Why do three million Quebecers tune in the same absurd sitcom every week? How did they get the nickname "pepsis"? Why does Celine Dion put on a down-home accent when she returns to her home province? For referendum-weary English Canadians, Quebec is an enigma wrapped in a yawn. Taras Grescoe treats the province as an exotic destination. He takes readers onto the shuffleboard courts of Florida, to a francophone country-and-western festival in rural Mauricie, to the café tables of expatriate Quebecers in Paris. He deconstructs a Montreal Canadiens hockey game, explores the stunning diversity of Quebec’s newspapers, and dismantles Bombardier snowmobiles. En route, he meets Mohawk Warriors, Yiddish-speaking French Canadians, and the UFO-obsessed followers of Raël. Informed and incisive, Sacré Blues explores the heart of contemporary Quebec: its love-hate relationship with France and the United States; the dance, theatre, and literary productions celebrated in Europe but little known here; its fears about distinctness on an increasingly uniform continent. Along the way we meet such Quebec residents as the playwright Michel Tremblay and the novelist Neil Bissoondath, Teleglobe CEO Charles Sirois and the arctic explorer Bernard Voyer, the foul-mouthed columnist Pierre Foglia and the esteemed philosopher Charles Taylor. Sacré Blues serves up a spicy, irreverent, inside view of this unique and little-known part of North America. With side orders of poutine, maple syrup, and Vachon snack cakes. And scarcely a mention of Lucien Bouchard.From the Hardcover edition.

    Trump. Ford Nation. In this timely book, David Moscrop asks why we make irrational political decisions and whether our stone-age brains can process democracy in the information age.In an era overshadowed by income inequality, environmental catastrophes, terrorism at home and abroad, and the decline of democracy, Moscrop argues that the political decision-making process has never been more important. In fact, our survival may depend on it.Drawing on both political science and psychology, Moscrop examines how our brains, our environment, the media, and institutions influence decision-making. Making good decisions is not impossible, Moscrop argues, but the psychological and political odds are sometimes stacked against us. In this readable and provocative investigation of our often-flawed decisions, Moscrop explains what's going wrong in today's political landscape and how individuals, societies, and institutions can work together to set things right.

    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.

    He was playing softball as a child when the opposing team began to war-whoop when he was at bat. It was just one of many incidents that formed Wente's understanding of what it means to be a modern Indigenous person in a society still overwhelmingly colonial in its attitudes and institutions.As the child of an American father and an Anishinaabe mother, Wente grew up in Toronto with frequent visits to the reserve where his maternal relations lived. By exploring his family's history, including his grandmother's experience in residential school, and citing his own frequent incidents of racial profiling by police who'd stop him on the streets, Wente unpacks the discrepancies between his personal identity and how non-Indigenous people view him.Wente analyzes and gives voice to the differences between Hollywood portrayals of Indigenous peoples and lived culture. Through the lens of art, pop culture, and personal stories, and with disarming humour, he links his love of baseball and movies to such issues as cultural appropriation, Indigenous representation and identity, and Indigenous narrative sovereignty. Indeed, he argues that storytelling in all its forms is one of Indigenous peoples' best weapons in the fight to reclaim their rightful place.Wente explores and exposes the lies that Canada tells itself, unravels "the two founding nations" myth, and insists that the notion of "reconciliation" is not a realistic path forward. Peace between First Nations and the state of Canada can't be recovered through reconciliation--because no such relationship ever existed.

    As weeks turned to years, the disappearance became the most "extraordinary unsolved mystery" of its time. Everything about the sensational case would be called into question in the decades to come, including the motivations of his inner circle, his enemies, and the police who followed the trail across the continent, looking for answers in asylums, theatres, and the Pacific Northwest. In The Missing Millionaire, Katie Daubs tells the story of the Small mystery, weaving together a gripping narrative with the social and cultural history of a city undergoing immense change. Daubs examines the characters who were connected to the case as the century carried on: Ambrose's religious wife, Theresa; his long-time secretary, Jack Doughty; his two unmarried sisters, Florence and Gertrude; Patrick Sullivan, a lawless ex-policeman; and Austin Mitchell, an overwhelmed detective. A series of trials exposed Small’s tumultuous business and personal relationships, while allegations and confessions swirled. But as the main players in the Small mystery died, they took their secrets to the grave, and Ambrose Small would be forever missing. Drawing on extensive research, newly discovered archival material, and her own interviews with the descendants of key figures, Katie Daubs offers a rich portrait of life in an evolving city in the early twentieth century. Delving into a crime story about the power of the elite, she vividly recounts the page-turning tale of a cold case that is truly stranger than fiction.

     In its coming to inherit the unwanted distinction of being the serial killer capital of not just Canada—but apparently also the world during this dark age in the city’s sordid history— the crimes seen in London over this quarter-century period remain unparalleled and for the most part unsolved. From the earliest documented case of homicidal copycatting in Canada, to the fact that at any given time up to six serial killers were operating at once in the deceivingly serene “Forest City,” London was once a place that on the surface presented a veneer of normality when beneath that surface dark things would whisper and stir. Through it all, a lone detective would go on to spend the rest of his life fighting against impossible odds to protect the city against a tidal wave of violence that few ever saw coming, and which to this day even fewer choose to remember. With his death in 2011, he took these demons to his grave with him but with a twist—a time capsule hidden in his basement, and which he intended to one day be opened. Contained inside: a secret cache of his diaries, reports, photographs, and hunches that might allow a new generation of sleuths to pick up where he left off, carry on his fight, and ultimately bring the killers to justice—killers that in many cases are still out there. Murder City is an explosive book over fifty years in the making, and is the history of London, Ontario as never told before. Stranger than fiction, tragic, ironic, horrifying, yet also inspiring, this is the true story of one city under siege, and a book that marks a game changer for the true crime genre.

    Illustrated throughout with photos and snatches of dialogue from Rick’s encounters and exploits across Canada. “[Mercer’s] trademark one-camera rants against the Canadian parliamentary machine are more concise, and more believable, than any campaign ads.” —The Globe and Mail “The comedian of choice for viewers who read.” —Toronto Life “Canada’s hottest TV comic.” —Maclean’s "Week after week, Mercer continues to delight with his alternately giddy and cutting political humour.” —The Canadian Press “Canada’s leading political satirist.” —The New York Times  “A good rant is cathartic. Ranting is what keeps me sane.They always come from a different place. Take the prime minister, for example. Sometimes when I rant about him, I am angry; other times, I am just severely annoyed—it’s an important distinction.”—Rick Mercer, from his introduction Within these pages you’ll find every rant that Rick has so brilliantly and blisteringly delivered since the publication of his previous bestseller, Rick Mercer Report: The Book. Together these rants form a chronicle of human folly, mostly featuring politicians, of course, but with honorable mentions going to people who don’t know how to use escalators and Canadian drivers who don’t think they need snow tires.   Is Mercer getting better or are the fools among us getting worse? Whatever the inspiration—Rick Mercer’s ranting has never been stronger or more on target.   There is a loud, cathartic laugh to be found on almost every page here—with the exception of Rick’s impassioned rant on bullying in schools, words that touched thousands of Canadians, went viral and helped widen the debate on a major problem. Also reprinted here is the rant encouraging students to vote, which resulted directly in a campus ballot and outrage in Ottawa.  (People still are still standing on the left on escalators, and the prime minister is still very much the man he was, but you can’t win them all.) In addition, Rick has authored three new essays specially for this book: the hilarious behind-the-scenes story of his meeting with Rick Hansen, a hero who absolutely was not a disappointment in real life; a heartfelt reflection on public reaction to his bullying rant; and an account of his response—mystified, followed by delighted—to the news that he’d inspired a “vote mob.” Illustrated throughout with photographs and dialogue from Rick’s travels across Canada, A Nation Worth Ranting About will make you proud, will make you think, will make you almost as angry as Rick, and over and over again will make you laugh out loud.

    While her family was poor, their lives were rich in the ways that mattered most. Even at a young age, she had an innate sense of justice, which was reinforced by the lessons her parents taught her: Everyone deserves dignity. All people are equal. Those who work hard reap the rewards. Willful, spirited, and unusually intelligent, she discovered in Pincher Creek an extraordinary tapestry of people and perspectives that informed her worldview going forward. Still, life in the rural Prairies was lonely, and gaining access to education—especially for girls—wasn’t always easy. As a young woman, McLachlin moved to Edmonton to pursue a degree in philosophy. There, she discovered her passion lay not in academia, but in the real world, solving problems directly related to the lives of the people around her. And in the law, she found the tools to do exactly that. She soon realized, though, that the world was not always willing to accept her. In her early years as an articling student and lawyer, she encountered sexism, exclusion, and old boys’ clubs at every turn. And outside the courtroom, personal loss and tragedies struck close to home. Nonetheless, McLachlin was determined to prove her worth, and her love of the law and the pursuit of justice pulled her through the darkest moments. McLachlin’s meteoric rise through the courts soon found her serving on the highest court in the country, becoming the first woman to be named Chief Justice of the Supreme Court of Canada. She rapidly distinguished herself as a judge of renown, one who was never afraid to take on morally complex or charged debates. Over the next eighteen years, McLachlin presided over the most prominent cases in the country—involving Charter challenges, same-sex marriage, and euthanasia. One judgment at a time, she laid down a legal legacy that proved that fairness and justice were not luxuries of the powerful but rather obligations owed to each and every one of us. With warmth, honesty, and deep wisdom, McLachlin invites us into her legal and personal life—into the hopes and doubts, the triumphs and losses on and off the bench. Through it all, her constant faith in justice remained her true north. In an age of division and uncertainty, McLachlin’s memoir is a reminder that justice and the rule of law remain our best hope for a progressive and bright future.

    Here, from American Heritage, is the human, vital, dramatic story of America's beginnings - from the journeys of early explorers and the founding of Plymouth and Jamestown to the French and Indian Wars and victory in the War of Independence.

    They moved to Homs, in Syria — just before the Syrian civil war broke out.Abu Bakr, one of eight children, was ten years old when the violence began on the streets around him: car bombings, attacks on his mosque and school, firebombs late at night. Homes tells of the strange juxtapositions of growing up in a war zone: horrific, unimaginable events punctuated by normalcy — soccer, cousins, video games, friends.Homes is the remarkable true story of how a young boy emerged from a war zone — and found safety in Canada — with a passion for sharing his story and telling the world what is truly happening in Syria. As told to her by Abu Bakr al Rabeeah, writer Winnie Yeung has crafted a heartbreaking, hopeful, and urgently necessary book that provides a window into understanding Syria.

    Wayne Gretzky’s tears, unlike Orr’s, announced not an ending but another beginning. Gretzky’s Edmonton Oilers had four Stanley Cup victories, but Gretzky may then have had other goals in mind.Beginning with his dad, Walter, and continuing with Nelson Skalbania, Peter Pocklington, Bruce McNall, Jerry Buss — and with the CBC’s Peter Gzowski as chronicler for the eager masses — the enormity of Gretzky’s talent attracted all sorts of people who were after a variety of vicarious thrills.

    Mohawk Saint is a work of history that situates her remarkable life in its seventeenth century setting, a time of wars, epidemics, and cultural transformations for the Indian peoples of the northeast. The daughter of a Algonquin mother and an Iroquois father, Catherine/Saint Kateri Tekakwitha (1656-1680) has become known over the centuries as a Catholic convert so holy that, almost immediately upon her death, she became the object of a cult. Today she is revered as a patron saint by Native Americans and the patroness of ecology and the environment by Catholics more generally, the first Native North American proposed for sainthood.Tekakwitha was born at a time of cataclysmic change, as Native Americans of the northeast experienced the effects of European contact and colonization. A convert to Catholicism in the 1670s, she embarked on a physically and mentally grueling program of self-denial, aiming to capture the spiritual power of the newcomers from across the sea. Her story intersects with that of Claude Chauchetiere, a French Jesuit of mystical tendencies who came to America hoping to rescue savages from sin and paganism. But it was Claude himself who needed help to face down his own despair. He became convinced that Tekakwitha was a genuine saint and that conviction gave meaning to his life. Though she lived until just 24, Tekakwitha's severe penances and vivid visions were so pronounced that Chauchetiere wrote an elegiac hagiography shortly after her death.With this richly crafted study, Allan Greer has written a dual biography of Saint Kateri Tekakwitha and Chauchetiere, unpacking their cultures in Native America and in France. He examines the missionary and conversion activities of the Jesuits in Canada, and explains the Indian religious practices that interweave with converts' Catholic practices. He also relates how Tekakwitha's legend spread through the hagiographies and to areas of the United States, Canada, Europe, and Mexico in the centuries since her death. The book also explores issues of body and soul, illness and healing, sexuality and celibacy, as revealed in the lives of a man and a woman, from profoundly different worlds, who met centuries ago in the remote Mohawk village of Kahnawake.

    There simply could not be a more important book at a more important juncture in American -- and world -- history.

     Theo Aronson's The Kaisers is the story of six people whose bitter differences were a microcosm of, and greatly influenced, a national conflict which echoed all round the world. Kaiser Wilhelm I, born 1797, King of Prussia 1861, proclaimed Emperor of all Germany 1871, died only in 1888 an autocratic, militaristic man of the eighteenth century completely opposed to the liberalizing ideas which swept Europe in his lifetime. In contrast his Empress, Augusta, was progressive in thought, open-minded in outlook, yet with all had a taste for the theatrical and pageantry of her royal status. The best of her was seen in their son, Kaiser Frederick III, who was Crown Prince for all but the last few cancer-torn weeks of his life. He personified the best of European liberalism of the nineteenth century. In this he was supported—many said unduly influenced by his energetic and vivacious English wife Victoria, Queen Victoria's eldest and 'Dearest Child', who brought to the marriage the enlightened ideals and hopes of her shrewd, practical mother and her far-seeing father, the Prince Consort. The tragedy, the tempting speculation of Germany's history, is that this couple reigned for only three months before Frederick III's death brought their son to the throne. Kaiser Wilhelm II, 'Kaiser Bill' of the first World War, was again the antithesis of everything his parents stood for. Queen Victoria's hopes that her grandson might be 'wise, sensible, courageous — liberal-minded — good and pure', could hardly have been more misplaced. The sixth, the dominating figure in the Hohenzollern story, is Prince Otto von Bismarck, the ruthless 'Iron Chancellor', virtual dictator of Germany for nearly thirty years. He served all three Kaisers, claiming with justification that on his shoulders he had carried the first to the Imperial throne—where he manipulated him to his will despite the hatred and manoeuvrings of the Empress Augusta. He feared the reign of the short-lived second Kaiser and feared more perhaps (and never missed an opportunity to disparage) the Empress Victoria and the constant, commonsense influence from England of her mother. (`That', he said ruefully after their one meeting, 'was a woman ! One could do business with her ! ') Their son he flattered, siding with him against his parents, and in so doing brought about his own downfall, when the vainglorious young man he had schooled as Crown Prince came as Kaiser to believe that he could do without his mentor. But for Europe it was too late, and the policies of one and the vanities of the other were already leading Europe helter-skelter into the holocaust of 'the Kaiser's War'. Theo Aronson's gifts as a writer have deservedly brought him high regard as a chronicler of the complex histories of Europe's great ruling Houses. Rarely have his talents been better employed than in this study of the comet-like rise and fall of the House of Hohenzollern, the House of the Kaisers of Germany. It is a story of bitter, almost continual conflict, yet even in what can now be seen as a path to inevitable destruction Mr. Aronson finds passages of light and shade that show the Hohenzollerns not simply as Wagnerian puppets posturing on a vast European stage, but people deserving of our understanding and compassion.

    While her fictional characters inhabited a world where love and close community bonds overcame all tribulations, Montgomery's real life was marked by grief and loneliness. Married to a clergyman who suffered from a debilitating mental illness, Montgomery struggled to keep up appearances in a Victorian society that valued propriety at all costs. As she aged, depression engulfed her; nonetheless, throughout her life, she maintained her prolific output of fiction, attracting ever-increasing numbers of fans. Acclaimed novelist Jane Urquhart has written several novels centring on the role of the artist. Here, she explores the life of a woman whose successful literary career broke the boundaries set for women of her time, but who could not escape the societal strictures of Victorian Canada or her own demons.