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In her vibrant first novel, Sisters of Grass, Theresa Kishkan weaves a tapestry of the senses through the touchstones of a young woman’s life. Anna is preparing an exhibit of textiles reflecting life in central British Columbia a century ago. In a forgotten corner of a museum, she discovers a dusty cardboard box containing the century-old personal effects of a Nicola valley woman. Fascinated by the artifacts, she reconstructs the story of their owner, Margaret Stuart. Margaret, the daughter of a Native mother and a Scottish-American father, she tries to fit into both worlds. She’s taught photography by a visiting Columbia University anthropology student that she falls in love with.
With strong, poetic language, Kishkan makes the past reverberate through the present in a richly patterned work celebrating the complexities and joys of life and the sustaining connections of family.
World War One is in high gear. Fourteen-year-old Khya Terada moves with her family to a remote, misty inlet on Haida Gwaii, then the Queen Charlotte Islands, in northern British Columbia, known for its Sitka spruces. The Canadian government has passed an act to expedite logging of these majestic trees, desperately needed for the Allies’ aircrafts in Europe. At a camp on the inlet, Khya’s father, Sannosuke—a talented, daring logger with twenty years of experience since immigrating from Japan—assumes a position of leadership among the Japanese and Chinese workers.
But the arrival of a group of white loggers, eager to assert their authority, throws off balance the precarious life that Khya and her family have begun to establish. When a quarrel between Sannosuke and a white man known as “the Captain” escalates, leading to the betrayal of her older sister, Izzy, and humiliation for the family, Khya embarks on a perilous journey with her one friend—a half-Chinese sex worker, on the lam for her own reasons—to track down the man and force him to take responsibility. Yet nothing in the forest is as it appears. Can they save Izzy from ruination and find justice without condemning her to a life of danger, or exposing themselves to the violence of an angry, power-hungry man?
Drawing on inspiration from her ancestors’ stories and experiences, Shimotakahara weaves an entrancing tale of female adventure, friendship, and survival.
When memories threaten to disappear, past promises must be confronted.
Meri Saari made a promise to her dying mother she would keep the family together, but she was too young to know how a war can pull people apart. As a teenager responsible for her siblings she finds herself following her father to the front lines during the Winter War when he goes missing in action. Forty years later, living in northern Ontario, Meri’s past and present collide when she is diagnosed with early onset Alzheimer’s. Responsible for her granddaughter, and navigating a strained relationship with her daughter Linnea, Meri is haunted by the people of her past and by the promises she failed to keep. As she struggles against her inevitable decline, she knows her losses are amassing: her home, her health, and her memories. Meri embarks on one last journey in search of the man she had to give up, and before it’s too late. Before everything disappears.
Kim Clark believes that before multiple sclerosis began its insidious infiltration, there was no writing in her. That somehow the damaging changes that shut down certain functions in her brain also opened up other unused areas that housed a secret love affair with language and all its possibilities, its delicious sights and sounds and intimations.
The poems in Sit You Waiting are not about disease, but about everyday occurrences that have allowed Clark the luxury of contemplation through compulsory inertia and altered perceptions. They vary in form and texture while maintaining a musicality, a sense of playfulness within the words that carries you from BC’s beaches to Australia’s Nullarbor Plain, from the neighbourhood pub to the cemetery, from pot roast country to the passport office places where breakfast/ doesn’t matter/ any more/ than the notion/ of romance.
Light and darkness can be found here. They are woven through the rhythm and rhyme of the erotic ‘lips abandoned’, the humorous self-propelled breasts, the thought-provoking murmuration of starlings, and the distressing edge of pale comatose. Come in. Sit down. Wet your whistle.
Sita’s Story
Implicating extremes from Coriolanus to Karen Carpenter, David McGimpsey’s Sitcom is both serious poetry and a work of comedy. Mischievous, generous and side-splittingly funny, this collection of wry soliloquies and sonnets begins with a milestone birthday and finds itself in demi-mondes as varied as the offices of university regents and the basic plot arc of Hawaii Five-O – offering, along the way, a sincere contemplationof mortality and the fashion sense of Mary Tyler Moore. Unembarrassed by its literary allusions or its hi-lo hybridity, Sitcom’s strategic and encompassing voice is prepared for each comedic disaster and is, somehow, always ready for next week’s episode.
‘McGimpsey displays erudition, clever insights and a knack for the wickedly funny wisecrack.’
– The Washington Post
‘[McGimpsey] finds thehumanity hiding in the hilarity. This guy is as funny as David Sedaris, and more inventive.’
– The Ottawa Citizen
February 2021 to March 2022 was a period of great reflection for two of Canada’s most celebrated poets. Ariel Gordon and Brenda Schmidt wrote collaborative poetry, formatted like a call and response. Ariel intended to write about urban Manitoba, the city and its trees, and Brenda was to write about rural Saskatchewan and birds. Over the course of the year, the matter of place took over and the intentions branched and flew apart. The poets wrote about the natural world and people making their way through it all. They wrote home as they found it, observing climate as it manifested in drought-stressed trees and stunted crops covered in grasshoppers, in wildfires and wildfire smoke hanging over the prairies. Survival, struggle, keen naturalist perception, and endless wit, bring forward the idea of hope, rejuvenation, and the generative power of community.
Poetry is the raging rapids and it is the little fish which doesn’t give up until the turbulent waters are behind it. Poetry is purpose, renewal and rebirth. Ancestors’ Words: My Heart Speaks is all of this and offers insight into the mind of an Indigenous man who lives with severe chronic pain and who found the strength through spirituality and poetry to put a life of alcohol abuse behind him forever.
Over the past decade, countless young Canadians, lured by adventure and the promise of well-paid work, have travelled to Asia to teach English in the many private language schools that have sprung up there. Although these schools provide new opportunities for Asians by opening up Western language and culture, those who have travelled to Asia to teach have as often found themselves the students. Alison Smith’s poems chronicle her experience teaching English in Japan, exploring this cross-cultural exchange in the clear, unadorned narrative voice that typified her debut collection.
“Combines the soothing sleuthing of Murder, She Wrote with the humble charm of All Creatures Great and Small.” — Publishers Weekly STARRED review
For readers of The Thursday Murder Club comes a lighthearted mystery with an incredible sense of place
It’s springtime in rural Manitoba, and the snow has finally left the exotic animal farm when an ostrich finds and swallows a shiny object. (Because this is what ostriches do.) Cue veterinarian and amateur sleuth Dr. Peter Bannerman, who surgically removes the object, which looks like an ancient Viking artifact. Soon after, people around are horrified by a series of animal mutilations. This sets Peter, and his talented sniffer dog, Pippin, on the hunt for answers. Peter begins to suspect a link between the Viking artifact, the mutilations, and a shadowy group of white supremacists on the internet.
Before long Peter and Pippin are in over their heads, and the only way for them to get out alive will be to unmask the mastermind before they end up among their victims.
Here is a collection intended to showcase Mavor Moore’s dramatic talent—these are theatre pieces stripped to the bare essentials of character sketches in quick, subtle lines; dramatic conflict, development and resolution with a minimum of props; and an emphasis on the performer’s resources as an actor, rather than the externals of scene changes and stage contexts. This collection includes his latest two-act play The Apology, and five one-act plays: The Store, The Pile, Getting In, The Argument and Come Away, Come Away. These plays have all been performed in Canada, the United States and the United Kingdom.
A delightful illustrated book of advice for kids preparing to leave grade school. Filled with perspectives on choice, failure, self-worth, dreams, and priorities, and told in a simply inspiring way, Six Things is a great gift for students leaving grade six, filled with wisdom for people of all ages.
Life is full of those moments, good and bad, that define you, make you whole, and provide direction to your journey. Richard Scarsbrooks brilliant debut collection of poetry, Outtakes, uncovers the moments that we keep hidden deep inside us, that steer us through the currents and eddies of the everyday.
And now we are 60. To mark this momentous occasion, the editors at Goose Lane have selected six tiny perfect stories for your reading pleasure. Authored by some of Canada’s finest writers, they come from the sweep of Goose Lane’s publishing history. Each story will be individually bound and gathered with the others in a nifty sleeve as a collection, or they may be purchased individually in eBook singles. Here’s what you can expect to find in this sexagenarian sextet:
ALDEN NOWLAN’s “A Boy’s Life of Napoleon,” a brilliant piece of short fiction adapted from Nowlan’s first novel, The Wanton Troopers, written in 1960, but published posthumously in 1988.
The beguiling “Woman Gored by Bison Lives” from DOUGLAS GLOVER’s 1991 GG-nominated story collection, A Guide to Animal Behaviour.
Giller Prize-winner LYNN COADY’s unforgettable Christmas story “The Three Marys,” adapted from her award-winning debut novel, Strange Heaven, published in 1993.
Commonwealth Prize winner SHAUNA SINGH BALDWIN’s glittering story “Simran” from her 1996 debut collection, English Lessons and Other Stories.
KATHRYN KUITENBROUWER’s haunting “What Had Become of Us,” from her 2003 debut book of short fiction, Way Up.
The extraordinary “Knife Party” from a new collection of stories by MARK ANTHONY JARMAN, forthcoming in the spring of 2015.