-height: 75%;\"\u003eWritten by Blair Bigham\u003c\/h2\u003e\n\u003c\/blockquote\u003e\n\u003cdiv class=\"description\"\u003e\n\u003cul class=\"h-desc-ul\"\u003e\n\u003cli class=\"h-desc-list\"\u003e272 Pages\u003c\/li\u003e\n\u003cli class=\"h-desc-list\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003e978-1-4870-0854-3\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"h-desc-list\"\u003e8.5\" x 5.5\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"product-section product-section--active\"\u003e\n\u003cdiv class=\"product-section-section\"\u003e\n\u003cstrong style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 1.4em;\"\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"product-section-section\"\u003e\n\u003cstrong style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 1.4em;\"\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"product-section-section\"\u003e\n\u003cp\u003e\u003cstrong\u003eIn \u003cem\u003eDeath Interrupted\u003c\/em\u003e, ICU doctor Blair Bigham shares his firsthand experiences of how medicine has complicated the way we die and offers a road map for dying in the modern era.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eDoctors today can call on previously unimaginable technologies to help keep our bodies alive. In this new era, most organs can be kept from dying almost indefinitely by machines. But this unprecedented shift in end-of-life care has created a major crisis. In the widening grey zone between life and death, doctors fight with doctors, families feel pressured to make tough decisions about their loved ones, and lawyers are left to argue life-and-death cases in the courts. Meanwhile, intensive care patients are caught in purgatory, attached to machines and unable to speak for themselves.\u003c\/p\u003e\n\u003cp\u003eIn \u003cem\u003eDeath Interrupted\u003c\/em\u003e, based on the 2019 long-form article in The Walrus, “When Is Dead Actually Dead?”, Dr. Blair Bigham seeks to help readers understand the options facing them at the end of their lives. Through conversations with end-of-life professionals — including ethicists, social workers, and nurses and doctors who practice palliative care — and observations from his own time working in ambulances, emergency rooms, and the ICU, Bigham exposes the tensions inherent in this new era of dying and answers the tough questions facing us all. Because now, for the first time in human history, we may each have to choose how our own story ends.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv class=\"product-section-section\"\u003e\u003cstrong style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 1.4em;\"\u003eAbout the Author\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv class=\"product-section-section\"\u003e\n\u003cstrong style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 1.4em;\"\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eDR. BLAIR BIGHAM is a journalist, scientist, and attending emergency and ICU physician who trained at McMaster and Stanford Universities. He was a Global Journalism Fellow at the Munk School of Global Affairs and an associate scientist at St. Michael’s Hospital. 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