Search results for ""Book*hug""

SHORTLISTED FOR THE 2011 GOVERNOR GENERAL'S AWARDHer painful legs refused to emerge. It was a question of a particular movement. A passage from analyses to terrifying hallucination. The pressure oozing out of her. Still nursing she held up the head. Her own singular sensation of pain. Ferociously archival proof of an event that left no other material.Fieldnotes, a forensic charts one forensic anthropologist's series of descents in the first decade of the new millennium - a decade when forensic discourses and experts became ubiquitous in popular culture and on the daily news. But the edgy, passionate and erudite writer of these fieldnotes is no Temperance Brennan or Kathy Reichs. Part parody of popular discourses on the forensic anthropologist, part exegesis of the fieldnote genre, and part response to the natural and human catastrophes that unfolded during the writing of this book, Eichhorn's second collection continues to explore the poetics and affective dimensions of knowledge making at the edges of poetry and fiction.

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The islands of an archipelago are isolated above sea level but attached underwater; connected yet separate. archipelago, the debut poetry collection from Laila Malik, traces fragments of family, becoming and unbecoming against the shifting shorelines of loss, multigenerational migration, and (un)belonging.Malik's lyrical poems intertwine histories of exile and ecological devastation. Beginning with a coming of age in the 80s and 90s between Canada, the Arabian Gulf, East Africa and Kashmir, they subvert conventions of lineage, instead drawing on the truths of inter-ethnic histories amidst sparse landscapes of deserts, oceans, and mountains. They question why the only certainties of "home" are urgency and impossibility.At its core, archipelago is a letter to the daughters who come before and after, a quiet disclosure of barbed ancestral legacies that only come into focus through poetry.

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Dear Child Once upon a timeYour baba fell in love with your dadWe got married and dreamt of having a babyA roller coaster of emotions and feelingsWe were always hopefulLambda Literary and Stonewall Book Award-winner Hasan Namir shares a joyful collection about parenting, fatherhood and hope. These warm free-verse poems document the journey that he and his husband took to have a child. Between love letters to their young son, Namir shares insight into his love story with his husband, the complexities of the IVF surrogacy process and the first year as a family of three. Umbilical Cord is a heartfelt book for parents or would-be parents, with a universal message of hope.

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The Absence of Zero is a triumphantly-executed celebration of the long poem tradition. Consisting of 256 16-line quartets, and 34 free-form interruptions, this slow-moving haunting work is a beautiful example of thinking in language, a meditation that explores time and memory in both content and form. The 20th century is already more than 20 years past: The Absence of Zero is Kolewe's elegy to that era, and the disparate fragments of its ideas that continue to affect and disrupt our present.

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Finalist for the 2021 Gerald Lampert Memorial AwardTo devote oneself to the study of beauty is to offer footnotes to the universe for all the places and all the moments that one observes beauty. I can no longer grab beauty by her wrists and demand articulation or meaning. I can only take account of where things touch.Part lyric essay, part prose poetry, Where Things Touch grapples with the manifold meanings and possibilities of beauty.Drawing on her experiences as a physician-in-training, Orang considers clinical encounters and how they relate to the concept and very idea of beauty. Such considerations lead her to questions about intimacy, queerness, home, memory, love, and other aspects of human existence. Throughout, beauty is ultimately imagined as something inextricably tied to care: the care of lovers, of patients, of art and literature, and the various non-human worlds that surround us.Eloquent and meditative in its approach, beauty, here, beyond base expectations of frivolity and superficiality, is conceived of as a thing to recover.Where Things Touch is an exploration of an essential human pleasure, a necessary freedom by which to challenge what we know of ourselves and the world we inhabit.2021 Gerald Lampert Memorial Award Jury Citation:"Tapestry-like in form, Orang's lyrical poetic essay stitches together an exploration of beauty and aesthetics that is woven with humility and relationality to other. Her immense sense of craft and confidence make for breath stopping moments, over and over, while at the same time filling the senses with powerful and piercing revelation. 'Reading,' she writes, 'is a kind of ecological activity'– and it is a privilege to situate yourself within Orang's topographies of love."

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AÏcha lives with her mother in Montreal's Centre-Sud neighbourhood. She's only thirteen but claims to be older. She has never known her father, and resents her mother for leaving Hakim, her stepfather. Her only friends are Mel and Jo, two local prostitutes, and Baz, a musician in his twenties, who comes to her rescue one day and with whom she proceeds to fall in love. Her impossible love for Baz, her precociousness and her rebellious streak come together into an explosive cocktail. Raw and heartrending, Worst Case, We Get Married is the statement AÏcha gives to a social worker.From acclaimed QuÉbÉcois writer Sophie Bievenu, and translated by JC Sutcliffe, comes Worst Case, We Get Married, a powerful and moving coming-of-age novel. Originally published in French in 2011 as Et au pire, on se mariera, the novel was adapted into a film by Bienvenu and LÉa Pool in 2017. "Sophie Bienvenu gets inside the head of a whip-smart, lovesick teenager whose fantasy life bleeds into her reality to chilling effect. Listen to her story and be seduced (and horrified). Worst Case, We Get Married is Quebec lit at its best." —Neil Smith, author of Boo

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In that moment, I felt closer to whiteness than not. I was completely complicit and didn?t think twice about entering a space that could cover their walls with images of contemporary Indigenous perspectives, but exclude their physical bodies from entering and experiencing. In that moment, I felt like a real Canadian.Before I Was a Critic I Was a Human Being is the debut collection of nonfiction essays by Amy Fung. In it, Fung takes a closer examination at Canada's mythologies of multiculturalism, settler colonialism, and identity through the lens of a national art critic.Following the tangents of a foreign-born perspective and the complexities and complicities in participating in ongoing acts of colonial violence, the book as a whole takes the form of a very long land acknowledgement. Taken individually, each essay roots itself in the learning and unlearning process of a first generation settler immigrant as she unfurls each region's sense of place and identityPraise for Before I Was a Critic I Was a Human Being:?The hours I've spent with this knowing and moving book about place and placelessness are among the most valuable of my reading life. Wow, thank you, Amy." —Eileen Myles"As an Indigenous/Haudenosaunee writer and reader, I recognize that Amy Fung's book does not try to convince us that she is a native rights ally but shows us with language how to mould the term ally into a verb." —Janet Rogers, author of Totem Poles and Railroads"In this compelling work, Amy Fung breathes life and relevance into criticality. This visitor's guide is integral reading." —Cecily Nicholson, author of Wayside Sang, winner of the Governor General's Literary Award for Poetry.

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Where, the Mile End, Irish poet Julie Morrissy's debut collection, embodies an energetic lyricism that whips through Europe and North America with humour, curiosity and a distinct edginess. Morrissy's lines track emotional, physical, and geographical change, as she intimately links the vitality of two continents: the snow, the streets, the sensual memories. Where, the Mile End reimagines the places we inhabit, the moments we remember, the things we long for.Praise for Where, the Mile End:"Humming with energy and startlingly fresh, these poems crack through the surface of weather and geography and illuminate all that is revealed. Morrissy?s deftly paced, musical use of language draws us into her closely observed world where we accompany her with fascination from place to place to place." —Jane Urquhart, award-winning author of The Night Stages and Some Other Garden"Julie Morrissy jauntily leads us down unfamiliar streets, where we often become merrily lost. Brief interludes whip the book forward, as Montreal, San Francisco, and Dublin keep bursting trhough. Even 'that little triangle of muscle in your ear' will attend every poem." —Terese Svoboda, award-winning author of Weapons Grade and Professor Harriman's Steam Ship

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Finalist for the 2020 Western Canada Jewish Book Awards, The Nancy Richler Memorial Prize for FictionFinalist for the 2020 Kobzar Book AwardFinalist for the 2019 Ethel Wilson Fiction AwardWe All Need to Eat is a new collection of linked stories from award-winning author Alex Leslie that revolve around Soma, a young Queer woman in Vancouver, chronicling her attempts to come to grips with herself, her family and her sexuality.Set in different moments falling between Soma's childhood and her late thirties, each story--bold and varying in its approach to narrative--presents a sea change in Soma's life, from Soma becoming addicted to weightlifting while going through a break-up in her thirties; to her complex relationship with her younger brother after she leaves home revealed over the course of a long family chicken dinner; to Soma's struggles to cope with her mother's increasing instability by becoming fixated on buying her a lamp for seasonal affective disorder; and the far-reaching impact and lasting reverberations of Soma's family's experience of the Holocaust as it scrapes up against the rise of Alt Right media. Lyrical, gritty and atmospheric, Soma's stories refuse to shy away from the contradictions inherent to human experience, exploring one young person's journey through mourning, escapism, and the search for nourishment.

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From interdisciplinary writer and performer Jacob Wren comes Polyamorous Love Song, a novel of intertwined narratives concerning the relationship between artists and the world. Shot through with unexpected moments of sex and violence, readers will become acquainted with a world that is at once the same and opposite from the one in which they live. With a diverse palette of vivid characters - from people who wear furry mascot costumes at all times, to a group of "New Filmmakers" that devises increasingly unexpected sexual scenarios with complete strangers, to a secret society that concocts a virus that only infects those on the political right - Wren's avant-garde Polyamorous Love Song (finalist for the 2013 Fence Modern Prize in Prose) will appeal to readers with an interest in the visual arts, theatre, and performance of all types.

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In She Who Lies Above, Beatriz Hausner brings Hypatia of Alexandria, the fourth century Byzantine mathematician, astronomer, and philosopher, to life. She does so through layered ventriloquism: publishing amorous correspondence from the feminist icon's friend and former student, Synesius the Cyrene, and scribing Hypatia's replies in turn. These letters are "discovered" by Bettina Ungaro, a librarian and archivist by day, poet by night. She, in turn, collates the correspondence to build a vision of the couple's relationship while writing a kind of postmodern critique of contemporary book and reading culture. These interjections both borrow from and juxtapose writing from ancient times, and, in doing so, explore the evolution of modern knowledge keeping. The result is a rigorous, hyper-layered collection of poems that are elegiac and erotic; steeped in appreciation for a life of books and the technical and transcendent brilliance their authors can exhibit.

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First published in 1999 in an edition of 300 perfectbound copies and 26 spiralbound copies lettered A-Z and signed by someone or other, Pillage Laud by "Er'n Moure" returns to the world of print. Pillage Laud, as the 1999 edition admitted, selects from pages of computer-generated sentences to produce lesbian sex poems by pulling through certain found vocabularies, relying on context: boy plug vagina library fate tool doctrine bath discipline belt beds pioneer book ambition finger fist flow. The news was out: Er'n Moure is actually a computer. In 2012, now that everyone is a computer, the book can be read gladly by all of us, anew.

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Monsters, Martyrs, and Marionettes is a revelatory hybrid collection that subverts the stereotypes and transcends the platitudes of family life to examine motherhood with blistering insight.Documenting the birth and early life of her three daughters, Adrienne Gruber shares what it really means to use one's body to bring another life into the world and the lasting ramifications of that act on both parent and child. Each piece peers into the seemingly mundane to show us the mortal and emotional consequences of maternal bonds, placing experiences of being a mom within broader contextshistorical, literary, biological, and psychologicalto speak to the ugly realities of parenthood often omitted from mainstream conversations. Ultimately, this deeply moving, graceful collection forces us to consider how close we are to death, even in the most average of moments, and how beauty is a necessary celebration amidst the chaos of being alive.

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Imminent Domains: Reckoning with the Anthropocene invites readers to join a contemplation of survival—our own, and that of the elements that surround us. Using research, lyric prose, and first-hand experiences, Alessandra Naccarato addresses fundamental questions about our modern relationship to nature amidst depictions of landscapes undergoing dramatic transformation.We trace the veins of harm, memory and meaning amongst ecosystems and bioregions; through history and across continents, from the mines of Cerro Rico to the ruins of Pompeii. Arranged by five central elements of survival—earth, fire, water, air and spirit—these essays refute linearity, just as nature does.Naccarato offers not blanket answers about our future, but rather myriad ways to find our own, individual response to an imminent question. We are being called to work together; to dig a trench deep and wide enough that the fires around us might stay at bay. How do we turn towards the fire?

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"In a way, the language is the protagonist in this book. It is luminous and vibrant, full of associations, reflections and quotes. The words embrace the world with sensuality, humour, wonder and a confusion of feelings." —Fredrik WandrupIn a hotel, high up in a mountain village, two sisters aim to reconnect after distant years that contrast their close, almost twin-like upbringing. Martha has just been discharged from a sanatorium after a mental breakdown. Ella agrees to keep her company in the hope that the clean winter air will provide clarity—and a way back to their childhood connection.It's only when plans go awry, and Martha disappears in a rage, that Ella discovers a new sense of self outside her filial role. This identity is reinforced by various encounters: the hotel receptionist who takes her under her wing; the enigmatic love interest; the wistful, drunken Salvation Army soldier; the carpenter. And not least, Ella's encounter with the writings of Stefan Zweig, which have a profound impact.Winner of the Critics' Prize 2018 and shortlisted for the Booksellers' Prize 2018, Mona HØvring's work is as sharp as it sensitive; insightful as it is original when exploring the many distractions of the heart.

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Never forget / to connect the dots / This book is an attempt to connect a couple. In Begin by Telling, experimental pop sensation Meg Remy (U.S. Girls) spins a web out from her body to myriad corners of American hyper-culture. Through illustrated lyric essays depicting visceral memories from early childhood to present day, Remy paints a stark portrait of a spectacle-driven country.As though channel surfing, we catch glimpses of Desert Storm, the Oklahoma City Bombing, random street violence, the petrochemical industry, small town Deadheads, a toilet with uterus lining in it, the county STD clinic, and missionaries at the front door. Each is shared through language of the body; the sensation of experiencing many of the defining events and moments of a country.Immersive and utterly compelling, the threads in Begin by Telling nimbly interweave with probing quotes and statistics, demonstrating the importance of personal storytelling, radical empathy, and the necessity of reflecting on society and one's self within that construct.

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Winner of the 2021 Margaret Laurence Award for Fiction Aleya's world starts to unravel after a cafÉ customer leaves behind a collection of short stories. Surprised and disturbed to discover that it has been dedicated to her, Aleya delves into the strange book...A mad scientist seeks to steal his son's dreams. A struggling writer, skilled only at destruction, finds himself courted by Hollywood. A woman seeks to escape her body and live inside her dreams. Citizens panic when a new city block manifests out of nowhere. The personification of capitalism strives to impress his cutthroat boss.The more Aleya reads, the deeper she sinks into the mysterious writer's work, and the less real the world around her seems. Soon, she's overwhelmed as a new, more terrifying existence takes hold.The Lightning of Possible Storms blends humour and horror, doom and daylight, offering myriad possible storms.Praise for Jonathan Ball:"Cheerfully horrifying, and full of the unexpected, The Lightning of Possible Storms is an entertaining Borgesian foray into the existential dread of writing itself." —Saleema Nawaz, author of Songs for the End of the World"This collection is so beautifully written and expertly composed—it is rich, layered, and complex. In every story, characters are forced to confront their secret, subterranean selves, their suppressed longings and anxieties, and the stories will linger with you long after you’ve finished them, much like the last strains of a beloved song. Witty, sad, sardonic, each story is its own masterpiece. This collection confirms Jonathan Ball as one of Canada’s very best writers." —Suzette Mayr, author of Dr. Edith Vane and the Hares of Crawley Hall

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Longlisted for the 2020 Toronto Book AwardsMobile is an uncivil feminist reboot of Dennis Lee's Civil Elegies and Other Poems; an urban lament about female citizenship and settler culpability; an homage to working and walking women in a love/hate relationship with Toronto, its rivers and creeks, its sidewalks and parks, its history, misogyny and violence. How do we, in Lee's words, see the "lives we had not lived" that "invisibly stain" the city? What are the sexual politics of occupying space in a city, in a workspace, in history? How can we name our vulnerabilities and our disasters and still find strength?Written in a slippery mix of lyric and experimental styles, Mobile is MacDonald's grouchiest book yet.Praise for Tanis MacDonald:"These poems performatively perturb our complacencies: toward city, land, plant, women, and men. With her sybil voice full of sass but never lacking civility, MacDonald forages the city for women's lives and names, knocking not on heaven's door but on the tombs where our world is heading. Confronting barriers of attitude and structure that women face daily, full of sounds and verve, Mobile is a deft counterpoint to Dennis Lee's long-ago Civil Elegies. Pick up this Mobile, readers; it?s ringing and it's no robocall!" —Erín Moure"With delightfully subversive wordplay and intertextual sleight of hand, Tanis MacDonald wanders the text of the modern city, exploring its civil energies with intelligence, incision, compassion, music, ferocity and wit. A Sibyl's elegies for the civil legacies of the past, these feisty poems interrogate the mansplaining streets, finding the always-there voices and experiences of women in its architecture and shadows, curbs and enthusiasms, structures and strictures, its texts and traditions, violence and vibrance, twists and d�tournes. Go with MacDonald as she guides you through the streets of Mobile. It's a tour de force." —Gary Barwin

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Winner of RBC Bronwen Wallace Award for Emerging WritersWinner of CBC Poetry PrizeShortlisted for the 2020 Gerald Lampert Memorial AwardLonglisted for the 2020 Pat Lowther Memorial AwardFrom hybrid bodies to shifting landscapes, Re-Origin of Species blurs the lines of the real. These poems journey through illness and altered states to position disability and madness as evolutionary traits; skilled adaptations aligned with ecological change.A lyric contemplation of our relationship to the environment, this book looks at the interdependence of species. Weaving personal narratives with a study of the insect kingdom, it draws parallels between human illness, climate change, and the state of peril in the natural world.Praise for Re-Origin of Species:"In this debut collection of startling beauty, Alessandra Naccarato weaves together the mythological and mundane, the ephemeral and the eternal, into a luminous tapestry of lyric and narrative. Naccarato's shimmering threads illuminate the connections that bind together every living thing on every level of being—from the interpersonal, to the political, to the spiritual. This is exquisite, playful, intentional poetry—and it just might be medicine for us all." —Kai Cheng Thom, author of I HOPE WE CHOOSE LOVE: A Trans Girl's Notes From the End of the World"What a hive of a book—these poems are so urgent, gorgeous, and necessary. Re-Origin of Species is a siren's call and warning siren all at once." —Leah Horlick, author of For Your Own Good"Ranging from the sting of personal loss to navigating landscapes full of promise, Naccarato?s poetry interrogates the place where the personal meets the wild." —2015 RBC Bronwen Wallace Award Jury

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Two's company, three's a crowd--and sometimes it's more than that.In The Third Person, a collection of uncanny short stories by Emily Anglin, a sequence of tense professional and personal negotiations between two people is complicated when a third person arrives. Within these triangulated microworlds, disorienting gaps open up between words and reality: employees dissolve from job titles, neighbours overstep comfortable boundaries, voices distanced by space or time make their presence felt. Uneasiness builds among these separate but entangled lives. Anglin's darkly humorous stories contemplate situations in which characters refashion themselves to fit a new competitive milieu. The Third Person reveals how people can become complicit in these milieus, even desire them, often while being led into the loneliness they can instil.Praise for The Third Person:"Emily Anglin is a master of evasion and inference, a connoisseur of every kind of secret. Each story in this remarkable collection is alive with casually blistering intelligence tempered with compassion for human loneliness. This is a dispatch from the heart of modern incongruity, in which corporate jargon crosses over into poetry, then crosses back, in which lives are upended on a whim. Reading this book is like walking into an apparently familiar room and having all the details add up to something unsettling and new." --Kate Cayley, author of How You Were Born"Prepare yourself for "spontaneous empathy" and "foreign body sensations," for specters, knowledge brokers, and an oddball cast of characters who feel, at once, both familiar and strange. Reading Emily Anglin's The Third Person is like watching the opening sequence of Hitchcock's Rear Window. As a character in one of the stories tells us, everyone has "public, private and secret lives." Anglin gives us access to all of these lives--offering a unique perspective that combines both the intimacy of the first person and the sweeping distance of the third." --Johanna Skibsrud, author of The Sentimentalists and Quartet for the End of Time"Straddling the line between realism and uncanny dreamscape, The Third Person has a tone that is singular, consistent, and very involving." --The Winnipeg Review

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Compulsively confessional and cracking-wise, The Nonnets is an utterly unique alchemy of poetry and comedy.Aaron Giovanonne's latest collection is a book-length sequence of 'nonnets'--nine-line poems that Giovannone handles with ruthless dexterity. Capturing transformations from first dates to goodbye texts, from mama's boy to unrepentant shoplifter, from post-industrial downtown to eleventh-century Italian monastery, these poems present a kaleidoscopic world that careens wildly between despair and ecstasy.

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Winner of the 2018 Thomas Raddall Atlantic Fiction AwardMaine, 1980. A utopian community is on the verge of collapse. The charismatic leader's authority teeters as his followers come to realize they've been exploited for too long. To make matters worse, the eleven-year-old son of one adherent learns that his mother has cancer.Taking refuge in his imagination, the boy begins to speak of another time and place. His parents believe he is remembering his own life before birth. This memory, a story within the story of Blood Fable, is an epic tale about the search for a lost city refracted through the lens of the adventures the boy loves to read. But strangely, as the world around them falls apart, he and his parents find that his story seems to foretell the events unfolding in their present lives.Praise for Blood Fable:"A family drama, a fantastical voyage, and a poetic reflection on love, death and betrayal, this extraordinary coming-of-age novel exposes the difficult relationship between free-thought and blind faith, evasion and enlightenment. Oisín Curran's Blood Fable is an adventure for the heart and soul." –Johanna Skibsrud, Scotiabank Giller Prize winning author of The Sentimentalists and Quartet for the End of Time"This careful and loving rendering of a child's mind proves that acts of storytelling were once not so much vehicles for escape but instead crucial rehearsals for being. A remembrance of lost time – or maybe, to reference its Buddhist undergirding, an alaya-vijnana, a storehouse consciousness – Curran's vision of boyhood is perfect in details and sublimely moving. Blood Fable is a magnificent double take, which – like a bistable optical illusion (duck or rabbit?) – allows two universes to coexist. A rapturous adventure tale where the very essence of adventure is subverted so that fantasy and reality conflate; this is done not for temporary trickery but to deepen our comprehension of the real." –Eugene Lim, author of Dear Cyborgs"The dark magic in Blood Fable is just a story (within a story), but that somehow makes it more, and more truly, magical. It is a story about how stories are made, how they help and refuse to reflect our lives, as resonating versions of the world refracted through the prism of imagination. On almost every page something threw me gloriously off balance and I couldn't stop asking myself: how does Oisín Currin manage to write so consistently, compellingly, hauntingly well? I will reread this book." –Jacob Wren, author of Rich and Poor and Polyamorous Love Song"Blood Fable is, for me, a perfect book; it is the novel I always wish I were reading. In its twin stories – one of an eleven-year-old boy and his flawed, beloved parents and the other a wild tale of love, peril, and adventure across underground tunnels and seas – are all the wonder and terror of childhood, refracted by a luminous imagination. Through the wide eyes of a child, Curran plumbs the world of adults with compassion and acuity. Blood Fable is a quest, a question, a story of searching – for understanding, insight, heroes – and of failing, finding in their stead the imaginative mercy of love. This is a joy of a novel, glittering, wondrous, and strange. I remain in its thrall." –Rebecca Silver Slayter, author of In the Land of Birdfishes

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Monica, a young woman studying art history in Montreal, has lost touch with her Innu roots. When an exhibition unexpectedly articulates a deep, intergenerational wound, she begins to search for a stronger connection to her Indigeneity. A friendship with Katherine, an Indigenous woman whose life is filled with culture and community, underscores for Monica the possibilities of turning from assimilation and toxic masculinity to something much deeperand more universal than she expects. Travelling from Eastern Canada to Vancouver to Mexico City, Monica connects with other Indigenous artists and thinkers, learning about the power of traditional ways and the struggles of other Nations. Throughout these journeys, physical and creative, she is guided by visions of giant birds and ancestors, who draw her back home to Pessamit. Reckonings with family and floods await, but amidst strange tides, she reconnects to her language, Innu-aimun, and her people. A timely and riveting story of reclamation,

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You're the clump of blackened sprucethat lights my gasoline-soaked heartIt's just impossible you won't be backto quench yourself in my creme-sodaancestral spiritIrreverent and transcendent, lyrical and slang, Heating the Outdoors is an endlessly surprising new work from award-winning poet Marie-Andrée Gill.In these micropoems, writing and love are acts of decolonial resilience. Rooted in Nitassinan, the territory and ancestral home of the Ilnu Nation, they echo the Ilnu oral tradition in her interrogation and reclamation of the language, land, and interpersonal intimacies distorted by imperialism. They navigate Gill's interior landscape—of heartbreak, humor, and, ultimately, unrelenting light—amidst the boreal geography.Heating the Outdoors describes the yearnings for love, the domestic monotony of post-breakup malaise, and the awkward meeting of exes. As the lines between interior and exterior begin to blur, Gill's poems, here translated by Kristen Renee Miller, become a record of the daily rituals and ancient landscapes that inform her identity not only as a lover, then ex, but also as an Ilnu and Quebecoise woman.

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In a quaint tourist village, Dorn makes miniature scale models displayed in the local shops. Yet life is far from idyllic; he suffers under the thumb of a rich, philandering younger brother and an unloving father, and cannot find the courage to admit his love to Ravenna, the ungainly schoolteacher.Life takes a strange turn when the government-sponsored "Wild Home Project" is introduced and wolves, rats, minks, otters, and bears move into villagers' homes. Soon, Dorn receives a mysterious commission, finds a body in a park, and has several run-ins with a former classmate-turned police officer. When fire breaks out, Dorn takes on the unlikely role of hero in the hope of changing the course of his life.A realist novel with the air of a fairy tale, The Animals is a surprising, funny, and thought-provoking story that explores the nature of relationships faunal and human, and reminds us of the challenges of finding one's place in society . . . and that living with a wolf is not a very good idea.

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With an introduction by Sara TilleyFrom playwright and poet Shannon Bramer comes Trapsongs, a collection of three dark comedies that navigate the realm of the surreal and absurd.In "Monarita," an intimate friendship between Mona, a frazzled new mother, and Rita, her beloved, estranged friend, is explored. Their interaction is a dance—part ballet, part mud-fight. In "The Collectors," Hanna Parson is being harassed by three ghastly collection agents who force her to confront her debt and isolation as she struggles to create meaningful art in her dishevelled apartment. And in the tragicomedy "The Hungriest Woman in the World," Aimee, a former artist, invites her preoccupied, workaholic husband, Robert, to the theatre to see a play about a sad octopus. His refusal sends her on a dark and playful journey into the topsy-turvy world of theatre itself.Trapsongs is by turns comedic, grotesque, and profane, but is all the while a tender exploration of the human condition in all its hilarious and humbling glory. Although each of these plays is a discrete creation, they contain and hold each other like a Matryoshka doll; all of the main characters are trapped within the song of their own lives.

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Winner of the 2020 Western Canada Jewish Book Awards, The Lohn Foundation Prize for PoetryIn Vancouver for Beginners, the nostalgia of place is dissected through the mapping of a city where readers are led past surrealist development proposals, post-apocalyptic postcards, childhood landmarks long gone and a developer who paces at the city's edge, shoring it up with aquariums.In these poems you will traverse a city lined with rivers, not streets. Memory traps and tourist traps reveal themselves, and the ocean glints, elusive, in the background. Here there are many Vancouvers and no Vancouver, a city meant for elsewhere after the flood has swept through. This place of the living and the dead has been rewritten: forests are subsumed by parks, buildings sink and morph, and the climate has changed.Vancouver for Beginners is a ghost story, an elegy, a love song for a city that is both indecipherable and a microcosm of a world on fire.Praise for Alex Leslie:"Alex Leslie is a tremendously gifted and compassionate writer. This bold and searing collection is a wonder." —Madeleine Thien, Scotiabank Giller Prize winning author of Do Not Say We Have Nothing"A magnetic collection that must be read over and over." —Kirkus Reviews

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Shortlisted for the 2017 Brage PrizeFanny, a 17-year-old high school senior, has lost both her parents in a car accident. Granted permission to live independently in the family home located on the outskirts of a small Norwegian town, the days pass by as she performs her daily routine: going to school, maintaining the house, chopping and stacking wood, and keeping the weeds at bay. As Fanny grieves and attempts to come to terms with the sad circumstances of her life, a fairy tale-like world full of new possibilities begins to emerge around her.Written by Rune Christiansen, one of Norway's most exciting literary talents, and masterfully translated by Kari Dickson, Fanny and the Mystery in the Grieving Forest is a beautiful, poetic portrait of grief, friendship, independence and transgression.Praise for Fanny and the Mystery in the Grieving Forest:"Fanny and the Mystery in the Grieving Forest is among the saddest and most uplifting books I've read. This story of a grieving young woman is told in short bursts of lustrous writing crisp as aquavit that leave the reader seeing the world anew. Christiansen is taking on the big themes, love and death, but I know what side he's on." —Michael Redhill, Scotiabank Giller Prize winning author of Bellevue Square"Rune Christiansen's Fanny and the Mystery of the Grieving Forest is one of those special stories I find myself petting once I've finished, as if it were a wee forest creature I have fallen in love with. A shimmering musing on grief, Fanny is both ecstatic fairytale and Gothic novel—beguiling, haunting, and erotic in equal measure. There are very few books I would put in the category of heart places, but this is certainly one." —Kathryn Kuitenbrouwer, author of All the Broken Things

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It Begins With The Body by Hana Shafi explores the milestones and hurdles of a brown girl coming into her own. Shafi's poems display a raw and frank intimacy and address anxiety, unemployment, heartbreak, relationships, identity, and faith.Accompanied by Shafi's candid illustrations that share the same delightful mixture of grotesque and humour found in her poems, It Begins With The Body navigates the highs and lows of youth. It is about feeling like an outsider, and reconciling with pain and awkwardness. It's about arguing with your mum about wanting to wax off your unibrow to the first time you threw up in a bar in your twenties, and everything in between. Funny and raw, personal and honest, Shafi's exciting debut is about finding the right words you wished you had found when you needed them the most.

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Fracking - tar-sand runoff - dirty oil extraction. This is the language of our oil-addicted 21st century society: incredibly invasive, blatant in its purpose, and richly embedded in mythological and archetypal symbolism. The ultimate goal of the industry: To core the underworld.Endangered Hydrocarbons, Lesley Battler's first full-length collection of poetry, shows that the language of hydrocarbon extraction, with its blend of sexual imagery, archetype, science, pseudoscience and the purely speculative, can be as addictive as the resource it pursues.Using pastiche and wordplay, Battler shines a floodlight on the absurdity and pervasiveness of production language in all areas of human life in the oil fields, including art, culture and politics. Incorporating texts generated by a multinational oil company, and spliced with a variety of found material (video games, home decor magazines, works by Henry James and Carl Jung), Battler deliberately tampers with her found material, treating it as crude oil--excavating, mixing, and drilling these texts to emulate extraction processes used by the industry.With traces of Dennis Lee's Testament, Larissa Lai's Automaton Biographies, and Adam Dickinson's The Polymers, this lively and refreshing take on a polarizing topic will resonate with readers of contemporary poetry who connect with environmental issues and capitalist critique.

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In Vancouver as the dark winter tapered into springI undertook to singMy life my body these wordsThe men from a perspective.The Men is a work that will be both familiar and fresh to anyone who has read Lisa Robertson. As a poet Robertson has received unrivaled praise for her uncompromising intelligence and style. The Men will not only compliment her previous work, but will add a new layer as a far more personal and lyrical book than anything she has yet published. Who are the men? The Menare a riddle. What do they want? Their troubles become lyric. The Men explores a territory between the poet and a lyric lineage among men. Following a tradition that includes Petrarch's Sonnets, Cavalcanti, Dante's works on the vernacular, Montaigne, and even Kant, Robertson is compelled towards the construction of the textual subjectivity these authors convey—a subjectivity that honours all the ambivalence, doubt, and tenderness of the human. Yet she remains angered by the structure of gender these works advance. It is this troubled texture of identification that she examines in The Men. How does a woman of the present century see herself, in men's lyric texts of the renaissance, in the tradition of the philosophy of the male subject, as well as in the men that surround her, obfuscating, dear, idiotic and gorgeous as they often seem? What if "she" wrote "his" poems? At once intimate and oblique, humorous and heartbreaking, composed and furious, The Men seeks to defamiliarize both who, and what men are.

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Shael lives in a vast prison camp, a monstrosity developed after centuries of warfare and environmental catastrophe. As a young transfeminine person, they risk abject violence if their identity and love affair with Coe, an insurrectionary activist, are discovered. But desire and rebellion flare, and soon Shael escapes to Riverwish, a settlement attempting to forge a new way of living that counters the camp's repression.As the complexities of this place unfold before Shael, Disobedience asks: How can a community redress harm without reproducing unaccountable forms of violence? How do we heal? What might a compassionate, sustainable model of justice look like? This is a remarkable work of queer and trans speculative fiction that imagines how alternative forms of connection and power can refuse the violent institutions that engulf us.

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It's a tale as old as time. Girl meets boy. Boy wants girl. Girl says no. Boy takes what he wants anyway. After a violent sexual assault, Eden Boudreau was faced with a choice: call the police and explain that a man who wasn't her husband, who she had agreed to go on a date with, had just raped her. Or go home and pray that, in the morning, it would be only a nightmare.In the years that followed, Eden was met with disbelief by strangers, friends, and the authorities, often as a result of stigma towards her non-monogamy, sex positivity, and bisexuality. Societal conditioning of acceptable female sexuality silenced her to a point of despair, leading to addiction and even attempted suicide. It was through the act of writing that she began to heal.Crying Wolf is a gripping memoir that shares the raw path to recovery after violence and spotlights the ways survivors are too often demonized or ignored when they belong to marginalized communities.Boudreau heralds a new era for others who were dismissed for "crying wolf." After all, women prevailing to change society for others is a tale as old as time, too.

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The experience of motherhood is monumental, yet rarely discussed in connection with literary or creative life. How do we navigate the twin devotions of love and art? How does motherhood disrupt the creative process? How does it enhance it?Good Mom on Paper is a collection of twenty essays that goes beyond the clichés to explore the fraught, beautiful, and complicated relationship between motherhood and creativity. These texts disclose the often-invisible challenges of a literary life with little ones: the manuscript written with a baby sleeping in a carrier, missing a book launch for a bedtime, crafting a promotional tour around child care. But they also celebrate the systems that nurture writers who are mothers; the successes; the intricate, interconnected joys of these roles.Honest and intimate, critical and hopeful, this collection offers solace and joy to creative mothers and asks how we can better support their work. Mothers have long been telling each other these vital stories in private. Good Mom on Paper makes them available to everyone who needs them.With contributions by Heather O'Neill, Lee Maracle, Jael Richardson, Carrie Snyder, Alison Pick, Meaghan Strimas, Sofia Mostaghimi, Rachel Giese, Lorri Neilsen Glenn, Erin Wunker, Jónína Kirton, Jennifer Whiteford, Teresa Wong, Nikkya Hargrove, S. Lesley Buxton, Amber Riaz, Adelle Purdham, Harriet Alida Lye, and Kellee Ngan.A portion of each sale will be donated to the Mothers Matter Centre: a not-for-profit organization dedicated to empowering isolated, at-risk mothers.

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"I have never been faced with a moral crisis, let alone a matter of life or death."Peter Simons doesn't spend much time at home in his bachelor apartment. Thanks to his job at a multinational company, he is often flying around the world, enjoying a life of luxurious solitude in five star hotels. So when he returns after being away for nine months and notices a strange smell coming from his neighbour's apartment, he initially tries not to get involved, but when a body is discovered Peter's carefully cultivated detachment begins to crumble. And when new neighbours move into the vacant apartment he gets caught up in a petty dispute that will bring him to the brink of moral ruin.Bystander is a pitiless, bold work of intense psychological realism narrated by a professionally successful but socially bankrupt anti-hero who expects global connection and local anonymity. It excoriates the contingency of contemporary morality, and, at a time of growing isolation, forces the reader to examine what it means to be a good neighbour.

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Juxtaposing the diction of surrealism with Ovid, Callimachus, and popular music—punk and new wave—the poems in Beloved Revolutionary Sweetheart concern themselves with various aspects of Eros.From wistful romance to explicit sex, these poems are inspired by the troubadour poets of Provence and Italy, and invoke such historical figures as the Byzantine Empress Theodora and her husband, Emperor Justinian, not to mention the Countess of Dia—Beatriz—a major poet of the troubadour tradition; these are Hausner's "alter voices," expressing permutations of presence, absence, conquest, and loss.Beloved Revolutionary Sweetheart reaches back through the millenia to create an unexpected, unconventional, and contemporary exploration of one of humanity's oldest pleasures.

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Longlisted for the 2021 Scotiabank Giller PrizeShortlisted for the 2021 Paragraphe Hugh MacLennan Prize for FictionShortlisted for the 2021 Concordia University First Book PrizeLe Grand Prix du livre de Montreal: 2021 Jury SelectionA remarkable debut about intergenerational female relationships and resistance found in the unlikeliest of places, We, Jane explores the precarity of rural existence and the essential nature of abortion.Searching for meaning in her Montreal life, Marthe begins an intense friendship with an older woman, also from Newfoundland, who tells her a story about purpose, about a duty to fulfill. It's back home, and it goes by the name of Jane.Marthe travels back to a small community on the island with the older woman to continue the work of an underground movement in 60s Chicago: abortion services performed by women, always referred to as Jane. She commits to learning how to continue this legacy and protect such essential knowledge. But the nobility of her task and the reality of small-town life compete, and personal fractures within their group begin to grow.We, Jane probes the importance of care work by women for women, underscores the complexity of relationships in close circles, and beautifully captures the inevitable heartache of understanding home.

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2020 Stonewall Book Award – Barbara Gittings Literature Award Honor BookLambda Literary Award-winner Hasan Namir';s debut collection of poetry, War / Torn, is a brazen and lyrical interrogation of religion and masculinity—the performance and sense of belonging they delineate and draw together. Namir summons prayer, violence, and the sensuality of love, revisiting tenets of Islam and dictates of war to break the barriers between the profane and the sacred.Praise for War / Torn:"War / Torn mourns, loves and burns all the derogatory impulses of our continuous present. This book is of and against our time. War / Torn is a breathless elegy in the most defiantly tender poetics you can imagine." —Jordan Scott, author of Night & Ox, and winner of the Latner Poetry Prize by the Writer's Trust of Canada"War / Torn reminds us of how dexterous and wholly embracing poetry can be. In the hands of Hasan Namir, poetry spans from origin stories to the afterlife; it holds blessings and erotic provocations, fear and forgiveness, and tangled tangled love." —Amber Dawn, author of Sodom Road Exit

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Grace Porter is reeling from grief after her partner of seven years unexpectedly leaves. Amidst her heartache, the 30 year-old library tech is tasked with reading newly discovered letters that Amelia Earhart wrote to her lover, Gene Vidal. She becomes captivated by the famous pilot who disappeared in 1937. Letter by letter, she understands more about the aviation hero while piecing her own life back together.When Grace discovers she is pregnant, her life becomes more intertwined with the mysterious pilot and Grace begins to write her own letters to Amelia. While navigating her third trimester, amidst new conspiracy theories about Amelia’s disappearance, the search for her remains, and the impending publication of her private letters, Grace goes on a pilgrimage of her own.Letters to Amelia is a stunning, contemporary epistolary novel from the creator of the internationally acclaimed Love Lettering Project. It underscores the power of reading and writing letters for both connection and self-discovery, and celebrates the unwritten, undocumented parts of our lives.Above all, Letters to Amelia is a story of the essential need for connection—and our universal ability to find hope in the face of fear.Praise for Letters to Amelia:"Brimming over with Lindsay Zier-Vogel's obvious love for the story of Amelia Earhart, Letters to Amelia is a wonderful novel about flight and passion, about love-letters and reaching out; a novel about how we never know quite what's coming next, but still keep launching ourselves into the blue tomorrow."—Jon McGregor, author of Reservoir 13"A tender portrait of heartbreak and a thoughtful ode to new motherhood. Letters to Amelia is an endorsement of finding our own ways to heal, and a celebration of that big, messy, wonderful journey of coming into one's own. Charming and beautifully rendered, this is a big-hearted hopeful novel, full of life and love." —Stacey May Fowles, author of Baseball Life Advice: Loving the Game that Saved Me"When we think of Amelia Earhart, we think enigmatic adventurer and feminist pioneer—and, of course, of her mysterious disappearance. But in Letters to Amelia, we meet a different Amelia Earhart, as seen through the eyes of Grace, the novel’s protagonist, a young library tech tasked with reading her letters: an Amelia who is funny, charming, joyful, sad, and most of all, full of life. Zier-Vogel writes with uncanny empathy about heartbreak, friendship, motherhood, and the common threads that connect women across time, geography, and even between earth and sky. Letters to Amelia is a gorgeous, big-hearted debut that will make you feel like you are flying, and Zier-Vogel is a writer whose career is about to soar." —Amy Jones, author of Every Little Piece of Me"Letters to Amelia invites us to hold our heroines close and to take heart – it is gentle and joyous, full of tenderness, alive and sturdy with hope." —Anne Michaels, author of Fugitive Pieces and The Winter Vault

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Propositions and Prayers, Lise Downe's first book of poetry in nine years, is a collection in two parts: "Propositions" is a series of short poems-as-possibilities, structured by the compression of images and voices to convey an urgency through degrees of incoherence; "Prayers" explores living and language as acts of devotion.These poems blur the boundaries between inner and outer experiences of the self, often subverting expectations and habit in their deconstruction of structure and style. It beautifully portrays humanity's myriad complexities: our various moods and observations, the unpredictable trajectories of our lives—uncertainty, wonder, and surprise, all.

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day/break, poet Gwen Benaway's fourth collection of work, explores the everyday poetics of the trans feminine body. Through intimate experiences and conceptualizations of trans life, day/break asks what it means to be a trans woman, both within the text and out in the physical world. Shifting between theory and poetry, Benaway questions how gender, sexuality, and love intersect with the violence and transmisogyny of the nation state and established literary institutions. In beautiful lyric verse, day/break reveals the often-unseen other worlds of trans life, where body, self, and sex are transformed, becoming more than fixed binary locations.

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Let's get one thing straight: Small, Broke, and Kind of Dirty: Affirmations for the Real World is not a book of advice. You're not going to find a step-by-step guide to meditation here, or even reminders to drink lots of water and get enough sleep. Those things are all good for you, but that's not what Hana Shafi wants to talk about.Instead, Small, Broke, and Kind of Dirty—built around art from Shafi's popular online affirmation series—focuses on our common and never-ending journey of self-discovery. It explores the ways in which the world can all too often wear us down, and reminds us to remember our worth, even when it's hard to do so. Drawing on her experience as a millennial woman of colour, and writing with humour and a healthy dose of irreverence, Shafi delves into body politics and pop culture, racism and feminism, friendship, and allyship. Through it all, she remains positive without being saccharine, and hopeful without being naive.So no, this is not an advice book: it's a call to action, one that asks us to remember that we are valid as we are—flaws and all—and to not let the bastards grind us down.

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The Ritualites is Michael Nardone's book-length poem on the sonic topography of North America.Composed over ten years at sites all across the continent--from Far Rockaway to the Olympic Peninsula, Great Bear Lake to the Gulf of California--the book documents the poet's listening amid our public exchanges, mediated ambiances, and itinerant intimacies. The Ritualites is a series of linguistic rituals that shift, page to page, through a range of forms and genres--a rhapsodic text for occasional singing and a best-selling thriller, a self-help guide and sabotage manual, a score for solo performance and a cacophony of voices.

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Adrienne Gruber's third full poetry collection, Q & A, is a poetic memoir detailing a first pregnancy, birth and early postpartum period. The poet is both traumatized and transformed by the birth of her daughter. She is compelled by the dark places birth takes her and as she examines and revisits those places, a grotesque history of the treatment of pregnant and birthing women reveals itself.Praise for Q & A:"To give birth, to bear life—to release and capture that experience in words: this is the crystalline achievement of Q & A. Gruber's poetry resonates in the hollows of my body, in the fear and hope that accompanies motherhood." —Marianne Apostolides, author of Deep Salt Water"In Q&A Adrienne Gruber annotates the condition of the pre- and post-partum body, training her ruthless poetic eye on division: cell by cell, mother from daughter, fact from misguided historical tendency. Is this a love poem / or a poem of grief? / When we make something / we lose, she writes. Throughout these poems and their namesake childhood interrogatives, fluids course, sutures tear, ducts leak. Gruber's ability to command the language of sublime physicality draws motherhood's grotesque fears close, turning them over like an infant on a lap, examining perfections and dangers with intimate scrutiny." —Elee Kraljii Gardiner, author of Trauma Head and serpentine loop

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Finalist for the 2019 A.M. Klein Prize for PoetryEdited, with an introduction by multiple award-winning writer, elder, and activist Lee Maracle.If poetry is a place to question, I Am a Body of Land by Shannon Webb-Campbell is an attempt to explore a relationship to poetic responsibility and accountability, and frame poetry as a form of re-visioning.Here Webb-Campbell revisits the text of her earlier work Who Took My Sister? to examine her self, her place and her own poetic strategies. These poems are efforts to decolonize, unlearn, and undo harm.Reconsidering individual poems and letters, Webb-Campbell's confessional writing circles back, and challenges what it means to ask questions of her own settler-Indigenous identity, belonging, and attempts to cry out for community, and call in with love.Praise for I Am a Body of Land:"Poetry awake with the winds from the Four Directions, poetry that crosses borders, margins, treaties, yellow tape warning Police Line: Do Not Cross. Poetry whose traditional territory, through colonization, has become trauma and shame. Unceded poetry. Read. Respect. Weep." —Susan Musgrave, author of Origami Dove"Shannon Webb-Campbell's work forces readers out of polite conversation and into a realm where despair and hard truths are being told, being heard and finding the emotion strength to learn from it, find out way out and embrace our beauty as Indigenous women." —Carol Rose Daniels, author of Hiraeth and Bearskin Diary, winner of the First Nations Communities READ Award and the Aboriginal Literature Award.

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A seminal text in the history of poetry and poetics, Tender Buttons was originally published in 1914 and is considered one of the great Modern experiments in verse. At one time or another it has been thought of as a masterpiece of Cubism, a modernist triumph, a spectacular failure, a collection of confusing gibberish, and an intentional hoax. Despite the fact that it was written by an ex-pat American, the text of Tender Buttons has had massive infuence on Canadian poetry and poetics for nearly three quarters of a century. Therefore, BookThug is pleased to produce the first Canadian Edition of this important text in a publication that pays homage to the original 1914 edition.Gertrude Stein was born in 1874 and died in 1946. An American writer who spent most of her life in France, she was a catalyst in the development of modern literature and art. Stein was the author of more than 25 books of experimental writing, many of which were self-published. Tender Buttons was her second published work, and set the foundation for not only her own oeuvre, but for generations of writers to come. She never visited Canada.

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And if the world were a way out? A river? A door? And if this was not a rhetorical question?In these peculiar times, we are thrust back into ourselves in a kind of suspension: one in which only private life exists yet threatens to become trivial through a sense of mutual, overarching dread.Lent from award-winning writer Kate Cayley is built from this tension, exploring domestic and artistic life amidst the environmental crisis, and the surprising ways that every philosophical quandary—large and small—converges in the home, in small objects, conversations, moments.Grotesque and tedious, baroque and banal intertwine in the first three sections. Meticulous depictions of spectacle run into the repetition of daily domestic life: trying to explain time to children, day trips to the planetarium and strangers' warnings, intersperse depictions of Mary Shelley recalling the monster, the inner life of a Seventeenth Century portrait sitter, Ted Hughes' second wife telling her story to the dead Sylvia Plath, Rusalski—souls of drowned innocents in the lake.The final, title section, explores religious faith; how belief is itself a repetition, a slow accumulation over time, just like love or forgiveness.Lent is an exquisite work of our era, asking us to contemplate what it means to live in a broken world—and why we still find it beautiful.

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