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Agnes, Murderess is a graphic novel inspired by the bloody legend of Agnes McVee, a roadhouse owner, madam and serial killer in the Cariboo region of British Columbia in the late nineteenth century. Fascinated by this legend–which originated in a 1970s guide to buried treasure in BC, and has never been verified–Sarah Leavitt has imagined an entirely new story for the mysterious Agnes: her immigration to Canada from an isolated Scottish Island; her complex entanglement with shiny things; and her terrifying grandmother, Gormul, who haunts Agnes’s dreams and waking life.
Leavitt puts a decidedly queer twist on the story, moving from women’s passionate friendships in the gardens of St John’s Wood to female relationships in the Canadian wild. At the same time, the book grapples with the dangerous pre-conceived notions held by settlers that the country was a “new world,” free of ghosts and history. Agnes, Murderess presents a tortured, complicated woman struggling to escape her past. It is a spine-chilling tale of ghosts and murder, friendship and betrayal, love and greed, fate and choice.
Winner of the 2018 IPPY Gold Medal for Literary Fiction; Shortlisted for the 2017 Mary Sarton Award for Contemporary Fiction
In the morning fog of the North Atlantic, Valerie hears the frenetic ticking of clocks. She’s come from Toronto to hike on the French island of St. Pierre and to ponder her marriage to Gerard Lefèvre, a Montrealer and a broadcast journalist whose passion for justice was ignited in his youth by the death of his lover in an airline bombing. He’s a restless traveller (who she suspects is unfaithful) and she’s the opposite: quiet, with an inner life she nurtures as a horticulturalist. Valerie’s thinking about Gerard on assignment in her native New York City, where their son Andre works. In New York City, an airplane has plunged into a skyscraper, and in the short time before anyone understands the significance of this event, Valerie’s mind begins to spiral in and out of the present moment, circling around her intense memories of her father’s death, her youthful relationship with troubled Matthew, and her pregnancy with his child, the crisis that led to her marriage to Gerard, and her fears for the safety of her son Andre and his partner James. Unable to reach her loved ones, Valerie finds memory intruding on a surreal and dreamlike present until at last she connects with Gerard and the final horror of that day.
Poems that form an eloquent, searching contemplation of “the warp and weft of being and nonbeing.”
All the Names Between is Nova Scotia poet Julia McCarthy’s meditative and crackling-with-dark-energy third collection. From her observation of “long-horned beetles… rearranging the landscape” to an apperception of “part of me /…seeded by dust / of meteors and asteroids,” McCarthy makes palpable, in richly layered imagery and with attentiveness that unfolds stillness, the “Singing Emptiness” that informs and quickens the crow’s flight, the stones’ weight, and our own being as we move in “the defined world both elegant / and maimed.” Concerned with both the inadequacy and the necessity of word to convey world, the poems move through a shifting landscape of seasons and creatures, of the remembered dead, and of scattered stones reading the Akashic field.
Grounded in the experience of presence, where the external and internal meet, a crossroads of consciousness where “a language without a name / remembers us” and the poem is a votive act, All the Names Between reflects the shadow-light of being, of what is and what isn’t, the seen and the unseen, the forgotten and the remembered where
every elegy has an ode at its centre
every ode has an elegy around its edges.
(from “Ode with an Elegy around its Edges”)
Praise for All the Names Between:
“It is Julia McCarthy’s incomparable eloquence as a poet to, as an experienced photographer might, wield darkness as an ever more powerful lens to reveal the intricate beauty of the world as she finds it. And it is with this extraordinary vision, that McCarthy ushers us into her newest collection, All the Names Between, ‘where the dead gather like trees in their white coats’ and bats hover overhead, ‘lucifugal as ashes from invisible fires.’ These are poems scintillate with vision and stunningly intimate–showing us page after page the full, and exquisite measure of ‘night’s worth.’” –Clarise Foster, Editor, Contemporary Verse 2
“Here is a book of meditations for even those immune to poetry, a poetry with no comfort zones. McCarthy takes readers to a world where the marriage between solitude and nature gives birth to memorable, haunting lines, where the mystery of poetry lies just between the words. I have no doubt readers will embrace this book as their own.” –Goran Simić, author of Immigrant Blues and From Sarajevo, with Sorrow
Shortlisted for the New Brunswick Book Award for Fiction
A novel of absence and adolescence by the author of the award-winning The Town That Drowned.
It’s 1977. Seventeen-year-old Violet is left behind by her parents to manage their busy roadside antique stand for the summer. Her restless older brother, Bliss, has disappeared, leaving home without warning, and her parents are off searching for clues. Violet is haunted by her brother’s absence while trying to cope with her new responsibilities. Between visiting a local hermit, who makes twig furniture for the shop, and finding a way to land the contents of the mysterious Vaughan estate, Violet acts out with her summer boyfriend, Dean, and wonders about the mysterious boneyard. But what really keeps her up at night are thoughts of Bliss’s departure and the white deer, which only she has seen.
All the Things We Leave Behind is about remembrance and attachment, about what we collect and what we leave behind. In this highly affecting novel, Nason explores the permeability of memory and the sometimes confusing bonds of human emotion.
A young couple woo and wed, but they’re Cree and it’s 1895, the first generation after the Riel Rebellion, and it’s suddenly hard for the people who followed the buffalo to live happily ever after. What are they going to do? It’s still a bit early to go into show business.
Almighty Voice and His Wife shakes up a familiar story from the Saskatchewan frontier, reimagining it from the postmodern late twentieth century. The “renegade Indian story” transforms into both an eloquent tale of tragic love and an often hilarious, fully theatrical exorcism of the hurts of history. A modern classic about the place of First Nations people in Canada.
Winner of the 2018 American Bookfest Best Book Award for Historical Fiction; Shortlisted for the 2018 GOETHE Book Awards for Post-1750s Historic Fiction; Shortlisted for the 2018 Eric Hoffer Award Grand Prize; Finalist for the 2018 International Book Awardfor Historical Fiction
Prior to 1857, the year it was engulfed by tragic historical conflict, the cosmopolitan city of Lucknow thrived on open-mindedness, great prosperity and pride, the city a magnet for musicians, poets, painters and chefs, drawing the finest cultural talent from other parts of India and the wider world. It proved too tempting a prize for the English East India Company not to attempt a takeover of the Kingdom of Awadh with its capital city, Lucknow. The devastation and disaster that came to be known as “the Red Year” was a turning point in the history of Indian colonialism. It gave birth to the self-conscious, anti-colonial nationalism that would define the next ninety years, eventually leading to Gandhi’s nonviolent measures to oust the British from India once and for all.
Synthesizing a wealth of meticulous historical research, Amah and the Silk-Winged Pigeons plunges the reader into the complex drama and historical dilemmas faced by both ordinary and extraordinary Lakhnavis (people of Lucknow) at the time. The story is centered on a group of strong, independent women who take action to defend their world and way of life. The novel’s protagonist, Amah, is a member of the Rose Platoon, an elite corps of female military guards of African descent who have protected Lucknow’s royalty for generations. Appalled by the mounting affronts and threats to her absent ex-husband’s kingdom, Begam Hazrat Mahal, one of Lucknow’s former queens and also of African descent, enlists Amah to be her eyes and ears and help coordinate resistance to the British takeover.
When the women decide to take on the English colonists who declare rule, what will be the ultimate price of the women’s loyalty to the royal family and to the place they’ve grown to love?
When young Louis Quilico meets upcoming concert pianist Lina Pizzolongo, a personal and musical collaboration begins that sees Louis become one of the most accomplished baritones in the world. Their son, Gino, follows in his father’s footsteps to emerge as a globetrotting opera singer. Theirs is a story of love, fame, estrangement, breakdown, and finally triumph.
Connie Guzzo-McParland writes her own aria with this real-life family dynasty that takes us through the world of opera??all its high notes, tragedies and artistry intact.
“An Orange, A Syllable by Gillian Sze is one of the most beautiful and emotionally resonant works I’ve read in a long time.” — My Asian Era blog
An Orange, A Syllable details a period of maternal and artistic transformation. This prosimetrical work is a meditation on motherhood, language, and art. The central speaker witnesses the earliest utterances of her child and launches into a poetic inquiry of words themselves, asking, How to measure one’s mouth by its words? The speaker seeks an answer amidst the language that surrounds her — words misspoken, mispronounced, remembered, unwritten — and, in doing so, struggles with signification and significance.
Each prose poem in the five-part collection darts between the many meanings of “fit” — as in “a sudden burst of emotion” or “to be the right size and shape,” and the archaic “fytte” (a section of a poem). A text becomes an open mouth, a square day of a calendar, or a bare fragment of a narrative. The final section of the book is an intimate and ekphrastic engagement with the work of Danish painter Vilhelm Hammershøi. Drawn to Hammershøi’s paintings of the empty rooms of his apartment, the speaker recognizes a familiar space of art’s insistence.
Ruth grew too fast.
A young girl over seven feet tall, she struggles to conceal the physical and mental symptoms of her rapid growth, to connect with other children, and to appease her parents, Elspeth, an English seamstress who lost her family to the war, and James, a mailman rethinking his devotion to his wife. Not knowing how to help Ruth, Elspeth and James turn inward, away from one another. As their marriage falters, Ruth finds herself increasingly drawn to Suzy, the dangerous girl next door.
Ruth is not precocious, nor a prodigy, but her extraordinary size affords her extraordinary vision: a bird’s-eye perspective that allows her not just to remember but to watch her past play out. Possessing an uncanny ability to intuit the emotional secrets of her family’s past and present, Ruth gently surfaces Elspeth and James’s vulnerabilities, their regrets, and their deepest longings.
A CBC Canada Reads 2015 Selection
Finalist for the 2013 Governor General’s Literary Award for French-to-English Translation
Deep in a Northern Ontario forest live Tom and Charlie, two octogenarians determined to live out the rest of their lives on their own terms: free of all ties and responsibilities, their only connection to civilization two pot farmers who bring them whatever they can’t eke out for themselves. But their solitude is disrupted by the arrival of two women. The first is a photographer searching for survivors of a series of catastrophic fires nearly a century earlier; the second is an elderly escapee from a psychiatric institution. The little hideaway in the woods will never be the same. Originally published in French, And the Birds Rained Down, the recipient of several prestigious prizes, including the Prix de Cinq Continents de la Francophonie, is a haunting meditation on aging and self-determination.
With this special 20th Anniversary edition, Richard Van Camp re-releases his first bestselling collection of short stories. There is pain in these stories and there is loss. There is death, but there is also rebirth, and there is always the search from each of the narrators for personal truth. This collection of hilarious and profound stories is where beloved recurring characters Torchy, Sfen, Snowbird, Clarence and Brutus first appeared. Larry Sole from The Lesser Blessed>/i> also appears in this collection, alongside many other characters, all of them linked by themes of hope, the spirit of friendship, and hunger.
Richard has gone on to publish four other short story collections, but Angel Wing Splash Pattern is where his love of the short story—”those perfect universes”—all began. This beautifully redesigned 20th anniversary edition, with a new introduction by the author and two new graphic-novel style stories, proves once again that Richard Van Camp is a master of the short story.
Having tried his hand at medicine, pickpocketing, and good old-fashioned thuggery, Seamus Caron has finally settled into life as a private detective, hunting down lost money and wandering husbands. It’s not glamorous work, but it pays the bills and provides a steady supply of fistfights for entertainment. The job also keeps him close to his best friend, Sandra Blair, a homicide detective for the Toronto Police. But when she calls in a favor on the murder of a notorious mob lawyer, Seamus realizes that the victim is a notorious mob lawyer, it puts an end to what little stability and safety Seamus had managed to scrape together.
Seamus must find the killer before the murder sparks an all-out gang war. Luckily, he’s got help — a confidence man turned barman, the finest cook in Little Chinatown, and Maxwell Moscovitz, his new secretary. She has the mental sharpness and moral flexibility for the job, but she also has a few secrets of her own.
As he investigates a connection between the murder and a new drug on the street known as Platinum, Seamus can’t help hearing echoes of his past and the tragedy he’s spent twenty years trying to forget. Caught between the police, the mob, and an anonymous killer, Seamus will need to face his demons, or he just might lose it all.
In Euphoria, a small, fictional town that feels displaced in time and space, an affluent but isolated couple have vanished from their suburban home. Their estranged friend, Fir, a local video store employee, is the only person who notices their disappearance. When the police refuse to help, Fir recruits Fain, who moonlights as a security guard, and they set off on a seemingly hopeless search for the lost lovers. Their chance at an answer, if they can ever find it, lies on the wooded edge of Euphoria, where Slip, an elderly trailer park resident, finds a scattering of bones that cannot be identified. Distrusting everyone, Slip undertakes a would-be solitary quest to discover the bones’ identity. Yet secretly, Limn and Mal, two bored, true crime-loving teenagers from the trailer park, are dogging Slip. Determined to bring justice to the dead, Limn and Mal will instead bring the lives of all seven characters into fraught and tangled confrontation.
Beneath the familiar surface of this missing-persons novel lies an unparalleled experiment: the creation of a folkloric alternate reality where sex and gender have been forgotten. Expanding on the work of Anne Garréta’s Sphinx and Jeannette Winterson’s Written on the Body, and joining gender-confronting contemporaries like Joshua Whitehead’s Jonny Appleseed and Akwaeke Emezi’sThe Death of Vivek Oji, Anomia is an atmospheric exploration of a possible world, and a possible language, existing without reference to sex or gender.
While Canadian history professor Andrew Stanhope is doing research in Paris on the German invasion of France, he stumbles upon an odd and long-lost exchange between Colonel Marius Michel, principal deputy in France’s counter-intelligence agency, the Deuxième Bureau, and the Directeur-Général of the Val de Grâce military hospital. The Colonel wants the Directeur to warn the incoming Prime Minister, Philippe Pétain, that there is an active spy in the French war ministry and that the Marshal’s own ring of advisors includes at least one Nazi sympathizer. By means of alternating flashbacks between 1940 and the 1970s, the author uncovers Michel’s attempts to track down the traitor and other collaborators whose espionage may have led to the sudden and ignominious defeat of France. Working undercover, and with his life definitely at risk, Michel follows a trail that stretches from the heart of the war ministry on the Left Bank of Paris to the bustlng high fashion industry on the Right. It is there, within the Maison d’Ariège that he encounters its treasonous owner, Louis Loriot, two beautiful German-born spies, two cases of cold-blooded murder, as well as his own would-be killer. All this, Stanhope pieces together decades later, before making the most startling discovery of them all.