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For one year in her life, Mary Meigs and her long-term lover and friend, Marie-Claire Blais, lived in a ménage à trois with the beautiful and powerful “Andrée.” After the end of their stormy three-way relationship, both Marie-Claire and Andrée, who are fiction writers, embodied their memories in novels. The Medusa Head comes from the third woman—the autobiographer, who works hard to uncover the truth about that year. The story begins when Marie-Claire meets Andrée at a literary event in Paris. They fall in love; and when Mary meets Andrée, she falls in love, too. The three of them move to La Salle in Brittany, where Mary and Marie-Claire discover that the beguiling Andrée is emotionally complex. In her happy, contented state, Andrée is irresistible: intelligent, witty, charming. But Andrée is also given to sudden and unexpected mood shifts, the most terrifying of which is her transformation into the “Medusa Head”—a furious, irrational, overpowering figure who must be placated at all costs. Thus, Mary and Marie-Claire are drawn into Andrée’s emotional labyrinth, from which they find it increasingly difficult to escape.
A relaxing weekend trip full of fishing, football, and beer is on the agenda for the Melville brothers. Unfortunately, so is confronting eldest brother Lee’s terminal illness. But weekend plans are suddenly thrown for a loop when the boys meet two attractive sisters, who inadvertently change more than just their agenda. In this modern Canadian classic, Norm Foster offers a lighthearted comedy full of vigour about brotherhood and the unexpected.
A favourite among Norm Foster’s classics, The Melville Boys is “…a wonderfully witty script” (Kamloops News).
The Men is a work that will be both familiar and fresh to anyone who has read Lisa Robertson. As a poet Robertson has received unrivaled praise for her uncompromising intelligence and style. The Men will not only compliment her previous work, but will add a new layer as a far more personal and lyrical book than anything she has yet published. Who are the men? The Men are a riddle. What do they want? Their troubles become lyric. The Men explores a territory between the poet and a lyric lineage among men. Following a tradition that includes Petrarch’s Sonnets, Cavalcanti, Dante’s works on the vernacular, Montaigne, and even Kant, Robertson is compelled towards the construction of the textual subjectivity these authors convey—a subjectivity that honours all the ambivalence, doubt, and tenderness of the human. Yet she remains angered by the structure of gender these works advance. It is this troubled texture of identification that she examines in The Men. How does a woman of the present century see herself, in men’s lyric texts of the renaissance, in the tradition of the philosophy of the male subject, as well as in the men that surround her, obfuscating, dear, idiotic and gorgeous as they often seem? What if “she” wrote “his” poems? At once intimate and oblique, humorous and heartbreaking, composed and furious, The Men seeks to defamiliarize both who, and what men are.
Whether you’ve encountered his celebrated verse-dramas (such as Whylah Falls or Québécité) or the lush, animated language of his poetry, it is not difficult to recognize George Elliott Clarke’s affinity for the genius of William Shakespeare. In this new work, Clarke borrows brazenly from and rewrites (The Bard’s very own working method) one of Shakespeare’s most contentious comedies, The Merchant of Venice, reinvigorating a play that on many points seems “retrograde politically and retarding dramatically”. The result is a spectacle of swinging lyricism that casts Jewish Shylock not as the villain, but as the victim of the ingrained bigotry of the Venetian State.
It’s the latter half of the Roaring Twenties and Lady Lucy Revelstoke, the unconventional widow of a young British lord, is once more crossing the Atlantic on a state-of-the-art ocean liner. Rubbing elbows with the era’s elite, Lucy has come a long way from her roots as the daughter of a Canadian mobster.
But when a dead man turns up in her stateroom on the first night of the voyage, Lucy wonders if her past has come back to haunt her. Who is this dead man? Is someone from her past trying to send her a message? Lucy doesn’t wait to find out. With her chivalrous friend Lord Tony, and Elf, her pickpocket-turned-maid, she endeavours to throw the body overboard. It does not go as planned.
When the body is discovered by authorities on the ship, Lucy must do everything in her power to find the murderer before they look too deeply into her past.
Winner, Best Atlantic Published Book Award
Shortlisted, Canadian Regional Design Award
met-a-mor-pho-sis: a complete change of form, structure, or substance, as transformation by magic or witchcraft.
In May of 1896, a young magician from New York City joined the cast of the Marco Magic Company and embarked on a summer-long tour of eastern Canada, including New Brunswick and Nova Scotia. It was during this excursion that Handcuff Harry AKA Harry Houdini first showcased the talent that transformed him from a small-time conjurer, who performed for pennies in dime museums, into the world’s most celebrated escape artist. When he wasn’t performing on stage, Houdini was barnstorming through the streets of every town and city he visited, astounding onlookers in police stations, hardware stores and hospitals by freeing himself from the clutches of every restraining device strapped or wrapped around him.
In this absorbing book, enriched by rare, period photographs, Bruce MacNab recounts a fascinating but shockingly untold chapter in the career of the man whose name is still synonymous with the word magic.
In the gritty steel town of Hamilton, Nate Silva has grown up with the familiar racket of football games from nearby Ivor Wynne Stadium. But now strange noises and music are coming from the stadium late at night, and the air throbs with the chanting of excited crowds. When Nate sneaks into one of these midnight games, he comes face to face with the fanatical followers of the Resurrection Church of the Ancient Gods, who are using mind control and human sacrifice in an attempt to summon the Great Old Ones who ruled the planet aeons ago. Nate tries to navigate this dangerous new world, but soon he’s pursued by members of the Resurrection Church and is targeted by the murderous Hounds of Tindalos. With the help of the Lovecraft Underground, an outspoken librarian and a being from across the boundaries Nate struggles to keep the old gods away from his city, whatever the cost.
When enigmatic billionaire Burton Sykes walks into Re-Gene-eration, a bespoke reproduction assistance clinic run by Raina and Cedric, two disgraced genetic engineers struggling to get by, they know they have a very unusual client. When Sykes asks them to genetically engineer a way for humanity to survive the coming ecological apocalypse, Raina is tempted. Bees are dying, crops are failing, and she knows her research is partly to blame. Could she help in some way? Though troubled, Cedric agrees to take part when it becomes clear their benefactor will do this with or without them. How else can he be sure their work won’t fall into the wrong hands? But can they really trust Mr. Sykes?
In this near-future science fiction thriller, Christy Climenhage has created a frighteningly real world on the verge of collapse. As disaster strikes, the two friends need to decide whether to cling to their old life or to let go and embrace a new path for humanity.
The Midwife of Torment and Other Stories is a collection of sudden fiction that compresses its narrative to deliver a variety of stories that alternate the flavour of a philosophical reflection with the whimsical enchantment of a fable with a twist. These stories also often dwell on the strange–and the horror–found in our mundane lives. Stories that, on occasion, also leap as far as speculative fiction or swirl in a lyrical exploration of prose narratives. Divided into six sections, Midwife explores human and non-human voices through narrative weighing at less than one thousand words, and the vast majority weighing at less than five hundred. Included are a series of black and white lithograph-like original drawings commissioned specifically for this manuscript from the Portuguese visual artist, João Ventura.
Longlisted for the IMPAC Dublin Literary Award
Shortlisted for the Amazon.ca/Books in Canada First Novel Award
The kid sells lemonade. Not a lot of people buy lemonade, especially now that it’s winter, but the kid makes good lemonade, even if his friend Mullen thinks it ought to be sweeter.
They don’t talk much with the other ten-year-olds — mostof the others are Dead Kids anyway. Except for Jenny Tierney, but she’s busy breaking kids’ faces with her math book. Besides, the Russians from the meat-packing plant are a lot cooler, and they always win at curling.
But in small-town Alberta, there are just too many roman-candle fights, bonspiels, retaliatory river diversions, black-market submarines, exploding boilers, meat-packing-plant suicides and recess-time lightning strikes for one lonely kid to get any attention. He might as well go to Kazakhstan. Then the adults in his life start disappearing down tunnels and into rendering vats. Being ten is hard enough without all that, especially when your best friend is ruining the lemonade.
But the Milk Chicken Bomb should change everything.
Frenetic, hilarious and gently heartrending, The Milk Chicken Bomb takes us inside the mind of a troubled ten-year-old who is just beginning to understand that the adults around him are as lonely and bewildered as he is in the face of the slapstick demands of the world.
Maybe you can go home again? The Milking is a sensual, playful story about reconciling your past. And cows.
Reeling from a breakup with her girlfriend, Ellen finds herself driving to the small farm where she grew up, a place she’s done everything she can to leave behind.
The new owners are on vacation, but the hidden key is in the same spot. She enters the house, just to look around. She’s so tired: she’ll stay one night. But then she just can’t leave. Everything and nothing is familiar, including the neighbour Max, her childhood friend. The cows are gone, and the barn closed down, yet the taste of fresh milk lingers on her tongue like when she was a child, and the smell of manure is still in her nose.
Who can really say that the place isn’t hers? It’s so much a part of her. The country, with its smells and sounds, its hardships and shame, has drawn her back. Maybe as the small family farm and its way of life recede further into the distance, Ellen can find some solace in her past – hopefully before the new owners return…
“So I thought, why don’t we do a competition? And so we did. And that was the beginning of its history.” — Bob Weaver, creator of the CBC Literary Awards
“I’m personally convinced that I would never have become a writer had it not been for the encouragement of the CBC. How important it is to get that first boost.” — Carol Shields (in 1985)
“Writers love this competition because entries are read without the authors’ names and judged blind, on the merits of the writing alone. This unique literary competition . . . is about writing, the beauty of the language, the interest of the subject matter.” — Kim Echlin, from her introduction
Celebrated in this anthology are the first-prize English-language winners of the CBC Literary Awards from 2001 to 2006 in poetry, creative non-fiction and travel, and short fiction plus three new translations of French-language winners.
The 1954 British Empire and Commonwealth Games in Vancouver changed both the city and world sport forever. The Games will always be remembered for the “Miracle Mile,” the much-anticipated showdown between the first two men to break the four-minute barrier, England’s Roger Bannister and Australia’s John Landy. But as the press focused the world’s attention on Vancouver, and Bannister outpaced Landy in the stretch, fate found an even more dramatic story that seared itself into the memories of all who saw it. England’s Jim Peters, the world-record holder in the marathon, entered Empire Stadium at the end of a brutal twenty-six-mile run, collapsing repeatedly before a medic stopped him two hundred yards from the finish line.
These two stories brought the Games to a stirring conclusion on its final day – Saturday, August 7, 1954 – but there were many other extraordinary moments throughout the events. A group of novice UBC rowers pulled off the biggest upset in Games history on the Fraser Valley’s Vedder Canal. Australia’s Marjorie Jackson-Nelson, the fastest woman in history, blasted down the track one final time to remain undefeated in international competition, an unprecedented accomplishment before and since. Emmanuel Ifeajuna, a little-known high jumper from Nigeria, surprised the world when he won Africa’s first-ever international gold medal. He later masterminded a bloody coup that plunged his nation into devastating civil war. Every single day offered up unbelievable tales of glory and grief. As one 1954 billboard boldly proclaimed, the Games were “a week you’ll remember a lifetime!”
This is the story of two unlikely dreamers: Sam, a man who wakes up one day to find himself growing wings, and Lilah, a woman who has lost her brother to the streets of Vancouver. Sam finds himself falling away from the world as he grows feathers from his back, while Lilah makes her own subtle and terrifying transformation as she seeks sexual penance under the harsh hand of her boss. Sam and Lilah fall deeper into their separate spiritual paths, and the two hurtle closer and closer to a dark, unknown destiny, one that changes all that they know about life and pain, love and God, and how to find light in the most unforeseen places. Re-examining the traditional roles of priest and prophet, damned and divine, and creating something monstrous and exquisite, this well-crafted novel investigates the so-called truths behind religion and explores the intersection of pleasure and pain.
Succeeding Miley in teen queen fame, Miranda Cosgrove has her own story to tell.
This guide takes readers through Miranda Cosgrove’s early career: her major film experience (in 2003’s School of Rock), her inspiring music career (with four hit singles by the time she was 16), and a major role on Drake & Josh. These demonstrations of her young talent granted her every young star’s wish — a new TV show tailor-made to showcase her talent. Created by Nickelodeon’s visionary producer Dan Schneider, iCarly is a zany sitcom about three friends who start their own webcast, where they perform skits and stunts, and showcase their viewers’ wild and wacky talents. Schneider called his creation a show where “kids win,” and appropriately, iCarly won the ratings race while it was on the air, drawing nearly 8 million viewers per episode as the number one scripted show for kids and tweens. But fans weren’t just watching. Kids submitted over 100,000 of their own videos to iCarly.com to be featured on the website and even on the show itself.
The first book to focus on Nickelodeon’s crown jewel, The Miranda Cosgrove and iCarly Spectacular! also includes:
Voted best TV show in 2009 at the Kids’ Choice Awards, fans still can’t get enough of iCarly. The Miranda Cosgrove and iCarly Spectacular! is the essential full-colour guide to this unstoppable Emmy-nominated TV sensation and the girl at the heart of the show.
Jennifer Zilm’s poetry collection, The Missing Field, concerns themes of translation, preservation and the engagement with the transitory documents of everyday life, whether a snapshot of a Vancouver bus, postcards from the Middle East, lecture notes on Euripides, a van Gogh museum catalogue or marginalia in a water-damaged collection of Rilke poems.