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You never know what’s hunting you, while you’re hunting it…
Eleven of the deadliest writers from across Turtle Island have crafted stories for you calculated to chill, thrill, and kindle your worst imaginings. Zegaajimo brings together tales of monsters and the macabre, terrifying transformations, strange places and unexpected wonders. These stories warn of billionaires with hidden intentions, spark vigilance for ominous figures that might appear on doorsteps, and caution you to let the river keep what belongs to it.
But these stories of supernatural settings and dreadful deeds are more than speculative fiction, they are also reminders that monsters are already in our midst, that the known can be just as frightening as the unknown, and that the slightest mistakes can have dire consequences. Read these tales alone to yourself, or better yet share them with friends—especially around a fire on a dark winter’s night, when all you can hear is the cracking of branches, and the wind in the trees is as cold as your sweat.
In Blaise Moritz’s second collection, Zeppelin, we are passengers in the long-range ghost ship that is our new millennial culture. The time before technology recedes in our wake—the past an amazing clutter, if only as deep as early modern things—and looking forward, our impressions phase constantly. We travel far, seeing much that is strange, but it seems more enervating than thrilling, always subordinate to the constant narrative of crisis. In our weariness, we wish to reach apocalypse and post-apocalypse where we might recover some simplicity, but instead are left at loose ends, dwelling on all that has been lost, forgotten, defeated, none of which will even settle down into tragic symbols: at any time anything might be revived as nostalgia or as the improbable font of saving innovation.And yet there is time and experience enough on our journey to arrive at the real once more, to rediscover the terrain, both natural and constructed, and know again that it preceded our maps. Time enough to return to the simplicity that is never lost within us, the redemptive powers of our childhood delight in what might still be a great gleaming ship built from our imaginations and the hope borne in the songs we sing en route.
“If you like your crime hard and fast, Kalteis is for you.” — The Globe and Mail
Set to the cranking beat and amphetamine buzz of Vancouver’s early punk scene, Zero Avenue follows Frankie Del Rey, a talented and rising punk star who runs just enough dope on the side to pay the bills and keep her band, Waves of Nausea, together. The trouble is she’s running it for Marty Sayles, a powerful drug dealer who controls the Eastside with a fist.
When Frankie strikes up a relationship with Johnny Falco, the owner of one of the only Vancouver clubs willing to give punk a chance, she finds out he’s having his own money problems just keeping Falco’s Nest open. Desperate to keep his club, Johnny raids one of the pot fields Marty Sayles has growing out past Surrey, along Zero Avenue on the U.S. border. He gets away with a pickup load and pays back everybody he owes. Arnie Binz, bass player for Waves of Nausea, finds out about it and decides that was easy enough. But he gets caught by Marty’s crew.
Johnny and Frankie set out to find the missing Arnie, but Marty Sayles is pissed and looking for who ripped off his other field — a trail that leads to Johnny and Frankie.
Present-day astronomy, vast, complex, is looking through darkness to distant objects and times. Yet its discoveries aren’t exclusively scientific: from Pluto’s moons to Curiosity Rovers, the sky remains a place where math meets myth. Now, in Zero Kelvin, Richard Norman’s poetry probes the new heavens that are being generated daily by astronomical research.
Theology
Objects crossing or approaching the orbit of Neptune … are given mythological names associated with the underworld. – “How Minor Planets Are Named,” International Astronomy Union
[…]
Theology, the study of dark matter,
conclusively has proven
the well of hell is zero Kelvin.
Movement ceases,
molecules foetally curl into themselves.
And at the lowest circle of our galaxy
a black hole squats.
O wondrous Goatse of another realm!
Radio source,
mass of four million suns,
beams out pure revelation.
Cults worship at its altar.
The faithful pray:
Do not leave your house –
sit quietly and listen.
An LED illuminates
the ether in the vitrine.
And models show the diodes rapidly receding
and the backlit screen expanding,
and the transudation,
and something dug up from deep within
that will not act and will not leave,
a thing that makes a truce with space,
a relic of the underworld.
Zeroed Out
What is Zionism, where did it come from, and why does it continue to shape Israeli policy, politics and propaganda? The author dispels common misconceptions about the religious origins of Zionism by tracing them back to Protestantism in 17th century England. When the political ideology finally attracted Jews over two centuries later, it caused a profound rift that persists to this day. On the one hand, a militant minority has used Zionism to fuel colonization and create the myth of the “New Hebrew Man” in the process. On the other hand, detractors assert that it is a profound betrayal of Jewish values and beliefs. Meanwhile, evangelical Christian Zionists form the backbone of Israel’s global support, seeing in Zionism a fulfillment of scripture. Then there is the Palestinian perspective; a people barely acknowledged and brutally swept to the side.
Zoe and her father are delighted to come across a fawn in the forest. But the fawn is alone?where is its mother? Join Zoe on her quest for the deer, as she encounters animals and learns their Okanagan (syilx) names along the way.
Zong!
The Wind has mysteriously caused the death of all people on earth?except for Zoo. As the last remaining person on earth, he must deal with this extraordinary situation, and the result is a series of dreams, shocks, hallucinations, events, explorations and the final outcome in the light of his changing understanding.
Arsenault’s Rabelaisian fantasy is a gothic tale of the macabre and the bizarre, of black magicians and alchemists, and of the life and times of Zora Marjanna Lavanko, the daughter of a brutish tripe-dresser who dies for love. This surreal novel is set in the murky fictional domain of the Fredavian Forest, in the very real province of Karelia, then a part of the Grand Duchy of Finland, in the closing years of the nineteenth century.
Many years of work brought forth this finely rendered fantasy. While some readers might be put off by the cruelty, violence, and mayhem of text, those who persist will be rewarded with black humour and the fine display of a full range of human emotion. Rabelaisan certainly, but Zora is also inspired by the legends of the ancient Finns as well as other epic literary fantasies.
The English reader will feel the text, deftly translated by Fred A. Reed and David Homel, carries overtones of Mervyn Peake. Despite this ornate style, the narrative has surprising pace, perhaps because the reader is busy trying to keep his or her jaw from hanging open.
The original French novel won the 2013 Robert-Cliche Prize, awarded to an author for a first novel (and not a first work).
Bringing together the best of Marius Kociejowski’s travel writing Zoroaster’s Children snags on the borderline between dream and meaning, offering unusual glimpses of some of the places, exotic or otherwise, the author has been. Attracted to society’s outcasts—as it is these, he argues, which point towards an underground of conformity that will not contain them—Kociejowski offers ain these essays glimpses of locales as diverse and seemingly divergent as Prague, Tunisia, Moscow, Aleppo and Toronto, among others. By turns empathetic and virtuosic, and always on the lookout for the deeper meaning seeded inside language, the essays in Zoroaster’s Children evince the deep absorption in people and places which is the hallmark of all great travel writers.
In the winter of 2007, Zulaikha is travelling from Amsterdam to Tehran when she is approached by Kia, a family acquaintance she hasn’s seen for many years, who is on the same flight. Kia’s father has passed away and she is flying home to attend his funeral. In a shocking twist, Zulaikha suspects that Kia may have had information about her missing brother, Hessam, and their mutual friend, Abbass, who was murdered before Hessam’s disappearance during the Iran and Iraq War.
When the flight is suddenly cancelled, and Zulaikha is later taken into custody and questioned about her relationship with Kia by both the European and Iranian authorities, who ultimately confiscate her passport, a tense thriller unfolds revealing the impacts of war and the consequences for one young woman unknowingly caught in the crossfire of greed, power, and international politics.
This sweeping novel explores many timely topics including issues related to gender, class, race, and interracial marriage. It also sheds light on the tumultuous history of Iran from a new perspective. The novel reveals a forty-year period of war and upheaval in the Middle East, and specifically, in Zulaikha’s home territory of Khuzestan, which boasts the bulk of Iran’s oil reserves, a place of intense tension between Iran and the U.S. still today.
At a time when binaristic and hierarchical relations are being readily interrogated, MA|DE — a unity of two voices fused into a single, poetic third — takes up a critique of the human-animal divide in their full-length debut, ZZOO. From the depths of the oceans to the outer reaches of the sky, a menagerie of species trade off time in the limelight, none of them solely occupying the central space on the global stage. MA|DE’s collaborative practice foregrounds interdependence, outward focus, shared spaces and non-hierarchical thinking, all of which emerge allegorically in interzonal poems that are as richly realized as they are formally eclectic. This wild-blooded collection turns conventional exhibitionism on its head, treating humans and animals as equal subjects of art, science and selfhood. ZZOO is a bestiary for the modern world.