Good Bones is a cornucopia of good things — precise, witty, wise, and sometimes offbeat Atwood writing, with the funny and the sidelong view of the world which her readers recognize at once.

    Living in the port city of Halifax, Goyette’s days are bounded by the substantial fact of the North Atlantic, both by its physical presence and by its metaphoric connotations. And like many of life’s overwhelming facts, our awareness of the ocean’s importance and impact waxes and wanes as the ocean sometimes lurks in the background, sometimes imposes itself upon us, yet always, steadily, is. This collection is not your standard “Oh, Ocean!” versifying. Goyette plunges in and swims well outside the buoys to craft a sort of alternate, apocryphal account of our relationship with the ocean. In these linked poems, Goyette’s offbeat cast of archetypes (fog merchants, lifeguards, poets, carpenters, mothers, daughters) pronounce absurd explanations to both common and uncommon occurrences in a tone that is part cautionary tale, part creation myth and part urban legend: how fog was responsible for marriages, and for in-laws; why running, suburbs and chairs were invented; what happens when you smoke the exhaust from a pride of children pretending to be lions. All the while, the anthropomorphized ocean nibbles hungrily at the shoreline of our understanding,refusing to explain its moods and winning every staring contest. “I wrote these poems,” comments Goyette, “because I know very little about the ocean and yet rely on it like a mirror, a compass.” In Ocean, Goyette demonstrates how a spirited, playful and richly mythopoetic engagement with the world can actually strengthen our grasp on its bigger truths.

    MacLeod’s young protagonist enters all the bright open avenues of peer-group play and the dark blind alleys of individual and collective terror, as she discovers within herself both the capacity for and the conflict between impulses of good and evil. In thinking back on the history of her own tight-knit group of friends, she begins to see how in the excitement of belonging to a ritualized, secret collective, the self is created by the increasing dehumanization of the other—of both the bully and the victim. The Shape of a Girl goes far beyond a simple dramatization of the seemingly inexplicable code of silence and tacit complicity which surrounded the sensationalized Reena Virk murder in 1997 on which the play is based. It speaks eloquently and compassionately to a world increasingly dominated by all forms of collectivised and ritualized tribalist hatred, and offers the embrace of trust as the only way out of this circle of violence.Jewel is also based on a real-life catastrophe—the sinking of the Ocean Ranger, an oil rig off the coast of Newfoundland, on Valentine’s Day, 1982. Three years later, a widow, Marjorie Clifford, at home in her trailer in Fort St. John, British Columbia, begins to take the first step in understanding that the humanity of love, in all of its tentative frailty, uncertainty and promise, can free a life paralyzed and dominated by loss.

    Ondaatje is said to care more about the relationship between art and nature than any other poet since the Romantics.

    From illusions of permanence and ownership to the pain of estrangement, Liar masterfully explores feelings familiar to anyone who has ever loved — and lost. Crosbie also goes beyond this territory, examining the lover’s own complicity in her joy and suffering. Liar is a grotesque, beautiful meditation on the nature of love.

    A librarian is called to a remote Canadian island to inventory the estate of a secretive Colonel whose most surprising secret is a bear who keeps the librarian company--shocking company.

    Seventeen-year-old Sylvia (Harper) Kostak is caught between her mother’s regrets and the strictures of small-town life in the interior of British Columbia. When Harper meets Gabe, an intense and enigmatic young man living on the ’60s-style arts commune outside of town, she is transfixed. Gradually we learn Gabe’s story and what led him to join his estranged mother on the commune, where, in a bid for freedom, Harper eventually finds herself, setting in motion a series of events leading to tragedy. Resonant with longing and a sense of isolation, the novel brings alive the agonies and ecstasies of growing up, sexual discovery, and how the need to belong can shape both decisions and destinies.Author Biography: Laisha Rosnau was born in Pointe Claire, Quebec, and grew up in Vernon, British Columbia. She has worked as a child-care worker, a landscaper, a waitress, a fruit picker, an interpretive guide, a journalist, and an editor. She received a Master of Fine Arts in Creative Writing from the University of British Columbia, where she was the Executive Editor of PRISM international. Her poetry and short fiction have been published in literary journals and anthologies in Canada, the United States, and Australia. The Sudden Weight of Snow is her first novel. Laisha Rosnau lives in Vancouver, where she is at work on a collection of poetry and on her second novel.

    Book of Longing is Cohen’s eagerly awaited new collection of poems, following his highly acclaimed 1984 title, Book of Mercy, and his hugely successful 1993 publication, Stranger Music, a Globe and Mail national bestseller. Book of Longing contains erotic, playful, and provocative line drawings and artwork on every page, by the author, which interact in exciting and unexpected ways on the page with poetry that is timeless, meditative, and at times darkly humorous. The book brings together all the elements that have brought Leonard Cohen’s artistry with language worldwide recognition.From the Hardcover edition.

    The Lonely Hearts Hotel is a love story with the power of legend. An unparalleled tale of charismatic pianos, invisible dance partners, radicalized chorus girls, drug-addicted musicians, brooding clowns, and an underworld whose economy hinges on the price of a kiss. In a landscape like this, it takes great creative gifts to thwart one's origins. It might also take true love.Two babies are abandoned in a Montreal orphanage in the winter of 1910. Before long, their talents emerge: Pierrot is a piano prodigy; Rose lights up even the dreariest room with her dancing and comedy. As they travel around the city performing clown routines, the children fall in love with each other and dream up a plan for the most extraordinary and seductive circus show the world has ever seen. Separated as teenagers, sent off to work as servants during the Great Depression, both descend into the city's underworld, dabbling in sex, drugs and theft in order to survive. But when Rose and Pierrot finally reunite beneath the snowflakes after years of searching and desperate poverty the possibilities of their childhood dreams are renewed, and they'll go to extreme lengths to make them come true. Soon, Rose, Pierrot and their troupe of clowns and chorus girls have hit New York, commanding the stage as well as the alleys, and neither the theater nor the underworld will ever look the same.With her musical language and extravagantly realized world, Heather O'Neill enchants us with a novel so magical there is no escaping its spell.

    A novel which follows the lives of three generations of Japanese-Canadian women, blending myth, folk legend and fiction.

    These are stories about women who built time machines when they were nine, or who predict cataclysm, or who think their dreams are reality. They include police horses with talons and giant eagles and weredeer. At the center of it all is love. And if love is the problem, what is the solution? Being closer? Or being alone?

    Although they were published separately, these two books, along with Skin Divers, a collection of Michaels's newest work, were written as companion volumes.Poems brings all three books together for the first time, creating for American readers a wonderful introduction to Anne Michaels's poetry. Meditative and insightful, powerful and heart-moving, these are poems that, as Michael Ondaatje has written, "go way beyond games or fashion or politics . . . They represent the human being entire."

    Following the death of his domineering father, a middle-aged man tries to uncover a truth about their sometimes difficult relationship. When a grade-six teacher tyrannizes a student without apparent reason, the boy learns an unexpected lesson and his young life is changed irrevocably. An elderly widow falls prey to a con artist, revealing what we are capable of sacrificing to appease what we dread the most. A twelve-year-old boy is shunted off to his grandmother's farm and becomes part of an adult world he scarcely understands. A group of high-school students play on a classmate's self-delusions and set up what promises to be the most loaded boxing match ever staged. Whether writing from the point of view of a child, an adolescent, or a man in his seventies, Guy Vanderhaeghe takes us into the lives of his characters with razor-sharp insights laced with gentle humour.

    More than twenty years later, we find Henry working at Frankie's Funhouse, where he repairs the animatronic band that Starr loves, wrestling with her attempts at living outside the family home. His wife, Kathy, wishes he would allow Starr more independence, hoping that Henry will turn his attention a little more to their own relationship and to their other daughter, who is pregnant. As tensions mount Henry's young co-worker, Darren, reveals he needs to get to Chicago Comic Con to win back his ex-girlfriend, so Henry packs Starr (and her pet turtles) and Darren (still dressed as Frankie the mascot) into the van for a road trip no one was prepared for.

    Her work as a translator draws her into an underworld of family-controlled drug cartels operating out of South America, and she falls in love with a son in one such family. Pregnant, she is kidnapped to an island off the coast of Colombia and slowly tricked into a dependence on cocaine. Her narrative - violent and bizarre, but also riveting, erotic and filled with the heady flamboyance of orchids - runs parallel to her account of life in "Death Clinic," as Death Row is called at the Heaven Valley Facility for Women. It is a moving story of friendship amongst three female inmates - portrayed with devastating wit - who share only the fact that they each have a date with the executioner.Cargo of Orchids swings through comedy and tragedy to shed a gradual, eerie light on the questions of guilt and innocence and moral ambiguity that lie at its heart.Excerpt from Cargo of Orchids:"Despite the freight of anger she carries, Rainy seems so frail it is hard to imagine her giving birth to anything heavier than tears. Rainy gave birth to twins and six months later left them on the railway tracks. She claims it prejudiced the jury. If she'd smothered them or driven them off a pier, it would have been more socially acceptable.-- But abandoning your kids on the tracks wasn't in fashion. She wishes now she'd gone out drinking for the evening instead, but she didn't have enough money to hire a babysitter and pay for the beer."