Iris, a young hostess, is forced to pull a double despite resolving to avoid the charming chef and his wealthy restaurateur wife. Just tables over, Damian, a hungover and self-loathing server, is trying to navigate a potential punch-up with a pair of lit customers who remain oblivious to the rising temperature in the dining room. Meanwhile Olive, a young woman far from her northern home, watches it all unfurl from the fast and frozen street.Through rolling blackouts, we glimpse the truth behind the shroud of scathing lies and unrelenting abuse, and discover that resilience proves most enduring in the dead of this winter’s tale.

    For readers of The Imposter Bride, The Cellist of Sarajevo, Sarah's Key by Tatiana de Rosnay, and The Red Violin.Helene Giroux arrives alone in St. Homais on a winter day. She wears good city clothes and drives an elegant car, and everything she owns is in a small trunk in the back seat. In the local church she finds a fine old piano, a Molnar, and she knows just how fine it is, for her family had manufactured these pianos before the Great War. Then her mother's death and war forces her to abandon her former life. The story moves back and forth in time as Helene, settling into a simple life, playing the piano for church choir, recalls the extraordinary events that brought her to this place. They include the early loss of her soldier husband and the reappearance of an old suitor who rescues her and her daughter, when she is most desperate; the journeys that very few women of her time could even imagine, into the forests of Indochina in search of ancient treasures and finally, and fatefully, to the Canadian north. When the town policeman confronts her, past and present suddenly converge and she must face an episode that she had thought had been left behind forever.

    In six long poems, Schnackenberg's rhyme-rich blank verse, with its densely packed images, shifts effortlessly between the lyric and the epic, setting passion to a verbal music that is recognizably her own.An exceptional and moving new collection from one of the most talented American poets of our time, Heavenly Questions is a work of intellectual, aesthetic, and technical innovation—and, more than that, a deeply compassionate and strikingly personal work.

    After suffering multiple losses in the First World War, her family became so heavy with grief, toxicity, and mental illness that Emmeline felt their weight smothering her. And so, she fled across the Atlantic and built her life in England. Now she is retired and living in a small coastal town with her best friend, Vera, an excellent conversationalist. Vera is also a small white dog, and so Emmeline is making an effort to talk to more humans. When she joins a memoir-writing course at the library, her classmates don't know what to make of her. Funny, loud, and with a riveting memoir, she charms the lot. As her past unfolds for her audience, friendships form, a bonus in a rather lonely life. She even shares with them her third-biggest secret: she has liberated hundreds of spoons over her lifetime—from the local library, Cary Grant, Winston Churchill. She is a compulsive spoon stealer. When Emmeline unexpectedly inherits the farm she grew up on, she knows she needs to leave her new friends and go see the farm and what remains of her family one last time. She arrives like a tornado in their lives, an off-kilter Mary Poppins bossing everyone around and getting quite a lot wrong. But with her generosity and hard-earned wisdom, she gets an awful lot right too. A pinball ricocheting between people, offending and inspiring in equal measure, Emmeline, in her final years, believes that a spoonful—perhaps several spoonfuls—of kindness can set to rights the family so broken by loss and secrecy. The Spoon Stealer is a classic Crewe book: full of humour, family secrets, women's friendship, lovable animals, and immense heart.

    In one of the most original books of poetry to appear in the last decade, Jackself spins a kind of 'fictionalized autobiography' through nursery rhymes, riddles and cautionary tales, and through the many 'Jacks' of our folktale, legend, phrase and fable - everyman Jacks and no one Jacks, Jackdaw, Jack-O-Lantern, Jack Sprat, Cheapjack and Jack Frost. At once playful and terrifying, lyric and narratively compelling, Jackself is an unforgettable exploration of an innocence and childhood lost in the darker corners of Reiver country and of English folklore, and once more shows Polley as one of the most remarkable imaginations at work in poetry today.

    It's 2008 and Liam Greenwood is a carpenter, fallen from a ladder and sprawled on his broken back, calling out from the concrete floor of an empty mansion. It's 1974 and Willow Greenwood is out of jail, free after being locked up for one of her endless series of environmental protests: attempts at atonement for the sins of her father's once vast and violent timber empire. It's 1934 and Everett Greenwood is alone, as usual, in his maple syrup camp squat when he hears the cries of an abandoned infant and gets tangled up in the web of a crime that will cling to his family for decades. And throughout, there are trees: thrumming a steady, silent pulse beneath Christie's effortless sentences and working as a guiding metaphor for withering, weathering, and survival. A shining, intricate clockwork of a novel, Greenwood is a rain-soaked and sun-dappled story of the bonds and breaking points of money and love, wood and blood—and the hopeful, impossible task of growing toward the light.

    Since, he's found increasing opportunities to take his show on the road. In An Embarrassment of Critch's, the star of CBC's This Hour Has 22 Minutes revisits some of his career's--and the country's--biggest moments, revealing all the things you might not know happened along the way: A wishful rumour spread by Mark's father results in his big break; two bottles of Scotch nearly get him kicked out of a secret Canadian airbase in the United Arab Emirates; and for anyone wondering how to get an interview with the Prime Minister and Bono (yes, that Bono) on the same evening, Critch might recommend a journey to the 2003 Liberal Convention.Critch's top-secret access to all of the funniest behind-the-scenes moments involve many of the charismatic and notorious politicians we love to see blush, including fearless leaders Justin Trudeau, Stephen Harper, Paul Martin, and Jean Chr�tien, celebrities such as Pamela Anderson and Robin Williams, and other colourful figures he's met over years of pulling off daring skits at home and abroad. Remember when MP Carolyn Parrish took her boot to George W. Bush's head in an interview? Or when Critch asked Justin Trudeau where the best place to smoke pot on Parliament Hill was before pulling out a joint for them to share? There's more to each of those stories than you know. Though Critch has spent years crisscrossing the country--and the globe--with the explicit aim of causing trouble everywhere he goes, like the best journeys, this one takes him right back home.

    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.

    When she is nine years old, her former beauty queen mother disappears, leaving a note that reads only - and incorrectly - "Louise knows how to work the washing machine." Soon after, the Richters and their adopted son, Abel, move in across the street. Louise's immediate devotion to the exotic, motherly Mrs. Richter is quickly transferred to her nature-loving, precociously intelligent son." From this childhood friendship evolves a love that will bind Louise and Abel for the rest of their lives. Though Abel moves away, Louise's attachment becomes ever more fixed as she grows up. Separations are followed by reunions, but with every turn of their fractured relationship, Louise discovers that she cannot get Abel to love her as fiercely and exclusively as she loves him. Only when Louise comes face to face with another great loss is she finally forced to confront the costs of abandoning herself to another.

    It assures you that tomorrow will be a better day and encourages you to realise your potential and achieve your aspirations. Petit à Petit is centred on themes like self-love, self-confidence and taking life into your own hands.No matter how far-away and impossible your dreams seem, don't be afraid to reach for them.

    She is also failing chemistry. Her teacher gives her a second chance in the form of a written test that only one other student has passed so far.Wesley Black, a boy crazy about chemistry, is known at school as The White Coat Freak. He's never seen without a lab coat on and spends most of his time in a mysterious storage room.Reyna needs his help if she has any hope of passing the test. With his cold personality, working with him is more of a challenge than the class she's failing. Then she begins to see another side to Wesley and wants to know more about him. Together they learn about a different kind of chemistry. That is, if Wesley can survive her best friend and over-protective brother...For Reyna and Wesley, chemicals will collide and the attraction will be strong as they form a bond sweeter than candy.

    Convinced that the young librarian, Miriam, is his daughter, he promises to protect her from grief. Little does he know how much loss she has already experienced; or does he?The Incident Report, both mystery and love story, daringly explores the fragility of our individual identities. Strikingly original in its structure, comprised of 140 highly distilled, lyric “reports,” the novel depicts the tensions between private and public storytelling, the subtle dynamics of a socially exposed workplace.The Incident Report is a novel of “gestures,” one that invites the reader to be astonished by the circumstances its characters confront. Reports on bizarre public behaviour intertwine with reports on the private life of the novel’s narrator. Shifting constantly between harmony and dissonance, elegant in its restraint and excitingly contemporary, The Incident Report takes the pulse of our fragmented urban existence with detachment and wit, while a quiet tragedy unfolds.

    Along the way, he meets an unforgettable generation of boy soldiers, brigands, street toughs and charming, willful girls—all struggling for survival in the aftermath of natural catastrophe magnified by political callousness and brutal neglect.Peter Behrens transports the reader to another time and place for a deeply-moving and resonant experience. The Law of Dreams is gorgeously written in incandescent language that unleashes the sexual and psychological energies of a lost world while plunging the reader directly into a vein of history that haunts the ancestral memory of millions in a new millennium.

    Like a literal road atlas, the poems carry lines and themes from one to the next. Like Atlas holding up the world, they hold patterns of all kinds aloft with an attention that transforms. The poems also are an atlas of the known world, capturing the way events repeat across time and place, as in one poem that links the image of her sister, pausing in her work as housekeeper, with the contours of a maid in a Vermeer painting and a woman just "made over" on that day's episode of Oprah. Vandenberg's poems use family artifacts, memory, and imagination to plot the intersections of love, death, history, art, and desire. In the first section, "Trade Routes," about connections, each poem moves back one generation to investigate the ways events reverberate across time. The second section, "The Red Fields of Lisse (A Love Story)," focuses on a former partner, a hemophiliac with AIDS, and tulips. The third section, "Catalog of Want," contains poems about desire in various guises. The last section, "A Place Ten Years Away," reexamines the themes of the first three sections.

    He shoots his first film, surreptitiously capturing his neighbors having sex on their back porch and discovering that through representations of sexual activity he can comment on what he finds both painful and confusing. In the films that follow, the narrator imagines in positions of dominance those who are disadvantaged in their everyday lives, now sexually belittling those who have once held them down. Nettie, an idealistic poet and the one person with whom the narrator genuinely connects, sees in pornography the opportunity to do something artistic, liberating, and socially relevant. She pushes him to make even more subversive films but, ultimately, despite his radical intentions, the narrator falls into a world of greed, delusion, and hypocrisy, the same world he once rebelled against. Investigating the ways in which lives are remembered and reconstructed, Turner works backwards and forwards in time with unerring attention to subtle shifts in voice and experience. But this is not a wistful recounting, for the retelling of the protagonist’s story is at the behest of an authoritative, unforgiving tribunal of interrogators.