In a tour de force that could be described as Altmanesque, we are invited into the private lives of the residents of a quiet urban street in England over the course of a single day. In delicate, intricately observed closeup, we witness the hopes, fears, and unspoken despairs of a diverse community: the man with painfully scarred hands who tried in vain to save his wife from a burning house and who must now care for his young daughter alone; a group of young clubgoers just home from an all-night rave, sweetly high and mulling over vague dreams; the nervous young man at number 18 who collects weird urban junk and is haunted by the specter of unrequited love. The tranquillity of the street is shattered at day's end when a terrible accident occurs. This tragedy and an utterly surprising twist provide the momentum for the book. But it is the author's exquisite rendering of the ordinary, the everyday, that gives this novel its freshness, its sense of beauty, wonder, and hope. Rarely does a writer appear with so much music and poetry -- so much vision -- that he can make the world seem new.

    Journeying between his native Ulster and his adopted London, he balances ideas of home and flight, the need for belonging and the need to remain outside. Formally deft, rhetorically fresh, these poems never shy from difficult choices, exploring cruelty and vengeance wherever they may be found: in love, in work and against political backdrops. But these are brave, resolute writings that resist despair at all times, affirming instead the need to rebuild and to right oneself, to dust down and carry on.

    A genial orderly at a downtown hospital, he has been accused of sexually assaulting a girl. Although he is innocent, traditional propriety prompts him to question the purity of his own thoughts. Ultimately, his friendship with the enlightened Sushila offers him an alluring freedom from a past that haunts him, a marriage that has become routine, and from the trials of coping with teenage children. Introducing us to a cast of vividly drawn characters within this immigrant community, Vassanji is a keen observer of lives caught between one world and another.

    William Boyd's novel Any Human Heart is his disjointed autobiography, a massive tome chronicling "my personal rollercoaster"--or rather, "not so much a rollercoaster", but a yo-yo, "a jerking spinning toy in the hands of a maladroit child." From his early childhood in Montevideo, son of an English corned beef executive and his Uraguayan secretary, through his years at a Norfolk public school and Oxford, Mountstuart traces his haphazard development as a writer. Early and easy success is succeeded by a long half-century of mediocrity, disappointments and setbacks, both personal and professional, leading him to multiple failed marriages, internment, alcoholism, and abject poverty.Mountstuart's sorry tale is also the story of a British way of life in inexorable decline, as his journey takes in the Bloomsbury set, the General Strike, the Spanish Civil War, 1930s Americans in Paris, wartime espionage, New York avant garde art, even the Baader-Meinhof gang--all with a stellar supporting cast. The most sustained and best moment comes mid-book, as Mountstuart gets caught up in one of Britain's murkier wartime secrets, in the company of the here truly despicable Duke and Duchess of Windsor. Elsewhere Boyd occasionally misplaces his tongue too obviously in his cheek--the Wall Street Crash is trailed with truly crashing inelegance--but overall Any Human Heart is a witty, inventive and ultimately moving novel. Boyd succeeds in conjuring not only a compelling 20th century but also, in the hapless Logan Mountstuart, an anti-hero who achieves something approaching passive greatness. --Alan Stewart, Amazon.co.uk

    A dazzling tour de force, Bright Shiny Morning illuminates the joys, horrors, and unexpected fortunes of life and death in Los Angeles.

    has dared to take on a difficult, grief-stricken period of English history, and done so with sensitivity and understanding; EARTH AND HEAVEN is the clever, compelling result' The Times

    In 2001, Wayson Choy suffered a combined asthma-heart attack. As he lay in his hospital bed, slipping in and out of consciousness, his days punctuated by the beeps of the machines that were keeping him alive, Choy heard the voices of his ancestors warning him that without a wife, he would one day die alone. And yet through his ordeal Choy was never alone; men and women, young and old, from all cultures and ethnicities, stayed by Choy’s side until he was well. When his heart failed him a second time, four years later, it was the strength of his bonds with these people, forged through countless acts of kindness, that pulled Choy back to his life. Not Yet is a passionate, sensitive, and beautiful exploration of the importance of family, which in Choy’s case is constituted not through blood but through love. It is also a quiet manifesto for embracing life, not blind to our mortality, but knowing how lucky we are for each day that comes.

    Using the events of his life as starting points, Gerald Stern deals with time and loss, with the dichotomy of light and darkness, and—always—with the possibility of joy. This stunning collection moves from autobiography to the visionary in surges of memory and language that draw the reader from one poem to the next.

    Here the characters' lives are linked to each other by acts of generosity or cruelty. A critic once called Rakoff "magnificent," a word which perfectly describes this wonderful novel in verse.

    No longer able to linger over her beloved books or gaze at the paintings that move her spirit, she fills the void with music and memories of her family—a past that suddenly becomes all too present when her late father's journals are found amid the ruins of an old shipwreck.With the help of Morgan, a delinquent teenager performing community service, Elizabeth goes through the diaries, a journey through time that brings the two women closer together. Entry by entry, these unlikely friends are drawn deep into a world far removed from their own—to Porphyry Island on Lake Superior, where Elizabeth’s father manned the lighthouse seventy years before.As the words on these musty pages come alive, Elizabeth and Morgan begin to realize that their fates are connected to the isolated island in ways they never dreamed. While the discovery of Morgan's connection sheds light onto her own family mysteries, the faded pages of the journals hold more questions than answers for Elizabeth, and threaten the very core of who she is.

    Rebecca Reynolds is a young woman with a most unusual and inconvenient problem: no matter how hard she tries, she can't stop her emotions from escaping her body and entering the world around her. Luckily she's developed a nifty way to trap and store her powerful emotions in personal objects - but how many shoeboxes can a girl fill before she feels crushed by her past? Three events force Rebecca to change her ways: the unannounced departure of her husband, Stewart; the sudden death of Lisa, her musician sister; and, while on her way to Lisa's funeral, a near-crash with what appears to be a giant frogwoman recklessly speeding in a Honda Civic.Meanwhile, Lisa's inconsolable husband skips the funeral and flies to Winnipeg where he begins a bizarre journey that strips him of everything before he can begin to see a way through his grief… all with the help of a woman who calls herself God.

    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.”

    But her immersion in contemporary war is offset by her refusal to put herself at risk, and by her insistence on keeping her past at bay.Ten years earlier, in the mid-1980s, Arcadia had fled Toronto for London after two university students--rivals for her love--fought a pistol duel over her. Now, through the interventions of her sister, Lux, and her increasingly complicated relationship with a new lover, Amir, who has secrets of his own, Arcadia is forced to confront what really happened on the day of the duel.Moving from the verdant ravines of Toronto to the secret canals of a gritty, vibrant London, The Rules of Engagement has an extraordinary sense of time and place. A powerful exploration of the nature of love, the novel provocatively explores the crossing of emotional, ethical, and literal borders.

    The summer Fancy Mosher turns twelve, she goes to work at Petal’s End, the rotting, sprawling mansion perched on the cliffs of The Bay of Fundy. Owned by the Parker family, abandoned after the First World War, and briefly revived as a convalescent hospital during the next, it has been kept barely standing for years. The remaining Parkers—Estelle and her daughters, the beautiful, talented Pomeline, and the young, mercurial Jenny—now ruled by fading matriarch Marigold, return for one final visit. But we come to realize that, like the children in Shirley Jackson’s We Have Always Lived in the Castle, the children here are not entirely innocent or naïve. Marigold, having suffered a stroke, lives in fey twilight, only half-hearing the sinister and sordid goings-on that are slowly closing in on her family. Her son, Charlie, died at Petal’s End many years before, as a result of what is insisted was an accidental hanging. When she decides to give a late summer garden party, Marigold finally becomes a witness to her own complicity. But the reckoning she has so feared, and so scrupulously avoided, is only beginning. Salvation resides in Fancy Mosher’s quest to accept what could either be a gift or a curse. Fancy may have inherited her grandfather’s power to see and commune with the dead, what the Mosher family calls the memento. The memento shows itself to each person who possesses it in different ways; just as memory often materializes unbidden, so too can the dead. After a horrific accident on the cliffs of Parker Island, Fancy is the sole hope for learning what the dead want and how to appease them.

    In the central sequences, "The Future of Terror" and "The Terror of the Future," Harvey imagines citizens and soldiers at the end of their wits at the impending end of the world. Her prose pieces and lyrics examine the divided, halved self in poems about centaurs, ship figureheads, and a robot boy. Throughout, Harvey's signature wit and concision show us the double-sided nature of reality, of what we see and what we know.