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Stolen Sisters is a first-of-its-kind play that gives voice to the lives and legacies of three Beothuk women and girls whose names have survived in historical record.
These are stories that have been mis-told, misrepresented, and mythologized by colonial interference. By shifting the lens of history to reflect Indigenous perspective and experience, the women brought to life in Stolen Sisters set the record straight, telling their own stories with both humour and unflinching honestly. Based on the oral and written Indigenous histories of colonization locally and worldwide, the voices of Stolen Sisters shine a light on the global experience of Indigenous women and girls and, in particular, Newfoundland’s part in that legacy.
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.
Winner of the Governor General’s Literary Award for French-Language Fiction, Sugaring Off probes intimacy, denial, and how we are tied to others—whether those we love or those we exploit.
On the surface, Adam and Marion are the embodiment of success: wealthy, attractive, in love. While holidaying in Martha’s Vineyard, Adam surfs into a local young woman, Celia. The accident leaves her injured and financially at risk; for Adam and Marion, it opens a fault of loneliness, rage, and desires that have too long been ignored.
Like a modern Virginia Woolf, Britt abrades the surface layer of our outward personas, delving into the complexity and contradictions of relationships. In this eviscerating critique of privilege, she asks what happens when one can no longer play a role—whether in a couple, family, or social structure—and exposes the resulting friction between pleasure and consequence.
The poetry of Kazim Ali “invites us to give ourselves over to the music of language” (Beloit Poetry Journal). Known for its lyrical and expressive language, “crafted with a controlled, delicate quality that never stops questioning, never stops teaching, and never stops astounding,” (American Poet), Ali’s work explores themes of identity, migration, and the intersections of cultural and spiritual traditions.
Sukun (Arabic for stillness or rest, as well as being a diacritic that indicates there is no vowel to pronounce following a consonant) draws from a generous selection from Ali’s six full-length collections. This remarkable volume also includes 25 astonishing new poems and an afterword by the poet. Together, they allow us to trace Ali’s passions and concerns and to take the measure of his art: the close attention to the spiritual and the visceral, and the deep language play that is at once musical and plain spoken.
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
An altar is a door; wonder is the key.
What losses and intimacies bring you to this threshold? Tabako on the Windowsill contends tenderly with such questions, initiating through them the work of transformation.
To shape an entire book around portals and thresholds is to search for living myth. Hari Alluri’s poems build from comic books, television, paintings, folklore, music, and a unique imagination. Following an immigrant point of view while maintaining home in a language that engages with blood and chosen family, Alluri offers multiple lived and ancestral spaces in India, the Philippines, Nigeria, the U.S., and Canada. Guided by a burning attention – to braids of displacement, loss, and joy, to multiple beginnings – Alluri creates moments where we can expand through the personhood of perception into wider, overlapping worlds of perspective and possibility.
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.
The remarkable life and legacy of an extraordinary man whose influence echoes through time.
Tappan Adney travelled from New York to New Brunswick for a summer holiday at the age of 19 in 1887, and it changed the course of his life.
Adney is best known for a singular achievement. He was the artist, writer, and illustrator whose chance encounter with Peter Jo, a Wəlastəkwi Elder–craftsman, led to a passionate, lifelong interest in the birchbark canoe and Wəlastəkwey culture.
But that is only part of the story. Throughout his life, little escaped Adney’s curiosity. From his extensive documentation of the design of Indigenous canoes to his reportage on the Klondike Gold Rush; from his work as an illustrator, photographer, and designer to his natural history journalism; from his activism for Indigenous rights to his documentation of the Wəlastəkwey language, Adney’s mind roamed from one passion to another, leaving behind a treasure trove of natural history and ethnographic research. This book tells the intriguing story of his remarkable life and his multifaceted legacy.