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A bold new play about the secrets we keep, from one of Canada’s best playwrights
Simon and Denise reside in a modest house on a quiet street, their life blissfully low-key and unassuming. But when it comes to light that their next-door neighbour has been hiding a disturbing secret, it forces the couple to re-examine the past, leading the audience to a surprising conclusion that asks hard questions about the bonds thatunite us.
Finalist for the 2020 Governor General’s Literary Award for Translation
Sandrine’s father is dead, and her mother has vanished into her grief. Alone and suffering from an incurable disease, the eleven-year-old girl finds companionship in her doctor, Tiresias, who morphologically changes sex in unpredictable ways (and seemingly without anyone noticing). A transformational tale about the mysteries of identity and the power dynamics that surround it, The Neptune Room pieces together life’s terrible but tender metamorphosis, opening a door onto a universe of beauty, mourning, and renewal.
The Nerves Centre is a series of poems about performance (and other) anxiety, told through the jittery stop-and-start actions of a stagefright-afflicted Performer who can’t speak while on stage. The Performer’s linguistically vaudevillian performances are punctuated with sound poems that capture the moments of panic she experiences. Constructed from recordings of actual panic attacks that were poorly transcribed by increasingly confused transcription software, then reshaped into poems for the page, these sound and breath pieces create a palpable experience of a Performer caught in the moment of panic. These are poems with roots in vaudeville, silent comedy, Beckettian mime, sessions with your therapist, and stage fright. Never judgemental, always hopeful that this time the performance will work, Szczepaniak brings a slapstick sensibility to every poem, a deep compassion for anyone struggling to find their voice, trying to speak, or having trouble with a pesky boulder.
In her early twenties, Alma met a tree-planter and fell in love — not with the man but with his strangely romantic work. Now, after several seasons of planting trees out west, the tough-minded hero of Kathryn Kuitenbrouwer’s visceral first novel has come home to northern Ontario to help reforest the ravaged landscape with a gang of filthy ex-hippies and idealistic students. Baking by day in the hot sun and tormented by mosquitoes and blackflies, Alma and her fellow planters relieve their backbreaking toil at night with sex, dope, and alcohol. But her brief passionate affair with a charismatic newcomer named Willem raises the ire of Karl (whose amorous attentions she has deflected in the past), and he viciously rapes her. Pregnant and alone, Alma flees to an abandoned mining camp where she and Willem once made love. There, with the help of the camp’s single weird inhabitant, she constructs for herself and her unwanted baby an increasingly ominous new life.
Weaving together Alma’s story with an ancient Flemish folktale about a peasant girl’s magical hold over a lustful count, Kuitenbrouwer links the power of narrative with the passion for self-realization. The Nettle Spinner is a gritty, sensuous debut that portrays sex with startling clarity and violence with peculiar tenderness.
The #1 National Bestseller
Shortlisted for the 2019 Speaker’s Book Award
Nominated for the 2019 Heritage Toronto Book Award
“Barclay combines his admiration of the band with his knowledge of the music industry to make a clever, touching, and very informative book that may well be the definitive work on an important piece of Canadian pop culture.” — Publishersweekly.com, starred review
The long-awaited, first-ever print biography of Canada’s band!
In the summer of 2016, more than a third of Canadians tuned in to watch what was likely the Tragically Hip’s final performance, broadcast from their hometown of Kingston, Ontario. Why? Because these five men were always more than just a band. They sold millions of records and defined a generation of Canadian rock music. But they were also a tabula rasa onto which fans could project their own ideas: of performance, of poetry, of history, of Canada itself.
In the first print biography of the Tragically Hip, Michael Barclay talks to dozens of the band’s peers and friends about not just the Hip’s music but about the opening bands, the American albatross, the band’s role in Canadian culture, and Gord Downie’s role in reconciliation with Indigenous people. When Downie announced he had terminal cancer and decided to take the Hip on the road one more time, the tour became another Terry Fox moment; this time, Canadians got to witness an embattled hero reach the finish line.
This is a book not just for fans of the band: it’s for anyone interested in how culture can spark national conversations.
In 1943, the New Brunswick Rangers were sent to Britain, converted into a heavy weapons support unit, and shipped off to Normandy.
Originating as a 19th century militia, the New Brunswick Rangers were placed on active service for the first time during the Second World War, serving first in the Maritimes and Newfoundland. In 1943, the Rangers were sent to Britain, where they were converted to a heavy weapons support unit, armed with machine guns and mortars in preparation for the invasion of Normandy.
In this illuminating account, Matthew Douglass uncovers their participation in the war: their arrival in Normandy and their contributions to the battles in Belgium, the Netherlands, and Germany. Present at many of the critical moments of the campaign, the Rangers participated in the Battle of the Falaise Gap, which cleared the way for the advance on Paris and the German border; the Battle of the Scheldt, which secured the vital supply lines of the port of Antwerp; and the Battle of the Reichswald, when German resistance on the west bank of the Rhine was finally broken. Drawing on archival photographs and original source documents, Douglass’s account of the Rangers’ wartime experiences is a crucial piece in understanding the role of heavy weapons support units on the Western Front.
The New Brunswick Rangers in the Second World War is volume 27 of the New Brunswick Military Heritage Series.
The long poem, nowadays, is the talk of various discourses with each other: “A poem is a small painting, a long poem is a mural.”
The second edition of The New Long Poem Anthology is an irreplaceable roadmap of a vital and powerful poetic form, a record of the most seductive and sustained “singing talk” in postmodern Canadian writing. Edited by Sharon Thesen, this collection of long poems; longer works; sequential poems; extended poems; and serial, lengthy or longish poems extend the geography of postmodern Canadian poetry as it was laid out in 1979, exemplifying Michael Ondaatje’s early observation that “the most interesting work being done by poets today can be found within the structure of the long poem.”
With a statement of poetics and short bibliography from each author, the second edition of The New Long Poem Anthology includes work by Anne Carson, Christopher Dewdney, Lisa Robertson, Jeff Derksen, Don McKay, Erin Mouré, Patrick Friesen, Steve McCaffery, George Bowering, Dionne Brand, Louis Dudek, Diana Hartog, Roy Kiyooka, Robert Kroetsch, Daphne Marlatt, David McFadden, Barry McKinnon, bpNichol, Michael Ondaatje, Lola Lemire Tostevin, Fred Wah, Phyllis Webb, Robin Blaser, and Yolande Villemaire.
In post WWII Italy, Passero, the son of a winemaker killed by the Nazis, commits an impetuous act. He kidnaps a young orphaned girl and offers her up in exchange for his own freedom. His actions create a lifelong connection with her culminating in an adulterous affair in Toronto in the 1960s, while he is building a life with another woman. The union produces an illegitimate son named Ethan, who, in time, becomes an artist and inherits the vineyard once belonging to Passero’s family. The vineyard, as the artist discovers, is a place where truth extends from fiction, a place for new roots and shoots, a place where God and art interweave and become interchangeable.
‘The news’ can mean many things, but first and foremost in this collection the news isWe’re having a baby! Starting in the fifth week of his wife’s pregnancy, Rob Taylor wrote a poem every week as they travelled toward their child’s birth. His poems anticipate the astonishing and yet commonplace beginning of a human life, but they also explore how a baby’s arrival streams into both the incessant chatter of the world’s daily news and into that other sort of news that literature carrieswhat Ezra Pound called “news that stays news”.
Finalist for the 2018 Dorothy Livesay Poetry Prize.
Perpetua Collins works for a real troll.
Well, technically a goblin, and it’s not as bad as it sounds. As the administrative assistant, she provides a “human” face for an employment agency specializing in placements for goblins and trolls. It’s probably the most unusual job she could find in Toronto, but she’s grateful for it, having come to the city with $500 in her pocket and no support. Without it, she’d have no choice but to go back to the boring small town and overbearing mother she worked so hard to leave.
But as Perpetua settles into her new job, disturbing questions arise. And no, they’re not about the fact that goblins and trolls exist. She’s fine with that part. What bothers her is that the agency has no visible means of support. How does her boss manage to keep his “clients” out of the public eye? They’ve been part of the city far longer than anyone thinks, and are growing restless under the burden of forced invisibility and financial poverty. What will happen if the veil drops, and humans see?