Xavier Bird, her sole living relation, is gravely wounded and addicted to morphine. As Niska slowly paddles her canoe on the three-day journey to bring Xavier home, travelling through the stark but stunning landscape of Northern Ontario, their respective stories emerge—stories of Niska’s life among her kin and of Xavier’s horrifying experiences in the killing fields of Ypres and the Somme.

    His goal was to raise $1 from every Canadian to help find a cure, and some combination of passion, idealism, and sheer guts led to the impossible notion that he would do this on one good leg and a prosthesis. Beginning in Newfoundland on April 12, 1980, he ran 26 miles each day for 143 consecutive days. But on September 1, the return of his cancer forced him to stop in Thunder Bay, Ontario. He died ten months later, but by then his dream had been realized: over $24 million had been collected in his name. Created to help celebrate the 25th anniversary of his journey, this biography combines over 80 new photographs from a previously unknown family collection with a very personal episodic narrative. The result brings a magic moment in Canadian history, and the young man who inspired it, freshly alive.All royalties from the book will be donated to the Terry Fox Foundation to support cancer research.

    Composed of autobiographical essays, cultural commentary, book reviews, and introductory pieces written for great works of literature, this is the award-winning author's first book-length nonfiction publication in twenty years. Arranged chronologically, these writings display the development of Atwood's worldview as the world around her changes. Included are the Booker Prize–winning author's reviews of books by John Updike, Italo Calvino, Toni Morrison, and others, as well as essays in which she remembers herself reading Virginia Woolf's To the Lighthouse at age nineteen, and discusses the influence of George Orwell's 1984 on the writing of The Handmaid's Tale. Atwood's New York Times Book Review piece that helped make Orhan Pamuk's Snow a bestseller can be found here, as well as a look back on a family trip to Afghanistan just before the Soviet invasion, and her "Letter to America," written after September 11, 2001. The insightful and memorable pieces in this book serve as a testament to Atwood's career, reminding readers why she is one of the most esteemed writers of our time.

    As she sorts through the couple's belongings, she reflects on the untold stories and unsung bonds that make up our lives. Meanwhile, modern urban life places strains on her own marriage and on her sense of what, ultimately, we owe each other.Weaving together voices, diary entries, poems, conversations and lists, When I Was Young and In My Prime cuts to the heart of our search for intimacy and family, for what makes life meaningful and love real. The result is a smart, moving novel about personal and cultural decline, dignity and work, the urban and the rural, the old and the new, and the search for something ageless.

    Consider the story of Jack Weiss, who, at the age of fourteen, was deported from Hungary to the notorious death camp at Auschwitz-Birkenau. Desperate to stay with his father, and barely able to pass as a grown man, he recounts the horror of inspection upon arrival at Auschwitz by a man he remembers as Joseph Mengele. His period in the camps would be shorter than that of many others, but it ended no less dramatically, with a death march westward as Nazi officers forced inmates of the eastern camps to make a retreat before the advancing Russians. Finding himself alone at the end of the war, he traveled through orphanages and refugee camps dotted across Europe until, finally, at the age of seventeen, he was brought by the Canadian Jewish Congress to Winnipeg, Manitoba, to build a new life for himself. Prompted by his family to preserve his story, Jack Weiss began work on his autobiography. Torn between the desire to forget his Holocaust experience and the need to have his children and grandchildren understand it, Weiss confronted his demons. In the author's own words, "if those who know the truth remain silent, the truth will be lost."

    So in some ways this book is simply the result of an under-developed ability to say no.' Collected and published in the UK for the first time, here are essays and journalism from the brilliant novelist and poet. Ranging from book reviews of John Updike and Toni Morrison to an appreciation of Dashiell Hammet; an account of a journey in Afghanistan that sowed the seeds of 'The Handmaid's Tale'; passionate ecological writings; funny stories of 'my most embarrassing moments'; obituaries of some of her great friends and fellow writers: Angela Carter, Mordecai Richler, Carol Shields. This is an insightful, thoughtful and revealing record of the life and times and writings of Margaret Atwood from 1970 to the present.

    Rejoice in poems without people, poems without authors and poems with no audience. Informed by the writings of the 20th century's (and even the 21st century's!) most eclectic authors, Curio is quirky and sly— an ironic mixture simultaneously engaged with formal innovation and the retro avant-garde that heralds the arrival of a brave new poet.

    In the twenty-first century, it is hard to imagine that having a baby is still shrouded in secrecy and mythology. And yet many women go through their pregnancy with a sense of isolation and without an outlet to express their fears, doubts, and wonder. There is so much more to pregnancy than What to Expect When You’re Expecting. In Bear With Me, readers will discover the truth about pregnancy – poignantly and hilariously. It is important to know how Dr. Sears suggests you work a nasal aspirator, but how do you get through your thirtieth day of morning sickness without shooting someone?! Diane Flacks, who has written for Kids in the Hall and appeared with the Royal Canadian Air Farce, is open about her own experiences: dealing with hormonal mood swings and a changing body image, sex with a burgeoning belly, what really happens in the labour room, and (horror of horrors) becoming your mom. Flacks is witty, urbane, and refreshingly honest. In Bear With Me readers will find a voice that welcomes, does not judge or hide, and will make you laugh out loud.From the Trade Paperback edition.

    This poem resembles the freedom to charge a fee. The fee occurs in the gaps. It is an event. It is not without precedent. It is a moment in which you pay money. It is a tribute to freedom of choice.Reality is a parking lot in Qatar. Reality is an airstrip in Malawi.Meanwhile the expressway encloses, the expressway round and around the perimeters like wagon trains circling the bonfire, all of them, guns pointed, Busby Berkeley in the night sky.Echoing the pastoral and elegiac modes of the Romantic poets, whose reverence for nature never prevented them from addressing it with all the ideas and sensibilities their times allowed, Sina Queyras's stunning collection explores the infrastructures and means of modern mobility. Addressing the human project not so much as something imposed on nature but as an increasingly disturbing activity within it, Expressway exposes the paradox of modern mobility: the more roads and connections we build, the more separate we feel. 'Cleanse the doors of perception,' Blake urged, and with that in mind, Queyras has written a bravely lyrical critique of our ethical and ecological imprint, a legacy easily blamed on corporations and commerce, but one we've allowed, through our tacit acquiescence, to overwhelm us. Every brush stroke, every bolt and nut, every form and curve in our networks of oil and rubber, every thought and its material outcome — each decision can make or unmake us.

    Mixing laughter and tears—and told in words, music, and dance—the stories explore the hardship, struggles, and joys of their lives. ’da Kink has been staged in Toronto and New York and served as the basis for a recent drama special on Vision TV.

    Equally at home recounting the lore of her outlaw husband, Stephen Reid, or interpreting the arcane rituals of her teenage girls, Musgrave brings to her literary essays that same invigorating freshness for which she has become known through her fiction and poetry. In settings ranging from the aching solitude of the Queen Charlotte Islands to the sweaty intensity of bandido apartments in Panama, Musgrave muses with her legendary wit and pastiche, while creating graffiti-like impressions of the writer's essential take on those closest to her.

    The Wreckage is a truly epic, yet twisted, romance that unfolds over decades and continents. It engages readers on the austere shores of Newfoundland’s fishing villages and drags them across to Japanese POW camps during some of the worst events of the Second World War. Haunting, lyrical, and deeply intimate, Crummey’s language fully exposes his characters’ vulnerabilities as they struggle to come to terms with their guilt and regret over decisions made during their impulsive youths. In the fishing villages of Newfoundland we come across an itinerant Wish Furey. He’s a drifter and a projectionist, traveling from island to island bringing films to isolated communities. A Catholic in a staunchly Protestant community, working with an alcoholic, gambling partner, Wish is immediately labeled an outsider. On Little Fogo Island, he spots a desirable young woman in the audience and embarks on an unwavering mission to possess her. Mercedes Parsons – Sadie – is equally infatuated and yields to Wish's advances as much as her chaste upbringing will allow.Crummey masterfully captures the ferocity of the young romance, the coiled up sexual tension exploding in instances of pure pleasure and ending often in frustration. The pair can steal only scattered moments alone as Sadie’s mother puts up a formidable defense against Wish, whom she believes will bring only trouble. However intent he seems on winning Sadie, Wish's character remains mysteriously closed. He is painfully silent around her family, which only strengthens their mistrust. Crummey seems to purposefully disclose only the barest of Wish's intimate thoughts and motivations. While the romance intensifies, Crummey casts his lovers in a wider shadow. He brings to life the Newfoundland coastline, its unforgiving waters, the religious fervor and prejudice of its inhabitants, their ceaseless work, and the collective anxiety about the burgeoning war.Unable to defeat Sadie’s mother, and unable to quell his conscience after Sadie's breathless pleading, "Don't make a whore of me," Wish flees to St. John’s and enlists in the British army. Sadie embarks on a frantic pursuit only to find him gone. Defying her family she stays in the capital, building a new life, the reality of Wish's disappearance – the acute, constant ache of it – gradually settling in. Wish lands somewhere in southeast Asia and then, finally, in a Japanese POW camp. He suffers agonizing torture under a particularly cruel guard known initially as the Interpreter. We have met the Interpreter already. Crummey has woven this man's narrative through the novel, slowly revealing the origins of his unique hatred toward the Canadian prisoners. Born in British Columbia, Nishino has experienced a harsh brand of discrimination. It is through Nishino that Crummey provides a chilling example of how prejudice can breed exceptionally brutal cycles of violence.Crummey unveils the depths of his characters’ personalities with slow deliberation. The layers of their pain, suffering, and love are peeled back with each recounted memory as the novel makes its transition into contemporary times. With each memory that is unleashed the reader comes closer to understanding the choices the protagonists made, the consequences they endured, and their subsequent feelings of frustration and guilt. Fifty years after Sadie’s flight from St. John’s, she returns to Newfoundland to scatter the ashes of her dead husband and collides with Wish whom she believed dead. Sadie reflects, “It was like being handed a photograph from a stranger’s collection, one more unexpected glimpse of that face when she thought her memories of it were complete.” Memories can be taken out, tampered with, much like the film of the projectionist. It is here that Crummey cracks open Wish's character. There is a flood of revelations; his sexual exploits as a teenager, the bet made that he could conquer Sadie, Nishino's murder, and his own troubling reaction to it. It's a narrative coup. The reader is left, as Sadie is, stunned and grappling with these revelations and how our perceptions of his character have been altered. Wish is angry, sullen, and paralyzed with guilt. Yet he is still capable of love and being loved and Sadie is the only one left to remind him.It is a testament to Crummey’s gifts as a novelist that he can flow quite easily through time, across landscapes, and between vastly different characters. He vividly captures the mental and physical anguish Wish experienced in the prison camps, and with calm lucidity explores the motives of a Japanese soldier whose actions seem inhumanly cold and calculating. Crummey toys with the readers’ sympathies, suggesting there are few distinctions between the enemy and us. He incorporates heartbreaking tragedy – the dropping of the atom bomb, lynchings in America, murderous revenge – to underscore the darker side of humanity. Crummey shows that we are capable of violence, but in the end he proves we are also capable of redemption, forgiveness, and can be led, unashamed, back to the ones we love.From the Hardcover edition.

    Central to their themes are revisitations of family and marriage, and the land-death that is drought. Universal, deeply moving, crowded with breathtaking imagery, these are darkly resonant poems of middle age: alert to the beauty in loss, cherishing the humanity that is whetted on that stone. This is Lorna Crozier, one of Canada’s most highly celebrated poets, at the top of her form.

    Canada’s “form poetry” arises from the country’s distinct geography and cultural mix, with subjects ranging from physical work like farming and fishing, to the French influence, to more timeless natural and abstract themes. This anthology, beginning in the 16th century, is arranged by sections, one for each form, with a brief introduction to that form’s conventions and variations. The poems in each section appear chronologically (by birth date of poet) to show historical and modern examples that showcase the best the country has produced.

    During a violent row between teenage boys, a starling explodes like a hand grenade. A clutter of inbred cats plays out the rise and fall of mankind in a secluded country barn. While driving his girlfriend home, a young man is forced to alter the course of his future by the sudden appearance of a plague of toads. And in the harrowing final sequence, we are taken on a tour through a fragile city verging on its own ruin. As fantastic as they are visceral, these poems shed new light on our darkest corners and take us deep between the walls, those that are thrust up before us as well as those of our own making.

    With one breath, she tells of life and death, with the next, play and metaphysics, joy and heartbreak. She is a guide like no other, accomplished and versatile, leading by example and from a distance at the same time.