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Cameron Dodds has just turned thirty. A writer, he get his ideas from the lives of others, often borrowing stories from the patients of his workplace, the Salvation Army Treatment Centre. When one of the patients, Darrel Greene, hangs himself, Cameron sees a great opportunity for a story — maybe even a novel. He begins to research Darrel’s past, and decides to visit his sister, June, a grown woman with Down’s Syndrome. As Cameron develops a relationship with June and delves further into Darrel’s past, he makes many discoveries, none of which is more surprising than the one he makes about himself.
First published in 2003, Still Life with June won the 2004 ReLit Award and was nominated for the 2003 Pearson Canada Readers’ Choice Book Award. It was also a finalist for the Ferro-Grumley Award for LGTB Fiction in 2005, and was named a 2003 Best Book of the Year by NOW Magazine.
EGALE Canada Human Rights Trust OUT IN PRINT Literary Award Winner! Shannon Webb-Campbell’s Still No Word seeks the appearance of the self in others and the recognition of others within the self. Patient, searching, questioning, and at times heartbreaking—these poems reveal the deep past within the present tense and the interrelations that make our lives somehow both whole and unfinished. And though Webb-Campbell is political at times, this is not politics for the sake of politics: here, it’s a matter of the human heart. Ranging from reflective to angry, from sensual to humourous, her poetry inhabits that mercurial space between the public and the private, making Still No Word a remarkably accomplished debut collection.
Nominated for the Amazon.ca First Novel Award
Eugenia Ledoux, nine years old, wakes to a note from her father: ‘gone to save the world. sorry. yours, sheb wooly ledoux. asshole.’ Eugenia is left behind with her mother, the sharp-edged B-movie actress Mink, and her sister, the death-obsessed and hauntingly beautiful Immaculata. When Mink climbs into the family car and vanishes, Eugenia doubles in age overnight, butremains the dark and diminutive creature who earned the nickname ‘Stunt.’
Eugenia devotes herself to finding Sheb. She writes to the man she believes to be Sheb’s father: I.I. Finbar Me The Three, a retired tightrope walker. Waiting for Finbar’s response, she retreats to Toronto Island, where she meets Samuel Station, a barefoot voluptuary, world traveller and ring-maker.
When Finbar does write back, Eugenia wonders if she will find what she is looking for – or something else entirely. Studded with postcards from outer space, twins, levitation, the explosion of a shoulder-pad factory, and some accomplished taxidermy, Stunt is part dirge, part cowboy poetry and part love letter to the wilder corners of Toronto and of ourselves.
“Claudia Dey’s debut novel is like a snowflake, utterly unique, compellingly intricate and sparkle-riven, sharp as broken crystal and just as dazzling. Stunt is daring, poignant, full of abandon and abandonment, wistful and funny. Brilliant.” – Lisa Moore, author of This is How We Love
“Dey’s … prose [is] a wondrous compression of poetry, her carnival of characters drawn in gripping detail, and the riot of fantastical yet gritty imagery all shot through with a keen and relentless sadness. The sheer density of the imagery and vivid characterizations makes you slow down to enjoy every sentence. You want to read this novel carefully; you want to read it again.” – The Globe and Mail
“Stunt is mesmerizing, rewarding, and breathtaking. Dey never lets up.” – Quill & Quire
How do we build cities where we aren’t just living within the same urban space, but living together?
Greater Toronto is now home to a larger proportion of foreign-born residents than any other major global metropolis. Not surprisingly, city officials rarely miss an opportunity to tout the region’s ethno-cultural neighbourhoods. Yet there’s strong evidence that the GTA is experiencing widening socio-economic disparities that have produced worrisome divisions. We say that ‘diversity is our strength,’ but has a feel-good catchphrase prevented us from confronting the forces that seem to be separating and isolating urban communities?
Through compelling storytelling and analysis, Subdivided’s contributors – a wide range of place-makers, academics, activists and journalists – ask how we can expand city-building processes to tackle issues ranging from transit equity and trust-based policingto holistic mental health, dignified affordable housing and inclusive municipal governance. Ultimately, Subdivided aims to provoke the tough but pressing conversations required to build a truly connected and just city.
Contents
Introduction – Jay Pitter
Identity and the City: Thinking Through Diversity – Beyhan Farhadi
Doing Immigrant Resettlement Right – Doug Saunders
Wasauksing–Vancouver–Toronto: My Path Home – Rebeka Tabobondung
How We Welcome: Why Canada’s Refugee Resettlement Program Undermines Place-making – Sarah Beamish and Sofia Ijaz
Finding Space for Spirituality – Fatima Syed
Navigating the City with an Invisible Illness: The Story of Dorothy – Denise DaCosta
Culture and Mental Illness – Karen Pitter
Neighbourhood Watch: Racial Profiling and Virtual Gated Communities – Asmaa Malik
Accessing Education: An Immigrant’s Story – Nicholas Davis
Policing and Trust in the Hyper-Diverse City – Nana Yanful
Three Questions about Carding – Idil Burale
An Overburdened Promise: Arts Funding for Social Development – Ian Kamau, Paul Nguyen and Ryan Paterson, with John Lorinc
Designing Dignified Social Housing – Jay Pitter
Walking Through Loss: A Critical Visit to an Old Neighbourhood – Photography by Taha Muharuma
Reconsidering Revitalization: The Case of Regent Park – Jay Pitter in conversation with Sandra Costain
Model Citizens – Andrea Gunraj
A Tale of Two – or Three – Cities: Gentrification and Community Consultations – Mariana Valverde
Mobility in the Divided City – Eric Mann
Toward MoreComplete Communities: Business Out of the Box – Alina Chatterjee
Going Beyond Representation: The Diversity Deficit in Local Government – John Lorinc
Brampton, a.k.a. Browntown – Noreen Ahmed-Ullah
Life in the City In-Between – Shawn Micallef
Conclusion – J. David Hulchanski
Joan Crate’s much-anticipated third book of poetry is equal parts revision and reverie, offering a mid-life view of childhood influences and expectations that is stirring, startling, and wise. Deliciously invoking the iconic figure of Snow White, subUrban Legends considers what lies beyond youth and the trite promise of “happily ever after,” transporting readers to a land of complexity and nuance from which few cultural officiados report.
Award recognition for My Indian
***2022 ATLANTIC BOOK AWARDS: APMA BEST ATLANTIC-PUBLISHED BOOK AWARD – SHORTLIST***
***2022 BMO WINTERSET AWARD – LONGLIST***
***2022-2023 HACKMATACK AWARD: ENGLISH FICTION – SHORTLIST***
***2022 IPPY AWARDS: MULTICULTURAL FICTION: JUV/YA – SILVER***
Suliewey: The Sequel to My Indian continues the story of Mi’kmaw guide Sylvester Joe, whose traditional name is Suliewey, as he seeks out the last remaining Beothuk community.
In My Indian, Sylvester was hired by William Cormack in 1822 to guide him across Newfoundland in search of Beothuk encampments. In fact, he followed the advice of his Elders and guided Cormack away from the Beothuk.
In this sequel, having parted ways with Cormack at St. George’s Bay, Sylvester decides to go out on his own in search of the winter camp of the last of the remaining Beothuk.
Written as fiction by two Mi’kmaw authors, Suliewey: The Sequel to My Indian supports Mi’kmaw oral history of friendly relationships with the Beothuk.
The novel reclaims the settler narrative that the Beothuk and the Mi’kmaq of Newfoundland were enemies and represents an existing kinship between the Mi’kmaq and the Beothuk.
Rich in oral history, the descriptions of traditional ceremonies and sacred medicines, the use of Mi’kmaw language, and the teachings of two-spirit place readers on the land and embed them in the strong relationships described throughout the book.
In this new collection of bite-size pop science essays, bestselling author, chemistry professor, and radio broadcaster Dr. Joe Schwarcz shows that you can find science virtually anywhere you look. And the closer you look, the more fascinating it becomes. In this volume, we look through our magnifying glass at maraschino cherries, frizzy hair, duct tape, pickle juice, yellow school buses, aphrodisiacs, dental implants, and bull testes. If those don’t tickle your fancy, how about aconite murders, shot towers, book smells, Swarovski crystals, French wines, bees, or head transplants? You can also learn about the scientific escapades of James Bond, California’s confusing Proposition 65, the problems with oxygen on Mars, Valentine’s Meat Juice, the benefits of pasteurization, the pros and cons of red light therapy, the controversy swirling around perfluoroalkyl substances (PFAS), why English cucumbers are wrapped in plastic, and how probiotics may have seeded Hitler’s downfall. Superfoods, Silkworms, and Spandex answers all your burning questions about the science of everyday life, like:why “superfood” is a marketing term, not a scientific one;why plastic wrap is sometimes the environmental choice;why supplements to reduce inflammation may just reduce your bank account;how maraschino cherries went from a luxury good to a cheap sundae topper;what’s behind “old book smell”;how margarine became a hot item for bootleggers;why duct tape is useful, but not on ducts; andhow onstage accidents led to fireproof fabrics.
SHORTLISTED FOR CBC CANADA READS 2019
WINNER OF THE BEST TRANSLATED BOOK AWARD
Eighty-five years of art and history through the eyes of a woman who fled her family – as re-imagined by her granddaughter.
Anaïs Barbeau-Lavalette never knew her mother’s mother. Curious to understand why her grandmother, Suzanne, a sometime painter and poet associated with Les Automatistes, a movement of dissident artists that included Paul-Émile Borduas, abandoned her husband and young family, Barbeau-Lavalette hired a private detective to piece together Suzanne’s life.
Suzanne, winner of the Prix des libraires du Québec and a bestseller in French, is a fictionalized account of Suzanne’s life over eighty-five years, from Montreal to New York to Brussels, from lover to lover, through an abortion, alcoholism, Buddhism, and an asylum. It takes readers through the Great Depression, Québec’s Quiet Revolution, women’s liberation, and the American civil rights movement, offering a portrait of a volatile, fascinating woman on the margins of history. And it’s a granddaughter’s search for a past for herself, for understanding and forgiveness.
‘It’s about a nameless despair, an unbearable sadness. But it’s also a reflection on what it means to be a mother, and an artist. Most of all, it’s a magnificent novel.’– Les Méconnus
Poems to read in the small hours before dawn, when the sirens start up again.
Swivelmount’s concerns – the collapse of subject and world, eros and law, knowledge and bafflement – gain new urgency as Babstock fiercely reimagines and reassembles the remnants into a viable order. At the core of their kinetic imagery is a freefall into mourning, but also a faith in others: a Babstock poem is the voice next to you in the ER waiting room, becalmed, compassionate, darkly humorous. This is Babstock at his best.
Past Praise:
“This is a poetry that is so uncompromising in how it deals with traditions – of poetic forms, of dictions, of militaristic histories – that it becomes something magnificent: brittle and hard. It will change how you think.” —Juliana Spahr for On Malice
“On Malice is a fascinating and elegiac rebuke to surveillance technologies and its discontents. Ken Babstock is a wonderful and spirited poet. His work is full of musicality, syncopation, wit, and formal acuity.” —Peter Gizzi
“The flavour of this poetry is complex – it will have to be consumed in small amounts like a sipping tequila. It inebriates quickly. It imparts a convivial brilliance to life. And it is not without its sinister edge.” —Ange Mlinko for Methodist Hatchet
“I felt as if I were reading poems written with a scalpel. Methodist Hatchet swaggers with confidence, intelligence, technique, humour, and that pinioning accuracy of observation we’ve come to expect from Babstock, surely one of the most versatile, switched-on, and linguistically savvy poets of our time.” —Simon Armitage
“Methodist Hatchet is as precise as it is expansive, as complex as it is companionable. It refuses to look away from the unstable nature of self and world and word. That is why Babstock is one of the most exciting lyric poets writing today.” —Sina Queyras, The Globe and Mail for Methodist Hatchet
Welcome to Phantom City where a cat-shaped pendant with magical powers takes a detective on a precarious journey. Award-winning artist and animator Patrick Jenkins has devised a story as affecting as his complex line art. With a mixture of film noir and magic realism, Jenkins employs smoky halftones and sumptuous linework as a binding elements in a sequence of bizarre twists, offering a layered vortex of visual delights without linear paths or escape. Jenkin’s debut is a stunning kaleidoscopic treasure.
This practical handbook will equip readers with the tools to have meaningful conversations about death and dying
Death is a part of life. We used to understand this, and in the past, loved ones generally died at home with family around them. But in just a few generations, death has become a medical event, and we have lost the ability to make this last part of life more personal and meaningful. Today people want to regain control over health-care decisions for themselves and their loved ones.
Talking About Death Won’t Kill You is the essential handbook to help Canadians navigate personal and medical decisions for the best quality of life for the end of our lives. Noted palliative-care educator and researcher Kathy Kortes-Miller shows readers how to identify and reframe limiting beliefs about dying with humor and compassion. With robust resource lists, Kortes-Miller addresses
Far from morbid, these conversations are full of meaning and life — and the relief that comes from knowing what your loved ones want, and what you want for yourself.
What do you do when your outspoken, passionate, and quick-witted mother starts fading into a forgetful, fearful woman? In this powerful graphic memoir, Sarah Leavitt reveals how Alzheimer’s disease transformed her mother Midge—and her family—forever.
In spare black and white drawings and clear, candid prose, Sarah shares her family’s journey through a harrowing range of emotions—shock, denial, hope, anger, frustration—all the while learning to cope, and managing to find moments of happiness. Midge, a Harvard-educated intellectual, struggles to comprehend the simplest words; Sarah’s father Rob slowly adapts to his new role as full-time caretaker, but still finds time for word-play and poetry with his wife; Sarah and her sister Hannah argue, laugh, and grieve together as they join forces to help Midge get to sleep, rage about family friends who have disappeared, or collapse in tears at the end of a heartbreaking day.
Tangles provides a window on the complexity of Alzheimer’s disease, and ultimately opens a knot of moments, memories, and dreams to reveal a bond between a mother and a daughter that will never come apart.
This is a book about grief, death and longing. It’s about the gristle that lodges itself deep into one’s gums, between incisors and canines.
Teeth details not only the symptoms of colonization, but also the foundational and constitutive asymmetries that allow for it to proliferate and reproduce itself. Dallas Hunt grapples with the material realities and imaginaries Indigenous communities face, as well as the pockets of livability that they inhabit just to survive. Still this collection seeks joy in the everyday, in the flourishing of Indigenous Peoples in the elsewhere, in worlds to come.
Nestling into the place between love and ruin, Teeth traces the collisions of love undone and being undone by love, where “the hope is to find an ocean nested in shoulders—to reside there when the tidal waves come. and then love names the ruin.”
Linked poems that uncover the ache and whimsy of raising children on the autism spectrum.
Through public judgments, detouring dreams and unspoken prayers, Tell Them It Was Mozart, Angeline Schellenberg’s debut collection, traces both a slow bonding and the emergence of a defiant humour. This is a book that keens and cherishes, a work full of the earthiness and transcendence of mother-love. One of the pleasures of this collection is its playful range of forms: there are erasure poems, prose poems, lists, found poems, laments, odes, monologues and dialogues in the voices of the children, even an oulipo that deconstructs the DSM definition of autism. From a newborn “glossed and quivering” to a child conquering the fear of strange toilets, Tell Them It Was Mozart is bracing in its honesty, healing in its jubilance.
Michelangelo slept in his clothes and seldom ate Newton lectured to empty rooms at scheduled times if no one showed up to hear him … Only staying where room numbers were divisible by three, Tesla tested turbines in his mind, would not touch round objects … Charles Darwin formulated the theory of natural selection, the foundation for our understanding of the diversity of life on earth: advantageous traits survive Mozart meowed on tables –from “Posthumously diagnosed”
Praise for Tell Them It Was Mozart:
“By turns, Angeline Schellenberg’s words are blunt, musical, unflinching, transcendent. Her speaker raises two children on the autism spectrum, but she is never a martyr, never a victim, never a saint. Schellenberg has drawn a woman who turns the experience inside out–finding its humour, its turbulence, and ultimately, its joy.” –Kimmy Beach
A new and expanded version of Gord Hill’s seminal illustrated history of Indigenous struggles in the Americas.
When it was first published in 2010, The 500 Years of Resistance Comic Book was heralded as a groundbreaking illustrated history of Indigenous activism and resistance in the Americas over the previous 500 years, from contact to present day. Eleven years later, author and artist Gord Hill has revised and expanded the book, which is now available in colour for the first time.
The 500 Years of Indigenous Resistance Comic Book powerfully portrays flashpoints in history when Indigenous peoples have risen up and fought back against colonizers and other oppressors. Events depicted include the the Spanish conquest of the Aztec, Mayan and Inca empires; the 1680 Pueblo Revolt in New Mexico; the Battle of Wounded Knee in 1890; the resistance of the Great Plains peoples in the 19th century; and more recently, the Idle No More protests supporting Indigenous sovereignty and rights in 2012 and 2013, and the resistance to the Dakota Access Pipeline in 2016. Canadian events depicted include the Oka crisis in 1990, the Grand River land dispute between Six Nations and the Government of Canada in 2006, and the Wet’suwet’en anti-pipeline protests in 2020.
With strong, plain language and evocative illustrations, this revised and expanded edition of The 500 Years of Indigenous Resistance Comic Book reveals the tenacity and perseverance of Indigenous peoples as they endured 500-plus years of genocide, massacre, torture, rape, displacement, and assimilation: a necessary antidote to conventional histories of the Americas.
The book includes a foreword by Pamela Palmater, a Mi’kmaq lawyer, professor, and political commentator.
The first in a phenomenal new fantasy trilogy, where the power of words can change the fate of all dimensions
As a new Initiate with the Alchemists’ Council, Jaden is trained to maintain the elemental balance of the world, while fending off interference by the malevolent Rebel Branch. Bees are disappearing from the pages of the ancient manuscripts in Council dimension and from the outside world, threatening its very existence. Jaden navigates alchemy’s complexities, but the more she learns, the more she begins to question Council practices. Erasure — a procedure designed not only to remove individuals from Council dimension but also from the memories of other alchemists — troubles Jaden, and she uses her ingenuity to remember one of the erased people. In doing so, she realizes the Rebel Branch might not be the enemy she was taught to fight against.
Jaden is caught between her responsibility to the Council and her growing allegiance to the rebels, as the Council finds itself at the brink of war. She is faced with an ethical dilemma involving the free will of all humanity and must decide whether or not she can save the worlds.
Winner of the 2020 International Book Award for Multicultural Fiction; Winner of the 2020 Ippy Gold Medal for Multicultural Fiction.
It is 1970. The evergreens are thick with snow despite it being the month of April. In an Ottawa hospital, another daughter is born to the Azar family. The parents are from Kfarmichki, a village in Lebanon but their daughters were born in Canada. Four daughters, to be precise. No sons. Youssef is the domineering father. Samira is the quiescent mother. Rima, Katrina and Mona are the traditional daughters. Then there is Adele, the newest member. “You should’ve been born a boy,” Samira whispers to Adele shortly after her entrance into the world. As she grows, Adele learns there are certain rules Lebanese girls must follow in order to be good daughters. First off, they must learn to cook, master housework, learn Arabic and follow the traditions of their culture. Above all, they must save themselves for marriage. But Adele dreams of being an artist. When she is accepted to the University of Toronto, this is her chance to have a life outside the confines of her strict upbringing. But can she defy her father?
When Youssef surprises her with a family trip to her ancestral home, Adele is excited about the journey. In Lebanon, she meets Elias. He is handsome and intelligent and Adele develops feelings for him until Elias confides to her that her unexpected meeting with him was actually a well-devised plan that is both deceitful and shocking.Will this unravel the binding threads of this close-knit Lebanese family? Crisscrossing between Ottawa, Toronto and Lebanon, The Allspice Bath is a bold story about the cultural gap and the immigrant experience.