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Thoughtful, wide-ranging essays exploring food as a source of pleasure, practical creativity, and sustenanceFood is the primary way andrea bennett connects with the world. They worked in the restaurant industry for a decade, and though they don’t eat much meat and can’t eat gluten, they take as much pleasure in food as Jeffrey Steingarten, Anthony Bourdain, or Guy Fieri. When they want to show someone they care, they cook them a meal. The essays in Hearty offer a snapshot of the North American cultural relationship to food and eating. Hearty dives deep into specific foods, such as chutney, carrots, and ice cream, but also explores appetite and desire in food media, the art of substitution, seed saving and the triumphs and trials of being a home gardener, how the food system works (and doesn’t), and complex societal narratives around health and pleasure. Combining journalism, cultural commentary, and personal reflection, Hearty follows bennett’s curiosity into kitchens, gardens, fields, and factories, offering a compassionate and compelling perspective on food from seed to table.
It’s July 1936 and Toronto is under a record-breaking heat wave. Charlotte Frayne is the junior associate in a two-person private investigation firm, owned by T. Gilmore. Two events set the book’s plot in motion: an anti-Semitic hate letter is delivered to Gilmore, who up to now has not acknowledged his religion, and Hilliard Taylor, a veteran of the First World War requests the firm’s assistance in uncovering what he believes is systematic embezzlement of the Paradise Café, which he owns and operates with three other men, all of whom were prisoners of war. The two events, although seemingly completely unrelated, come together in this wonderful novel that brings to life characters who are as real to the reader as those of the Murdoch series.
Winner of the 2020 Indigenous Voices Award for Best Published Poetry in French
You’re the clump of blackened spruce
that lights my gasoline-soaked heart
It’s just impossible you won’t be back
to quench yourself in my crème-soda
ancestral spirit
Irreverent 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 Gill’s interrogation and reclamation of the language, land, and interpersonal intimacies distorted by imperialism. They navigate her 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 Québécoise woman.
Heaven is George F. Walker’s ‘millennium play.’ Well, sort of, if we can free ourselves from the expectation of the usual science-fiction-based projection and imposition of our current personal, cultural and spiritual values on the future of the coming millennium, considered almost mandatory for authors working in this particular genre. As usual, Walker sees things a bit differently: he intimates the future by having a very hard look at some unanswered questions from the Judeo-Christian-Muslim past which has pretty much determined the evolution of western, especially white, male-dominated civilization, for the last two thousand years.
Five instantly recognizable multi-cultural characters play out their coincidental relationships in a very contemporary paradise-a park on the outskirts of a city. All of them are, in one form or another, engaged in the ‘fundamental right’ of the pursuit of their own happiness, whether that means acquiring life skills, improving their career prospects, working on their family relationships, increasing social justice in the world, balancing the concerns of crime and punishment or integrating more closely with what they identify as their own communities. Of course, the pursuit of these personal goals, usually considered as good and worthwhile in our society, pits each of these characters irrevocably against each other.
In this comedy of how individual good intentions carried to their absurd extremes inevitably frustrate the goals of others, Walker leaves us with two unanswered questions: “What is so ‘good’ about our good intentions?” and, “What do we imagine our reward for them (Heaven) to be?” Wasn’t it some other place, the road to which was paved with?
“Stefánsson shares the elemental grandeur of Cormac McCarthy.”—Eileen Battersby, TLS
In a remote fishing village, a boy and his best friend spend the lonely hours on shore reading and talking about poetry. When the friend, absorbed in a borrowed copy of Paradise Lost, forgets his oilskin one morning and the crew is unexpectedly caught at sea in a savage winter storm, tragedy strikes. Overwhelmed by grief—and his crewmates’ indifference to what has happened—the boy leaves the village, determined to return the book to its owner. The hardship and danger of the journey is of little consequence: he’s already resolved to join his friend in death. But when he reaches the town where he intends to end his days, he couldn’t have imagined the stories and lives he finds.
Navigating the depths of despair to celebrate the redemptive power of friendship, Heaven and Hell is an incandescent story of community, resilience, and love from one of Iceland’s most celebrated novelists.
Lyric poems built with consummate skill by a poet at the peak of her powers. Heaven’s Thieves is a collection engaged with the big questions–What are bodies for? What does it mean to be alive? What is beauty and why does it have such power over us? What is the point of art?–and the urgent ones–how to live in a shattered ecology, what to do about grief, illness, betrayal. Sinclair turns her attention to these questions with fearless curiosity, economy, and an originality born of her willingness to pursue her own line of inquiry to its limit. These poems get close and cut deep, mixing subject and object, surface and soul: “Red mud glistens / like cut fruit–or like the knife / that did the cutting, laid down.” In this, her fifth collection, Sinclair knows that nature is both “done to death” and “inexhaustible”; that art is an elegy for experience, but even so, …to die
is not to wash through the body of a deer like a ghost;
it isn’t to skulk under a living skin.
It’s a change in the value of things. (from “The Dead”) Experience and its value are changed in these poems. They are as wise as they are disruptive, and they change us as surely as they remake the world. Praise for Sue Sinclair:
“…a poet who looks long and hard at the world to draw existential meaning. Her studious gaze is insightful, even – dare I say it in this secular age – soulful.” –Barbara Carey, The Toronto Star
“…vivid, lively, crisp, and packed with delicious surprise metaphors.” –Anita Lahey, Arc Poetry Magazine /
Isolated in a secret location, an international team of intelligence personnel are given the task of intercepting and decoding cryptic messages from terrorists. The sudden and unexplained suicide of one of the case’s key agents forces the team to probe into their colleague’s life in hopes of discovering what he knew, and stopping the attack before it’s too late.
What happens when a respectable middle-aged father, teacher and writer decides one day to abandon his ordinary routine and embark on an unexpected journey toward an unknowable fate, following the ghost of Buster Keaton and a vision of a bear?
In Tim Bowling’s extraordinary new novel, The Heavy Bear, we spend an intense late-summer day in downtown Edmonton with our narrator, an unassuming college instructor who just happens to be named Tim Bowling. Haunted by the “slender sadness” of the world and looking for a way to shake off the trivial frustrations of modern life, Bowling’s Tim Bowling finds himself pulled into an escapade involving an antique toy, a “liberated” capuchin monkey and an eager young student who our narrator likens to Pippi Longstocking. Advised by the bear-shaped spirit of American poet Delmore Schwartz and guided by the ghost of silent film star Buster Keaton, this Tim Bowling stumbles through his adventure until he stands free of his ghosts and finds himself willing to rejoin the bustling current of our clamorous age.
Knowing what people think feels more like a curse than a blessing to Kathy van der Laan. After all, how do you deal with discovering your employer is a pervert, your father’s replaying scenes from the car accident that killed your mother, and suspecting the guy ahead of you in the department store to be the reason for the latest amber alert? Unable to explain the source of her knowledge, Kathy reduces her interactions, sends anonymous tips to police and tries not to remind her father about a loss they both can’t get past. Then she receives an offer from the Syndicate, a shadowy organization which purports to shape policy within the EU, and where she discovers her mother worked till her death. To find out more about her mother, can she risk joining a group that seems to know too much about her dangerous gift?
In Cradle, Shame’s gateway to Hell stands poised to pour forth its demonic legions upon the world. Hope, Merritt and Grace know they must close it before it is too late. Shame’s followers are determined to stop them.
Hope has to face the corruption of a trusted friend and ally, whilst also fighting her way through the horrific monsters that bar her way back to Cradle. Her innocence and resolve will be put to the test as she faces the full fury of Shame’s evil.
Book 5 in the successful and acclaimed Shame series following the ultimate story of mother-daughter conflict.