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Showing 141–160 of 803 results
No two curries are the same. This Curry asks why the dish is supposed to represent everything brown people eat, read, and do.
Curry is a dish that doesn’t quite exist, but, as this wildly funny and sharp essay points out, a dish that doesn’t properly exist can have infinite, equally authentic variations. By grappling with novels, recipes, travelogues, pop culture, and his own upbringing, Naben Ruthnum depicts how the distinctive taste of curry has often become maladroit shorthand for brown identity. With the sardonic wit of Gita Mehta’s Karma Cola and the refined, obsessive palette of Bill Buford’s Heat, Ruthnum sinks his teeth into the story of how the beloved flavor calcified into an aesthetic genre that limits the imaginations of writers, readers, and eaters. Following in the footsteps of Salman Rushdie’s Imaginary Homelands, Curry cracks open anew the staid narrative of an authentically Indian diasporic experience.
Alex is a playwright suffering from writer’s block and harsh reviews. His best friend, Roy, is a theatre director with lung cancer and six months left to live. In pursuit of fresh air and great wine, they go on a road trip to the Okanagan Valley, where Roy rediscovers his passion for theatre. But when he decides to stage a production of A Midsummer Night’s Dream at a winery, disaster ensues: the woman cast in the lead is the winery owner’s wife and has no talent; wildfires encroach upon the surrounding forest; and Roy slips closer to death, one cigarette at a time.
Curtains for Roy is a hilarious peek into the world of theatre, where the greatest drama is offstage and the best performances take place behind the curtain.
Winner of the 2025 Trillium Book Award for Poetry
If you reloop trauma enough, does it make a danceable rhythm? If you get lost in physical sensation enough, does that make you free?
DADDY is a powerful look at patriarchy, intergenerational trauma, and queer desire that seeks an unravelling of systems of control to reclaim vulnerability. At once confessional, playful, and sonically meticulous, Byrne’s poems seek conversation with a voice in the mind that won’t quiet. Cruel father figures dissolve into leather-clad muscle daddies on popper-scented dancefloors; the pain of the past sows the seeds of a joyful exploration of queer desire.
When her house in the Jamaican countryside is damaged by a hurricane, Gertrude Samphire is sent by her estranged daughter Celia to Ellesmere Lodge, an assisted living centre. Gertrude is unimpressed with her new wealthy neighbours, and spends most of her time alone. It is only through writing that she finds her voice, and she begins to record her life in a notebook: memories of her gothic childhood, impetuous marriage, and struggles with raising a family. Gertrude slowly comes out of her shell, establishing and mending the relationships she has been missing for so long – and comes to realize that she may not be alone as she once felt.
Winner, 2021 IPPY Bronze Medal for Canada-East Best Regional Fiction.
Precocious ten-year-old Vanessa Dudley-Morris knows lots of secrets. In 1949 when she and her family are forced to move into two rooms on the second floor of 519 Jarvis Street in Toronto, a genteel but somewhat rundown rooming house owned by a reclusive pianist, she learns a lot more.
Despite the family’s drastically reduced circumstances, her parents struggle to keep up their old standards. Threatened by blindness due to an eye condition, Vanessa is kept at home, tutored by an erratic succession of eccentrics, some with questionable credentials. Consequently, she spends a lot of time alone, wandering the dim corridors of the old house, silently listening at doors and watching the odd characters who live there. She becomes fascinated by a mother and son who move into a room on the third floor. Eventually she agrees to take secret notes from the son to his mysterious friend at her church, unwittingly unleashing a chain of events that leads to tragedy.
When he finds a photograph of his grandfather as a young man, Liam is full of questions. But that’s just fine, because Grampy has a story to spin with every answer.
On a fall day in 1962, he tells Liam, he had a run in with a nasty girl in search of a dance partner: Daisy was her name. What follows is a tall tale about Grampy’s tango with a hurricane, and all those signs of aging?the wrinkles, the stooped back, the croaky voice, the false teeth?can be chalked up to Daisy’s persistence and Grampy’s refusal to dance. Of course, it takes a talking to from Nana to get that Daisy to blow off elsewhere.Acclaimed author Jan L. Coates and award-winning illustrator Jos?e Bisaillon join forces in this charming picture book to craft a tale both touching and amusing about aging and the bond between a grandfather and his grandson. Bisaillon’s gorgeous, playful illustrations bring the dance to life, evoking that windy girl and her insistent ways, as well as the warm affection between Grampy and Liam.
Ten-year-old Daphne is abuzz with excitement! She?s learning the ins and outs of beekeeping from her grandmother. Together they assemble hive boxes, set up a colony, tend the colony and gather honey. Told in a simple, straightforward manner, this beautifully illustrated informational storybook is an excellent introduction to the many aspects of beekeeping. It includes lots of useful information, bee facts and more, all wrapped up in a story that celebrates the connection between grandparent and grandchild.
In a city known for wealth and prosperity, the divide between haves and have-nots is rarely clearer than on moving day, when those two worlds come together in intimate fashion. Violent ex-cons and drug addicts are invited into spacious homes, entrusted with the care and transport of the possessions of the upper classes — a unique bridging of two normally segregated worlds.
Darwin’s Moving is an intriguing and affecting exploration of class divides by a journalist and former mover. Taylor Lambert takes us behind the scenes of a familiar industry that is almost completely undocumented in Canadian literature to reveal the cycles of poverty and addiction that ensnare its workers. This is the Other Calgary, a world populated by transient men and women struggling to survive in a boomtown’s shadow.
Confronted with the task of re-inventing her life, young widow Priya grieves by researching spiritualism for a new age magazine and spending time in the garden her late husband, Gabe, had tended. Human contact is limited to an elderly nursing home resident, Jeevan, who is from her father’s native land of Sri Lanka. Soon Priya is drawn further into Jeevan’s world, which includes a mysterious nephew, Suresh. Despite rigid religious views, Suresh takes advantage of Priya’s vulnerability. Soon an isolated Priya finds herself facing the prospect of either single motherhood or a loveless marriage. While her Canadian and Sri Lankan friends Meg and Shobi conduct a tug of war over Priya’s destiny, Suresh’s jealous and coercive tactics prevent her from exploring a third possibility, her kindly neighbour Ryan, the only person whose presence gives Priya a genuine sense of solace. In this sequel to the author’s earlier novel, Priya’s World, Priya’s life is mired in uncertainty, but as spring begins to stir, the garden Gabe planted begins to speak to her of new life and fresh possibilities.
Chedoke is one of six creeks that weave their way through Hamilton, but it is the most hidden, lost to culverts and concrete. It sees daylight only in a couple of waterfalls where the creek flows over the edge of the Niagara Escarpment and in a short canal where it runs alongside Highway 403.
In elegant, seamless prose award-winning author John Terpstra attempts to trace Chedoke’s afflicted waters back to their source, searching through historical archives and city documents, and even walking up the great storm drains that collect the water that spills from the escarpment. Daylighting Chedoke is a moving meditation on how urbanization and industrialization have literally buried our natural environment and what it would be like to free our creeks and reconsider our relationship with nature.
Shortlisted Gerald Lampert Memorial Award
An elegant debut collection that illuminates the contours of un/belonging.
Dayo: a Tagalog word referring to someone who exists in a place not their own. A wanderer, migrant worker, exile or simply a stranger. At its core, the poems in Dayo interrogate whether belonging can exist in a society suffused with violence. Here, the poet, as a stranger, confronts the politics of recognition by offering his vision. Reflexive and lyrical, this collection embodies the true curiosity and tenacious spirit of a dayo seeking a place to replant, tend, and grow delicate roots.
“Great poetry re-creates the world, and Perez’s world is here, built from the fleeting moments you don’t always notice, built beautifully, built to last.”
– Wayde Compton, author of The Outer Harbour and The Blue Road: A Fable of Migration
“By the end of all the belovedness catalogued in this book, you too will be heavier with the weight of all that is most gorgeous about this world.”
– Ed Bok Lee, author of Mithocondrial Night and Whorled
“One of the things that most impresses me about this lush, lyrical and soulful collection is its ability to hold hope alongside melancholy and despair…With incredible empathy and insight, he writes for “the fragments of ourselves, pieced together by grief.”
– Jen Currin, author of Trinity Street
At once cinematic and elegiac, this book is an unforgettable contribution and a remarkable achievement.”
– Adrian De Leon, author of barangay: an offshore poem
In this brilliant existential portrayal of identity, David Bergen introduces Esther Maile, an expat American living in Thailand in a house rented by the richer, more popular Christine. While on holiday in Bali, Christine is caught by an ocean wave and drowns. Esther rushes to save her, but in the chaos that ensues, the police arrive and confuse Esther for Christine.
For someone who would prefer to be anyone but herself, this is the perfect solution — no matter the consequences. When a local Thai police captain, Net Wantok, begins to investigate Christine’s death and seeks out Esther, he is caught between his curiosity — she is charming, evasive, and flirtatious — and the awareness that people around Esther are disappearing. Sensing danger, Esther acts out of fear and pulls the one person who loves her into her perilous world.
Bergen’s mesmerizing psychological drama hums with expatriate gossip, sexual tension, unexpected violence, a passion for food, and a woman who, seemingly unhindered by questions of truth or morality, hints at the darkness in all of us.
de book of Mary is an epic poem in Jamaican Creole based on the Biblical story of Mary, Joseph and Jesus. The first book of a trilogy, Pamela Mordecai’s de book of Mary covers Mary’s life from her early years, through the arrival of the Archangel Gabriel and the birth of Yeshua, to her death. A Chorus of male and female voices provides an accompanying commentary. This exciting Canadian Jamaican retelling, profound and tragic, yet told with humour and gusto, is a major event, continuing Mordecai’s project of hybridizing one of the most significant cultural-religious phenomena in world history. The last book of the trilogy, de Man, about the crucifixion of Jesus, was published by Sister Vision Press in 1995 and is now out of print.