Dorval arrives in a small British Columbia town at the confluence of the Fraser and Thompson Rivers. As Frankie Burnaby, the young schoolgirl Mrs. Dorval befriends, pieces together Hetty’s story, she begins to realize that her enigmatic idol is also a treacherous opponent.Hetty Dorval, Wilson’s first novel, is a wise and expertly crafted tale of innocence and experience.

    The novel centres upon the hapless members of a love triangle united by their sexual obsessions and by their fascination with Catherine Tekakwitha, the 17th-century Mohawk saint. By turns vulgar, rhapsodic, and viciously witty, Beautiful Losers explores each character’s attainment of a state of self-abandonment, in which the sensualist cannot be distinguished from the saint.

    This story of family and identity, migration and integration, culture and self-discovery is told through family history, memory, and the occasional recipe.Diamond Grill is a rich banquet where Salisbury Steak shares a menu with chicken fried rice, bird’s nest soup sets the stage for Christmas plum pudding; where racism simmers behind the shiny clean surface of the action in the cafe.An exciting new edition of Fred Wah’s best-selling bio-fiction, on the 10th anniversary of its original publication, with added text and an all new afterword by the author.

    Larissa Lai interweaves three narrative voices and their attendant cultures: an elusive fox growing toward wisdom and her 1000 birthday, the ninth-century Taoist poet/nun Yu Hsuan-Chi (a real person executed in China for murder), and the oddly named Artemis, a young Asian-American woman living in contemporary Vancouver.With beautiful and enchanting prose, and a sure narrative hand, Lai combines Chinese mythology, the sexual politics of medieval China, and modern-day Vancouver to masterfully revise the myth of the Fox (a figure who can inhibit women’s bodies in order to cause mischief).

    The star-studded production includes lead actress Aunjanue Ellis (Ray, The Help), Oscar winner Cuba Gooding Jr. (Jerry Maguire, A Few Good Men), Oscar and Emmy winner Louis Gossett Jr. (A Raisin in the Sun, Boardwalk Empire), and features Lyriq Bent (Rookie Blue), Jane Alexander (The Cider House Rules), and Ben Chaplin (The Thin Red Line). Director and co-writer Clement Virgo is a feature film and television director (The Wire) who also serves as producer with executive producer Damon D'Oliveira (What We Have).In this "transporting" (Entertainment Weekly) and "heart-stopping" (Washington Post) work, Aminata Diallo, one of the strongest women characters in contemporary fiction, is kidnapped from Africa as a child and sold as a slave in South Carolina. Fleeing to Canada after the Revolutionary War, she escapes to attempt a new life in freedom.

    The personal and political crash into one language here, gothic as it is supple, meditating on visual art and myth, to desire, the practice of lynching and Hurricane Katrina. Always at its center, though, is the poet himself—confessing a double song of pleasure and inevitable pain.

    With raunchy humor and a working-class intellectualism, Laferrière’s narrator wanders the slums of Montreal, has sex with white women, and writes a book to save his life.With this novel, Laferrière began a series of internationally acclaimed social and political novels about the love of the world, and the world of sex, including Heading South and I Am a Japanese Writer.novel, Canada/Haiti, tr David Homel

    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.

    In these fierce yet tender narrative poems, Thom draws from both memory and mythology to create new maps of gender, race, sexuality, and violence. Descended from the traditions of oral storytelling, spoken word, and queer punk, Thom's debut collection is evocative and unforgettable.Kai Cheng Thom is a trans writer and performance artist whose work has been published in Buzzfeed, Autostraddle, Asian American Literary Review, and xoJane. She writes regularly for Everyday Feminism.

    Don't Call Us Dead opens with a heartrending sequence that imagines an afterlife for black men shot by police, a place where suspicion, violence, and grief are forgotten and replaced with the safety, love, and longevity they deserved here on earth. Smith turns then to desire, mortality the dangers experienced in skin and body and blood and a diagnosis of HIV positive. "Some of us are killed / in pieces," Smith writes, some of us all at once. Don't Call Us Dead is an astonishing and ambitious collection, one that confronts, praises, and rebukes America--"Dear White America"--where every day is too often a funeral and not often enough a miracle.

    The Skin We're In will spark a national conversation, influence policy, and inspire activists.In his 2015 cover story for Toronto Life magazine, Desmond Cole exposed the racist actions of the Toronto police force, detailing the dozens of times he had been stopped and interrogated under the controversial practice of carding. The story quickly came to national prominence, shaking the country to its core and catapulting its author into the public sphere. Cole used his newfound profile to draw insistent, unyielding attention to the injustices faced by Black Canadians on a daily basis.Both Cole’s activism and journalism find vibrant expression in his first book, The Skin We’re In. Puncturing the bubble of Canadian smugness and naive assumptions of a post-racial nation, Cole chronicles just one year—2017—in the struggle against racism in this country. It was a year that saw calls for tighter borders when Black refugees braved frigid temperatures to cross into Manitoba from the States, Indigenous land and water protectors resisting the celebration of Canada’s 150th birthday, police across the country rallying around an officer accused of murder, and more.The year also witnessed the profound personal and professional ramifications of Desmond Cole’s unwavering determination to combat injustice. In April, Cole disrupted a Toronto police board meeting by calling for the destruction of all data collected through carding. Following the protest, Cole, a columnist with the Toronto Star, was summoned to a meeting with the paper’s opinions editor and informed that his activism violated company policy. Rather than limit his efforts defending Black lives, Cole chose to sever his relationship with the publication. Then in July, at another police board meeting, Cole challenged the board to respond to accusations of a police cover-up in the brutal beating of Dafonte Miller by an off-duty police officer and his brother. When Cole refused to leave the meeting until the question was publicly addressed, he was arrested. The image of Cole walking out of the meeting, handcuffed and flanked by officers, fortified the distrust between the city’s Black community and its police force.Month-by-month, Cole creates a comprehensive picture of entrenched, systemic inequality. Urgent, controversial, and unsparingly honest, The Skin We’re In is destined to become a vital text for anti-racist and social justice movements in Canada, as well as a potent antidote to the all-too-present complacency of many white Canadians.

    Scarborough the novel employs a multitude of voices to tell the story of a tight-knit neighborhood under fire: among them, Victor, a black artist harassed by the police; Winsum, a West Indian restaurant owner struggling to keep it together; and Hina, a Muslim school worker who witnesses first-hand the impact of poverty on education.And then there are the three kids who work to rise above a system that consistently fails them: Bing, a gay Filipino boy who lives under the shadow of his father's mental illness; Sylvie, Bing's best friend, a Native girl whose family struggles to find a permanent home to live in; and Laura, whose history of neglect by her mother is destined to repeat itself with her father.Scarborough offers a raw yet empathetic glimpse into a troubled community that locates its dignity in unexpected places: a neighborhood that refuses to be undone.Catherine Hernandez is a queer theatre practitioner and writer who has lived in Scarborough off and on for most of her life. Her plays Singkil and Kilt Pins were published by Playwrights Canada Press, and her children's book M is for Mustache: A Pride ABC Book was published by Flamingo Rampant. She is the Artistic Director of Sulong Theatre for women of color.

    Others, more personal, concern themselves with love, with the fragility of the natural world, and with death, especially in the elegiac series of meditations on the death of a parent. But they also inhabit a contemporary landscape haunted by images of the past. Generous, searing, compassionate, and disturbing, this poetry rises out of human experience to seek a level between luminous memory and the realities of the everyday, between the capacity to inflict and the strength to forgive.

    Césaire’s rich and insightful adaptation of The Tempest draws on contemporary Caribbean society, the African-American experience and African mythology to raise questions about colonialism, racism and their lasting effects.

    Bob Joseph’s book comes at a key time in the reconciliation process, when awareness from both Indigenous and non-Indigenous communities is at a crescendo. Joseph explains how Indigenous Peoples can step out from under the Indian Act and return to self-government, self-determination, and self-reliance—and why doing so would result in a better country for every Canadian. He dissects the complex issues around truth and reconciliation, and clearly demonstrates why learning about the Indian Act’s cruel, enduring legacy is essential for the country to move toward true reconciliation.