A series of minority governments, and endless Quebec referendums (designed to lose narrowly, to keep the money coming) have left Canada almost ungovernable. When the Governor General resigns in disgrace and the House of Windsor implodes in London, a media baron launches the idea of a Canadian king or queen elected by lottery.It starts as a joke — except that the lucky winner, King John, a bright and charismatic guy from Toronto, knows exactly what people want. Soon Quebec is gone, while Toronto’s surprise bid to leave Canada is averted by shifting his official residence, the new seat of power, to the Toronto waterfront. Many good things happen, and the politicians go along for the ride. And the blockades of Native lands are ended for good, after John is heroically wounded keeping the peace at risk to his life.His popularity soars and Canadian morale soars with it. Soon the rest of the world is taking notice of this model leader. In the United States, the blue states look enviously northward. Then Canada’s king, ignoring assassination threats, goes on a formal visit to Washington. . .From the Hardcover edition.

    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.

    The son of a retired railway porter from Winnipeg, he returns home for a job as a reporter with The Winnipeg Herald. Soon Mahatma is scoping local stories of murder and mayhem, breaking a promise to himself to avoid writing victim stories.As Mahatma is unexpectedly drawn into the inflammatory issue of French-language rights in Manitoba, with all its racial side-channels, he is surprised to find that he has a social conscience. Combating his boss’s flair for weaving hysteria into his stories, Mahatma learns that to stay afloat he must remain true to himself.Populated with colourful characters — including an unlikely welfare crusader, a burned-out fellow reporter, a French-language-rights activist, and a visiting journalist from Cameroon — Some Great Thing is a fascinating portrait of a major urban newspaper and a deeply perceptive story of one man’s coming of age.

    For twenty years, Edna escaped the world by devoting herself to the health and welfare of her husband and home, so when she learns he’s been having an affair, her sense of betrayal is devastating and literally maddening. And so she sits, silently filling notebooks, trying to find where and how her life went wrong. Dancing in the Dark is a tightly woven psychological novel, which explores the idea that madness is not necessarily self-destructive, and may lead to a kind of wisdom.

    What happens when the man interviewing you for a job takes you on a date to see a hypnotist? How do you get rid of a psychosomatic case of bedbugs? What’s the best way to get rid of a beaver dam? How do you tell someone you just started seeing that you didn’t know you had scabies when you hooked up? In the Cuffer Prize–winning story, “Skin and Mud,” two boys have an intimate encounter as they wander through the barrens one day after school.Barrelling Forward is packed with unforgettable characters, vibrant humour, and acute insight into the overwhelming anxieties of new adults living their lives in the midst of a crumbling old economy.

    An insomniac on Halifax’s moonlit streets. A runaway bride. A young woman accused of a brutal murder. A man who must live in exile if he is to live at all. A woman coming to terms with her eccentric childhood in a cult on the Bay of Fundy shore.

    In his portrait of Abe Spalding, Frederick Philip Grove captures the essence of the pioneering spirit: its single-minded strength, its nobility, and ultimately, its tragedy. A novel of broad scope and perception, Fruits of the Earth displays a dignity and stature rare in contemporary works of fiction.

    Featuring a revolving cast of characters—the newly retired couple, the church warden, the musician, the small-town girl with big city dreams—Carney’s keen observations of the personalities and dramas of coastal life are instantly recognizable to readers who are familiar with life in a small community. With her narrative of dock fights, pet shows, family feuds, logging camps and the ever-present tension between islanders and property-owning “off-islanders,” Carney’s witty and perceptive voice describes how the islanders weather the storms of coastal life.Carney writes evocatively of the magical landscape of the British Columbia coast, where she has lived and worked for five decades. At the same time, she addresses the less-idyllic moments that can also characterize coastal life: power outages, winter storms, isolation. On Island brings the West Coast landscape—human and natural—to life, and gives islanders and mainland dwellers alike a taste of what it means to be “on island.”

    In Moral Disorder she has created a series of interconnected stories that trace the course of a life and also the lives intertwined with it--those of parents, of siblings, of children, of friends, of enemies, of teachers, and even of animals. As in a photograph album, time is measured in sharp, clearly observed moments. The '30s, the '40s, the '50s, the '60s, the '70s, the '80s, the '90s, and the present --all are here. The settings vary: large cities, suburbs, farms, northern forests. The first story, "The Bad News," is set in the present, as a couple no longer young situate themselves in a larger world no longer safe. The narrative then switches time as the central character moves through childhood and adolescence in "The Art of Cooking and Serving," "The Headless Horseman," and "My Last Duchess." We follow her into young adulthood in "The Other Place" and then through a complex relationship, traced in four of the stories: "Monopoly," "Moral Disorder," "White Horse," and "The Entities." The last two stories, "The Labrador Fiasco" and "The Boys at the Lab," deal with the heartbreaking old age of parents but circle back again to childhood, to complete the cycle. By turns funny, lyrical, incisive, tragic, earthy, shocking, and deeply personal, Moral Disorder displays Atwood's celebrated storytelling gifts and unmistakable style to their best advantage. As the New York Times has said: "The reader has the sense that Atwood has complete access to her people's emotional histories, complete understanding of their hearts and imaginations."

    John Gould has updated and westernized the form of the palm-of-the-hand story, invented eighty years ago by Yasunari Kawabata, who wanted a way to write a fiction writer’s poetry. In spare, elegant prose, Gould crafts quirky gems, compact fusions of humor and pathos. At the center of this multifaceted collection is a vision of human beings as paradoxical creatures, finite and haunted by infinite longings. In story after story, Gould locates the fulcrum on which a life tilts from kilter to off-kilter and back again. “There are big ideas in these small packages. . . . Kilter, at once quiet and terribly ambitious, funny and moving, is a keeper.”—The Globe and Mail

    Robert Raymond Cook, Ray Cook's son from his first marriage, was convicted of the crime, and had the infamy of becoming the last man hanged in Alberta. Forty-six years later, a troublesome character named Louise in a story that Betty Jane Hegerat finds herself inexplicably reluctant to write, becomes entangled in the childhood memory of hearing about that gruesome mass murder. Through four years of obsessively tracking the demise of the Cook family, and dancing around the fate of the fictional family, the problem that will not go away is how to bring the story to the page. A work of non-fiction about the Cooks and their infamous son, or a novel about Louise and her problem stepson? Both stories keep coming back to the boy. Part memoir, part investigation, part novella, part writer's journal, The Boy, is the author's final capitulation to telling the story with all of the troublesome questions unanswered.

    It confronts difficult material in a frank and unflinching manner, yet remains grounded in an abiding authorial intelligence. Pedal marks the debut of a hugely promising writer.”–Steven W. Beattie, Quill & Quire“Julia, the protagonist of this intense first novel, is a psychology grad student who risks everything to pursue scientific research in truly forbidden territory: sexual attraction between adults and children. She persists in her quest in spite of skeptical friends, fragile relatives, a squeamish thesis advisor, an enigmatic bike-tour companion, severe social taboos, and her own painful memories of a birth father she calls Dirtbag–not to prove any point but to find out what lies beyond the conventional wisdom. This is an unsettling novel–smart, fierce, confident, funny, and full of surprises–with an unforgettable young woman at the heart of the storm.”–Mary Schendlinger, Senior Editor, Geist“[…] a taut, unsettling, and provoking debut novel […] [Chelsea Rooney] ought to be commended for perceptively addressing such a difficult and inflammatory (and decidedly uncommercial) topic with a subtlety that’s buoyed by ample empathy.”–Brett Josef Grubisic, Vancouver Sun“Pedal is a brave and captivating book, written with an unflinching eye and a deep understanding of the torment that is the human condition. Chelsea Rooney is a major talent.”–Steven Galloway, author of The Confabulist and The Cellist of SarajevoJulia Hoop, a twenty-five-year-old counselling psych student, is working on her thesis, exploring an idea which makes her graduate supervisor squirm. She is conducting interview after interview with a group of women she affectionately calls the Molestas—women whose experience of childhood sexual abuse did not cause physical trauma. Julia is the expert, she claims, because she has the experience; her own father, Dirtbag, disappeared when she was eight leaving behind nothing but a legacy of addiction and violence.When both her boyfriend and her graduate advisor break up with her on the same day, Julia leaves her city of Vancouver on a bicycle for a cross-Canada trip in search of her father, or so she tells people. Her unexpected travel partner is Smirks, a handsome athlete who also has a complicated history. Their travel days are marked by peaks of ecstatic physical exertion, and their nights by frustrated drinking and drugs. After an unsettling incident in rural Saskatchewan involving a trio of aggressive children, Julie wakes up in the morning to discover Smirks has disappeared. Everything, once again, falls apart.Sometimes shocking in its candour, yet charmed with enigmatic characters, Pedal explores how we are shaped by accidents of timing—trauma and sex, brain chemistry and the landscape of our country—and challenges beliefs we hold dear about the nature of pedophilia, the essence of innocence and the idea that the past is something one runs from.

    Four lives become entangled by the whirlpool at the Falls and the woods surrounding it. Darker and more sinister currents gain momentum and ultimately release them from their obsessions.

    Eighteen years on, the baby, Hanora, now a young woman, is told about her adoption, but given no details. As a second world war looms, Hanora is determined to uncover the mysteries of her identity. This quest will take her across the ocean with her cousin, Billie, and headlong into the tumult of Europe. Amid the tensions of World War II, the music and the great dance halls of the era beckon, and a career as a journalist becomes possible, even as her great love, Tobe, enlists in the Infantry. But Hanora will not let the past lie, even though, decades later, the truth remains beyond her grasp. Billie, whose memory is fading as she slips into dementia, provides elusive clues, but it isn’t until Hanora discovers a set of diaries written by a late local artist and that she begins to piece together the central issue of her own identity, hidden from her since birth.Itani’s vivid storytelling, infused with music and seamless historical detail, reveals how memory, no matter how imperfect, can shape the person we believe ourselves to be.

    Addie-as her grandfather Chauncey Beynon Beale affectionately calls her- believes that everything she could ever want or need is to be found on his cattle ranch, the place her family calls home, or in the little town twelve bush miles away, a place called Sorry. After tragedy strikes her family, Addie holds her sorrows close to her heart. Only later will she learn that her grandfather too has lived with his own secret torment for more than seventy years. It will take his slipping into blindness and dementia before the dark spectre from his past emerges, leaving her the one responsible for its consequences. And when that day arrives, when Chauncey Beale's past intersects with Addie's present, it will change her future in ways that she, and those she loves, could never have imagined.