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Colin Browne’s new collection, The Hatch, extends his formal engagement with the margins of the new documentary. Myth, history, and the present are contemporaneous in these poems; nothing is ever one thing, and nothing is itself for very long.
Figuratively speaking each poem is caught in mid-air, as if delivered in the flash reflected off a twisting sheet of metal. There is a new music in these pages, improvisations on the demotic, the lyrical, and the scientific in what amounts to a season of journal entries and field notes. Included are observations of Anna Akhmatova, André Breton, Benjamin Britten, Emily Carr, Blaise Cendrars, Aimé Césaire, Marcel Duchamp, Sorley MacLean, Charles Olson, and others. Certain texts are rooted in the tradition of the garden as observatory. An 1808 sea-otter expedition from New Arkhangel (Sitka) to California founders on the coast of early 21st century conspiracy theories.
Browne’s poems have regularly addressed landscape and the intersections of personal and public history; in The Hatch there is a rhythmic and political urgency in which the exchange of forms is lightning quick. This is a book of transformations.
A woman has her cat euthanized, a decision that causes her to become aware of her ability to kill. She writes, hand haunted by history, and returns to the forgotten memory of the time when her ancestors were animals. By writing, she tries to understand the psyche and its obvious manifestations of cruelty, which she sees every day in the media: rapes, murders, bombings of civilians, indifference towards the powerless, humans and animals that are made to suffer without remorse. This book is a cry provoked by existential questions: how to deal with the wickedness in the world, how to see one’s own wickedness without sinking into despair. By writing, by openness to others, by compassion, she seems to be able to face life believing that, if she recognizes the presence of evil both in her and in the world, she will be able to respond by standing among the living.
A comic book in words, episodic and eerie, The Haunted Hillbilly is a carnivalesque thrill-ride that reads both like a vintage 1950s issue of Tales from the Crypt and a 21st century re-imagining of Michael Ondaatje’s The Collected Works of Billy the Kid. The Haunted Hillbilly is an historical first-person narrative, told by Nudie “The Carnival Couturier” (the name’s a twist on “Nudie, the Rodeo Tailor”, a real-life figure perhaps best known for dressing Elvis Presley), a gay couturier who, in Derek McCormack’s spellbinding world, also happens to be a vampire. As the story evolves, with its magical poetic cadence, Nudie makes, then breaks, the career of country-and-western legend Hank Williams.
A gothic tale from deep within the boreal forest…
Violence and greed have intruded into a wild and remote land. It’s 1907, and silver fever has drawn thousands of men into a fledgling mining camp in the heart of the wilderness. Modesto O’Brien, fortune-teller and detective, is there too – but he isn’t looking for riches. He’s seeking revenge.
O’Brien soon finds himself entangled with the mysterious Nail sisters, Lucy and Lily. On the run from their past and headed for trouble, Lily turns to O’Brien when Lucy goes missing. But what should have been a straightforward case of kidnapping pulls O’Brien into a world of ancient myths, magic, and male violence.
As he searches for Lucy, O’Brien fears that dark forces are emerging from the ravaged landscape. Mesmerized by a nightmarish creature stalking the wilderness, and haunted by his past, O’Brien struggles to maintain his grip on reality as he faces hard choices about loyalty, sacrifice, and revenge.
Shortlisted for the 2010 Trillium Book Award for Poetry
To be human is to cope with knowing. In the early sixties, Leonard Hayflick determined that healthy cells can divide only a finite number of times. Known as the Hayflick Limit, the law sets an unsurpassable lifespan for our species at just over 120 years.
The Hayflick Limit concerns itself with boundaries of the cosmic and sub-atomic – how the mind contains both – and the sadsack creatures in the nexus, human beings. What does it mean to be an intelligent species? What does it mean to be an intelligent person?
Shifting focus between the limits of the telescope and the limits of the microscope, the poems in Matthew Tierney’s second collection place a premium on inventiveness while embracing extremes of fear, pain, cognition and time. With demotic verve and a humming line, he gives voice to a range of characters who scrape out meaning in a carnivalesque universe that has birthed black holes and Warner Bros. cartoons, murky market economies, murkier quantum laws, Vincent Price, Molotov cocktails, seedless grapes, Area 51 and competing Theories of Everything.
‘The most thoroughly engaged and inventive book of poetry I have read in a long, long time. Brimming with hi-lo wit, keenly apprised and settled with cultured repose, Matthew Tierney takes The HayflickLimit to the hoop.’ – David McGimpsey
‘Matthew Tierney writes poems like a mad boy scientist. His lines manage to blur the border between nomenclature and everyday insight … Call it science fiction for the melancholic.’
– Eye Weekly
“Intelligent, spooky, original, and fall-down funny, The Head runs in dark layers from page one.” – Jason Emde, author of Little Bit Die
A surreal and penetrating tale of academia, work life, and surviving trauma.
On the morning of her thirtieth birthday, Dr. Trish Russo, a math professor at Cascadia University, discovers a disembodied but living infant head on her dresser. Attached to nothing, somehow it still manages to wail and produce tears. Unsure what else to do, she takes it with her to work, if only to keep her neighbours from complaining about the head’s terrible cries.
At the university, her colleagues are mortified, not of the head itself, but that Trish has brought it into the office with her. She is soon put on leave and hopes that visiting her parents might provide some solace and advice on what she should do with the head. But no matter where she turns, Trish finds no help and is instead vilified for not knowing what to do with this impossible thing that has happened to her.
The Head is a bizarre journey through trauma, bad relationships, and toxic workplace culture.
The book-length prose poem The Headless Man takes up Georges Bataille’s subversive image of the acéphale and turns him into an outsider “everyman” to explore the paradoxes of identity, the body, and desire. This oddly fractured tale centres the monster, both human and inhuman, recognizable yet strange, in a labyrinth of experience. The Headless Man awakens in a place that, although based on our own world, is unfamiliar to him. Moving through this strange landscape, he must make sense of it through his actions, striving to determine whether there is a place for him in a world not made in his image, or whether he must imagine something different in order to be. Having no head, he cannot speak, see, or hear in the usual ways, so he must learn to do these things using other parts of his body-which leads him to a fuller sense of himself. In this gothic, picaresque narrative, laced with horror and humour, Montreal surrealist Peter Dubé addresses his concern with queer challenges to identity and sexual boundaries, exploring questions about insider and outsider, what constitutes the “normal,” and what is relegated to the realm of the “monstrous.”
Winner, Arlene Barlin Award for Science Fiction and Fantasy, 2025 Canadian Childrens Book Centre Book Awards>/p>
How do you learn from the past if there isn’t one?
Sixty years ago, something awful happened. Something that killed everyone except the people at Blue Ring. Something that caused the Headmasters to appear. But Maple doesn’t know what it was. Because talking about the past is forbidden.
Everyone at Blue Ring has a Headmaster. They sink their sinewy coils into your skull and control you, using your body for backbreaking toil and your mind to communicate with each other. When someone dies, their Headmaster transfers to someone new. But so do the dead person’s memories, and if one of those memories surfaces in the new host’s mind, their brain breaks. That’s why talking about the past is forbidden.
Maple hates this world where the past can’t exist and the future promises only more suffering. And she hates the Headmasters for making it that way. But she doesn’t know how to fight them – until memories start to surface in her mind from someone who long ago came close to defeating the Headmasters.
But whose memories are they? Why aren’t they harming her? And how can she use them to defeat the Headmasters? Maple has to find the answers herself, unable to tell anyone what she’s experiencing or planning—not even Thorn, the young man she’s falling in love with. Thorn, who has some forbidden secrets of his own . . .
Vocal health tips, stories from the tour bus, and action items to improve your voice and boost your self-confidence from an award-winning musician and life coach
Performing with David Bowie, surviving the murky depths of the music business, enduring a painful divorce, and making the first music video in outer space, award-winning recording artist Emm Gryner has navigated through life’s highs and lows using a secret compass: singing.
Her voice, and her desire to express herself in music, has been a constant: from the early days of playing in bands while growing up in a small town, to playing arena rock shows and stadiums. Across these years and on many travels, she’s discovered the human voice to be an unlikely guide, with the power to elevate and move people closer to authentic living. This book is about that discovery: part study in the art of singing, part guide to finding one’s voice, and part memoir. This book is a must-have for anyone who knows they should be singing.
Located at the heart of London’s teaching hospitals, The Red Lion pub is the regular haunt of the area’s most distinguished medical professors. For years, they have been stopping in for a pint, and to talk over the day’s medical issues with Ida, the pub’s remarkably vibrant and energetic proprietor. In The Healthy Barmaid, we join them in their nightly talks, and learn about such vital medical issues as the controversial role of cholesterol in cardiovascular disease, the importance of hormone therapy for both sexes, sporting injuries that should never happen, vitamin therapy, the benefits of moderate drinking, why some people are destined for a medical hell, and many other topics.
Decades after his death, John Glassco (1909-1981) remains Canada’s most enigmatic literary figure. The Heart Accepts It All: SelectedLetters of John Glassco draws back the curtain on this self-described ‘great practitioner of deceit.’ We see the delight he took in revealing his many literary hoaxes to friends, and the scorn he had for literary fashion. The letters reflect his convictions about literature, other writers and his own talent, while documenting struggles with publishers, pirates and censors.
Born into one of Montreal’s wealthiest families, Glassco turned his back on privilege for a life in letters. At age eighteen, having been published in Paris, his voice suddenly went silent. His unexpected return to the literary scene in 1957 coincided with the great flowering of Canadian literature. In the years that followed, he produced a unique body of work that encompasses poetry, memoir, translation, and several bestselling books of pornography.
Collected here are the few surviving letters from his youthful adventures in France and three previously unpublished poems. Amongst his correspondents were Maurice Girodias, F.R. Scott, A.J.M. Smith, Ralph Gustafson, Leon Edel and Margaret Atwood.
Poets attribute an array of roles and capacities to the involuntary muscle and catalyst of our storied lives. The heart becomes a repository of erotic and familial love and a sanctuary for memory. In this collection, poets explore the flux of the heart’s responses and instigations: the heart’s tender overtures, its joyous pulse, its mating call for the other, its changeable temperament, its final tick in freeze-frame. Among the poets featured: Kenneth Sherman, Lorna Crozier, Marilyn Bowering, Roo Borson, Patrick Lane, Charles Bukowski, Rita Dove, Eugénio de Andrade, John Barton, Robyn Sarah, and Mary di Michele.
Talonbooks is pleased to announce a new edition of one of Michel Tremblay’s most unusual novels. First published in English translation by M&S in 1989 under the title The Heart Laid Bare [Le coeur découvert, Leméac, 1986], British and American rights to this novel were sold to Serpent’s Tail, who published this same book under a different title, Making Room, which is now out of print.
This new Talonbooks edition proudly restores this novel to its rightful place in Tremblay’s sweeping and compassionate imagination of human sensibility and passion.
Jean-Marc has fallen in love. The object of his affection is Mathieu, a young actor working as a salesman at Eaton’s while waiting for his big break. As a dowry to their new relationship, Mathieu brings Sébastien, his son. Jean-Marc, a fusty academic, is not sure about being able to make room in his life for this four-year-old boy.
While daring, for some even shocking when it first appeared in the 1980s, this story has, like Tremblay’s entire ouevre, stood the test of time and revealed itself to be a work of both enduring and prophetic vision
The Heart Laid Bare marks a significant departure for Michel Tremblay, because it is the first of his mature novels which is not set in the semi-autobiographical milieu of his childhood. Yet this thoroughly contemporary love story is told with all the warmth and empathy that is so characteristic of all of his other work.
The final installment of Jón Kalman Stefánsson’s Trilogy of the Boy is a profound exploration of life, love and desire written with a sublime simplicity.
After coming through the blizzard that almost cost them everything, the postman Jens and the boy are far from home in a fishing community at the edge of the world. It is a strange place, with otherworldly inhabitants, including flame haired Alfheidhur, who makes the boy wonder whether it is possible to love two women at once; he had believed his heart was lost to Ragnheidur, the daughter of the wealthy merchant in the village, to which he must now return.
Set in the awe-inspiring wilderness of the extreme north of Iceland, The Heart of Man, the final book in Jón Kalman Stefánsson’s audacious Trilogy of the Boy, is a profound exploration of life, love and desire, written with a sublime simplicity.
A middle-grade medieval adventure starring two orphans, a troubadour with dancing feet, and an irascible pet chicken by an award-winning YA writer.
From award-winning author Kate A. Boorman comes her first middle grade historical novel, set in France in the Middle Ages at a time of great religious upheaval. The Heathens and the Dragon: A 13th-Century Adventure stars twelve-year-old Elodie, a resourceful guardian to her little brother Bertran. Together they perform for their very survival.
Elodie works hard to keep a clean house for her master, take care of her little brother, and guard the secret pagan beliefs she was taught by the mother they recently lost. But the world around her is growing suspicious of paganism and violent toward non-Christians. When Crusaders arrive to arrest her kindly master, a Cathar, for heresy, he flees, and the orphans Elodie and Bertran try to follow his trail.
Armed only with meagre supplies and a few good stories, they head into the forest, where they soon become lost. Luckily, they join forces with Joie, who has mysteriously left court life and appears eager to help them. To earn money and food, the trio improvises a spectacle involving storytelling, music, and a chicken-assisted magic trick. The crowd’s applause almost allows Elodie to forget that her dragon tale dishonours an origin story sacred to her mother.
When Joie’s own secrets emerge, Elodie is faced with a new dilemma. With Crusaders hovering and a voracious audience clamouring, Elodie realizes that, to save herself and Bertran, she?ll need to decide who to trust&mdashand who to betray.