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Winner of the 2019 American Book Fest Best Book Award for Women’s Fiction; Finalist for Literary Fiction
Kate, a somewhat clumsy widow of thirty-two, flees her stifling hometown on Vancouver Island to live alone on an even smaller island in the Salish Sea. In so doing, she has vague expectations of solace and sanctuary, despite past experience. Instead she meets Ivy, a woman who through their conversations transports her to the intoxicating world of 1926 Cuba. Within the context of their friendship, Ivy’s past begins to unravel from a long-held silence, just as Kate finds herself confronting her relationship with the colourful community she’s known all her life, along with an unexpected visitor who threatens to remove all peace from her chosen refuge. Told from the perspectives of three narrators: Ivy, Kate, and Kate’s mother Nora, Fishing for Birds is a novel that juxtaposes the expectations we cling to so fiercely and the unexpected and sometimes unconventional things that turn up. The novel challenges traditional constructs of time, ethnicity, and relationship. Set against the tropical beauty of 1920s Cuba and the Northwest Coast of contemporary time, both the landscape and unique character of island life underscore the experiences of three very different women.
Retired schoolteacher Flossy O’Reilly has spent almost all of her eight decades in the seaside community of Great Village, Nova Scotia. It is now a quiet Maritime village: where relationships between friends and family move at the pace of the tides; where there is no rush because, sooner or later, everyone finds out what they need to know with a trip to the general store.
When Ruth, the teenaged granddaughter of an old friend, arrives from Ontario for a three-week stay, time suddenly catches up with Great Village. As Flossy watches the sometimes tactless young woman grow into her own, she begins to question whether maintaining the calm surface of her life was worth keeping secrets from and about those closest to her — or if everyone could benefit from a little more candour.
With grace, patience, and wisdom, Mary Rose Donnelly paints a rich portrait of life in small-town Nova Scotia, and of relationships as charming as they are complex.
New light on Michael Crummey’s classic depiction of Newfoundland and Labrador’s past.
On the occasion of the press’s 40th anniversary, Brick Books is proud to present the fifth of six new editions of classic books from our back catalogue. This edition of Hard Light features a new Introduction by Lisa Moore, a new Afterword by the author and a new cover and design by the renowned typographer Robert Bringhurst.
In Hard Light, first published in 1998, Crummey retells and reimagines his father’s and others’ stories of outport Newfoundland and the Labrador fishery. These deeply felt poems are rooted in the places where “human desire comes up against rock” (John Steffler).
I have a fair trial on the fishing line now,
being three summers out from home, two summers on
the French Shore, four down on the Labrador,
and three trips this year to the Banks of Newfoundland,
and this is what I have learned to be the price of fish
–“‘The price of fish.’ (September, 1887)”
“In these stories and poems, an intimate, bright world flares up, glowing in the darkness of recent history, full-blown and vivid.” –Lisa Moore, from the Introduction
What do we stand to lose in a world without ice?
A decade ago, novelist and short story writer Jean McNeil spent a year as writer-in-residence with the British Antarctic Survey, and four months on the world’s most enigmatic continent — Antarctica. Access to the Antarctic remains largely reserved for scientists, and it is the only piece of earth that is nobody’s country. Ice Diaries is the story of McNeil’s years spent in ice, not only in the Antarctic but her subsequent travels to Greenland, Iceland, and Svalbard, culminating in a strange event in Cape Town, South Africa, where she journeyed to make what was to be her final trip to the southernmost continent.
In the spirit of the diaries of Antarctic explorers Robert Falcon Scott and Ernest Shackleton, McNeil mixes travelogue, popular science, and memoir to examine the history of our fascination with ice. In entering this world, McNeil unexpectedly finds herself confronting her own upbringing in the Maritimes, the lifelong effects of growing up in a cold place, and how the climates of childhood frame our emotional thermodynamics for life. Ice Diaries is a haunting story of the relationship between beauty and terror, loss and abandonment, transformation and triumph.
If We Were Birds is a shocking, uncompromising examination of the horrors of war, giving voice to a woman long ago forced into silence, and placing a spotlight on millions of female victims who have been silenced through violence. A deeply affecting and thought-provoking re-imagining of Ovid’s masterpiece “Tereus, Procne, and Philomela,” Erin Shields’s award-winning play is an unflinching commentary on contemporary war and its aftermath delivered through the lens of Greek tragedy.
When Margaret learns of the death of her former husband, she recalls their earliest days together as Ph.D. candidates, beginning a journey through her past. Told through the sensations of Wallace Stevens’s poem “Thirteen Ways of Looking at a Blackbird,” the subject of her uncompleted thesis, Margaret evokes beautiful, ordinary and painful sexual memories from before, after and during their marriage. Stevens, a guiding voice in her head for twenty-five years, cajoles Margaret into unearthing the reasons she never became the poet, scholar, wife or mother she thought she would be. Bold and poetic, It is Solved by Walking is an intimate portrait of a writer making her way back to poetry one step at a time.
Comic and sober by turns, these poems ask us what is sufficient, what will suffice?
… a mandrill, a middle-aged woman, a shattered Baghdad neighbourhood, a long marriage, even a spoon, grapple with this unanswerable conundrum — sometimes with rage, or plain persistence, sometimes with the furious joy of a dog who gets to ride with his head through a truck’s passenger window. Julie Bruck’s third book of poetry is a brilliant and unusual blend of pathos and play, of deep seriousness and wildly veering humour. Though Bruck “does not stammer when it’s time to speak up,” and “will not blink when it’s time to stare directly at the uncomfortable,” as Cornelius Eady says in his blurb for the book, “in Monkey Ranch she celebrates more than she sighs, and she smartly avoids the shallow trap of mere indignation by infusing her lines with bright, nimble turns, the small, yet indelible detail. Bruck sees everything we do; she just seems to see it wiser. Her poems sing and roil with everything complicated and joyous we human monkeys are.”