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Levi Hayes is out for gold — and blood — in this high-magnitude historical tear through the mean streets of San Francisco
In the days before the great earthquake and fire of 1906, Levi Hayes returns from San Quentin Prison with a plan. After serving five years for the theft of $30,000 in gold coins from the San Francisco Mint, he’s ready to take back what’s his and exact revenge on the now-powerful Healey brothers who set him up and had his barroom, House of Blazes, seized by court order.
To get back his bar Levi recruits his nephew, Mack Lewis, telling him the gold coins wait hidden behind one of its cellar walls. Their wild scheme propels them through saloon halls, gambling dens, back alleys, and brothels before it backfires. In lock-up as the earthquake hits, Levi and Mack must escape the collapsing building and burning city to get to the gold coins, with Quinn Healey determined to get his own revenge on them.
During the Six Day War, an Israeli general found an abandoned house and made it his home. Forty years later, the general, along with his imaginative and distant son Alex, live in peaceful solitude. When a Palestinian writer shows up with is daughter and lays claim to the house he left decades ago, an internal house war ensues. The bathroom is seized, a fig tree is destroyed, and the basement becomes a shrine in the resulting chaos. Relenting, both men strike a deal to share the house. Somehow these two families are going to have to live together—if they don’t kill each other first.
Robert Pepper-Smith’s graceful follow-up to The Wheel Keeper follows the friendship between teenagers Rose and Lacey and their search for self-confidence, acceptance, and love in a small village in south-eastern British Columbia.When Rose becomes pregnant, the childless Giacomo family, whose wealth is well-known in the community, offers to adopt the child. As Rose wrestles with the decision to give up her baby, Lacey recounts her efforts to help her friend. With gentle humour and righteous anger, she faces the destructive forces of greed and realizes her own capacity for courage and love.
Embedded in Canadian and world history, and set in downtown Toronto between 1947 and the turn of the century, The House on Lippincott is a Jewish family saga which weaves together family caring, Holocaust trauma, abuse, aging, betrayal, anti-Semitism, resistance, and celebration, while introducing vital new characters to the Canadian landscape. There is brilliant feminist scholar and thinker, Miriam Himmelfarb, from whose perspective the story unfolds, her parents–Rachael and Daniel–both Holocaust survivors and activists, mysterious Uncle Yacov, and sisters Sondra and Esther. As children of survivors, early on, Miriam and her sisters make a decision which is to haunt them. A woman with heart, the aging Rachael presents her family with yet another harrowing choice. As children of survivors, early on, Miriam and her sisters make a decision that is to haunt them. A woman with heart, the aging Rachael presents her family with yet another harrowing choice.
2023 Governor General’s Literary Award for Literary Translation Finalist * 2023 VMI Betsy Warland Between Genres Award Winner * 2023 Winner John Glassco Prize for Literary Translation
A meditation on the wiles of depression, illuminated by queer and diasporic experience.
“We, nosotros, nosotras: somos sobrevivientes.” Weaving prose poetry, essay, autobiography and photography in mutual contamination, Nicholas Dawson relates his own deep depression, a state never fully gone, always cohabitant. Amidst this persistence, “the body and the pen bring a plural syntax of alternative knowledges into being, one which allows us to know the world better, to know ourselves better, to better love daybreak and this sun obstinately piercing the curtain with its brazen rays.”
House Within a House, in a luminous translation by D.M. Bradford, tells the story of what walls the depressed person in, what keeps them wandering inside, and what finally gets them, somehow, out of the house. The original book, Désormais, ma demeure, received the 2021 Grand Prix du livre de Montréal.
In his debut novel, poet Jim Nason, writing with dignity and wit, takes an unusual look at suffering and dying.Tony Pearce is an imposing presence, but in his carnivalesque world-turned-upside-down, he perceives himself as small and invisible. As he attends to his work he mentally “cleans house,” exploring childhood memories and his grief and guilt surrounding his younger brother Stephen’s death at the hands of his violent and mean-spirited stepfather. Tony learns through the courage of his clients, and ultimately emerges with grace and humour as an emotionally daring and sexually adventurous man.Some chapters are introduced by a voice from the 1950s: housekeeping tips from Mrs. Neatson’s Easy Steps to Domestic Bliss for the Busy Housewife. These tips, with their surreal tone of glamour and richness, run parallel with the real-life survival needs of the novel’s characters: an elderly, crippled man living with his drug-dealing grandson; a demented drag queen about to get evicted from his apartment; a mother holding the hand of her dying son as she reflects on her youth and her lost lover.
A collection of playfully elucidating essays to help reluctant poetry readers become well-versed in verse
Developed from Adam Sol’s popular blog, How a Poem Moves is a collection of 35 short essays that walks readers through an array of contemporary poems. Sol is a dynamic teacher, and in these essays, he has captured the humor and engaging intelligence for which he is known in the classroom. With a breezy style, Sol delivers essays that are perfect for a quick read or to be grouped together as a curriculum.
Though How a Poem Moves is not a textbook, it demonstrates poetry’s range and pleasures through encounters with individual poems that span traditions, techniques, and ambitions. This illuminating book is for readers who are afraid they “don’t get” poetry but who believe that, with a welcoming guide, they might conquer their fear and cultivate a new appreciation.
How artists make a living and how money changes art
It may not be the worst time in history to get paid to make art, but it certainly is the strangest. The institutions and markets that have been supporting the arts are undergoing massive changes, some even disappearing. Meanwhile the tools to make art and find audiences have never been more accessible, and there are more people than ever making art.
How Artists Make Money and How Money Makes Artists is an attempt to reckon with the history of money in the arts — from Titian to Taylor Swift — and how that complicated relationship is changing. David Berry analyzes past and present financial dynamics in the arts to show the practicalities of how artists make a living and how that, in turn, affects the reception and perception of artists and their work: the impacts art has on wider society, how economic realities affect aesthetic judgements of art, what kind of people are able to work as artists, and how political and cultural ideas about the nature of art affect what kind of resources are made available to it.
David Berry explores how art has become central to our understanding of humanity by tying art to what makes the world go round: money. Along the way, he challenges popular ideas of what constitutes a successful artistic career and considers what our treatment of artists says about us.
In How Beautiful People Are, his third collection, Ayaz Pirani continues to write his people’s pothi: a trans-national, inter-generational poetry of post-colonial love and loss animated by the syncretizing figure of Kabir and drawn from the extraordinary diwan of ginan and granth literature. Walking alongside the tiger of Ali and an assortment of beloved infidels, Ayaz uncovers just How Beautiful People Are. After all, what will darkness do, his poems ask, when a true guru makes light?
Canada begins in Newfoundland, and that’s the start of this historical, narrative journey. The author traces the contributions of Marco Polo, even the capture of Constantinople in 1453 when people began to look for a new sea route to the East, paving the inspiration for exploreres like John Cabot, Champlain, Cartier and others to lay the foundations of Canada.
Curious about the previous inhabitants of the lake where her family has spent the summer for over one hundred years, author Shelley O’Callaghan starts researching and writing about the area. But what begins as a personal journey of one woman’s relationship to the land and her desire to uncover the history of her family’s remote cabin turns into an exploration and questioning of our rights as settlers upon a land that was inhabited long before we came. In her research, O’Callaghan uncovers a history that runs as deep as the three hundred metre lake itself. Eager to pass on her discoveries, she shares her journey with her six grandchildren. Together they learn of her grandfather’s intriguing connection with the First Nation’s chief, whose ancestry goes back to the earliest recorded history at the lake, and her grandmother’s attendance at a school where First Nations girls were taught servitude instead of knowledge. They find the headstone of an American scout with the 1858 International Boundary Commission Survey, a 1916 silver mine set up by Chief Sepass and the remnants of the original Indian Trail. They learn about trapper and prospector Charlie Lindeman, who introduced her grandfather to the lake in the early 1920s and rescued her mother and grandmother from a fire that engulfed the lake in the 1930s. After a summer of discoveries, O’Callaghan and her grandchildren consider the impact of the legacy of white settlement in the area-what is received from the past and what is given to the future. As they reflect on the essence of a “summer cabin,” a place that brings family together and that nourishes the soul with its solitude and beauty, they gain a new perspective on the inevitable repercussions of privilege and the nature of change.
Award-winning author David Homel mixes memoir and fiction, truth and make-believe in these mediations on his youth in Chicago, his education, and the influences that led to his career as a writer.
Victorian poets Elizabeth Barrett Browning and Robert Browning are as renowned for their passionate relationship as they are their poetry. How Do I Love Thee? revisits the life of the 19th-century poets from their courtship, carried out entirely through letters, to their sudden elopement to their tumultuous marriage marred by drug addiction and financial strife.
In this debut poetry collection by award-winning author Kim Fu, incantations, mythical creatures and extreme violence illuminate small scenes of domestic life and the banal tragedies of modern love and modern death.A sharp edge of humour slices through Fu’s poetry, drawing attention to the distance between contemporary existence and the basic facts of life: “In the classrooms of tomorrow, starved youth will be asked to imagine a culture that kept thin pamphlets of poetry pinned to a metal box full of food, who honoured their gods of plenty by describing ingredients in lush language.”Alternating between incisive wit and dark beauty, Fu brings the rich symbolism of fairy tales to bear on our image-obsessed age. From “The Unicorn Princess”: “She applies gold spray paint to her horn each morning, / hoping to imitate the brass tusks / on the unicorns skewered to the carousel, / their brittle, painted smiles, harnesses / embedded in their backs and shellacked to high gloss.” These poems are utterly of-the-moment, capturing the rage, irony and isolation of the era we live in.
Based on Tea Gerbeza’s experience with scoliosis, How I Bend Into More re-articulates selfhood in the face of ableism and trauma. Meditating on pain, consent, and disability, this long poem builds a body both visually and linguistically, creating a multimodal space that forges Gerbeza’s grammar of embodiment as an act of reclamation. Paper-quilled shapes represent the poet’s body on the page; these shapes weave between lines of verse and with them the reclaimed disabled body is made. How I Bend Into More is a distinctive poetic debut that challenges ableist perceptions of normalcy, and centres “the double architecture / of ( metamorphosis (.”