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Happy Pride, June and all year long! Discover these amazing titles by LGBTQ2SIA+ writers from across Canada.
Showing 1–16 of 175 results
Covering Indigenous adventures from Ontario?s Walpole Island to Northern Saskatchewan to the BC coast, #IndianLovePoems is a poetry collection that delves into the humour and truths of love and lust within Indigenous communities. Sharing stories in search of The One, or even better, the One-Night-Stand, or the opening of boundaries this collection fearlessly sheds light on the sharing and honesty that comes with discussions of men, women, sex, and relationships, using humour to explore the complexities of race, culture and intent within relationships.
Meet Daniel Garneau, your average gay hockey player from small-town Ontario. After moving to Toronto to attend university, Daniel embarks on a series of misadventures both comic and tragic, as he navigates the pitfalls of dating and relationships while juggling the needs of his eccentric family and newfound friends. A Boy at the Edge of the World is a coming-of-age novel that explores the variegations of sex, intimacy, and queer desire. It is both a rollicking dramedy and a philosophical reflection. In the end, Daniel’s story is the story of each of us: our universal search for love and family — at the edge of the world.
French novelist Hervé Guilbert’s 1991 novel, To the Friend Who Did Not Save My Life, is about a narrator named Hervé Guilbert who, after his close friend Muzil (really, Michel Foucault) dies of AIDS, begins to realize his symptoms are the same. In this same tradition of fictionalized memoir, this novel’s narrator, called Catherine Mavrikakis, explores the perspective not of dying, but of the one left behind.
In the book, a series of Mavrikakis’s friends die, many of AIDS. As each person becomes a Hervé to her, she begins to explore the idea of death as a universal yet individual experience. Furious, relieved, terrified and confused, the novel’s narrator confronts the way people think about and respond to death, and quiet mourning is replaced by a series of encounters between the living and the dead. Drawing on Deleuze, Freud, Foucault and, of course, Guilbert, Mavrikakis creates a kind of living mausoleum where those unable to speak can still be heard, and where their voices challenge our passivity in the face of death.
A Natural History of Transition is a collection of short stories that disrupts the notion that trans people can only have one transformation. Like the landscape studied over eons, change does not have an expiration date for these trans characters, who grow as tall as buildings, turn into mountains, unravel hometown mysteries, and give birth to cocoons. Portland-based author Callum Angus infuses his work with a mix of alternative history, horror, and a reality heavily dosed with magic.
Winner of the 2014 Governor General’s Literary Award
Based on a true story, Get Yourself Home Skyler James follows the harrowing journey of a young lesbian who defects from the army when she is outed by fellow soldiers. The award-winning rihannaboi95 centres around a Toronto teen whose world comes crashing in when YouTube videos of him dancing to songs by his favourite pop heroine go viral. Finally, Peter Fechter: 59 Minutes chronicles the last hour of Peter Fechter’s life, a teenager in East Berlin shot while attempting to cross the Berlin Wall in 1962 with his companion. Together these solo plays explore the lives of three queer youth and their resilience in the face of violence and intolerance.
Obsession, unrequited passions and the power of music.
A visceral tale of obsession and creativity, unrequited passions and the power of music. A love story in which art is a foil to companionship, and the intellect an interlocutor of the heart.
In the utterly unique All that Sang, the second fiction by Lambda Literary Award-finalist Lydia Perovic, a Toronto opera critic on assignment in Paris falls in love with the subject she’s been sent to interview, France’s leading female conductor. But is the attention evenly matched, is genuine connection even possible?
Perovic guides us through the panorama that orbits contemporary courtship. The jilted lover, the housekeeper, the chiropractor, the manager, all take part in a chorus of voices that illustrate the unknowable creative spirit whose inaccessibility fires the writer’s obsession.
Reminiscent of the bold and inventive fictions of Ali Smith and Siri Hustvedt, postmodern refractions play with the reader’s sense of perspective to build the persona of affection, a figure of reality and imagination that we all recognize but can never truly access.
A visceral, vital, unblinking debut collection of poems exploring kinesthetic memory and longing, inherited violence, and the body as a geographical site.
We’re often told that we are given only what we can bear. For some of us our first lessons are in how much pain we’re made to think we deserve–and the resulting scars are always meant to be kept secret. Assiyah Jamilla Touré’s debut collection is a record of those scars–not those inflicted on us by the thousands of little wars we live in everyday, but those that come afterwards, those we inflict upon ourselves to mark the path.
Each and every poem in Autowar was written on a cell phone, transcribing an urgent revisiting of old sites of pain, and also a revisiting of one young person’s power and ability–to hurt themself, or others. These poems are powerful evocations of how even our scars have worlds and lives.
here in the dark, me-space
i am insatiable for my flesh
i just can’t get enough
of tiny after-wounds
that’s me giving, still too soft
for my own teeth
Cover image by Ayo Tsalithaba.
A formidable collection of poems that deconstructs the notion of “otherness” through folklore and myth.
An unflinching shapeshifter, Beast at Every Threshold dances between familial hauntings and cultural histories, intimate hungers and broader griefs. Memories become malleable, pop culture provides a backdrop to glittery queer love, and folklore speaks back as a radical tool of survival. With unapologetic precision, Natalie Wee unravels constructs of “otherness” and names language our most familiar weapon, illuminating the intersections of queerness, diaspora, and loss with obsessive, inexhaustible ferocity – and in resurrecting the self rendered a site of violence, makes visible the “Beast at Every Threshold.”
Beguiling and deeply imagined, Wee’s poems explore thresholds of marginality, queerness, immigration, nationhood, and reinvention of the self through myth.
Into their re-imaginings of colonial North American myths, artists Shawna Dempsey and Lorri Millan have inserted women who question puritanical values of good and evil, right and wrong, and the sense of promise, space, resource, and opportunity that the so-called New World has traditionally implied. The eight short stories of this volume span the 18th, 19th and 20th centuries, exploring the distinctly North American fictions that justice and equality exist, that infinite growth is feasible and desirable, and that anything is possible. Pirate queens, inventrixes and sideshow performers stumble through tall tales usually reserved for Lone Rangers and Horatio Algers; plucky spinsters, religious zealots, deities and office workers challenge well-worn fables that continue to shape North America’s notion of itself and its dreams for the future. These rollicking yarns of personal survival are set amidst shifting frontiers of power and possibility.
Sola is confused the first time she sees Judith, a fair skinned woman with dreadlocks dancing to reggae music. Meeting her gaze, Judith thinks Sola is judging her for appropriating Black culture. A few days later, up against an interlocking fence, Judith kisses Sola. Onlookers hurl stones and racial and gay slurs. Thus begins the complicated friendship between Judith and Sola who live in between the land they were born, the Caribbean, and the land where they presently live, North America.
Winner of the 2016 Beacon Award for Social Justice Literature and the 2015 Atlantic Writer’s Competition, Big Island, Small is a story of intimacy and friendship between two Caribbean/Canadian women with similar, yet vastly different, backgrounds who must dismantle their assumptions and biases around race, class, gender and sexuality in order to make amends with violent pasts, release shame, find joy and reconnect with themselves and each other.
In Blue: The Derek Jarman Poems, Keith Garebian, himself an insatiable cineaste, has masterfully spliced together an engaging book-length portrait of a filmmaker, visual artist, poet, sexual rebel, and gardener who double-dared the conventions of art, desire, and filmmaking. Derek Jarman’s final film, Blue, is a work without visuals except International Klein Blue, and it provides Garebian with an inspired backdrop against which he explores, in the book’s poignant closing section, the filmmaker’s descent into illness-induced blindness, charting his physical and emotional decline while also building towards a kind of defiant holy death equal to the passions of Jarman’s most sacred martyrs: Caravaggio, St. Sebastian, and Jesus Christ.
In this life-affirming, cinematic, at turns randy and elegiac verse-biography, Keith Garebian celebrates one of the world’s truly unforgettable and rebellious spirits.