Kambirinachi believes that she is an Ogbanje, or an Abiku, a non-human spirit that plagues a family with misfortune by being born and then dying in childhood to cause a human mother misery. She has made the unnatural choice of staying alive to love her human family but lives in fear of the consequences of her decision.Kambirinachi and her two daughters become estranged from one another because of a trauma that Kehinde experiences in childhood, which leads her to move away and cut off all contact. She ultimately finds her path as an artist and seeks to raise a family of her own, despite her fear that she won't be a good mother. Meanwhile, Taiye is plagued by guilt for what her sister suffered and also runs away, attempting to fill the void of that lost relationship with casual flings with women. She eventually discovers a way out of her stifling loneliness through a passion for food and cooking.But now, after more than a decade of living apart, Taiye and Kehinde have returned home to Lagos. It is here that the three women must face each other and address the wounds of the past if they are to reconcile and move forward.For readers of African diasporic authors such as Teju Cole and Chimamanda Ngozi Adichie, Butter Honey Pig Bread is a story of choices and their consequences, of motherhood, of the malleable line between the spirit and the mind, of finding new homes and mending old ones, of voracious appetites, of queer love, of friendship, faith, and above all, family.

    I've never seen the water, so I've gone there. I will try to remember to come back.Etta's greatest unfulfilled wish, living in the rolling farmland of Saskatchewan, is to see the sea. And so, at the age of eighty-two she gets up very early one morning, takes a rifle, some chocolate, and her best boots, and begins walking the 2,000 miles to water. Meanwhile her husband Otto waits patiently at home, left only with his memories. Their neighbour Russell remembers too, but differently - and he still loves Etta as much as he did more than fifty years ago, before she married Otto.

    Infused with a close and present danger, these stories tighten the knot around power, identity, and sexuality, and draw the reader into the pivotal moments where - for better or for worse - we see ourselves for what we truly are.

    They are not coping well. In response to their looming domestic breakdown, Vero and Shane get live-in help with their sons―a woman from the Philippines named Ligaya (which means happiness), whom the boys call LiLi. Vero justifies LiLi's role in their home by insisting that she is part of their family, and she goes to great lengths in order to ease her conscience. But differences persist; Vero grapples with her overextended role as a mother and struggles to keep her marriage passionate, while LiLi silently bears the burden of a secret she left behind at home.Between offers readers an intriguing, searing portrait of two women from two different cultures. At the same time, it satirizes contemporary love, marriage, and parenthood by exposing the sense of entitlement and superiority at the heart of upper-middle-class North American existence through a ubiquitous presence in it: the foreign nanny. Angie Abdou comically and tragically tackles the issue of international nannies by providing a window on motherhood where it is tangled up with class, career, labour, and desire

    These punchy, sharply observed stories blur the lines between longing and choosing, exploring the narrator's experience as an involuntary one. Tinged with pathos and humour, they interrogate the moments in which femininity, womanness, and identity are not only questioned but also imposed.Shut Up You're Pretty is the first book to be published under the imprint VS. Books, a series of books curated and edited by writer-musician Vivek Shraya featuring work by new and emerging Indigenous or Black writers, or writers of colour.

    As a successful writer with an established career, a comfortable home and a supportive group of friends, her life was full. But then, 30 years after he broke her heart the first time, he walked into a book signing and back into her life. Spurred on by the idyll of a first love made good, they reconnect through emails—the bits and bytes of their messages re-forming into a real electricity between them. He is smitten. She is enthralled.    But, strangely, love has left her with a nasty case of writer’s block. She gathers all the strength she can find in the text around her—using optimistic horoscopes, evasive fortune cookies and the inanely unhelpful suggestions of books on writer’s block—to fight against the understanding that a love can’t be sustained on language alone. Then, in a surprising and wickedly delicious resolution, she recognizes that truth and fiction can be one and the same in matters of the heart, and that in a “he said, she said” story, the writer always gets the last word.    At A Loss For Words is another brilliant expression of Diane Schoemperlen’s gift for building the minutiae of everyday life into a profound understanding of women, men, love and imagination.

    Standing by the edge of Halifax Harbour on a foggy morning, contemplating his dismal future, his ritual of self-pity is interrupted with the appearance of the mysterious and beguiling Ramona Danforth. And so begins a most interesting relationship.On a whim, Charles asks Ramona to drive him to his childhood home, Stewart Harbour, a fishing village populated by rugged individualists far down Nova Scotia’s remote Eastern Shore. Charles left the Harbour immediately after graduating from high school and never looked back. And now that he's returned, the past starts catching up with him in ways he could never have imagined.

    You must promise to tell my story the way I have shared it with you.'"Tanzania, 1956. A Maasai woman gives birth to a child with albinism. The child is seen as a curse upon her tribe, and so begins Pó's tumultuous story. As Pó navigates the world, she must claim her life in the face of violence and ostracism.Further south, in Portuguese-controlled Mozambique, Ezequiel struggles for acceptance too. Adopted by missionaries, he is not recognized by his Portuguese father's community, or by his Makonde mother's tribe. When civil war erupts, he must choose who to fight for and who to leave behind.Pó and Zeca come together in a time of momentous change. Love connects these two outsiders, forcing them to confront the shattering impact of colonialism and war. Children of the Moon is a stunning and unforgettable exploration of the love of two people at once bound and separated by forces beyond their control.

    Abandoned as an infant, Marcel is haunted by vague memories of his bohemian mother, and is desperate to know who his real parents are. When Oliver is promoted to foreign correspondent, he leaves Marcel in the care of his ill-equipped friends, including the beautiful Pippa. The world is being swept by a wave of liberation—coups, revolutions and the end of colonialism. While Oliver rushes toward the action, Marcel is set adrift in swinging London, a city of magic—and a city where he can never quite fit in. Just when it seems they will never be reunited, Marcel is sent to join Oliver in Vietnam. But by the summer of 1963, the war is escalating, and Oliver is finally overwhelmed by his doomed love for Pippa. When Marcel eventually uncovers the shattering truth about his mother, his entire world is rearranged. Now, as his fiftieth birthday approaches, Marcel is asked to take care of his friend’s eleven-year-old daughter, Iris. Prodded by her sharp-eyed company, he reflects on his own bittersweet childhood and the experiences that have shaped his present. Stray Love is beautifully illustrated with original drawings by noted Toronto artist/filmmaker Heather Frise.

    There’s Tuyen, a lesbian avant-garde artist and the daughter of Vietnamese parents who’ve never recovered from losing one of their children in the crush to board a boat out of Vietnam in the 1970s. Tuyen defines herself in opposition to just about everything her family believes in and strives for. She’s in love with her best friend Carla, a biracial bicycle courier, who’s still reeling from the loss of her mother to suicide eighteen years earlier and who must now deal with her brother Jamal’s latest acts of delinquency. Oku is a jazz-loving poet who, unbeknownst to his Jamaican-born parents, has dropped out of university. He is in constant conflict with his narrow-minded and verbally abusive father and tormented by his unrequited love for Jackie, a gorgeous black woman who runs a hip clothing shop on Queen Street West and dates only white men. Like each of her friends, Jackie feels alienated from her parents, former hipsters from Nova Scotia who never made it out of subsidized housing after their lives became entangled with desire and disappointment. The four characters try to make a life for themselves in the city, supporting one another through their family struggles.There’s a fifth main character, Quy, the child who Tuyen’s parents lost in Vietnam. In his first-person narrative, Quy describes how he survived in various refugee camps, then in the Thai underworld. After years of being hardened, he has finally made his way to Toronto and will soon be reunited with his family – whether to love them or hurt them, it’s not clear. His story builds to a breathless crescendo in an ending that will both shock and satisfy readers. What We All Long For is a gripping and, at times, heart-rending story about identity, longing and loss in a cosmopolitan city. No other writer has presented such a powerful and richly textured portrait of present-day Toronto. Rinaldo Walcott writes in The Globe and Mail: “… every great city has its literary moments, and contemporary Toronto has been longing for one. We can now say with certainty that we no longer have to long for a novel that speaks this city’s uniqueness: Dionne Brand has given us exactly that.” Donna Bailey Nurse writes in the National Post: “What We All Long For is a watershed novel. From now on, Canadian writers will be pressed to portray contemporary Toronto in all its multiracial colour and polyphonic sound.” But What We All Long For is not only about a particular city. It’s about the universal experience of being human. As Walcott puts it, “Brand makes us see ourselves differently and anew. She translates our desires and experiences into a language, an art that allows us to voice that which we live, but could not utter or bring to voice until she did so for us.”

    She’s never had a boyfriend and doesn’t know how to do laundry. She joins the Film Society and hangs out in the library. She drifts away from boring Bethany, her best friend from high school, and starts to trail after Allegra, the caffeine-addicted, dish-throwing artist in the dorm room next to hers. And, most of all, she thinks about how she’s still a virgin and how she’ll never figure it all out.And then she meets Nellcott Ragland, a 23-year-old who works at Basement Records and wears black eyeliner, and he asks her on a date.Alice tries to hide out in the Film Society office. She spies on Nellcott at the record store. She gets advice from Walker, her filmmaking, womanizing friend from Toronto. But sooner or later her parents are going to visit and watch her cry. She won’t admit it to them, but Nellcott has become her darling.

    But the bank is about to foreclose, so Prudence must turn things around fast! Fortunately she'll have help from Earl, her banjo-playing foreman with a family secret; Seth, the neighbor who hasn't left the house since a high school scandal; and Sara Spratt, an eleven-year-old who's looking for a home for her prize-winning chickens.Home to Woefield is about learning how to take on a challenge, face your fears, and find friendship in the most unlikely of places.

    His wife has left for a posting at a Washington D.C. think tank and the restaurant, built on a remote cliff on Push Cove, Newfoundland, never really took off. Dave spends his days consuming the rare delights of his well-stocked wine cellar and larder. All seems lost until Dave’s neighbour, Alphonse Murphy, comes up with an ingenious scheme to save The Auk.

    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.

    When Edal Jones can't cope with the casual cruelty she encounters in her job as a federal wildlife officer, she finds herself drawn to a beacon of solace nestled in the valley under the unlikely banner of an auto-wrecker's yard. Guy Howell, the handsome proprietor, offers sanctuary to animals and people alike: a half-starved hawk and a brood of orphaned raccoon kits, a young soldier whose spirit failed him during his first tour of duty, a teenage runaway and her massive black dog. Guy is well versed in the delicate workings of damaged beings, and he might just stand a chance at mending Edal's heart.But before love can bloom, the little community must come to terms with a different breed of lost soul - a young man whose brutal backwoods childhood is catching up with him, causing him to persecute the creatures that call the valley home.