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In The Last Thing Standing, Shin pulls away floors and ceilings in a thoughtful meditation on the concept of home. From the many lives contained within four walls of a house, to the mortar and beams that keep it standing, she is a telling witness to the love, anger, and poignant solitudes that form the spaces we inhabit and make our own.
Ana and Win find themselves stuck, lifting the weight of their pasts, while frustrated by their present jobs: photographing vacant lots and decayed industrial sites, cataloguing the decline of capitalist excess to digitally scrub away humanity, making way for more gentrification.
When the pair is sent by their employers to a rustic island in the Pacific Northwest–home to hippies, runaways, and survivalist preppers–they meet Lena, an oceanographer and climate scientist, who has moved to the island in search of “the big one,” the cataclysmic earthquake and tsunami that she knows is the island and the West Coast’s due; and Kitt, an athleisure clothing mogul, who is overseeing the construction of a vacation home that will serve as his apocalypse-shelter.
These four people’s lives intertwine as a police investigation throws life on the island into disarray, as activists and agents provocateurs take action, as dormant fault lines begin to tremble.
Andy Zuliani’s Last Tide is a vital debut novel is an edgy glimpse at a world just beyond tomorrow, and a sharp reminder of what society deems valuable.
The first installment in the Last Tide series, as told by renown fantasy writer pirateaba, is the story of Solca Vis, a young woman transported into another world. Rather than landing near any nation or continent on earth, Solca finds herself at the end of the world. A [Fisher] by class and a fisherwoman by trade, Solca Vis will discover what classes, levels, monsters, and magic are at the place where even [Stormcaptains] and the bravest of adventurers fear to sail.
In this highly anticipated and deeply moving debut, Chuqiao Yang explores family, culture, diaspora, and the self’s tectonic shifts over time. Yang’s poems journey restlessly through recollections of a Saskatchewan childhood, trips to visit family in Taiyuan, and a sojourn across the American South in search of the moments and places where one became a stranger to oneself. “You are a mouse in the backcountry of your memories,” writes Yang, “You are a fox in winter, devouring well-meaning friends.” Irreverent, fierce, and ceaselessly surprising, The Last to the Party marks the arrival of a unique voice and an unsparing poetic vision.
A mysterious letter has reached retired FBI agent Frank Malloy. A letter bearing a name from a lifetime ago, from a woman who claims she saw what really happened on the day John F. Kennedy died in Dallas. Many were there to film the president, but Helena Storozhenko snapped a photo on November 22, 1963, that would have changed everything. Then she vanished. Until now. From her death bed in Odessa, the Babushka Lady provides a piece of evidence that will send Malloy and network television host Jack Doyle on a desperate search for the truth. has summoned Malloy and finally reveals what she witnessed in Dealey Plaza. Malloy and Doyle need each other to solve a decades-old mystery, and to stop an assassin who is driven by the same evil which changed the world so tragically – so long ago. It all comes down to one place, one time, and one bullet as they race to prevent history from repeating itself – more than fifty years after a president was brutally slain – and Helena Storozhenko was The Last Witness.
A brilliant and intense journey through a relationship, and through language and myth—as well as a literary journey spanning three continents.
One year after the suicide of their teenage son Joel, Debora and Michael Shaun-Hastings sit down to dinner with their son’s bully and his parents. Closure is on the menu, but accusations are the main course as everyone takes a turn in the hot seat for their real or imagined part in the tragedy. Blame shifts over the course of the evening from one person to the next, raising questions no one is prepared to answer.
Late in a Slow Time is an intricate book that deftly marks the ‘little monumental changes’ that make up our daily lives. In poems about the contradictory nature of wonder, suffering, and acceptance, Carole Glasser Langille shows us ‘how fine-tuned this unanswered world is.’ In her search for breadth within the limitations of fate, we are privy to a big-hearted poet whose sentiments have been tested and shaped by experience, who acknowledges the good around and ahead of us. This is a wise book.
Is reality simply what we see, taste, smell, touch and hear? Or is there more to our surroundings than the tactile and the visible? The stories in The Late Night Caller explore a world where magic is a profession, where knowledge is a weapon, and where the fabric of what is real bends and folds in upon itself, chafing dimensions against each other.
Johanna Skibsrud’s debut poetry collection makes inquiries into that peculiar phenomenon of being alive in the world, opening wide moments of uncertainty in the search for a sense of inner resolve that resembles the outer calm of trees and neighbours. At each step testing the waters of her own words, Skibsrud turns her reality over in search of constants.
Skibsrud’s is a world of touchstones. An abandoned boat, her grandmother’s house, a piano, and the annual departure and return of migratory birds are fixtures in the process of coming to know the self, serving both as rhythmic landings and as footholds in a pursuit of understanding.
The collection’s title chapter is a series of takes on the Western genre, its character profiles, sweeping landscapes and the hyperbolic adventures to be had within. Whether based in Nova Scotia, Montana or Arizona, Skibsrud colours the facts with fantastical elements, transforming stories into ballads and road trips into cowboy-studded escapades.
“Sometimes, when I was a little girl,” says Skibsrud, “I would close my eyes and try to press myself to a very fine point. It was an attempt to define myself as both separate from, and integral to, the outside world. It consistently astounded me that the border between the two was so hard to describe. In many ways this book is a continuation of those first efforts. The title, Late Nights With Wild Cowboys, comes from the poem by the same name and is central in thatlike many of the poems within the collectionit is about chasing ideas and forms (the problem of where one ends and the other begins), as well as the problem of understanding and expressing the experiences that elude those boundaries. Although light in tone, it’s a poem about seeking always to live more exactly, more deeplyand also about something much larger and simpler that I, because I still cannot define it, write into poems instead.”
Finalist for the 2009 Gerald Lampert Award.
“I was only born into the world,” begins one of Vincent Colistro’s poems, “didn’t invade it, didn’t ransom it for a nicer one.” The Late Victorians, Colistro’s debut, is a beguilingly irreverent investigation of the life he was “born into.” Hyper-fluent, riding wave after wave of copious invention, Colistro builds his weirdness from scratch, turning simple ideas into sense-resisting parables full of deranged twists and dizzying embellishments. (“We Rick-rolled, we raised / pre-flop, we flapped our pool noodles / at each other’s caboose.”) Wily, witty and packed with brilliant sleights of hand, The Late Victorians announces an original talent.
Catherine Hunter articulates complex questions with utter simplicity, releasing the passion that often lies beneath surfaces of our ordinary lives, and guiding us, through subtle connections on many levels, until we “can hear the city breathe.” Latent Heat presents a surprisingly full and lyrical exploration of the lives we live together in this place, the suffering, the confusion, and those evanescent moments that sustain us.
Featuring exciting and provocative new essays by leading and emerging scholars in Canada and the US, this foundational collection begins a conversation about Latina/o theatre and performance in Canada. The essays query the contours and characteristics of latinidad in Canada’s performance spaces within a complex network of hemispheric relations and transnational migrations. While the discipline has witnessed a “hemispheric turn” in the study of theatre and performance in the Americas, Canada has had limited inclusion in this body of scholarship. In their examinations of the groundbreaking work of companies and artists such as Alberto Kurapel, Guillermo Verdecchia, Carmen Aguirre, Aluna Theatre, and PUENTE Theatre, these essays invite us to think more inclusively about the hemisphere and the plurality of the Americas that lie beyond US borders.
Contributors include: Natalie Alvarez, Alicia Arrizón, Hugh Hazelton, Ric Knowles, Martha Nandorfy, Jimena Ortuzar, Jeannine M. Pitas, Pablo A. Ramirez, Jessica Riley, Ramón H. Rivera-Servera, Tamara Underiner, and Guillermo Verdecchia.
With grace and courage Ann Elizabeth Carson looks to the past from the perspective of a contemporary feminist. A lively evocation of her aunts and their home in Cheltenham, Ontario reveals the rich and powerful ground for her own emerging sense of herself. As Toronto in the ’30s, ’40s and ’50s comes to life in a rare blend of prose and poetry, Ann Elizabeth is caught unawares as the stories collectively uncover events that shaped her social-political outlook and reveal how our untold stories are inevitably woven into the fabric of our public lives. Laundry Lines: A Memoir in Stories and Poems is about the imperative to tell our stories for our survival, the complex emotional inheritance and painful undertow in families, the slow reconciliation with the blows and beauties meted out by life that comes with age, and the deep sensual salve offered by surrender to nature.One unique feature of this book is Ann Elizabeth’s exploration of similarities between the unique coded language used by women and the one used by those working on the Underground Railway. The positioning of laundry on a line and particular quilted patterns were used to convey, for instance, whether a man/woman or a travel route was safe. Ann uses her skill as a long-time psychotherapist and writer to elucidate the role of women’s hidden language and how we communicate a rich subterranean world of emotion and knowledge subtly to one another.