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Explore the true resilience of the heart and our raw determination to find goodness in a world fraught with adversity
One woman’s courage in the face of personal tragedy is at the heart of Heather A. Clark’s debut novel. Thirty-three-year-old Nicky Fowler thought her whole life was mapped out — a rewarding career as a third grade teacher, an adoring husband, and the perfect house in the suburbs — but complicated fertility issues lead to a devastating tragedy. Nicky’s marriage crumbles and she’s left unable to cope with her now-changed life.
When Nicky accepts a volunteer teaching position at an orphanage in Kenya, she finds that life there is unlike the world she’s known. Drought has brought famine, violence is everywhere, and the jaded orphanage director takes out her hatred on the parentless children.
But Nicky finds strength in Mama Bu, her host mother, who provides wisdom and perspective over cups of chai, Kenya’s signature drink. Nicky comes to realize that she must do much more than teach the orphans — she must save them.
When Ralph Thomas comes across graffiti of a horse in an alleyway in the early hours of the morning, he is stopped in his tracks. He recognizes this horse. A half-asleep Indigenous homeless man sees Ralph’s reaction to the horse and calls out to him. Over the course of a morning’s worth of hot coffee on a bitterly cold day, Ralph and the homeless man talk and Ralph remembers a troubling moment from his childhood when an odd little girl, Danielle, drew the most beautiful and intriguing horse on his mother’s Everything Wall, winning the competition set up for children on the Otter Lake Reserve.
Ralph has lived with many questions that arose from his eleventh winter. What did the horse mean — to him, his sister, his best friend, and, most importantly, the girl who drew it? These questions have never left him.
Chasing Painted Horses has a magical, fablelike quality that will enchant readers, and haunt them, for years to come.
Finalist for the Chalmers Play Award. A neo–Nazi skinhead is charged with murder, and Legal Aid has assigned him a Jewish lawyer. Over the course of developing a defense for the skinhead, the lawyer is forced to examine the limits of his own liberalism, and the demons underlying it. An unblinking examination of hatred, the explosive effect it has on our society, and the hurdles that confront us as we set about eradicating it.
At the beginning of the 20th century in China, copies of Ibsens A Doll House began circulating secretly amongst women in tea–houses. In China Doll, Marjorie Chans first play, Ibsen is a catalyst for a young woman who comes to see her future in terms other than those laid out for her by the patriarchal society in which she lives. Su–Ling, an open–minded and intelligent young woman in Shanghai, has her feet bound by her grandmother, Poa–Poa. Despite the pain and the crippling effects, custom decrees that the smaller and daintier the foot, the more marriageable the woman. (The most desirable, “lotus feetâ” fit into lotus shoes only 3–4 inches long.) Poa–Poa has high hopes that her granddaughter will marry well and bring prosperity to them both. Then Su–Ling meets the merchant Li, who enlarges her world by teaching her to read. As Su–Ling grows into womanhood, she makes choices that lead her toward independence, and which have consequences for everyone in her world.
Since its publication in 1994, Hiromi Goto’s Chorus of Mushrooms has been recognized as a true classic of Canadian literature. One of the initial entries in NeWest Press’ long-running Nunatak First Fiction Series, Hiromi Goto’s inaugural outing was recognized at the Commonwealth Writers’ Prizes as the Best First Book in the Caribbean and Canadian regions that year, as well as becoming co-winner of the Canada-Japan book award. Goto’s acclaimed feminist novel is an examination of the Japanese Canadian immigrant experience, focusing on the lives of three generations of women in modern day Alberta to better understand themes of privilege and cultural identity. This reprinting of the landmark text includes an extensive afterword by Larissa Lai and an interview with the author, talking about the impact the book has had on the Canadian literary landscape.
Geoffrey isn’t too thrilled about having to spend Christmas weekend at his dad’s cottage in the Laurentians. The Internet is so lousy Geoffrey can’t play computer games. Even worse, there’s Rebekah, his dad’s latest girlfriend. Rebekah is unbearably cheerful and for someone Jewish, she’s way too into Christmas. It doesn’t help that Geoffrey’s kid sister Angela and the family dog, Paprika, give Rebekah a chance. A freak storm traps the family in the cottage. When a late-night cooking experiment goes terribly wrong, Geoffrey and his sister get to know Rebekah in ways they could never have expected.
Circle Tour, Eva Tihanyi?s ninth poetry collection, seeks and celebrates beauty in the face of despondency. Its three sectionsOuter Circle, Inner Circle, Centredraw us in as we move from the “outside” world of politics, culture, and art to the “inside” world of relationships with family, friends, and lovers, to the “core” world of the self.
The book begins with a stark announcement of hope: “If you?re reading this, / you?re still here.” It then moves to engagement with (among other things) the pandemic, feminism, and artists such as Marina Abramovic while reinforcing the healing power of Nature throughout our experiences with external, beyond-our-control circumstances. In the more personal second section, Tihanyi writes about loss through death; the continuing influence of her grandmother; the end of one love moving into a new, more profound love; the importance of friends, reminding us that “each day we must be / lucid with mutiny against despair.” The final section focuses on the selfnot just the poet’s own but the universal human Self. It confronts the process of aging and its attendant contemplations, and once again reminds us of how Nature and art can help us in our “continuous becoming.”
The poems in Circle Tour invite a sequential reading as the book gathers force as it spirals upward. It takes us on a powerful journey that ends with the ultimate affirmation that leads us full circle to our present moment: “Enough on this day / to be enormously alive.”
The first book in the Shanghai Quartet – City Rising – starts on the Hua Shan (the Holy Mountain) 250 years before Christ where the FIRST EMPEROR the most powerful man the world to that time had ever known bequeaths a talisman to his three trusted followers: the BodyGuard, his favorite Courtesan and his Head Confucian – a narwhal tusk with carvings depicting the growth for the next 2500 years of a city at the Bend in the River – Shanghai. The warning from the First Emperor before he commits suicide is to watch for the White Ships on Water – and so the progeny of the three who are entrusted with the Tusk do – and then – in 1841 – they arrive. British Men of War ships – and Opium.
City Rising tells the story of two destitute Baghdadi boys who become opium lords – and the battles against the powerful British Opium companies – and the boys’ eventual love of the City at the Bend in the River – Shanghai.
Shortlisted for the 2023 Howard Engel Award for Best Crime Novel Set in Canada
November’s rain in Toronto 1936 has turned into December’s cold snap. Charlotte Frayne escapes being hit by a mud-splattered car racing round the corner at Queen and Spadina. The stranger who saves her turns out to be the man her boss, Mr. Gilmore, has helped to escape Germany and is now a refugee in need of shelter.
In a world still recovering from the War to End All Wars and the Spanish Influenza pandemic that killed fifty million people worldwide, and still in the throes of the Great Depression, Stephen Lucas is not just any refugee from the Nazi regime; he is in possession of information that could alter the course of history — but only if seen by persons in power and if acted upon. In a surprising twist of fate, Charlotte’s estranged mother reappears, wanting assistance in locating the son she gave up at birth twenty years before. Despite her turbulent feelings about her mother, Charlotte agrees to investigate, having no idea that the two cases will connect in surprising ways.
Back at the Paradise Café, Christmas draws near and Charlotte’s beau, Hilliard Taylor, and his partners are in disagreement about the holiday concert. With her beloved grandfather in the mix, there’s no telling whether the show will end in good tidings or anarchy.
Alden Nowlan (1933-1983) once wrote of a desire to leave behind “one poem, one story / that will tell what it was like / to be alive.” In an abundance of memorable poems, he fulfilled this desire with candour and subtlety, emotion, and humour, sympathy and truth-telling. For many years, Nowlan has been one of Canada’s most-read and -beloved poets, but only now is the true range of his poetic achievement finally available between two covers, with the publication of Collected Poems of Alden Nowlan.
Nowlan takes us from nightmarish precincts of fear and solitude to the embrace of friendship and family. Delving into experiences of violence and gentleness, of alienation and love, his poetry reveals our shared humanity as well as our perplexing and sometimes entertaining differences. Nowlan’s childhood and adult years are colourfully reflected in his poetry. These autobiographical threads are interwoven with fantasies, an astute historical consciousness, and a keen awareness of the shiftings and transformations of selfhood.
Nowlan wrote with formal variety, visually shaping his poems with a dexterity that complicates impressions that he was primarily a “plainspoken” poet. His varied uses of the poetic line — his handling of line-lengths and -breaks, stanzas, and pauses — show him to be a writer who skilfully uses the page to suggest and embody the rhythms of speech. This long-awaited volume enables readers to experience his poetic genius in its fullness and uniqueness.
You will never know what really happened to Lech or any of us. We mean nothing by it, darling. It is a silent agreement we all have with ourselves, that nothing will ever make us prisoners again, not even memory.?
Set primarily in the neighbourhood of fictional Copernicus Avenue, Andrew Borkowski’s debut collection of short stories is a daring, modern take on life in Toronto’s Polish community in the years following World War II. Featuring a cast of young and old, artists and soldiers, visionaries and madmen, the forgotten and the unforgettable, Copernicus Avenue captures, with bold and striking prose, the spirit of a people who have travelled to a new land, not to escape old grudges and atrocities, but to conquer them.
Even if people sometimes argue over the pettiest things, we all have our curiosity in common. The universe is a stupendous place that has no obligation to make sense to us. Just think about it: we’re living on a tiny planet that’s hurtling around a star which is whirling through a galaxy that’s careening through the cosmos at absurd speeds. We humans only appeared 100,000 years ago in our universe’s 13.8-billion-year-long backstory. In the big picture, we’re newcomers to the cosmos—and our entire planet is nothing more than a microscopic speck. Disclaimer warning for an existential crisis!
From science writer Nathan Hellner-Mestelman comes Cosmic Wonder, a humorous and detailed guide to our universe as you’ve never seen it before.
While our cosmos sounds like a remote and abstract place, we’re connected to it in every way. Our atoms were smashed together in the cores of exploding stars. The universe dooms us to a riveting cascade of destruction, humbling us to look at one another with more compassion. Life sprouted on this planet thanks to a series of fantastic cosmic collisions—and we might not be alone in this universe after all.
Come along on a funny, deep, and insightful journey to the edge of the universe and back. From the tiny particles that make up life to the galaxies on the other end of the cosmos, and from the explosion of the Big Bang to the chilling death of the universe itself, Cosmic Wonder is sure to be a rollercoaster ride for your brain.
In an African town somewhere between the Sahel and the Atlantic coast, cotton planter Toby Kunta takes a Berlin journalist hostage in a museum showroom. Kunta asks for compensation of several million francs for himself and a group of peasants ruined by the production of genetically modified cotton. As the tension rises inside the museum and a standoff begins with the chief of police, Kunta begins to burn the exhibited works one by one and threatens to do the same with his prisoner.
With this standoff behind closed doors, where words and gestures get exchanged with anger and hope, Edem Awumey takes us on a contemporary journey on the cotton road, from the African Savannah to the American South, from the luxurious salons of Berlin to the fields of Indian Rajasthan sprayed with glyphosate, from the valleys of Uzbekistan covered with white fibre to the spinning mills of Dhaka in Bangladesh. It is the novel of the crossing of worlds in a struggle against the domination of the multinationals. It is the great lamentation of the African people enslaved to the thirst for wealth in the West. It is a cry of freedom too long held back that finally bursts out with thunderous violence.
“Cover Art by Vanessa Westermann has all the hallmarks of a great summer read.” — I’ve Read This
Charley Scott is thrilled to be running a summer pop-up gallery in cottage country. Returning to the lakeside village, not on vacation but as an artist, she’s determined to turn her hobby into a career. Joined by two other artists, including her childhood friend Kayla, the Cover Art Exhibit is a dream come true.
But, beneath the surface of this peaceful town, darkness lurks. There’s a history.
Local chocolatier, Matt Thorn, is struggling to come to terms with his father’s recent death and his legacy of deception. As Matt plans to expose his father’s secrets, Kayla’s husband is found dead, the result of eating Matt’s boutique chocolates.
The homicide investigation threatens to make Charley’s pop-up gallery a failure before it even begins. Luckily, art is all about perspective and she’s always had a keen eye. Can she see past the obvious and find the killer?
A pitch-perfect debut and a call to act in the service of Earth through radiant attention.
Humankind, at present, has breached floodgates that have only been breached before in ancient stories of angry gods, or so far back on geologic and biological timelines as to seem more past than past. Against this catastrophic backdrop (at the end of consolations, at the high-water mark), and equipped with a periscopic eye and a sublime metaphorical reach, poet Dan MacIsaac has crowded his debut vessel with sloths and gipsy-birds, mummified remains and bumbling explorers, German expressionists and Neolithic cave-painters.
MacIsaac knows that in order to render a thing in language, description itself must be open to metamorphosis and transformation; each thing must be seen alongside, overtop of, and underneath everything else that has been seen. With the predominant “I” of so many poetic debuts almost entirely absent, Cries from the Ark is catalogue and cartography of our common mortal–and moral–lot.
“These poems are fecund as black dirt, as carnal and joyous. Each piece is an owl pellet, a concentrate of bone and tuft, of bison, auk and Beothuk. Not since Eric Ormsby’s Araby have I read a book so empathic and so glossarily rich. Fair warning, MacIsaac: I’ll be stealing words from you for years.” –Sharon McCartney
“MacIsaac sings a raven’s work, sings the guts from our myths, sings our world with the breath that ‘for a century/ of centuries / only the wild grass / remembered.’ Present but acquainted with antiquity, MacIsaac’s instrument is our own breathing as we say these poems of reverence to ourselves.” –Matt Rader