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What if you made the worst mistake of your life and got the chance to fix it? Only you made it so much worse? From the incomparable crafter of nine cross-genre works of fiction, Lisa deNikolits expands her horizons to pen a grab-you-by-the-throat, feminist speculative-fiction thriller in the style of Groundhog Day meets The Matrix.
The perfect father kills his family on Christmas Eve, and tries to undo his actions by jumping back in time. The result is murder and mayhem in dystopia. Set in 2055, the world is run by robots and virtual data, while the weather is controlled by satellite dishes. Arts and culture are no more than distant memories. People are angry, placated by prescribed visits to rage rooms to vent their boredom, fury, and discontent. Beneath the sunny skies and behind the garbage-free suburban McMansions live deeply disturbed, materialistic families.
During his time travels and increasingly desperate attempts to reserve his colossal mistake, Sharps Barkley meets the leader of the Eden Collective, a feminist army determined tosave the Earth by removing all artificial intelligence and letting the Earth restore itself–if necessary, at the expense of mankind. The Eden Collective uses data gathered from the rage rooms to analyze and predict the potential and actions needed for the Earth to reset andthey need to prove that time travel is an effective tool. If Sharps can go back and save his children, then there is hope for the future. Sharps is the 49th experiment and his success is pivotal. Can love prevail over anger?
The Rage Room has a multi-layered plot that is fueled by a feminist-driven courage to take charge and save the world as it exposes the effects of an increasingly digital age on our lives and, ultimately, our humanity.
It’s spring, 1963 in the “Nickel Capital of the World.” Nineteen-year-old Jake McCool is about to undergo a rite of passage—his first shift underground in a hard rock mine. But the Cold War is at its height, and Jake is also about to become a reluctant participant in a bitter interunion battle fueled by the global struggle between two ideologies in the wake of the Second World War. So is his girlfriend, Jo Ann Winters. Together the couple are swept up in a web of intrigue; at its center is a terrible secret that will haunt their relationship for the rest of their lives, as their hometown becomes not only one of the world’s greatest hard rock mining centers, but also the epicenter of the Cold War in North America. In this fast-paced novel set against the little-known historical backdrop of a true-life battle that included vicious beatings, riots, and worse, author Mick Lowe posits a provocative premise: that the U.S. government sponsored a ruthless covert operation to destabilize a strategic community in the heartland of its closest ally, Canada.
The ambition that inspired rapper and MC Baba Brinkman to transpose his performance piece “The Rap Canterbury Tales” to the printed page was his desire to resurrect Chaucer’s brilliant stories from their vellum mausoleum into visible and audible contemporary forms that would once again delight and edify both live listening audiences and readers—a rebirth of what poetry should be in its essence, and once was. Since Chaucer has become an unassailable icon of print culture, and hip-hop is an unassailable icon of contemporary digital cool, he saw this radical new fusion of content and style as the perfect medium to deliver Chaucer’s astonishingly timeless message to a younger generation growing indifferent to the delights of “archaic” literary forms.
This fusion has produced, with both texts reproduced here on facing pages, one of the most exciting and extraordinarily fertile literary documents of our age.
The raps are presented here—along with Chaucer’s original Middle English, Brinkman’s explanatory introductions, and his brother and stage manager Erik’s illustrations—as the best possible way of telling the story of how these stories came about, and what they were meant to do.
A hugely successful hit at the Edinburgh Festival, Brinkman has worked with the London and Cambridge school systems, rekindling an interest among both performance-poetry fans and students in the work of “the father of the English language.”
This intricate, sinister thriller takes place in a private geriatric hospital, where nurses and patients begin disappearing only to turn up in the local sewage system. Tense and dramatic, Maureen Foss’s narrative joins a unique cast of characters with an unforgettable plot of murder, mystery, suspense – and rats.When the hospital caretaker is found dead at the bottom of the sixth floor stairwell, Eugene Starbuck comes to the rescue – and to apply for the dead man’s job. The unsuspecting triplet brothers who own the facility are only too happy to have him: he works for next to nothing, lives in the furnace room where he can be on constant duty, and doesn’t mind emptying the rat traps stationed all over the hospital.Was Eugene’s sudden appearance completely coincidental, or was it all part of a gruesome and twisted plan? Some nurses and patients die, and circumstances point to Eugene. But catching him may be a trial in itself, as those who confront him mysteriously end up missing.
Artist Julia Warner left life in the big city to avoid reminders of her little sister’s disappearance. Now teaching in a smalltown public school, memories of that tragedy flood back when one of her young students, Deborah Hurst, is assaulted. Not six months later, a second student is assaulted and killed–but this time, Julia gets a fleeting look at the perpetrator. Greg Malcolm, the doctor treating Deborah, wants to work with Julia in brining the murderer to justice, but the art teacher has plans of her own.
First published in 1962 under the pseudonym “Kendal Young,” The Ravine was the author’s only thriller. It was adapted for the screen and released as Assault (1971), starring Suzy Kendall. This new edition is the first in 48 years.
***2022 BMO WINTERSET AWARD – WINNER***
The Raw Light of Morning is a powerful debut novel about women and children finding humour and love in the aftermath of domestic violence.
Fourteen-year-old Laurel Long does something unimaginable. In a house at the back end of Woods Road, she commits an act of violence that alters the course of her life. Laurel finds herself living in Stephenville, a small town on Newfoundland’s west coast, trapped in a system of poverty and generational neglect, haunted by trauma. Laurel needs a fresh start, and education is her ticket out, but when her past starts to catch up with her, she must decide how far she will go to protect herself and the ones she loves.
From the moment we learn to speak we are always using other people’s words. the real made up improvises on this simple idea of imitation; mimicry becomes a kind of cadence for an interweaving of transcribed speech, ironic song, jarring randomization, post-colonial irony, and blatant theft. An incessant imitative dialogue shapes our neural and cultural networks; imitation is a source of power for any subculture, and the primary means of a colonizing process that should be seen as violent. But imitation is not a simple act of copying; at its best, imitation is accompanied by play, performance, and re-enactment. Imitation is a crucial human faculty — a talent at the heart of social being. The primal emotions of love, hate, desire, and anger find their expression in speech and action that are by nature imitative. the real made up is itself made up of real and imaginary interviews with people off the street, of poems by others and poems from others (including much imitated members of the Can Lit canon like Al Purdy, Irving Layton and Erin Mouré). Every poem in the real made up is an attempt to revel in or escape from — an impossible task — the imitative traces of everyone else.
A play within a play. A young playwright draws on his family as the raw material for his first work. Cast of four women and three men.
Longlisted for the 2007 Scotiabank Giller Prize
Finalist for the Ethel Wilson Fiction Prize at the 2008 BC Book Prizes
The colony of British Columbia, 1863. Boston Jim Milroy, a lone trapper and trader with an eidetic memory and a tragic unreckoned past, has become obsessed with reciprocating a seemingly minor kindness from the loquacious Dora Hume, a settler in the Cowichan Valley of Vancouver Island. Dora’s kindness and her life story both haunt Boston Jim, and his precise recollections inspire his attempts to buy something suitable for her in return. In The Reckoning of Boston Jim, his search eventually leads him to the gold rush town of Barkerville on the trail of Dora’s capricious husband Eugene—the one thing, after all, that she really wants.
The Recovery of the Public World is a collection of texts and talks which address the work of poet Robin Blaser and the field inhabited by his work. It is a field in which the private and the public are grounded in a poetic thinking that operates within the problematics of companionship and community. The companions are “you, dear reader,” the ghosts of Pindar, Duncan, Dante, Sappho, Spicer, Nerval, Mallarmé … and the inquiring voices, echoing throughout this book, of Arendt, Merleau-Ponty, Foucault, Lacan, Deleuze, Agamben, Serres, De Certeau, Nancy, Ronell.… The community is an “image-nation,” a community in which, in Robin Blaser’s words, “the struggle in philosophy and poetry [is] central to our private and public lives.” Speaking, writing, working out a poetics like Blaser’s, which is both furious and intelligent, compassionate and amiable, as well as active in its imagination, offers to many of us a means of resistance to that “conditionless condition” which characterizes the common predicament of the mass societies in which we live.
The Recovery of the Public World provides an introduction to that work which, until very recently, was the least well-known major body of work of all the poets who were included in Donald Allen’s ground-breaking anthology, The New American Poets. That Robin Blaser is one of the great North American poets is a fact which many of his peers have known for some time; the availability of The Holy Forest in print and the publication of the essays from three generations of poets from Canada, the U.S.A., the U.K. and New Zealand in The Recovery of the Public World now ensure that a wider reading public will know it as well.
In the tradition of Borges, Nabakov, and Bolaño, The Red Album is a work of fiction that questions historical authenticity and authority. Divided into two parts, the book begins with an edited and footnoted narrative of dubious origins. In the second part, a section of “documents” (including essays, memoirs, a short play and a filmography) shed light on the first narrative. Familiar characters are revealed to be writers, and the writer and editors of the initial narrative are revealed to be characters. As the ghosts of social revolutions of the past are lifted from the soil in Catalonia, and a new revolution unfolds in South America, the number of mysteriously missing author/characters grows almost as fast as new author/ characters emerge and complicate and scatter the threads of the story.
This debut poetry collection from Lisa Bird-Wilson reflects on the legacy of the residential school system: the fragmentation of families and histories, with blows that resonate through the generations.Inspired by family and archival sources, Bird-Wilson assembles scraps of a history torn apart by colonial violence. The collection takes its name from the federal government’s complex organizational structure of residential schools archives, which are divided into “black files” and “red files.” In vignettes as clear as glass beads, her poems offer affection to generations of children whose presence within the historic record is ghostlike, anonymous and ephemeral.The collection also explores the larger political context driving the mechanisms that tore apart families and cultures, including the Sixties Scoop. It depicts moments of resistance, both personal and political, as well as official attempts at reconciliation: “I can hold in the palm of my right hand / all that I have left: one story-gift from an uncle, / a father’s surname, treaty card, Cree accent echo, metal bits, grit– / and I will still have room to cock a fist.”The Red Files concludes with a fierce hopefulness, embracing the various types of love that can begin to heal the traumas inflicted by a legacy of violence.
Evie knows she must put the good of the community before all else—that is the only way to fix the problems that led to the Great Flood. But when she is sent as a spy to a society less restrictive than her own, she must choose between loyalty to all she knows, and freedom in the world outside. Many years later, Evie’s name has become a symbol of revolution. But Bertram uncovers a secret that changes everything he thought he knew. He must decide whether to reveal the truth, or protect the fragile peace of his society. In his journey, he encounters time-travelling historians intent on preventing apocalypse by communicating with Laura, a woman from before the Great Flood. Laura is convinced her newborn baby speaks to her, and must decide whether to trust herself, or the doctors telling her she is crazy. Through these three intertwined stories, The Red Hairband explores the inhumanity that is brought about when we are too certain of our beliefs.
The Red Indians is a theoretically nuanced, frank, and accessible book about Aboriginal resistance in Canada, historical and contemporary. In the manner of Eduardo Galeano’s famous trilogy Memories of Fire, the book uncovers a critical, living history of conflict. The Red Indians, with its polyvalent title that points to the many issues covered in the text, introduces readers to the history of colonial oppression in Canada, and looks at contemporary examples of resistance. Kulchyski clarifies the unique and specific politics of Aboriginal resistance in Canada.