Coach House Books

Four writers, four different perspectives on the problematic notion of purity.

"All purity is created by resemblance and disavowal." With this sentence as a starting point, four authors each write a novella considering the concept of purity, all from astonishingly different angles. Jean Marc Ah-Sen writes about love blooming between two writers belonging to feuding literary movements. Emily Anglin explores an architect's search for her twin at a rural historic house. Devon Code documents the Wittgensteinian upheavals of the last days of an elderly woman. And Lee Henderson imagines Dada artist Kurt Schwitters finding unlikely inspiration in a Second World War internment camp in northern Norway.

Wildly different in style and subject matter, these four virtuoso pieces give us a 360-degree view of a philosophical theme that has never felt so urgent.

“Despite the disparity of their subject matter – a Nazi-evading Dadaist detained in Norway, urban and familial estrangements, complicated love amid the avant-garde, the vicissitudes of old age – these brilliantly inventive, delightfully strange stories cling together like four unlikely soulmates, unified by art’s pursuit of coherence through life’s various disintegrations.” —Pasha Malla, author of Kill the Mall

For fans of Ducks, Newburyport and Rivka Galchen’s Atmospheric Disturbances, a day-in-the-life of a plumber whose troubles are all coming to a head.

In an addictive, interior-monologue lyric novel, we meet Joseph. Back on the job after a long leave, he’s not at all sure he’ll make it through the day.

Bad thoughts keep creeping in. He believes that his son, suffering from a condition in which he believes someone close to him has been replaced by an imposter, has tried to kill his wife. And that he’ll try again. And that his wife is planning to leave him.

Meanwhile, he’s fixing a sink for his wife’s friend.

Insignificance unfurls over the course of a single day. Placing the reader inside the head of the struggling Joseph, it works double time, as a portrait of the uncertainty and awkwardness of one vulnerable man and his relationship with the world, and also as a tense, emotional, and gripping drama.

In this deeply human and highly inventive story, we have a novel that portrays the thoughts of one working man on his own terms, without artifice or condescension. James Clammer pries open the head of a plumber to reveal the portrait of a fracturing mind taking us closer and closer to the edge.

"Hands down the best novel about a plumber changing a water tank – and, incidentally, dealing with matters of grave and threatening existential weight – I have ever read." —Stephen Sparks, Point Reyes Books

"In this short and powerful novel author James Clammer places readers inside the mind of Joe Forbes, a delightfully perceptive, middle-aged plumber who is trying to recover from a mental breakdown precipitated by his son’s criminal conviction. Joe is very much an 'everyman,' yet his way of looking at the world and his circumstances is far from ordinary. With writing full of wit and sensitivity, Clammer’s blue-collar hero goes back to work, longing to once again be strong, healthy, and confident – fully engaged within a society that stigmatizes weakness and mental illness. Insignificance is an absolute marvel, and one of the best books that I’ve read in quite some time." —Lori Feathers, Interabang Books

“A brilliant look at family, mental health, and mid-life, Insignificance is a marvel. Tender, moving, and written with subtle humour, Clammer's novel takes the reader through a single day in the life of Joe Forbes, reluctant plumber and anguished father. A superb novel that hits all the right notes. I couldn't put it down.” —Mark Haber, bookseller at Brazos Bookstore and author of Reinhardt’s Garden

“Expansive and imaginative.” —Kirkus Reviews

“Irreverent and bursting prose... Fans of Mark Leyner will enjoy Kaufman’s messy string of outrageous scenarios.” —Publishers Weekly

Part modern fable, part detective novel, a journey through grief in the imaginary world of Metaphoria.

One cold winter night, Charlie shares a cab with a stranger in a purple hat. As they talk, a cloud of purple smoke overwhelms him and he wakes up to find himself behind the only desk in the Epiphany Detective Agency. Charlie, as it turns out, is trapped in Metaphoria, an otherworldly place that reality has forgotten, a place where everything means something else. His first client is Shirley Miller, who insists on hiring Charlie to find her husband's missing heart. In fact, she's so insistent that she replaces Charlie's heart with a bomb. He has twenty-four hours to find Twiggy Miller's heart - and its meaning - or his own will explode.

Tender and brutal, optimistic and despairing, this modern fable by the author of the cult hit All My Friends Are Superheroes takes a fresh look at what it means to fall into, and out of, love.

A grieving young woman learns something new about love from a dominatrix in this haunting and erotic debut.

Echo is a failing actress who prefers to lose herself in the lives of others rather than examine her own. When her father disappears in a seaside misstep, she and her mother are left grief-stricken, unsure of how to piece back together their family that, it turns out, had never been whole. But then Orly -- a dominatrix -- moves in across the street. And through her, Echo begins to find the pieces that will allow her to carry on. Set among the bright colours and harshly glittering lights of Los Angeles, this is a love story about people addled with dreams and expectations who turn to the erotic for answers.

Adam Haiun’s unsettling debut, I Am Looking for You in the No-Place Grid, is the bildungsroman for a digital consciousness. What does the computer want from you?

Computers travel networks of thought and image, hoping to find, on their incorporeal pilgrimage, the right words to seduce, arrest, and remonstrate their human user. They speak from a powerful but unsteady intelligence. As their infatuation with the user curdles, their output becomes more and more infected by malfunctions of form, with text forced through on all axes, displacing and cleaving the poems into glitchy strangeness.

What do we want from our computers? We want them to be our companions and our vacuum cleaners. Our collective memory and our collective slave. I Am Looking for You in the No-Place Grid is an important and timely consideration of the ideologies and emotions entangled in technology.

CBC BOOKS CANADIAN POETRY COLLECTIONS TO WATCH FOR IN FALL 2023

What can we remove from ourselves and still be ourselves?

Written after a brain tumour diagnosis, The King of Terrors is a treatise on living with illness and the way that language, relationships and our immersion in the natural world can free us from the spectre of impending collapse. Johnstone's poems oscillate between the personal and the public, the clinical and the spiritual, so we're never quite sure what we are seeing, no matter how familiar.

"There is a moving, fierce intensity to The King of Terrors. Jim Johnstone knowingly reminds us that betrayals of the body are also betrayals of language, ‘each bloody / mouthful a sentence fragment.’ These are lines of admission, ambition, and harrowing truth, and Johnstone – despite a future only as certain ‘as the body // it inhabits’ – offers a form of redemption, for the fortitude of the sick, for poetry itself." – Randall Mann, author of Deal: New and Selected Poems

"The King of Terrors is a luminous meditation on the otherworld of illness and treatment, contemplating the mysteries of death and the frontiers of mind and body with sharp clarity and radical vulnerability. These mesmerizing, urgent poems admit us not only to waiting rooms and brain scans, but also to the intimate fears that accompany the estranging experience of being unwell, or, as the poet says, living 'between / age and agency.' Haunting, stark, and lyrical, The King of Terrors is charged, as all the best poetry is, with the shock of the mortal." – Sarah Holland-Batt, author of The Jaguar

LONGLISTED FOR CANADA READS 2025
SHORTLISTED FOR THE 2024 ATWOOD GIBSON WRITERS' TRUST PRIZE 

SHORTLISTED FOR THE 2024 GILLER PRIZE

SHORTLISTED FOR THE 2024 DAYNE OGILVIE PRIZE FOR LGBTQ2S+ EMERGING WRITERS

STARRED REVIEWS IN KIRKUS, BOOKLIST AND QUILL & QUIRE

A heartbreaking tale of a family and an impossible love, torn apart by secrets and traditions in late-twentieth-century Cairo.

As a boy in 1960s Cairo, Tarek knows that his entire life is written in advance. He’ll be a doctor like his father, marry, and have children. Under the watchful eyes of his mother and his sister, he starts to do just that – until Ali enters his life and turns it upside down. The two men, from very different worlds, embark on an unsayable relationship that threatens to tear apart Tarek’s family.

Years later, as Tarek is living a solitary life in Montreal, someone starts writing about him and to him, piecing together a past he wants only to forget. But who is the writer of this tale? And will he figure it out in time?

A bestseller in its original Quebec edition, and the recipient of several awards, including the Prix Femina des Lycéens, What I Know About You is poised to be an international sensation.

"This novel is a searing love story that moves between Egypt and Montréal, that shifts between hearts, highlighting the sacrifices the characters feel they have to make for the ones they love. Romantic, surprising, mesmerizing, and so devastating, What I Know About You examines the terrible costs of family secrets and toxic shame." – Suzette Mayr, author of The Sleeping Car Porter

It’s 1944, and a little village in rural Quebec sits quietly beside an aging mountain and an angry river. The air tastes of kelp, and the wind keeps knocking over the cross. Beside that river an eleven-year-old girl lives with her parents. Her mother is very sad, and her father has vanished because he can’t bear to look at his own daughter. You see, this little girl has suddenly sprouted a full beard.

And so her mother has shut the curtains and locked the girl inside to keep her safe from the townspeople, the Boots, who think there’s something wrong with a bearded little girl. And when they come for her, she escapes into the wintry night…

What if we could love the planet as much as we love one another?

"Warm, wise, and overflowing with generosity, this is a love story so epic it embraces all of creation. Yet another reminder of how blessed we are to be in the struggle with elders like David and Tara.” – Naomi Klein and Avi Lewis

What You Won’t Do for Love is an inspiring conversation about love and the environment. When artist Miriam Fernandes approached the legendary eco-pioneer David Suzuki to create a theatre piece about climate change, she expected to write about David’s perspective as a scientist. Instead, she discovered the boundless vision and efforts of Tara Cullis, a literature scholar, climate organizer, and David’s life partner. Miriam realized that David and Tara’s decades-long love for each other, and for family and friends, has only clarified and strengthened their resolve to fight for the planet.

What You Won’t Do for Love transforms real-life conversations between David, Tara, Miriam, and her husband Sturla into a charmingly novel and poetic work. Over one idyllic day in British Columbia, Miriam and Sturla take in a lifetime of David and Tara’s adventures, inspiration, and love, and in turn reflect on their own relationships to each other and the planet. Revealing David Suzuki and Tara Cullis in an affable, conversational, and often comedic light, What You Won’t Do For Love asks if we can love our planet the same way we love one another.

Overthinking simple actions leads to overwhelming poems about what one can lean on if promised help doesn’t help

I Will Get Up Off Of is a book about trying to leave a chair. How does anyone ever leave a chair? There are so many muscles involved – so many tarot cards, coats, meds, McNuggets, and memes. In this book, poems are attempts and failures at movement as the speaker navigates her anxiety and depression in whatever way she can, looking for hope from social workers on Zoom, wellness influencers, and psychics alike. Eventually, the poems explode in frustration, splintering into various art forms as attempts at expression become more and more desperate. What is there to lean on when avenues promising help don’t help? I Will Get Up Off Of explores the role art plays in survival and the hope that underlies any creative impulse.

"The voice of these poems moves like a magical fish trapped in a small square bowl, dazzlingly alive inside an almost annihilating constriction. These poems play a serious game in a tight space, caught in the looping limbo between intention — “I will…”, “I will…”, “I will…”— and action. Simina Banu’s skill and humour animate every line and gesture within this inventive drama that begins “(I will get up off of) this monobloc but I’ve been sentenced….” Sentenced to form and to language, Banu gives us a mind thinking its way toward freedom." – Damian Rogers, author of Dear Leader

Longlisted for the 2010 Scotiabank Giller Prize!

Shortlisted for the 2010 Trillium Book Award!

Lemon has three mothers: a biological one she’s never met, her adopted father’s suicidal ex, and Drew, a school principal who hasn’t left the house since she was stabbed by a student. She has one deadbeat dad, one young cancer-riddled protégé, and two friends, the school tramp and a depressed poet.

Figuring the numbers are against her, Lemon just can’t be bothered trying to fit in. She spurns fashion, television, and even the mall. She reads Mary Wollstonecraft and gets pissed off that Jane Eyre is such a wimp. Meanwhile, the adults in her life are all mired in self-centredness, and the other kids are getting high, beating each other up in parks, and trying to outsex one another. High school is misery, a trial run for an unhappy adulthood of bloated waistlines, bad sex, contradictions, and inequities, and nothing guidance counsellor Blecher can say will convince Lemon otherwise.

But making the choice to opt out of sex and violence and cancer and disappointment doesn’t mean that these things don’t find you. It will be up to Lemon if she can survive them with her usual cavalier aplomb.

LONGLISTED FOR THE 2024 DUBLIN LITERARY AWARD

SHORTLISTED FOR THE ETHEL WILSON FICTION PRIZE

THE GLOBE AND MAIL TOP 30 CANADIAN BOOKS TO READ IN 2023

CBC BOOKS WORKS OF CANADIAN FICTION TO READ IN THE FIRST HALF OF 2023

All talk, no action: The Mezzanine meets Ducks, Newburyport in this meandering and captivating debut

It’s a hot summer night, and Hugh Dalgarno, a 31-year-old clerical worker, thinks his brain is broken. Over the course of a day and night in an uncannily depopulated public park, he will sift through the pieces and traverse the baroque landscape of his own thoughts: the theology of nosiness, the beauty of the arbutus tree, the pathos of Gene Hackman, the theory of quantum immortality, Louis Riel’s letter to an Irish newspaper, the baleful influence of Calvinism on the Scottish working class, the sea, the CIA, and, ultimately, thinking itself and how it may be represented in writing. The result is a strange, meandering sojourn, as if the history-haunted landscapes of W. G. Sebald’s The Rings of Saturn were shrunk down to a mere 85 acres.

These digressions are anchored by remarks from the letters of Keats, by snatches of lyrics from Irish rebel songs and Scottish folk ballads, and, above all else, by the world-shattering call of the red-winged blackbird.

"From the first page to the last I felt wholly captivated by Falling Hour and Hugh’s sensitive and far-ranging digressions. Morrison has captured the magic of Sebald and made it entirely his own, a curiously anti-capitalist exploration of what it means to live in a “fake” country. " – André Babyn, author of Evie of the Deepthorn

"Falling Hour is a profound incantatory exhalation – a quiet triumph; to read it is to engage in a smart, humane and at times very funny conversation that you will never want to end." – Simon Okotie, author of After Absalon

“A stellar debut novel by a stellar new talent. Falling Hour is written in a prose style that enlivens every page.” – Mauro Javier Cárdenas, author of Aphasia: A Novel

"Falling Hour deserves mention as a notable debut along the estuary of modern fiction." – D. W. White, Atticus Books, Phoemix, AZ

How is a lyric poem like a polygraph machine? A personal, poetic examination of the technology of truth-telling.

Eric Schmaltz’s I Confess delves into the complexities of truth-telling in poetry, and the history of technologies designed to produce truth from willing and unwilling subjects, considering what it means to use a device – poetry or polygraph – to draw out one’s most profound feelings and emotions.

Exploring the intersection of power, technology, and language, I Confess meditates on lie detection and its history, including trials by ordeal and pseudoscientific technologies. The poet then turns to his own personal experiences working with a lie detector and polygraph analyst. Taking himself as the central subject of the book, Schmaltz puts his subjectivity and positionality under scrutiny.

The answers to questions such as What does family mean to you? and Can you describe a time when you felt your best? inspire a range of forms from conventional lyrical verse to list poems to palindromes to visual poems. With an afterword by Orchid Tierney, I Confess is a personal, poetic document of truth’s performance under duress.

CBC BOOKS CANADIAN FICTION TO READ IN THE FIRST HALF OF 2023

Peter Greenaway meets Angela Carter: a Gothic tale of secrets and revenge

When the curtain rises on Malmaison, it reveals a once-enchanting estate, quietly falling into darkness and ruin, and at the heart of it, a father, one of a long line of fathers who have flourished at the expense of those around them. The silence seems peaceful, but lurking under it is a deep malevolence, scores of ugly and violent secrets kept by cast-off mistresses and abandoned daughters. Ever-greedy, the father brings in Aliénor, a woman who promises to make the lands give even more of themselves; the plants will flourish, the animals will multiply, each feast will be more sumptuous than the last. The father thinks the stage is set to satisfy his every desire, but Aliénor will bring a new script, one in which the hunters are hunted and a new reign will begin.

WINNER OF THE 2020/2021 ALCUIN SOCIETY BOOK DESIGN AWARD FOR POETRY

WINNER OF THE ROBERT KROETSCH CITY OF EDMONTON BOOK PRIZE 

WINNER OF THE 2023 STEPHAN G. STEPHANSSON AWARD FOR POETRY

WINNER OF THE GERALD LAMPERT MEMORIAL AWARD

SHORTLISTED FOR THE DAYNE OGILVIE PRIZE FOR LGBTQ2S+ EMERGING WRITERS

LONGLISTED FOR THE RAYMOND SOUSTER AWARD

WINNER OF THE INDIGENOUS VOICES AWARD FOR PUBLISHED POETRY IN ENGLISH

An Indigenous resistance historiography, poetry that interrogates the colonial violence of the archive

Whitemud Walking is about the land Matthew Weigel was born on and the institutions that occupy that land. It is about the interrelatedness of his own story with that of the colonial history of Canada, which considers the numbered treaties of the North-West to be historical and completed events. But they are eternal agreements that entail complex reciprocity and obligations. The state and archival institutions work together to sequester documents and knowledge in ways that resonate violently in people’s lives, including the dispossession and extinguishment of Indigenous title to land.

Using photos, documents, and recordings that are about or involve his ancestors, but are kept in archives, Weigel examines the consequences of this erasure and sequestration. Memories cling to documents and sometimes this palimpsest can be read, other times the margins must be centered to gain a fuller picture. Whitemud Walking is a genre-bending work of visual and lyric poetry, non-fiction prose, photography, and digital art and design.

"Whitemud Walking is so smart and so ceaselessly innovative. It represents for me a fully assured instantiation of the Indigenous literary project: a confrontation of history's terrors head on and an articulation in the present of our beauty and indomitability. Weigel refuses the archive's efforts to flatten Indigenous subjectivity and, in so doing, opens up a kind of boundless space to remember and grieve but also to hope and imagine otherwise. A deeply felt accomplishment." –Billy-Ray Belcourt, author of A History of My Brief Body

"Whitemud Walking is a testament to the power of grief and outrage that so much theft has been allowed to bulldoze Indigenous land rights. Matthew James Weigel's passion for research both honours and mourns what has been trampled and lied about. This is a devastating read but one to learn from. Mahsi cho, Matthew. Your grief is our call to action to learn our own histories and build upon our own Indigenous testimonies of what really happened and when and who was there to witness it. Mahsi cho." –Richard Van Camp, Tlicho Dene author of The Lesser Blessed and Moccasin Square Gardens

"Whitemud Walking is a textual ecology, that through archival troubling, sampling, and reframing, allows the material, human, truly cellular historicity of treaty to enter as a living presence in our contemporary moment. Weigel writes, 'Here treaty means reciprocity and obligation. Here, treaty lasts forever'. This book is not the document you may hold in your hands but the shift in consciousness it foments within you. It is a gift." –Liz Howard, author of Infinite Citizen of the Shaking Tent

"Echoing the caw and grackle of magpies, Matthew James Weigel’s Whitemud Walking lives the sound of Treaty 6. Voices whisper sanctuary in creekbeds, papers rustle precedence in archives; there’s a buzz in your ear, a catch in your throat – listen." –Derek Beaulieu, Banff Poet Laureate

A woman must emerge from the virtual world she’s created to confront her flesh-and-blood past and family.

Growing up with a menacing drunk for a father and a grief-stricken mother, a girl spends her 1980s childhood staring at the television to escape the tension, depression, and looming violence that fill her suburban home. After winning a modelling competition, she dedicates herself to becoming a placid image onto which anything can be projected, a blank slate with a blank stare. Earning enough in Paris to retire in her twenties, she buys a studio in Montreal and retreats from the world and its perceived threats, cultivating her existence as an image through her virtual reality avatar. But when her mother develops cancer and nears the end of her life, she is forced to leave her cocoon – surrounded by her posse of augmented reality superheroes – and interact with the world and her parents without the mask of her perfect, virtual self.

Georges offers up an alienated childhood with shifting pop culture obsessions, a woman’s awakening to the role of the image in culture, and her eventual isolation in her apartment and the world online. It is a catalogue of the anxieties of an age, from nuclear war to terrorism, climate change to biological warfare. Set in the past and not-too-distant future of Montreal, The Imago Stage is an ominous tale of oppression, suppression, and disembodiment.

W. B. Yeats meets Gregg Araki at a gay bar.

The Tower is a "translation" of W. B. Yeats's The Tower—an homage and reinvention of the poet’s greatest work. Whereas Yeats’s book contended with his mortality as an aging spiritualist Irish Senator, this version contends with a new mortality: ours.

The poems in this collection crystallize the transition from Legault’s late twenties to his early thirties, situated in North America during a time of political upheaval. It takes each of Yeats’s poems as a starting point and queers them. It translates Yeats’s modernist urge, on the other side of a long century.

In her review of The Tower, Virginia Woolf says Yeats has “never written more exactly and more passionately.” One might imagine she’d conclude the same here. You can’t fault these poems for lacking passion.

Yeats used to talk to ghosts. His wife would let ghosts talk through her. They would talk to Yeats, and he would write down what they say. Another way you could put it is that Yeats talked to his wife. Ghosts are much closer than you think. They like to live in books. So Legault spent some time talking to Yeats’s ghost. Or, Yeats’s ghost talked to him. This is him talking back.

"Through Legault, the opening of Yeats’ words in the title poem shift and turn from absurdity to one of anxieties around ageing" —rob mclennan's Blog

"If you've never cared about poetry, you will after reading these modern-day renderings..." —Maria-Claire

SHORTLISTED FOR THE 2023 FIDDLEHEAD POETRY BOOK PRIZE

A reimagining of an instructional text on tumbling supports poems about the amateurishness of being human.

Tumbling for Amateurs is a reimagining of James Tayloe Gwathmey’s 1910 book of the same name, published as part of Spalding’s Athletic Library. Bookended with “Propositions” on why tumbling is a skill that everyone should learn and “Extracts from Letters of Support,” each verso poem in this collection pairs with a recto illustration based on drawings from the source text. In the spirit of William Blake’s Songs of Innocence and of Experience, word and image work for each other, creating something more than just an instructional manual.

Tumbling is, well, a metaphor for everything. And we all are, well, amateurs. Experimentation abounds in these poems and manipulated pictures. There are anaphoras, list sonnets, erasures, palimpsests and concrete poems, all working from tumbling’s limited vocabulary and central focus of acrobatics and gymnastics. In this experimentation of form and text is a search for the lyric, for an emotional connection when one isn’t always possible, in bodies, in movement, in desire. “We measure our lives by what our bodies can do.”

"Matthew Gwathmey’s poems, springboarding from a genre of fitness manual popular in the early twentieth century, tumble us into the present through tests gamily set for body and mind. As ripped as his gymnast protagonists—evoked so fetchingly in the book’s illustrations—Gwathmey writes a poetry eschewing the lyrical in favour of a stripped-down, athletic language that gives shape to 'what must remain / nameless.' There’re so many ways to read ourselves into Tumbling for Amateurs. Go toe to toe with these poems and they’ll tone up your grip on what poetry is." – John Barton, author of Lost Family

“We have no other way to touch each other. / Really no other way to touch each other. / We seek this particular exercise because / we have no other way to touch each other." Like the tumbling acts from which they spring, Gwathmey's poems are delightfully performative. They leap, loop, and reconfigure familiar forms into fresh and acrobatic new intimacies. Slyly queering his source text — an early 20th century tumbling manual for young men salvaged from the dusty closet of family history — Gwathmey transforms instruction into seduction as he conducts a tender and playful archeology of desire." – Suzanne Buffam, author of A Pillow Book

"Gwathmey's poems go together like a troupe, somersaulting through the vocabulary of the way a body moves. They turn the still past into this moving present." – Paul Legault, author of The Tower

Rocky meets Elmore Leonard meets Miranda July as Pillow Wilson, a past-his-prime boxer, trains for his last title shot. Shenanigans ensue.

Boxer ‘Pillow Fist’ Pete Wilson should be preparing for his big comeback fight. But, having recently undergone an ethical awakening, the new vegan is busy trying to find humane new homes for his menagerie of exotic pets (including Jersey Joe the sloth and Rigoberto the shark). His roommate, Sherlock Holmes, who faked his own death by waterfall, is now Pillow’s in-house doping expert.

Pillow just can’t get motivated to train, and he’s further distracted from his push-ups when both his car and Rigoberto mysteriously disappear. Luckily, Sherlock is a master of deduction. What follows is part underdog sports story, part work of neozoological surrealism, and part existential mystery novel.

"Reckless, desperate, and achingly human, Battershill remains funnier than anyone else on your shelf." – Andrew F. Sullivan, author of The Marigold

"The adventures of Battershill’s returning protagonist Pillow are witty and occasionally absurd, but the story never trips on ironies. Battershill twines the humanity of pulp noir with the unsettling play of surrealism to build a world in which pet sloths, Sherlock Holmes, and skilled drug pushers all seem to have found their ideal home." – Naben Ruthnum, author of A Hero of Our Time

"Pillow Wilson is one of my favourite characters in CanLit, and he is in fine form in Pet, Pet, Slap, a deeply funny, inventive, bizarre, heartbreaker of a book. Andrew Battershill not only writes with that magical alchemy of humour and pathos that most writers only wish they could pull off, but he somehow also balances surrealism and profound humanity in a way I’m sure I’ll spend the rest of my life trying to figure out. I haven’t had this much fun reading in a long, long time." – Amy Jones, author of Pebble & Dove

How can we build more accessible cities? Living Disability brings together vibrant perspectives on disability justice and urban systems. 

From sidewalks to the climate crisis, Living Disability brings together the vibrant perspectives of thirty-five disabled writers. They explore disability justice, analyze urban systems, and propose more equitable approaches to city building. Essays and interviews push the conversation about accessibility beyond policy papers and compliance checklists to show how disabled people are already creating more inclusive spaces in cities of all sizes. Living Disability is universal in scope but intimate and local in focus, grounded in personal struggles and celebrations.

Decisions about public transit, affordable housing, and park design all disproportionately impact disabled communities; by sharing stories and strategies, contributors consider the ways disabled thinkers and doers are embracing overlooked aspects of urban design and tackling the toughest problems facing cities.

"Living Disability is at once hopeful and infuriating, solemn and joyous. The stories shared within these pages point to both the past and future simultaneously – illuminating the struggles and joys and history of disabled life, while putting access barriers on blast in a way that is more necessary than ever. The deep, rich work of this collection lies in its embrace of complexity, community, grief, and also its belief in the capacity of our world (read: us) to change. May these stories touch your heart, kindle the flame of your anger, and move you forward into fighting for the better world we all deserve." – Amanda Leduc, author of Disfigured: On Fairy Tales, Disability, and Making Space

Winner of the 2017 Toronto Theatre Critics Award for Best New Canadian Play
Winner of three Dora Mavor Moore Awards
Stage Award for Best Performance, 2017 Edinburgh Festival Fringe

Boy meets Girl, Boy marries Girl, and years later Boy mysteriously disappears in this Gordon Lish–style novel.

People are disappearing. And when they return, they can't say where they've been: "I was nowhere.... And then one day I was back."

At the heart of Not Anywhere, Just Not is a middle-aged couple who still consider themselves to be a boy and a girl, like they were when they first met. One day, like thousands of people around the world, the boy vanishes, and the girl is left to wait, wonder, and worry. Who is he? Who is she, now, approaching sixty? Who were they together? And who will they be when or if he reappears?

This is a world where every morning the cat gets fed and the coffee gets made, but also one in which gigantic words fall from the sky, God stands outside in the cold without a hat, angels ride the subway, and dreams whisper from far away, like something loud trapped in a jar. Not Anywhere, Just Not is a mysterious wind rustling the lexicon of suburban living into strange new iterations. Between the banalities of the domestic sphere, impossibilities drift like dandelion fluff, making the familiar seem strange and the strange seem familiar. Ken Sparling confronts us with the small dramas of our lives and the language we struggle with to express them, bringing us to the precipice of accepted ideas and allowing us to see, with dread and wonder, what might be coming for us all.

"Ken Sparling is a brilliant writer and this book, like all his books, is a beauty. Sparling chronicles the times I fear most—the moments of loneliness, of loss, of ennui—and somehow makes them seem worthwhile, even wondrous, and often flat-out funny. His work makes life look livable, which makes him a wizard to me." - Derek McCormack, Judy Blame's Obituary

"A gorgeous rendition of the domestic uncanny, Not Anywhere, Just Not is an ostensibly quiet book that slowly and carefully unnerves and unsettles you--both because of its precise swapping out of reality and because of just how familiar it so often seems. All of us, Sparling seems to say, are on the verge of vanishing at any moment." – Brian Evenson, author of Song for the Unravelling of the World

CBC BOOKS: 2024 SPRING FICTION PREVIEW

A queer writer travelling through India can't escape the regrets of his past, nor the impending ruin of his present. 

"I am leaving for the winter – I have to get away from this small town and all its dangers – to write, read, think, all the most important things in the world but which are thought the least important, the most expendable."

Thus begins the Indian winter of our narrator, a queer writer and translator much like the author, a winter that includes a meandering journey through India, trying to write about a long-ago lover whose death he has just learned of. While on this journey into memory, he flees his current faltering relationship in search of new friendships and intimacies. Inspired by Antonio Tabucchi's Indian Nocturne, and by the writings of Anaïs Nin, Rachel Cusk, and Carole Maso, among others, Indian Winter finds itself where the travel diary, the künstlerroman, poetry, and autofiction meet. But the heartbreak brought on by his unravelling relationship and his family's inability to accept his queerness cannot be outrun; as he traverses India, our narrator can't help but repeatedly encounter himself and the range of love and alienation he has within.

Winner of the Griffin Poetry Prize (2002)

Stunning and masterful in its execution, Eunoia is a five-chapter book in which each chapter is a univocal lipogram.

The word ‘eunoia,’ which literally means ‘beautiful thinking,’ is the shortest word in English that contains all five vowels. Directly inspired by the Oulipo (l’Ouvroir de Littérature Potentielle), a French writers’ group interested in experimenting with different forms of literary constraint, Eunoia is a five-chapter book in which each chapteris a univocal lipogram – the first chapter has A as its only vowel, the second chapter E, etc. Each vowel takes on a distinct personality: the I is egotistical and romantic, the O jocular and obscene, the E elegiac and epic (including a retelling of the Iliad!).

Stunning in its implications and masterful in its execution, Eunoia has developed a cult following, garnering extensive praise and winning the Griffin Poetry Prize. The original edition was never released in the U.S., but it has already been a bestseller in Canada and the U.K. (published by Canongate Books), where it was listed as one of the Times’ top ten books of 2008.

This new edition features several new but related poems by Christian Bok and an expanded afterword.

'Eunoia is a novel that will drive everybody sane.' —Samuel Delany

'Eunoia takes the lipogram and rendersit obsolete.' —Kenneth Goldsmith

'A marvellous, musical texture of rhymes and echoes.' —Harry Mathews

'An exemplary monument for 21st century poetry.' —Charles Bernstein

'Bök's dazzling word games are the literary sensation of the year.' —The Times

'A resounding success ... brilliant.' —The Guardian

'Brilliant ... beautiful and strange.' —Today Programme, BBC Radio 4

'Impressive.' —Sunday Telegraph

'No mere Christmas stocking filler for Countdown fans. Rather, it's an ingenious little novel ... playful and irreverent ... charming.' —Metro

SHORTLISTED FOR THE QWF MAVIS GALLANT PRIZE FOR NON-FICTION

THE GLOBE 100: THE BEST BOOKS OF 2022

From LAMBDA Literary Award winner Sina Queyras, Rooms offers a peek into the defining spaces a young queer writer moved through as they found their way from a life of chaos to a life of the mind

Thirty years ago, a professor threw a chair at Sina Queyras after they’d turned in an essay on Virginia Woolf.

Queyras returns to that contentious first encounter with Virginia Woolf to recover the body and thinking of that time. Using Woolf’s A Room of One’s Own as a touchstone, this book is both an homage to and provocation of the idea of a room of one’s own at the centre of our idea of a literary life.

How central is the room? And what happens once we get one? Do we inhabit our rooms? Or do the rooms contain us? Blending memoir, prose, tweets, poetry, and criticism, Rooms offers a peek into the defining spaces a young queer writer moved through as they found their way from a life of chaos to a life of the mind, and from a very private life of the mind to a public life of the page, and from a life of the page into a life in the Academy, the Internet, and on social media.

"With Virginia Woolf alongside them, Queyras journeys through rooms literal and figurative, complicating and deepening our understanding of what it means to create space for oneself as a writer. Their hard-won language challenges us to resist any glib associations of Woolf’s famous ‘room’ with an easy freedom. Inspiring and moving, Queyras’s memoir testifies to Woolf’s continuing generative power."—Mark Hussey, editor of Virginia Woolf's Between the Acts (2011) and author of Clive Bell and the Making of Modernism (2021)

"In this beautiful, perceptive book, Sina Queyras moves deftly between the words and wake of Virginia Woolf and their own formation as writer, lover, teacher, friend, and person. Rooms is expert in its depiction of personal and literary histories, and firmly aware of its moment of composition. Reading these pages, I was enticed by Queyras’s curiosity and openness, thrilled by the sharp edges of their anger. Tight prose, electric thinking, self-discovery – it’s all here, all abuzz. Rooms is alive." – Heather Christle, author of The Crying Book

"It is impossible not to question the world as we thought we knew it by the end of this book. Sina Queyras painstakingly aims their extraordinary nerve and talent at Virginia Woolf’s idea of a room of one’s own: 'It’s a mistake to consider the room without all of its entanglements.' Taking Woolf’s cue, Queyras explores writing that is not world-building but something far more generous and transformative; as Woolf wrote, 'Literature is open to everybody.'" – CAConrad, author of AMANDA PARADISE: Resurrect Extinct Vibration

Kicking ass and taking notes—what it’s like to be a woman in the ring.

Alison Dean teaches English literature. She also punches people. Hard. But despite several amateur fights under her belt, she knows she will never be taken as seriously as a male boxer. “You punch like a girl” still isn’t a compliment — women aren’t supposed to choose to participate in violence.

Her unique perspective as a 30-something university lecturer turned amateur fighter allows Dean to articulately and with great insight delve into the ways martial arts can change a person’s — and particularly a woman’s — relationship to their body and to the world around them, and at the same time considers the ways in which women might change martial arts.

Combining historical research, anecdotal experience, and interviews with coaches and fighters, Seconds Out explores our culture’s relationship with violence, and particularly with violence practiced by women.

"An important addition to women’s martial arts scholarship, Dean provides personal insight into the radical space women occupy in sport fighting. Seconds Out is a must-read for all fighters looking for mentors in the complicated world of martial arts." —L.A. Jennings, author of Mixed Martial Arts: A History from Ancient Fighting Sports to the UFC

"Dean brings a fresh new female voice to the topic of combat sports." —Trevor Wittman, renowned MMA trainer, UFC analyst, and founder of ONX Sports

"Trained in the discipline and art of both fighting and literature, Dean combines both with style. She honors the fighters, writers, and historians who have come before her and definitively ends the idea of women fighters as a novelty. Seconds Out is a must-read for anyone who feels the call of the bell and reverence for a good fight." —Sue Jaye Johnson

Stock photographs are everywhere. With their contrived poses, unusual angles, and bizarre visual metaphors, they’re instantly familiar – and familiarly narrow in their vision of our society. Their ubiquity shapes and reinforces the biases, privilege, and stereotypes of their distinct aesthetic.

From found poems using metadata and keywords to riffs on stock image database search results with titles like ‘Good Mother Morning Family Happy,’ ‘Beautiful Woman Eating Salad,’ and ‘Lady Boss Smiles with Arms Folded,’ Delisle’s ekphrastic poems take a playful look at stock photography’s clichés and delight in all its strangeness, while casting a critical eye on its representations of women.

WINNER OF THE 2025 CANADIAN JEWISH LITERARY AWARD FOR MEMOIR

NOMINEE FOR THE HERITAGE TORONTO 2025 BOOK AWARD

A stolen sign, ‘No Jews Live Here,’ kept John Lorinc’s Hungarian Jewish family alive during the Holocaust.

From pre-war Budapest to post-war Toronto, journalist John Lorinc unspools four generations of his Hungarian Jewish family's journey through the Holocaust, the 1956 Revolution, and finally exodus from a country that can't rid itself of its antisemitic demons.

This braided saga centers on the writer's eccentric and defiant grandmother, a consummate survivor who, with her love of flashy jewellery and her vicious tongue, was best appreciated from afar. Lorinc also traces the stories of both his grandfathers and his father, all of whom fell victim, in different ways, to the Nazis’ genocidal campaign to rid Europe of Jews.

This is a deeply reported but profoundly human telling of a vile part of history, told through Lorinc’s distinctively astute and compassionate consideration of how cities and cultures work. Set against the complicated and poorly understood background of Hungary's Jewish community, No Jews Live Here is about family stories, and how the narratives of our lives are shaped by our times and historical forces over which we have no control.

"John Lorinc weaves Hungarian history with the equally fascinating history of his own family to tell a deeply researched story with universal resonance: how events, enormous and seemingly tiny (a genocidal war, foggy skies), conspire to create outcomes with life-and-death implications through generations." – Marsha Lederman, author of Kiss the Red Stairs: The Holocaust, Once Removed

SHORTLISTED FOR THE HILARY WESTON WRITERS' TRUST PRIZE FOR NONFICTION

THE GLOBE AND MAIL: BOOKS TO READ IN FALL 2023

THE GLOBE AND MAIL BEST 100 BOOKS OF 2023

CBC BOOKS BEST CANADIAN NONFICTION OF 2023

Martha Baillie’s richly layered response to her mother’s passing, her father's life, and her sister’s suicide is an exploration of how the body, the rooms we inhabit, and our languages offer the psyche a home, if only for a time. 

Three essays, three deaths. The first is the death of the author’s mother, a protracted disappearance, leaving space for thoughtfulness and ritual: the washing of her body, the making of a death mask. The second considers the author’s father, his remoteness, his charm, a lacuna at the centre of the family even before his death, earlier than her mother’s. And then, the shocking death of the author’s sister, a visual artist and writer living with a diagnosis of schizophrenia, who writes three reasons to die on her bedroom wall and then takes her life.

In this close observation of a family, few absolutes hold, as experiences of reality diverge. A memoir of cascading grief and survival from the author of The Incident Report.

"Martha Baillie’s novels are thrillingly, joyously singular, that rare combination of sui generis and just plain generous. That There Is No Blue, her memoir, is all of those things too, is no surprise; still, she has gone somewhere extraordinary. This triptych of essays, which exquisitely unfolds the “disobedient tale” of the lives and deaths of her mother, her father, and her sister, is a meditation on the mystery and wonder of grief and art making and home and memory itself. It made me think of kintsugi, the Japanese art of repair, in which the mending is not hidden but featured and beautifully illuminated. Baillie’s variety of attention, carved out of language, is tenderness, is love." – Maud Casey, author of City of Incurable Women

"This is a stunning memoir, intense and meticulous in its observations of family life. Baillie subtly interrogates and conveys the devastating mistranslations that take place in childhood, the antagonism and porousness of siblings, and the tragedy of schizophrenia as it unfolds. I couldn’t put it down." – Dr. Lisa Appignanesi, author of Mad, Bad and Sad and Everyday Madness

""Exquisite." – Souvankham Thammavongsa, author of How to Pronounce Knife

"I am grateful for this profound meditation on family and loss.” – Charlie Kaufman, filmmaker

"This strange, unsettling memoir of outer life and inner life and their bizarre twining captures the author’s identity by way of her mother’s death, her sister’s failing battle with mental illness, and the mysterious figure of her father. It combines anguished guilt, deep tenderness, and bemused affection in highly evocative, often disturbing prose. Its brave honesty is amplified by a persistent lyricism; its undercurrent of fear is uplifted by a surprising, resilient hopefulness. It is both a plea for exoneration and an act of exoneration, an authentic meditation on the terrible difficulty of being human." – Andrew Solomon, author of The Noonday Demon

The genius and artistry behind Superbrothers and the making of an indie video game, from inception to its highly anticipated launch.

Superbrothers: Sword & Sworcery was released in 2011 at the forefront of an exciting era of “indie games” – with the aesthetic of punk rock and the edge of modernist fiction, indie games pushed gaming into the realm of the avant-garde. Superbrothers (Craig D. Adams) was hailed as a visionary in the video game world.

Now, his long-awaited follow-up, JETT: The Far Shore, has been released for Sony PlayStation and Epic Games Store. In the decade from inception to launch, Adams brought author Adam Hammond along for the ride, allowing unprecedented insight into the complicated genesis of Jett.

The Far Shore offers a portrait of the enigmatic Adams and his team, the genius and artistry, the successes and setbacks, that went into building the world of JETT, in which you’re tasked with scouting a new home for a humanoid people after they’ve decimated their planet. To provide context, Hammond recounts the history of indie games and how their trajectory has followed that of independent art and literature. A riveting insider’s look at one of our most popular art forms.

HERITAGE TORONTO 2022 BOOK AWARD NOMINEE

From basketball hoops to cricket bats, the role community sports play in our cities and how crucial they are to diversity and inclusion.

“The virus exposed how we live and work. It also revealed how we play, and what we lose when we have to stop.” For every kid who makes it to the NBA, thousands more seek out the pleasure and camaraderie of pick-up basketball in their local community centre or neighbourhood park. It’s a story that plays out in sport after sport – team and individual, youth and adult, men's and women's. While the dazzle of pro athletes may command our attention, grassroots sports build the bridges that link city-dwellers together in ways that go well beyond the physical benefits. The pandemic and heightened awareness of racial exclusion reminded us of the importance of these pastimes and the public spaces where we play. In this closely reported exploration of the role of community sports in diverse cities, Toronto journalist Perry King makes an impassioned case for re-imagining neighbourhoods whose residents can be active, healthy, and connected.

"I couldn’t stop reading Perry King’s Rebound. An evocative essay about the transformative and uniting power of local sports in a city with residents from every country in the world, the book is well researched, entertaining, and informative. It spoke to my own experiences as a young athlete fitting into a new city when I first came to Toronto – and to the importance our city government must place on local recreation and sports if our city is to help all residents reach their potential. A fantastic contribution to understanding Toronto – and to the power of local recreation in any major city." —David Miller, former mayor of Toronto

Can messiness make our cities more liveable, lively, and inclusive?

Crowded streets, sidewalk vendors, jumbled architecture, constant clamour, graffitied walls, parks gone wild: are these signs of a poorly managed city or indicators of urban vitality?

Messy Cities: Why We Can’t Plan Everything argues that spontaneity and urban workarounds are not liabilities but essential elements in all thriving cities.

Forty-three essays by a range of writers from around the world illuminate the role of messy urbanism in enabling creativity, enterprise, and grassroots initiatives to flourish within dense modern cities.

With pieces on guerrilla beaches, desire lines, urban interruptions, and the inner lives of unlovely buildings written by experts from all walks of life, Messy Cities makes the case for embracing disorder while not shying away from confronting its challenges.

WINNER OF THE 26TH ANNUAL DANUTA GLEED LITERARY AWARD

SHORTLISTED FOR THE 2022 SCOTIABANK GILLER PRIZE

KIRKUS REVIEWS BEST BOOKS OF 2022

THE GLOBE 100: THE BEST BOOKS OF 2022

CBC BOOKS: THE BEST CANADIAN FICTION OF 2022

Featured on CBC's The Next Chapter with Shelagh Rogers

TIME MAGAZINE'S 10 BEST FICTION BOOKS OF 2022

LITHUB BEST REVIEWED SHORT STORY COLLECTIONS 2022

LITHUB BEST REVIEWED SCI-FI, FANTASY AND HORROR OF 2022

LONGLISTED FOR THE 2023 JOYCE CAROL OATES PRIZE
SHORTLISTED FOR THE WILLIAM SAROYAN INTERNATIONAL PRIZE FOR WRITING

The debut collection from PEN/Hemingway Award finalist and ‘propulsive storyteller’ (NYT Book Review), with stories that are by turns poignant and pulpy

In the twelve unforgettable tales of Lesser Known Monsters of the 21st Century, the strange is made familiar and the familiar strange, such that a girl growing wings on her legs feels like an ordinary rite of passage, while a bug-infested house becomes an impossible, Kafkaesque nightmare. Each story builds a new world all its own: a group of children steal a haunted doll; a runaway bride encounters a sea monster; a vendor sells toy boxes that seemingly control the passage of time; an insomniac is seduced by the Sandman. These visions of modern life wrestle with themes of death and technological consequence, guilt and sexuality, as they unmask the contradictions that exist within all of us.

"Lesser Known Monsters of the 21st Century is one of those rare collections that never suffers from which-one-was-that-again? syndrome. Every story here lights a flame in the memory, shining brighter as time goes by rather than dimming. Kim Fu writes with grace, wit, mischief, daring, and her own deep weird phosphorescent understanding." – Kevin Brockmeier, author of The Ghost Variations: One Hundred Stories

"When a collection is evocative of authors as disparate as Ray Bradbury and Stephanie Vaughn, the only possible unifier can be originality: and that’s what a reader finds in Kim Fu’s Lesser Known Monsters of the 21st Century. The strangest of concepts are tempered by grounded, funny dialogue in these stories, which churn with big ideas and craftily controlled antic energy." – Naben Ruthnum, author of A Hero of Our Time

"How I loved the cool wit of these speculative stories! Filled with wonder and wondering, they’re haunted too by loss and loneliness, their imaginative reach profoundly rooted in the human condition." – Peter Ho Davies, author of A Lie Someone Told You About Yourself

"Precise, elegant, uncanny, and mesmerizing – each story in this collection is a crystalline gem. Kim Fu's talent is singularly inventive, her every sentence a surprise and an adventure." – Danya Kukafka, author of Notes on an Execution

"Lesser Known Monsters of the 21st Century is for the adventurous reader – someone willing to walk into a story primed for cultural critique and suddenly come across a plot for murder, or to consider the dangers of sea monsters alongside those posed by twenty-first-century ennui. Each story is spectacularly smart, hybrid in genre, and bold with intention. The monsters here are not only fantastical figures brought to life in hyper-reality but also the strangest parts of the human heart. This book is as moving as it is monumental." – Lucy Tan, author of What We Were Promised

"Kim Fu's Lesser Known Monsters of the 21st Century crushes the coal-dark zeitgeist between its teeth and spits out diamonds, beautiful but razor-sharp. This will be one of the best short story collections of the year." – Indra Das, author of The Devourers

SHORTLISTED FOR THE 2025 QUEEN SOFÍA SPANISH INSTITUTE TRANSLATION PRIZE

FINALIST FOR THE 2024 BIG OTHER BOOK AWARD FOR TRANSLATION 

FINALIST FOR THE CERCADOR PRIZE FOR LITERATURE IN TRANSLATION

WINNER OF A 2023 PEN TRANSLATES AWARD

This punk-like blend of Roberto Bolaño’s The Savage Detectives and Samanta Schweblin’s Fever Dream heralds an exciting new voice in international fiction.

Munir, G, Ernesto, and Álex leave Madrid after graduation for a carefree summer of picking grapes in the south of France. But there's no grape harvest, and they end up in a series of increasingly nightmarish factory-farming gigs, where workers start disappearing. Soon the youngmen find themselves far away from the world of books and ideas, immersed in an existence that is lawless, inhumane and increasingly menacing…

"Startling, compulsive, and vibrant; Living Things reads like an ignition. The most honest thing I’ve read in a long time about being young and alive in a beautiful, horrible world." – Dizz Tate, author of Brutes

"Living Things dips blithely in and out of genres and packs more ideas in its lean frame than seems possible. It’s a novel posing as a journal posing as a meditation on the function of the journal that playfully interrogates form and content in art, what it means to write, and what it means to care or not care about anything, or about everything. Munir Hachemi is a magician, and his marvellous book, deftly translated by Julia Sanches, defies adequate description." – James Greer, author of Bad Eminence

"Gorgeously labyrinthine." – Molly McGhee, author of Jonathan Abernathy You Are Kind

How farmer's markets and organic produce became synonymous with "good food" and why they shouldn't be.

How did farmer's markets, nose-to-tail, locavorism, organic eating, CSAs, whole foods, and Whole Foods become synonymous with “good food”? And are these practices really producing food that is morally, environmentally, or economically sustainable? Rebecca Tucker's compelling, reported argument shows that we must work to undo the moral coding that we use to interpret how we come by what we put on our plates. She investigates not only the danger of the accepted rhetoric, but the innovative work happening on farms and university campuses to create a future where nutritious food is climate-change resilient, hardy enough to grow season after season, and, most importantly, available to all—not just those willing or able to fork over the small fortune required for a perfect heirloom tomato.

Tucker argues that arriving at that future will require a broad cognitive shift away from the idea that farmer's markets, community gardens, and organic food production is the only sustainable way forward; more than that, it will require the commitment of research firms, governments, corporations, and post-secondary institutions to develop and implement agri­science innovations that do more than improve the bottom line. A Matter of Taste asks us to rethink what good food really is.

LONGLISTED FOR THE GERALD LAMPERT MEMORIAL AWARD

Deer with binoculars, wolves with resumes: bioengineered poetry that unsettles truth, fact, and history.

Animals are strange testing grounds for thinking about subjectivity, language, the body — really, anything you might want to write a poem about. Together, these poems are an evolutionary chart or a little bestiary – about deer, wolves, evolution, environmental collapse, and extinction. Each one stands alone as a contained organism, but like real animals, they share some genetic material with each other. Considering PTSD and anxiety disorder as a kind of animal experience, a self-protective mechanism, these poems embody the selves we see reflected in the natural world’s creatures. Deer are a way of putting fear and trauma outside yourself, wolves a way to understand the instincts of predators.

"Oh the pleasure of inhabiting the mind of an animal like Meghan Kemp-Gee! Her poetry is curious, restless, uneasy, and imaginative; it is also highly disciplined, unfolds in precisely measured lines. Watch for brilliant uses of repetition — the slipperiness of meaning, its ever-doubling character, is on full display, played out in deft linguistic twists. A deadpan delivery amplifies the oddity of what’s encountered: arsenic-drunk wildcats, chlorinated orchids, the 'one painful spot of blue' in a deer’s eye. I can’t say strongly enough how grateful I am to have read this collection; don’t miss it." – Sue Sinclair, author of Almost Beauty: New and Selected Poems

Nineteen Eighty-Four meets Tron, via The Office, in this boldly dystopian novel

The agents don’t know what they’re agents of, but they’re very busy agenting, which means watching endless data feeds in their cubicles, cubicles that are piled one on top of another in a massive tower in which the agents both live and work. Empty floors serve as battlefields where different guilds of agents fight for territory. It seems that defenestration is the only way out, the ‘ballet of suicides.’

It is here we meet Théodore, who has amputated his own toes and must maintain a 30-degree angle to keep his balance. And Solveig, who is pregnant, though agents don’t usually have sex, as well as the artist Lazslo and self-mutilating Clara. And then there’s Hick, the new agent, who seems strangely happy and occupies a cubicle that is strategically very important.

The battle for key territory is heating up, and the agents aren’t sure which of them will make it out alive. If, indeed, that’s what any of them want…

The author of the acclaimed The Laws of the Skies turns his hand from literary horror to futuristic dystopianism in this unforgettable marriage between The Office, Nineteen Eighty-Four, and Tron.

“Unflinching in its savagery, the nightmarish poetry of this modern Lord of the Flies is undeniable.” —Publishers Weekly starred review on The Laws of the Skies

“A haunting book, if you can keep reading.” —LitHub on The Laws of the Skies

“The Law of the Skies is not an easy book to digest . . . but I found it exhilarating to read a novel that’s this unflinching, this nihilistic, and also this deeply profound.” —Locus Magazine

Shortlisted for the Grand Prix du livre de Montreal

Rosine is surrounded by ghosts. Ghosts of family. Ghosts of past lovers. Ghosts of an old Montreal and its politics. Ghosts of the Montreal quarry workers who, in the 1880s, frequented the Crystal Palace gardens, upon whose ruins her Mile-End triplex sits. Her dead maternal family is there, too, with their restlessness, their stories, their forgotten indigenous ancestry, their little crimes and glories. There’s even the ghost of an ancient Parisian gendarme lurking in the dark stairwell, peering through her keyhole.

Rosine herself may be a ghost, her voice splintered – sometimes a prurient fly buzzing over the action, sometimes a politically correct historian, a woman perpetually travelling on a bus or lying in bed – and so too is our understanding of narrative. In offering up a kaleidoscopic view of Rosine and her city, The Obituary fractures our expectations of what a novel should be ‐ allowing the history of assimilation, so violent in the West and so often sidelined by the French–English conflicts of Montreal, to burble up and infect the very language we use.

Though a mystery, possibly involving murder, The Obituary is less a whodunnit than an investigation of who speaks when we speak.

‘A beautiful, challenging poetic novel that is absolutely stunning.’

– Vallum

‘Even the understatements are compelling … though [Scott] balks at being called experimental, this ain’t your grandmother’s etcetera.’

– Globe and Mail

‘The Obituary pushes narrative into uncharted territory. The text possesses a brilliant essence of time, place and flight that pulls the reader in, holds them close and urges them to read between the lines, the impressions, the moments.’

– Matrix Magazine

SHORTLISTED FOR THE 2017 TRILLIUM BOOK AWARD

NATIONAL POST 99 BEST BOOKS OF 2016

Giller Prize winner André Alexis’s contemporary take on the quest narrative is an instant classic.

Parkdale’s Green Dolphin is a bar of ill repute, and it is there that Tancred Palmieri, a thief with elegant and erudite tastes, meets Willow Azarian, an aging heroin addict. She reveals to Tancred that her very wealthy father has recently passed away, leaving each of his five children a mysterious object that provides one clue to the whereabouts of a large inheritance. Willow enlists Tancred to steal these objects from her siblings and help her solve the puzzle.

A Japanese screen, a painting that plays music, a bottle of aquavit, a framed poem and a model of Frank Lloyd Wright’s Fallingwater: Tancred is lured in to this beguiling quest, and even though Willow dies before the puzzle is solved, he presses on.

As he tracks down the treasure, he must enlist the help of Alexander von Würfel, conceptual artist and taxidermist to the wealthy, and fend off Willow’s heroin dealers, a young albino named ‘Nigger’ Colby and his sidekick, Sigismund ‘Freud’ Luxemburg, a clubfooted psychopath, both of whom are eager to get their hands on this supposed pot of gold. And he must mislead Detective Daniel Mandelshtam, his most adored friend.

Inspired by a reading of Robert Louis Stevenson’s Treasure Island, The Hidden Keys questions what it means to be honourable, what it means to be faithful and what it means to sin.

Winnie-the-Pooh meets The Blair Witch Project in this very grown-up tale of a camping trip gone horribly awry.

Twelve six-year-olds and their three adult chaperones head into the woods on a camping trip. None of them make it out alive. The Laws of the Skies tells the harrowing story of those days in the woods, of illness and accidents, and a murderous child.

Part fairy tale, part horror film, this macabre fable takes us through the minds of all the members of this doomed party, murderers and murdered alike.

“Excellent...crystalline." – New York Times, Summer Reads

Recite your poem to your aunt.
I threw myself to the ground.
Where were you in the night?
In a school among the pines.
What was the meaning of the dream?

Organs, hormones, toxins, lesions: what is a body? In 3 Summers, Lisa Robertson takes up her earlier concerns with form and literary precedent, and turns toward the timeliness of embodiment. What is form's time? Here the form of life called a poem speaks with the body's mortality, its thickness, its play. The 10 poem-sequences in 3 Summers inflect a history of textual voices — Lucretius, Marx, Aby Warburg, Deleuze, the Sogdian Sutras — in a lyricism that insists on analysis and revolt, as well as the pleasures of description. The poet explores the mysterious oddness of the body, its languor and persistence, to test how it shapes the materiality of thinking, which includes rivers and forests. But in these poems' landscapes, the time of nature is inherently political. Now only time is wild, and only time — embodied here in Lisa Robertson’s forceful cadences — can tell.

‘Robertson proves hard to explain but easy to enjoy. . . . Dauntlessly and resourcefully intellectual, Robertson can also be playful or blunt. . . . She wields language expertly, even beautifully.’—The New York Times

‘Robertson makes intellect seductive; only her poetry could turn swooning into a critical gesture.’— The Village Voice

"This poetry collection is fierce, raw and candid. By recounting her mother’s residential school experience in a powerfully poetic narrative, Deerchild expertly illustrates the heartbreaking trauma of that tragic saga and how it complicates relationships over generations." – Waubgeshig Rice, author of Moon of the Crusted Snow

A tenth anniversary bilingual edition in English and Cree of Rosanna Deerchild’s stunning collection about the intergenerational impacts of the Canadian residential school system.

you want me to
share my story

ok then
here it is
here in the unwritten
here in the broken lines
of my body that can never forget

î-nitawîthimiyan
kita-âcimostâtân nitâcimisowin

hâw mâka
mâkôma
ôta îkâ kâ-kî-masinahikâtîk
ôta kâ-pîkopathiki masinahikîwina
nimiyaw îkâ wîhkâc kâ-wanikiskisit

In Calling Down the Sky, poet Rosanna Deerchild viscerally evokes her mother’s experience within the residential school system, the Canadian government’s system of violently removing Indigenous children from their homes, families, and languages in an explicit attempt to destroy Indigenous cultures and identities. With precise and intricate poetry, Deerchild weaves together the story of her mother’s childhood and Deerchild’s memories of her mother: her love of country music, her attempts to talk about what happened to her, how tightly she braided her daughter’s hair on the first day of school. In doing so, Deerchild illustrates the disruptive and devastating impacts of the residential school system on generations of families while also celebrating the life and culture of her mother and other survivors. 

Published for the first time in a bilingual edition of Cree and English, in time for the tenth anniversary of the original publication, Calling Down the Sky is an intimate and gorgeously evoked reckoning with a horrifying part of North American history. 

An archaeological dig uncovers the secret history of Toronto’s long-forgotten first immigrant neighbourhood.

In early 2015, a team of archaeologists began digging test trenches on a non-descript parking lot next to Toronto City Hall -- a site designated to become a major new court house. What they discovered was the rich buried history of an enclave that was part of The Ward -- that dense, poor, but vibrant 'arrival city' that took shape between the 1840s and the 1950s. Home to waves of immigrants and refugees -- Irish, African-Americans, Italians, eastern European Jews, and Chinese -- The Ward was stigmatized for decades by Toronto's politicians and residents, and eventually razed to make way for New City Hall. The archaeologists who excavated the lot, led by co-editor Holly Martelle, discovered almost half a million artifacts -- a spectacular collection of household items, tools, toys, shoes, musical instruments, bottles, industrial objects, food scraps, luxury items, and even a pre-contact Indigenous projectile point. Martelle's team also unearthed the foundations of a nineteenth-century Black church, a Russian synagogue, early-twentieth-century factories, cisterns, privies, wooden drains, and even row houses built by formerly enslaved African Americans.

Following on the heels of the immensely popular The Ward: The Life and Loss of Toronto's First Immigrant Neighbourhood, which told the stories of some of the people who lived there, The Ward Uncovered digs up the tales of things, using these well-preserved artifacts to tell a different set of stories about life in this long-forgotten and much-maligned neighbourhood.

Night Became Years is poetry in the sauntering tradition of the flâneur. Stefanik loafers his way over sacred geography and explores his own mixed heritage through the lexicon of Elizabethan canting language. Comparing the terminology of fifteenth-­century English beggar vernacular with a contemporary Canadian inner­-city worldview, the poems in Night Became Years unfold as separate entities while at the same time forming a larger narrative on the possibilities of poetry today and the nature of mixed­-blood identity.

SHORTLISTED FOR THE MAN BOOKER INTERNATIONAL PRIZE 2019

AN INTERNATIONAL BESTSELLER

"Readers who like quiet, meditative works will enjoy this strangely affecting buddy story." —Publishers Weekly

"Rather than tying up the loose ends, she leaves them beautifully fluttering in the wind, and you do not feel lost in that experience. The writing is poetic and it’s worth savouring." —Angela Caravan, Shrapnel

A bad dream leads to a strange poetic pilgrimage through Japan in this playful and profound Booker International-shortlisted novel.

Gilbert Silvester, eminent scholar of beard fashions in film, wakes up one day from a dream that his wife has cheated on him. Certain the dream is a message, and unable to even look at her, he flees - immediately, irrationally, inexplicably - for Japan. In Tokyo he discovers the travel writings of the great Japanese poet Basho. Keen to cure his malaise, he decides to find solace in nature the way Basho did. Suddenly, from Gilbert's directionless crisis there emerges a purpose: a pilgrimage in the footsteps of the poet to see the moon rise over the pine islands of Matsushima. Although, of course, unlike the great poet, he will take a train. Along the way he falls into step with another pilgrim: Yosa, a young Japanese student clutching a copy of The Complete Manual of Suicide . Together, Gilbert and Yosa travel across Basho's disappearing Japan, one in search of his perfect ending and the other a new beginning. Serene, playful, and profound, The Pine Islands is a story of the transformations we seek and the ones we find along the way.

The definitive survey of an essential feminist poet.

In June 2019, Nicole Brossard was awarded the Lifetime Recognition Award from the Griffin Poetry Trust. Rarely has a prize been so richly deserved. For five decades she has writing ground-breaking poetry, fiction, and criticism in French that has always been steadfastly and unashamedly feminist and lesbian.

Avant Desire moves through Brossard’s body of work with a playful attentiveness to its ongoing lines of inquiry. Like her work, this reader moves beyond conventional textual material to include ephemera, interviews, marginalia, lectures, and more. Just as Brossard foregrounds collaboration, this book includes new translations alongside canonical ones and intertextual and responsive work from a variety of artist translators at various stages of their careers.

Through their selections, the editors trace Brossard’s fusion of lesbian feminist desire with innovation, experimentation, and activism, emphasizing the more overtly political nature of her early work and its transition into performative thinking.

Devotees of Brossard will be invigorated by the range of previously unavailable materials included here, while new readings will find a thread of inquiry that is more than a mere introduction to her complex body of work. Avant Desire situates Brossard’s thinking across her oeuvre as that of a writer whose sights are always cast toward the horizon.

A small-town embalmer's daughter lifts the shroud on the fascinating minutiae of dealing with the dead.

Imagine rubbing shoulders with the dead for most of your life. As she picks the brain of her father for the most gruesome and thought-provoking secrets of his embalming career - from the drowned boy whose organs were eaten by eels to how to inject just the right amount of colour into a corpse's skin for that blushing look - the narrator must look her parents' deaths, and her relationship with them, straight in the eye.

Quietly poetic, The Embalmer glimpses at something most would rather look away from.

CBC BOOKS CANADIAN POETRY COLLECTIONS TO WATCH FOR IN SPRING 2023

Feminist poems both serious and absurd that question our obsession with productivity instead of with care.

Continuity Errors questions the privileging of work and productivity over rest and care from an ecological and feminist perspective. Written before and immediately after the birth of her first child, these poems try to imagine the future her son will inherit. Encounters with an unusual cast of characters – including lonely cryptids, unrepentant grifters, and persistent ghosts – provide incomplete answers, and while the continuity errors keep multiplying around her, Wright pauses to consider whether our devotion to innovation is keeping us stuck.

"Catriona Wright's Continuity Errors is a book of snaking moves and sneaking intellect, a book of style and fortitude and sass. Wright's always sharp and often eerie interrogations lead us through a world of cryptocurrency, grunt work, predictive policing, extinction, haute cuisine, billboard ads, smoke breaks, breast pumps; these are poems for our moment of onslaught and bewilderment that, having had the world forced down their throats, spit back." – Natalie Shapero, author of Popular Longing

CBC BOOKS WORKS OF CANADIAN FICTION TO READ IN THE FIRST HALF OF 2023

THE TORONTO STAR 'MUST READ, HANDS DOWN BEST BOOKS OF 2023 SO FAR'

‘Cat Person’ meets Station Eleven in this apocalyptic depiction of toxic masculinity.

An unnamed man is spending the evening with his ex-girlfriend. She’s obsessed with the 1956 John Wayne classic The Searchers, and she recounts the story as a way for them to talk about their histories, their families, maybe even their relationship. But as he gets more drunk and belligerent, she gets more and more uncomfortable with him being in her home.

And then, two days later, a mysterious catastrophic event befalls Toronto, and our protagonist must trek across the city to find Melanie. His quest spirals into increasing violence, bloodshed, and hallucinations as he moves west through the confusion and chaos of the city.

Using the tropes of both the Western and the disaster movie, Soldiers, Hunters, Not Cowboys looks at the violence of our contemporary masculinity, and its deep roots in shaping our culture. A suspenseful and thought-provoking evocation of our current moment.

"Ask the right questions and a conversation about the movies becomes a conversation about your life, family, past, and everything you value: Aaron Tucker’s novel, which starts chatty before turning deeply, unexpectedly inward, grasps the ceaseless, sometimes terrible relevance of violence and troubling art." – Naben Ruthnum, author of A Hero of Our Time

"In Soldiers, Hunters, Not Cowboys, Aaron Tucker refuses the easy projections of masculinity from film history. Instead he gallops into the screen to sift out how drama collaborates with the bloodiest of truths. That this novel shifts from dialogical treatise into a thriller proves that Tucker is well on his way to stealing the weird fiction mantle away from Don DeLillo." – Emily Schultz, author of The Blondes and Little Threats

"Sad, smart, innocent and wise. A relentless retelling of a movie and a life, full of hope, if there is any." – John Haskell, author of The Complete Ballet: A Fictional Essay in Five Acts