All eighty-four men aboard died. February is the story of Helen O'Mara, one of those left behind when her husband, Cal, drowns on the rig. It begins in the present-day, more than twenty-five years later, but spirals back again and again to the "February" that persists in Helen's mind and heart.Writing at the peak of her form, her steadfast refusal to sentimentalize coupled with an almost shocking ability to render the precise details of her characters' physical and emotional worlds, Lisa Moore gives us her strongest work yet. Here is a novel about complex love and cauterizing grief, about past and present and how memory knits them together, about a fiercely close community and its universal struggles, and finally about our need to imagine a future, no matter how fragile, before we truly come home. This is a profound, gorgeous, heart-stopping work from one of our best writers.

    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.

    Rescued against his will, the narrator is obliged to attend sessions with a well-intentioned but naïve therapist. This sets the story in motion, leading us back to the narrator’s violent childhood in a war-torn country, forward into his current life in the smoky émigré cafés, and out into the frozen nighttime streets of Montreal. Bold, haunting, and emotionally trenchant, Cockroach is a powerful story of immigrant experience, indignation, and unrelenting fortitude.

    The marriage of the young Irish Catholic woman to an older English man is thought scandalous, but they work happily together, playing music to accompany the films. When George succumbs to illness and dies, leaving Janie with one young child and another on the way, the unscrupulous Joey Elias tries to take over the business. But Janie guards the theatre with a shotgun, and still in mourning, re-opens it herself. “If there was no real bliss in Janie’s life,” recounts her grandson, “there were moments of triumph.”One night, deceived by the bank manager and Elias into believing she will lose her mortgage, Janie resolves to go and ask for money from the Catholic houses. Elias has sent out men to stop her, so she leaps out the back window and with a broken rib she swims in the dark across the icy Miramichi River, doubting her own sanity. Yet, seeing these people swayed into immoral actions because of their desire to please others and their fear of being outcast, she thinks to herself that “…all her life she had been forced to act in a way uncommon with others… Was sanity doing what they did? And if it was, was it moral or justified to be sane?” Astonishingly, she finds herself face to face that night with influential Lord Beaverbrook, who sees in her tremendous character and saves her business. Not only does she survive, she prospers; she becomes wealthy, but ostracized. Even her own father helps Elias plot against her. Yet Janie McLeary King thwarts them and brings first-run talking pictures to the town. Meanwhile, she employs Rebecca from the rival Druken family to look after her children. Jealous, and a protégé of Elias, Rebecca mistreats her young charges. The boy Miles longs to be a performer, but Rebecca convinces him he is hated, and he inherits his mother’s enemies. The only person who truly loves her, he is kept under his mother’s influence until, eventually, he takes a job as the theatre’s projectionist. He drinks heavily all his life, tends his flowers, and talks of things no-one believes, until the mystery at the heart of the novel finally unravels.“At six I began to realize that my father was somewhat different,” says Miles King’s son Wendell, who narrates the saga in an attempt to find answers in the past and understand “how I was damned.” It is a many-layered epic of rivalries, misunderstandings, rumours; the abuse of power, what weak people will do for love, and the true power of doing right; of a pioneer and her legacy in the lives of her son and grandchildren.“David Adams Richards is perhaps the greatest Canadian writer alive,” wrote Lynn Coady in the Vancouver Sun. From this winner of the Giller Prize and the Governor General’s Award comes a story of a woman’s determined struggle against small town prejudice, and her son’s long battle against deceit. Richards’ own family ran Newcastle’s Uptown Theatre from 1911 to 1980, and Janie is based on his grandmother. Cast upon this history is a drama that explores morality and “the question of how one should live,” as The Atlantic Monthly said of Mercy Among the Children, his previous novel.Reviewers agree that Richards’ fiction sits firmly in the tradition of Tolstoy and Dostoevsky by concerning itself explicitly with good and evil and the human freedom to choose between them. Once again, in River of the Brokenhearted, his twelfth novel, Richards has created a work of compassion and assured, poetic sophistication which finds in the hearts of its characters venality and goodwill, cruelty and love.From the Hardcover edition.

    While the plot of the book was wildly imaginative, it was also based on the author's own experience as a sex worker in the 1990s and early 2000s, and on her coming out as lesbian.How Poetry Saved My Life, Amber Dawn's sophomore book, reveals an even more poignant and personal landscape—the terrain of sex work, queer identity, and survivor pride. This memoir, told in prose and poetry, offers a frank, multifaceted portrait of the author's experiences hustling the streets of Vancouver, and the how those years took away her self-esteem and nearly destroyed her; at the crux of this autobiographical narrative is the tender celebration of poetry and literature, that—as the title suggests—acted as a lifeline during her most pivotal moments.

    Aidan and Martha Connor now spend alternate months of the year working at an energy site up north to support their children, Cora and Finn. But soon the family fears they’ll have to leave Big Running for good. And as the months go on, plagued by romantic temptations new and old, the emotional distance between the once blissful Aidan and Martha only widens.Between his accordion lessons and reading up on Big Running’s local flora and fauna, eleven-year-old Finn Connor develops an obsession with solving the mystery of the missing fish. Aided by his reclusive music instructor Mrs. Callaghan, Finn thinks he may have discovered a way to find the fish, and in turn, save the only home he’s ever known. While Finn schemes, his sister Cora spends her days decorating the abandoned houses in Big Running with global flair—the baker’s home becomes Italy; the mailman’s, Britain. But it’s clear she’s desperate for a bigger life beyond the shores of her small town. As the streets of Big Running continue to empty Cora takes matters—and her family’s shared destinies—into her own hands.In Our Homesick Songs, Emma Hooper paints a gorgeous portrait of the Connor family, brilliantly weaving together four different stories and two generations of Connors, full of wonder and hope. Told in Hooper’s signature ethereal style, each page of this incandescent novel glows with mythical, musical wonder.

    In the first story a young wife and mother receives release from the unbearable pain of losing her three children from a most surprising source. In another, a young woman, in the aftermath of an unusual and humiliating seduction, reacts in a clever if less-than-admirable fashion. Other stories uncover the “deep-holes” in a marriage, the unsuspected cruelty of children, and how a boy’s disfigured face provides both the good things in his life and the bad. And in the long title story, we accompany Sophia Kovalevsky—a late-nineteenth-century Russian émigré and mathematician—on a winter journey that takes her from the Riviera, where she visits her lover, to Paris, Germany, and, Denmark, where she has a fateful meeting with a local doctor, and finally to Sweden, where she teaches at the only university in Europe willing to employ a female mathematician. With clarity and ease, Alice Munro once again renders complex, difficult events and emotions into stories that shed light on the unpredictable ways in which men and women accommodate and often transcend what happens in their lives.Dimensions --Fiction --Wenlock edge --Deep-holes --Free radicals --Face --Some women --Child's play --Wood --Too much happiness

    When Hugh and his friends dig a secret cave out on the Prairie, they soon find it occupied by an escaped patient from the mental hospital. Defying the adult world, the boys become involved with a former war hero and current rum-runner, King Motherwell, in sheltering and feeding the runaway. When passions aroused by sex explode into murder, Hugh leaves his boyhood behind him for ever.

    The poem explores the actual world of history transformed into the mythical world of poetry, where what we remember about the past may be more real than history tells us.

    . .In You Are Here, bestselling author and celebrated astronaut Chris Hadfield creates a virtual orbit of Earth, giving us the really big picture: this is our home, from space. The millions of us who followed Hadfield's news-making Twitter feed from the ISS thought we knew what we were looking at when we first saw his photos. But we may have caught the beauty and missed the full meaning. Now, through photographs - many of which have never been shared - Hadfield unveils a fresh and insightful look at our planet. He sees astonishing detail and importance in these images, not just because he's spent months in space but because his in-depth knowledge of geology, geography and meteorology allows him to reveal the photos' mysteries.Featuring Hadfield's favourite images, You Are Here is divided by continent and represents one (idealized) orbit of the ISS. This planetary photo tour - surprising, playful, thought-provoking and visually delightful - provides a breathtakingly beautiful perspective on the wonders of the world. You Are Here opens a singular window on our planet, using remarkable photographs to illuminate the history and consequences of human settlement, the magnificence of newly uncovered landscapes, and the power of the natural forces shaping our world and the future of our species.

    Wright’s Clara Callan fans will adore, October effortlessly weaves a haunting coming-of-age story set in World War II Quebec with a contemporary portrait of a man still searching for answers in the autumn of his life.In England to see his daughter, Susan, who is gravely ill, James Hillyer, a retired professor of Victorian literature, encounters by chance a man he once knew as a boy. Gabriel Fontaine, a rich and attractive American he met one summer during the war, when he was sent on a holiday to the Gaspé, is a mercurial figure, badly crippled by polio. A s an adolescent, James was both attracted to and repelled by Gabriel’s cocksure attitude and charm. He also fell hopelessly in love with Odette, a French- Canadian girl from the village, only to find himself in competition with the careless Gabriel. Now, at this random meeting over six decades later—as he struggles with the terrible possibility that he could outlive his own daughter—James is asked by Gabriel to accompany him on a final, unthinkable journey. A t last, James begins to see that all beginnings and endings are inexorably linked.A classic Richard B. Wright novel, defined by superb storytelling, subtle, spare writing and characters who travel psychological territory as familiar—and uncharted—as our own, October is an extraordinary meditation on mortality, childhood and memory.

    None were expecting the bear attacks that summer, which led to one man’s death. During the massive hunt that followed, Banff was portrayed in the international media as a town under siege by a killer bear, and the tourists stayed away. The pressure was on to find and destroy the Whiskey Creek mauler, but he evaded park wardens and struck again — and again. When the fight was over, the hard lessons learned led to changes that would save the lives of both bears and people in the coming years.Sid Marty’s The Black Grizzly of Whiskey Creek is an evocative and gripping story that speaks to our complex and increasingly combative relationship with the wilderness and its inhabitants.

    It can also be as dark, as violent, as rapturous. In the end, there may be no difference between them.A girl grows up in Nunavut in the 1970s. She knows joy, and friendship, and parents' love. She knows boredom, and listlessness, and bullying. She knows the tedium of the everyday world, and the raw, amoral power of the ice and sky, the seductive energy of the animal world. She knows the ravages of alcohol, and violence at the hands of those she should be able to trust. She sees the spirits that surround her, and the immense power that dwarfs all of us. When she becomes pregnant, she must navigate all this.Veering back and forth between the grittiest features of a small arctic town, the electrifying proximity of the world of animals, and ravishing world of myth, Tanya Tagaq explores a world where the distinctions between good and evil, animal and human, victim and transgressor, real and imagined lose their meaning, but the guiding power of love remains.Haunting, brooding, exhilarating, and tender all at once, Tagaq moves effortlessly between fiction and memoir, myth and reality, poetry and prose, and conjures a world and a heroine readers will never forget.

    But, still single at thirty-six, she fears ending up as a wizened crone in a dilapidated country cottage, a cat her only companion.Just as she is beginning to believe she will never marry, she meets George Maclean, home on leave from his position as the governor of Cape Coast Castle on the Gold Coast of West Africa. George and Letty marry quietly and set sail for Cape Coast. Eight weeks later she is dead — not from malaria or dysentery or any of the multitude of dangers in her new home, but by her own hand. Or so it would seem.Local Customs examines, in poetic detail, a way of life that has faded into history. It was a time when religious and cultural assimilation in the British colonies gave rise to a new, strange social order. Letty speaks from beyond the grave to let the reader see the world through her eyes and explore the mystery of her death. Was she disturbed enough to kill herself, or was someone — or something — else involved?

    Invoking both the personal and the civic self, they chart uncertain new beginnings in a shattered nation. What emerges is both a poignant meditation on a daughter's relationship with her mother and a citizen's relationship to her country. from "Frontier" . . . At times, I felt sick, intoxicatedby BPA and mercury.At other times I fasted and the starsstumbled clear from the vault.Up there, the universe stands around drunk.I hope the Lord is kind to us,for we engrave our every mistake . . .