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Showing 241–260 of 803 results
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 . . .
In Ojibwe cosmology there are thirteen moons, and in these pages are thirteen offerings from Ghost Lake, an interrelated cast of characters and their brushes with the mysterious. Issa lives in fear of having her secret discovered, Aanzheyaawin haunts the roads seeking vengeance, Zaude searches for clues to her brother’s death, Fanon struggles against an unexpected winter storm, Eadie and Mushkeg share a magical night, Tyner faces brutal violence, and Tyler, Clay, and Dare must make amends to the spirits before it’s too late. Here the precolonial past is not so distant, and nothing is ever truly lost or destroyed because the land remembers. Ghost Lake is a companion volume to Adler’s Indigenous horror novel, Wrist (2016, Kegedonce Press). It was the winner of the 2021 Indigenous Voices Award in Published English Fiction, and was shortlisted for the 2021 Eric Hoffer da Vinci Eye Award in Book Design.
Within a ten-month period, Neil Peart lost both his 19-year-old daughter, Selena, and his wife, Jackie. Faced with overwhelming sadness and isolated from the world in his home on the lake, Peart was left without direction. This memoir tells of the sense of personal devastation that led him on a 55,000-mile journey by motorcycle across much of North America, down through Mexico to Belize, and back again.
Peart chronicles his personal odyssey and includes stories of reuniting with friends and family, grieving, and reminiscing. He recorded with dazzling artistry the enormous range of his travel adventures, from the mountains to the seas, from the deserts to the Arctic ice, and the memorable people who contributed to his healing.
Ghost Rider is a brilliantly written and ultimately triumphant narrative memoir from a gifted writer and the drummer and lyricist of the legendary rock band Rush.
A linguistically inventive exaltation, a wild ride down into the privacies, the here-and-goneness of girlhood.
In Girlwood, Jennifer Still’s second collection, her poems come of age: they take the dare; they cross out of sapling and into maturity’s thicket. But the poems don’t leave the girl behind, they bring her along: as sylph, as raconteur, as witness, as pure, unstoppable bravado. These songs of liberation and confinement arise from the rich and mysterious connection between mother and daughter. Here, the mother figure is as vulnerable as the daughter, caged by domestic duty, by the fear that snakes through sexuality, the longing and the repulsion that accompany mortal desire. The daughter is at once compassionate and defiant. This is the paradox at the heart of this collection. “Mother, divine me,” Jennifer Still writes, and later, “Mother, spare me.” Between these two phrases, which are both plea and command, we experience all the tangled pathways between mother and daughter, the cries of devotion and the congested laments.
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With the traumatic events of Foxed behind him, Detective Lane has been promoted to the head of the Calgary Major Crimes Unit, a position that brings new responsibilities, as well as a new partner in the form of headstrong rookie Nigel Li.
Lane and Li’s first case, an investigation into the death of a migrant worker, points them in the direction of Douglas Jones, the leader of a radical religious compound in northern Alberta, who has been suspected of bombing oil and gas pipelines. With the Calgary Stampede just days away, and anti-Muslim tension mounting in town in the wake of the “honour killing” of a young girl, Lane and Li must foil a potential terror attack.
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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.
How does wonder induce change in us, as people and as readers? Paul Moorehead’s poetic voice arrives fully-formed—intriguing, inquiring, and innovating—to address this question.
Green: the colour of growth, the colour of change, the colour of go. Green charges into these themes with precise humour and an intense concentration on poetic craft. Ranging over a variety of subjects from nature and science to parenting and pop culture, these poems challenge the reader to consider the meaning of change in a poetic world that is deeply personal and wildly expansive. Green makes unique poetic use of scientific ideas, considering the consequences both lived and artistic, of existing in a world of wonders.
An exciting new collection of ekphrastic poems accompanied by a compilation of green sketches via the lens of a queer poet and visual artist. Zachari Logan carried a sketchbook as he travelled the world and responds to iconic artwork as well as art that once existed but is now lost, destroyed, or far away. Whimsical art and thoughtful poems that ponder the nature of existence.
“Gish’s prose is as sharp as a scalpel.” — Publishers Weekly, starred review“Grey Dog is a bewitching tale of the horrors of spinsterhood in the early 1900s, with madness and magic threaded through every sentence.” — Heather O’Neill, author of When We Lost Our Heads and Lullabies for Little CriminalsA subversive literary horror novel that disrupts the tropes of women’s historical fiction with delusions, wild beasts, and the uncontainable power of female rageThe year is 1901, and Ada Byrd — spinster, schoolmarm, amateur naturalist — accepts a teaching post in isolated Lowry Bridge, grateful for the chance to re-establish herself where no one knows her secrets. She develops friendships with her neighbors, explores the woods with her students, and begins to see a future in this tiny farming community. Her past — riddled with grief and shame — has never seemed so far away.But then, Ada begins to witness strange and grisly phenomena: a swarm of dying crickets, a self-mutilating rabbit, a malformed faun. She soon believes that something old and beastly — which she calls Grey Dog — is behind these visceral offerings, which both beckon and repel her. As her confusion deepens, her grip on what is real, what is delusion, and what is traumatic memory loosens, and Ada takes on the wildness of the woods, behaving erratically and pushing her newfound friends away. In the end, she is left with one question: What is the real horror? The Grey Dog, the uncontainable power of female rage, or Ada herself?