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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.
Award recognition for Two for the Tablelands:
***THE HOWARD ENGEL AWARD FOR BEST CRIME NOVEL SET IN CANADA 2021 – SHORTLIST***
***ATLANTIC BOOKS TODAY STAFF PICK 2021 – SHORTLIST***
Award Recognition for Three for Trinity:
***THE HOWARD ENGEL AWARD FOR BEST CRIME NOVEL SET IN CANADA 2022 – SHORTLIST***
The fifth book in the Sebastian Synard mystery series takes our intrepid tour guide/private detective on a jaunt across Newfoundland and into Labrador, in pursuit of those towers of intrigue—lighthouses!
The final stop on Synard’s lighthouse tour is the one at L’Anse Amour, Labrador, the highest in all Atlantic Canada. It’s a long climb into the lantern room, and a long fall from its catwalk to the ground below. Dead is photographer Amanda Thomson. Who is the scoundrel that nudged her past the railing? The RCMP in Forteau are pointing to one of the tour groups, but Sebastian and his partner Mae have other ideas. They retrace the excursions of Amanda and her vagabond boyfriend back to a section of northern Newfoundland called the French Shore. Could the recent bizarre vandalism at its historic sites hold a clue? What is it about the French Shore that leads them back to murder at L’Anse Amour?
Five Minutes to Curtain is a practical toolkit for teachers and/or community leaders who want to create original productions in collaboration with their students or group members. Providing multiple examples and anecdotes drawn from the author’s twenty years of experience, Five Minutes to Curtain is a guide for providing more meaningful and engaging theatrical experiences for participants and audiences alike.
A curated collection of the best-of-the-best from renowned cartoonist Kevin Tobin — Fly on the Wall captures some of the most iconic moments from Newfoundland’s past and present with a recognizably sharp wit and a dose of the province’s famous humour.
Fly on the Wall doesn’t just collect the best of 40 years of Kevin Tobin’s editorial cartoons for The Telegram (“The Evening Telegram” when he began), it tracks 40 years of Newfoundland and Labrador’s history: politics, social movements, sports, celebrity, boondoggles, feel good stories, schemes, emergencies, and triumphs – all seen through the lens of keen, satirical, and no-holds-barred fly on the wall. Inside you’ll find many familiar faces and events, from Joey Smallwood and Danny Williams, to Muskrat Falls and the Pandemic — all skewered, marinated, and ready to BBQ. Tobin’s cartoons capture not only current events as they happen, along with the colourful characters in Newfoundland and Labrador, they bring into image and word the true nature of our province’s famous sense of humour. Readers of The Telegram will be familiar with Tobin’s tiny flies, sketched into the corners of his cartoons since the early days – inspiration for this title, Fly on the Wall, and a symbol for the cartoonist himself, a fly on the wall. Watching, listening in, waiting to cut through the buzz.
Flying SOULO details the innovative SOULO storytelling and creation method that can transform personal experience into a moving, entertaining, and powerful one-person show. Tracey Erin Smith leads readers step-by-step through the method she developed and has been using for many years to guiding people from various walks of life to create solo dramas. (It’s also the method featured on Tracey’s hit TV show, Drag Heals.) Packed with exercises, insights, and anecdotes, Flying SOULO is the blueprint you need to help you to tell your own unique story.
Translated from French by Howard Scott
A young woman arrives in Quebec from France and one day embarks on a journey along the north shore of the St Lawrence River. Beyond Tadoussac, well into Innu territory, she stops at Ekuanitshit. Here she meets two sisters, Penassin and Nuenau, and their father, Shimun, who invite her and make her one of their family. She learns of Innu folklore, their way of life, their joys, and their attachment to the north. She joins Shimun and others into the heart of the Quebec-Labrador Peninsula. “We walk, we paddle, we admire the lake, the mountains, we hunt, we cut our wood, we don’t stop for a moment,” says Nuenau. “You have to come with us to understand.”
Following Shimun paints a stirring picture of the Innu people, for whom the call of the land exerts a magnetic pull and the spirit of hospitality still dictates how they treat unexpected guests.
Foreign Homes, Joan Crate’s second book of poems, explores domesticity and dislocation, where what was thought to be home becomes alien, and where the alien is, piece by piece, made into home — often in such simple, physical acts as laying a table, or driving a highway, or reassembling a tom photograph. In Crate’s careful hands, the knife that cuts the vegetables for dinner can transform the blade-edge of a distant war. Her migratory poems slip from voice to voice, from love to landscape to language, present to past, exile to return, illuminating the boundary that is also a border crossing between one person, one place, and another:
Dowries
We have crossed borders to reach
each other and lost land
chafes our touch. I carry
snowshoes, winter wheat, raven call, winter pocked by arsenic flakes from the mines.
You bring donkey sweat and spent bullets,
voices that shriek out, tear bright.
We offer them to each other-
gift and sacrifice.
Domestic images and personal narrative surround a burning, incantatory sequence at the centre of the book, where poems circle Shawnandithit, a Beothuk who died in exile in Newfoundland in the nineteenth century, the last of her people. In giving voice to what is unknown, feared, lost, and silent, Crate’s playful language is itself powerfully involved in this act-often violent-of breaking and making anew. And whether these homes are stolen or lost or stumblingly found, Crate is unflinching even as her own homes are made and un-made, watching those “who wait on the porch steps/ eager to move into our youth,/ to reassemble our bones.”
The Four-Doored House evokes two key women in Pierre Nepveu’s life. First, his granddaughter Lily, who he imagines maturing into a complex world, haunted by her memory of him as he is haunted now by her projected self, navigating an era awash in uncertainty and unease. Imbued with both wonder and disquiet, it is an aging poet’s celebration of childhood, as well as a meditation on his own “future absence.” There follows his celebration of C, the woman with whom Nepveu shares his nights and days. These are love poems dedicated to a companion who has aided him in finding “new phrases that reformulate the impossible.” The culmination of a brilliant career, translated into fluent and thrilling English by Donald Winker, The Four-Doored House is Nepveu’s most enduring work yet.
Non-fiction authority Myrna Kostash merges the past and the present in The Frog Lake Reader, which offers a startlingly objective perspective on the tragic events surrounding the Frog Lake Massacre of 1885. By bringing together eyewitness accounts and journal excerpts, memoirs and contemporary fiction, and excerpts from interviews with historians, Kostash provides a panoramic perspective on a tragedy often overshadowed by Louis Riel’s rebellion during the same year. The history is contentious and its interpretation unresolved, but The Frog Lake Reader, with its broad survey of vital historical accounts and points of view, offers the most comprehensive and informative narrative on the Frog Lake Massacre to date.
From acclaimed author Lindsay Zier-Vogel comes an insightful and heart-rending exploration of motherhood, grief, and the search for identity.
Amy is a new mother, navigating the fog of those bewildering early days and struggling with a role she feels ill-prepared for. It’s the first time in a decade that she hasn’t been living the busy life of an acclaimed children’s musician, and her sense of self is unravelling. To make matters worse, her bandmates have seemingly abandoned her.
In flashbacks, we see Amy’s journey to success—her stumblings as a solo singer-songwriter and her eventual rise to fame as a member of the Fun Times Brigade. But as the novel progresses—and Amy grapples with a devastating loss—we come to understand how precarious definitions of artistic success can be.
The Fun Times Brigade examines the enduring challenges of reconciling being an artist with being a mother. It is also a timely reflection on forgiveness and what it really means to have a good life in a world that demands we have—and be—it all, and asserts that amidst the chaos, we can find our way back to our genuine selves.
Gigi and Lola live by one motto: love for gas, gas for cash, cash for living, living for love. Living in Zimbabwe’s depressed economy, both women live day-by-day, plying their trade with the truck drivers that stop at the border.
Gigi knows the limitations of her trade, while her young protege, Lola, looks for love in every man that comes her way. Lola’s brother, Chickn, ekes out his own living while keeping an ever-watchful eye for Gigi’s affections and Lola’s safety. But love is not a luxury these girls can afford. Through story, song, and play, Gigi and Lola inspire each other to find joy on the edges of survival.
CBC Best Poetry Book 2024
A collection of poetry reclaiming Catholic prayers and biblical passages to empower girls, women, and members of the LGBTQIA+ community.
The extreme level of sass in Emily Austin’s Gay Girl Prayers does not mean that this collection is irreverent. On the contrary, in rewriting Bible verses to affirm and uplift queer, feminist, and trans realities, Austin invites readers into a giddy celebration of difference and a tender appreciation for the lives and perspectives of “strange women.”
Packed with zingy one liners, sexual innuendo, self-respect, U-Hauling, and painfully earnest declarations of love, this is gayness at its best, harnessed to a higher purpose and ready to fight the powers that be.
Visiting the audience in the present day, Gertrude and Alice come to find out how history has treated them. The couple recounts stories of their forty-year relationship; of meetings with iconic artists and writers; and of Alice’s overwhelming, consuming devotion to Gertrude’s genius. Before they leave, they want to find out what has become of their artistic and cultural influence, and how their lives and work are—or are not—remembered.
In the spring of 2020, Jamie Sharpe was in New Brunswick, purportedly studying the famed Magnetic Hill outside Moncton. A dog-walker discovered Sharpe in a ditch, disrobed except for his backpack containing a manuscript …
With his fifth collection, Get Well Soon, Sharpe reaffirms “he is utter master of his language. Whether [Sharpe’s] poems are the result of long lucubration or the inspiration of the moment, they bear no mark of effort, and it is not without admiration, nor even without astonishment, that one is carried along — by the noble, unswerving amble of those gorgeous stanzas, proud white hackneys harnessed in gold — into the glory of the evenings. Rich and subtle, [Jamie Sharpe]’s poetry is never merely lyrical; it always encloses an idea within the garland of its metaphors, and however vague or general that idea may be, it serves to strengthen the necklace; the pearls are secured by a thread that, though sometimes invisible, is ever sure.”
Finalist for the Saskatchewan Young Readers’ Choice Awards, Snow Willow, 2018
Named to Best Books for Kids & Teens, Spring 2018
Fifteen-year-old Munna lives with his Ma and sisters in a small town in India. Determined to end his family’s misfortunes, he is lured into a dream job in the Middle East, only to be sold. He must work at the Sheikh’s camel farm in the desert and train young boys as jockeys in camel races. The boys, smuggled from poor countries, have lost their families and homes. Munna must starve these boys so that they remain light on the camels’ backs, and he must win the Gold Sword race for the Sheikh. In despair, he realizes that he is trapped and there is no escape . . .