One of the few in her community to forego bio-engineered enhancements, she’s the last truly organic person left on the rig. But she’s an expert in the arts of self-defence, and she’s been charged with training the Family’s youngest, who has been receiving death threats – seemingly from another timeline. Meanwhile, a series of interconnected murders threatens the city’s stability – serial killer? Or something much, much worse...?

    Only Mr. Davies, author of Fifth Business, The Manticore, and World of Wonders, could have woven together their destinies with such wit, humour-and wisdom.

    The summer Jake turns twelve, he befriends a pair of siblings new to town, and so Calvin decides to initiate them all into the "Saturday Night Ghost Club." But as the summer goes on, what begins as a seemingly lighthearted project may ultimately uncover more than any of its members had imagined. With the alternating warmth and sadness of the best coming-of-age stories, The Saturday Night Ghost Club examines the haunting mutability of memory and storytelling, as well as the experiences that form the people we become.

    Editors Elissa Washuta and Theresa Warburton ground this anthology of essays by Native writers in the formal art of basket weaving. Using weaving techniques such as coiling and plaiting as organizing themes, the editors have curated an exciting collection of imaginative, world-making lyric essays by twenty-seven contemporary Native writers from tribal nations across Turtle Island into a well-crafted basket.Shapes of Native Nonfiction features a dynamic combination of established and emerging Native writers, including Stephen Graham Jones, Deborah Miranda, Terese Marie Mailhot, Billy-Ray Belcourt, Eden Robinson, and Kim TallBear. Their ambitious, creative, and visionary work with genre and form demonstrate the slippery, shape-changing possibilities of Native stories. Considered together, they offer responses to broader questions of materiality, orality, spatiality, and temporality that continue to animate the study and practice of distinct Native literary traditions in North America.

    But the bank is about to foreclose, so Prudence must turn things around fast! Fortunately she'll have help from Earl, her banjo-playing foreman with a family secret; Seth, the neighbor who hasn't left the house since a high school scandal; and Sara Spratt, an eleven-year-old who's looking for a home for her prize-winning chickens.Home to Woefield is about learning how to take on a challenge, face your fears, and find friendship in the most unlikely of places.

    As her sophomore year begins, Karen enters into the back-to-school revelry--particularly at a fraternity called GBC. When she wakes up one morning on the lawn of Raghurst, a house of radical feminists, she gets a crash course in the state of feminist activism on campus. GBC is notorious, she learns, nicknamed "Gang Bang Central" and a prominent contributor to a list of date rapists compiled by female students. Despite continuing to party there and dating one of the brothers, Karen is equally seduced by the intellectual stimulation and indomitable spirit of the Raghurst women, who surprise her by wanting her as a housemate and recruiting her into the upper-level class of a charismatic feminist mythology scholar they all adore. As Karen finds herself caught between two increasingly polarized camps, ringleader housemate Dyann believes she has hit on the perfect way to expose and bring down the fraternity as a symbol of rape culture--but the war between the houses will exact a terrible price.The Red Word captures beautifully the feverish binarism of campus politics and the headlong rush of youth toward new friends, lovers, and life-altering ideas. With strains of Jeffrey Eugenides's The Marriage Plot, Alison Lurie's Truth and Consequences, and Tom Wolfe's I Am Charlotte Simmons, Sarah Henstra's debut adult novel arrives on the wings of furies.

    In “Books and Roses” one special key opens a library, a garden, and clues to at least two lovers’ fates. In “Is Your Blood as Red as This?” an unlikely key opens the heart of a student at a puppeteering school. “‘Sorry’ Doesn’t Sweeten Her Tea” involves a “house of locks,” where doors can be closed only with a key—with surprising, unobservable developments. And in “If a Book Is Locked There’s Probably a Good Reason for That Don't You Think,” a key keeps a mystical diary locked (for good reason).  Oyeyemi’s tales span multiple times and landscapes as they tease boundaries between coexisting realities. Is a key a gate, a gift, or an invitation?

    This year they're all going to turn fifty, so they decide to take a trip to New York together (courtesy of Linda's philandering husband's Visa Platinum). But at the LaGuardia airport washroom, Bette accidentally switches bags with a young mother who's actually smuggling diamonds for the mob, and things start going terribly wrong. When they kill an aggressive cab driver with pepper spray, the four friends know this is not going to be the trip of shopping and Broadway shows they'd expected.A series of miscommunications and mishaps entangles the friends even further into the criminal underworld of New York. But out of all the bad luck (Linda's husband is staying at the same hotel as the friends, with his new girlfriend) and bad people (mobsters, drug addicts, and Linda's husband) emerge four fifty-year-old avengers of truth and justice. In the style of Crewe's Shoot Me, Hit and Mrs. is a wildly entertaining comedic romp.

    When Peter’s nipples begin speaking to him one day and inform him of their diabolical plan to expose his secret desires to the world, Peter finds himself cornered in a world that seems to have no tolerance for difference.Peter’s only solace is “The Bedtime Movies” — perfect-world fantasies that lull him to sleep every night. But when the lines between Peter’s fantasy world and his reality begin to blur, no one is safe from the depths of Peter’s imagination — especially Peter himself.

    In each of her stories, Danielle Evans explores the non-white American experience with honesty, wisdom, and humor. They are striking in their emotional immediacy, based in a world where inequality is a reality, but the insecurities of young adulthood and tensions within family are often the more complicating factors. One of the most lauded debuts of the year, Before You Suffocate Your Own Fool Self announces a major new talent in Danielle Evans.

    Families, friends, lovers disappear.Kim Echlin’s powerful new novel tells the story of Anne Greves, from Montreal, who meets Serey, a Cambodian student forced into exile when he cannot return home during Pol Pot’s time of terror. Anne and Serey meet in a jazz club where their shared passion for music turns into a passion for each other, against the will of her father. But when the borders of Cambodia open, Serey is compelled to return home, alone, to try to find his family. Left behind, and without word from her lover, Anne tries to build a new life but she cannot forget her first love. She decides to travel to the war-ravaged country that claimed Serey. What she finds there is a traumatized and courageous people struggling to create new freedoms out of the tragedy that claimed their traditional ways, their livelihood, and a seventh of their population.“Despair is an unwitnessed life,” writes Anne as she searches for the truth, about her lover, and about herself. “If we live long enough, we have to tell, or turn to stone inside.”From its first page, The Disappeared takes us into the land of kings and temples, fought over for generations. It reveals the forces that act on love everywhere: family, politics, forgetting. Universal in its questions about how to claim the past, how to honor our dead, and how to go on after those we love disappear, it is a story written in spare and rhythmic prose. The Disappeared is a remarkable consideration of language, truth, justice, and memory that speaks to the conscience of the world, and to love, even when those we love most are gone.

    Instead of the people who could be there, his mother or his brother, the figure reminds him of his long-gone father, who died mysteriously before his family left the reservation. When he follows it he discovers his house is bigger and deeper than he knew. The house is the kind of wrong place where you can lose yourself and find things you'd rather not have. Over the course of a few nights, the boy tries to map out his house in an effort that puts his little brother in the worst danger, and puts him in the position to save them . . . at terrible cost.

    When we first meet Ruby, a Métis woman in her thirties, her life is spinning out of control. She's angling to sleep with her counselor while also rekindling an old relationship she knows will only bring more heartache. But as we soon learn, Ruby's story is far more complex than even she can imagine. Given up for adoption as an infant, Ruby is raised by a white couple who understand little of her Indigenous heritage. This is the great mystery that hovers over Ruby's life--who her people are and how to reconcile what is missing. As the novel spans time and multiple points of view, we meet the people connected to Ruby: her birth parents and grandparents; her adoptive parents; the men and women Ruby has been romantically involved with; a beloved uncle; and Ruby's children. Taken together, these characters form a kaleidoscope of stories, giving Ruby’s life dignity and meaning. Probably Ruby is a dazzling novel about a bold, unapologetic woman taking control of her life and story, and marks the debut of a major new voice in Indigenous fiction.

    His characters, almost all of who are first-generation Indian Americans, subvert our expectations that they will sit quietly by. We meet two brothers caught in an elaborate web of envy and loathing; a young gay man who becomes involved with an older man whose secret he could never guess; three women who almost gleefully throw off the pleasant agreeability society asks of them; and, in the final pair of linked stories, a young couple struggling against the devastating force of community gossip. If You See Me, Don't Say Hi examines the collisions of old world and new world, small town and big city, traditional beliefs (like arranged marriage) and modern rituals (like Facebook stalking). The men and women in these stories are full of passion, regret, envy, anger, and yearning. They fall in love with the wrong people and betray one another and deal with the accumulation of years of subtle racism. They are utterly compelling. Ranging across the country, Patel’s stories -- empathetic, provocative, twisting, and wryly funny -- introduce a bold new literary voice, one that feels more timely than ever.

    She remembers him only in fragments, as an injured artist from whom she and her mother were separated during the war. In her journey, Maggie finds herself at a makeshift pho stall, where the rich aroma of beef noodle soup lures people off Hanoi's busy streets and into a quiet morning ritual. Old Man Hung, the enlightened proprietor of the beloved pho stall, has survived decades of poverty and political upheaval. Hung once had a shop that served as a meeting place for dissident artists. As Maggie discovers, this old man may hold the key to both her past and her future. Among Hung's most faithful customers is Tu', a dynamic young tour guide who works for a company called New Dawn. Tu' leads tourists through the city, including American vets on war tours, but he has begun to wonder what it is they are seeing of Vietnam-and what they miss entirely. In Maggie, he finds a young Americanized woman in search of something quite different, leading him beyond his realm of expertise. In sensual, interwoven narratives, Maggie, Hung, and Tu' come together in a highly charged season that will mark all of them forever. The Beauty of Humanity Movement is a skillfully wrought novel about the reverberation of conflict through generations, the enduring legacy of art, and the redemption and renewal of love. The story of these characters is tinged with longing for worlds and loved ones lost but also filled with the hope that faith can heal the pain of their shared country's turbulent past. This is the distinct and complex story of contemporary Vietnam, a country undergoing momentous change, and a story of how family is defined-not always by bloodlines, but by heart.