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Finalist for the 2022 Governor General's Literary Award for TranslationWinner of the 2022 VMI Betsy Warland Between Genres AwardRemnants is an exploration of our relationships with family and perception, told through a profound investigation of a father's life and sudden death. Employing various voices and hybrid forms--including dialogues, questionnaires, photographs, and dream documentation--Huyghebaert builds a fragmented picture of a father-daughter relationship that has been shaped by silences and missed opportunities.The reader attempts to untangle fact from fiction: multiple versions of Huyghebaert's father are presented while remnants of his life disappear achingly quickly. What is left of someone who was not important enough to be archived? How do we talk about what no longer exists?Winner of the Governor General's Literary Award for French-language fiction, Remnants asks essential questions we often only peer at from the corner of an eye; questions about the value of life in its duration and passing. This is a transcendent work, ideal for readers of Annie Ernaux, Sophie Calle, and Maggie Nelson.

Nilling is a sequence of 6 loosely linked prose essays about noise, pornography, the codex, melancholy, Lucretius, folds, cities and related aporias: in short, these are essays on reading. Lisa Robertson applies an acute eye to the subject of reading and writingtwo elemental forces that, she suggests, cannot be separated.For Robertson, a book is an intimacy, and with keen and insightful language, Nilling's essays builds into a lively yet close conversation with Robertson's "e;masters"e;: past writers, philosophers, and idealists who have guided her reading (and writing) practice to this point.If "e;a reader is a beginner,"e; then even regular readers of Robertson's kind of deep thinking will delight in the infinite folding together of conceptsthe codex, pornography, melancholy, citiesthat on their own may seem banal, but in their twisting intertextuality, make for a scintillating study of reading as a deep engagement.

Enter the Raccoon documents a love affair between a woman and a raccoon. They are a couple that loves without preconceptions, whose being together eschews all limits until their beliefs in the self are put to the test. Their story unfolds each time one surrenders to the other in a sometimes melancholic and cruel, other times joyful, even ecstatic embrace.

The ecological is personal; the personal is ecological. Rag Cosmology is a pulsating meditation on this most intimate relationship. These poems inject pleasure deep into the tissues of our language and state, countering fatalist narratives with the intimacy of entanglement and engagement.Green extravagant mind wet and movingtwo weeks ago I arrived heresimply to shake in the green plosions

Blank is a collection of previously out-of-print essays and new works by one of Canada's most important contemporary writers and thinkers.Through an engagement with her earlier work, M. NourbeSe Philip comes to realize the existence of a repetition in the world: the return of something that, while still present, has become unembedded from the world, disappeared. Her imperative becomes to make us see what has gone unseen, by writing memory upon the margin of history, in the shadow of empire and at the frontier of silence.In heretical writings that work to make the disappeared perceptible, Blank explores questions of race, the body politic, timeliness, recurrence, ongoingness, art, and the so-called multicultural nation. Through these considerations, Philip creates a linguistic form that registers the presence of what has seemingly dissolved, a form that also imprints the loss and the silence surrounding those disappearances in its very presence.

Deep Salt Water is an intimate memoir about abortion, expressed through a layering of language and imagery of the ocean. The story gravitates around the reconnection and ongoing entanglements of a couple who'd had an abortion twenty years earlier. Interdisciplinary in nature and entre-genre in style, Deep Salt Water is organized as thirty-seven separate pieces, divided into three sections (or 'trimesters') that detail the couple's love affair and unwanted pregnancy; the abortion itself; their separation and tenuous reconnection; and the sorrowful, urgent attempt to come to terms with the abortion and its consequences.Included in its pages are two innovative elementsa series of collages by visual artist Catherine Mellinger and a section entitled the 'Afterbirth,' which discusses environmental issues that informed Apostolides' writing and moves the book from a place of intense intimacy to an outward focus that engages with the broader world and our shared responsibility and hope.

Double Teenage tells the story of two young teenagers (best friends, Celine and Julie) who are coming of age in the 1990s along the US-Mexico bordera place where nothing seems to happen, but only because what counts as 'something' is defined by far-off centres of power. In their small, desert town and small-scale life, they become a twin pair. Through their love of theatre, they find their way into a wider world, rich with opportunity, but at the same time, dense with situations of peril and violence.This unrelenting novel shines a spotlight on the paradoxes of Western cultureobsessed with depictions of fantasy sexual violence, while at the same time, willfully blind to the many ways in which desire and hurt twine together in real life; where angry, emotional, and loving girls have been told time and again that they overthink things; where survival goes hand-in-hand with trauma and witnessing; where art, books, movies, TV, and plays work to both shield us from reality and also help us to face it, and powerful healing rituals can be made out of everyday material goodshoodie sweatshirts, homemade alcoholic punch, joints, and blood pacts. In this way, Double Teenage ultimately offers a way through violence into an emotionally alive place beyond the trap of girlhood.Informed and influenced by the films of David Lynch, Agnes Varda, Chris Marker, Jacques Rivette, Murphy has developed an emotional dialogue in Double Teenage, one that wrestles with the borders of our bodies, our countries, and our realities. The borderlands (the US/Mexican and the Canadian/US) in this novel become gendered, performative spaces that are hard and soft, depending on who is trying to cross. Though the girls move away from the Southwest to Vancouver and Chicago, and gain entry into rarified academic and artistic circles, they discover that the violence and solitude of the borderlands are still stuck within them.In drawing comparisons to Sheila Heti's How Should a Person Be and Chris Kraus's Summer of Hate, the harrowing narrative in Double Teenage will speak particularly to an audience of 'Under 40' women who are radical, possibly over-educated, if perhaps precariously employed. Art audiences, as well as people interested in literary fiction and criticism, will also be drawn to this novel's integration of books, theatre, and performance.

Spawn is a braided collection of brief, untitled poems, a coming-of-age lyric set in the Mashteuiatsh Reserve on the shores of Lake Piekuakami (Saint-Jean) in Quebec. Undeniably political, Marie-Andree Gill's poems ask: How can one reclaim a narrative that has been confiscated and distorted by colonizers?The poet's young avatar reaches new levels on Nintendo, stays up too late online, wakes to her period on class photo day, and carves her lovers' names into every surface imaginable. Encompassing twenty-first-century imperialism, coercive assimilation, and 90s-kid culture, the collection is threaded with the speaker's desires, her searching: for fresh water to "e;take the edge off,"e; for a "e;habitable word,"e; for sex. For her "e;true north"e;her voice and her identity.Like the life cycle of the ouananiche that frames this collection, the speaker's journey is cyclical; immersed in teenage moments of confusion and life on the reserve, she retraces her scars to let in what light she can, and perhaps in the end discover what to "e;make of herself"e;.

When life is upended, what do you do? Do you remain as you were, trapped in a form of stasis? Or do you accept your losses and move forward? These questions and more are the heart of The Handsome Man.These linked stories follow several years of the life of a young man as he is drawn around the world: from Toronto to Montreal, New York, Ohio, New Mexico, British Columbia, Berlin, Rome, and Northern Ontario, along the way meeting hippies, healers, drinkers, movie stars, old friends, and welcoming strangers. He isn't travelling, however; he's running away. But as far and fast as he runs, the world won't let him disappear, and each new encounter and every lost soul he meets along this journey brings him closer and closer to certain truths he'd locked away: how to trust, how to live in this world, and most of all, how to love again.

day/break, poet Gwen Benaway's fourth collection of work, explores the everyday poetics of the trans feminine body. Through intimate experiences and conceptualizations of trans life, day/break asks what it means to be a trans woman, both within the text and out in the physical world. Shifting between theory and poetry, Benaway questions how gender, sexuality, and love intersect with the violence and transmisogyny of the nation state and established literary institutions. In beautiful lyric verse, day/break reveals the often-unseen other worlds of trans life, where body, self, and sex are transformed, becoming more than fixed binary locations.

To devote oneself to the study of beauty is to offer footnotes to the universe for all the places and all the moments that one observes beauty. I can no longer grab beauty by her wrists and demand articulation or meaning. I can only take account of where things touch.Part lyric essay, part prose poetry, Where Things Touch grapples with the manifold meanings and possibilities of beauty.Drawing on her experiences as a physician-in-training, Orang considers clinical encounters and how they relate to the concept and very idea of beauty. Such considerations lead her to questions about intimacy, queerness, home, memory, love, and other aspects of human existence. Throughout, beauty is ultimately imagined as something inextricably tied to care: the care of lovers, of patients, of art and literature, and the various non-human worlds that surround us.Eloquent and meditative in its approach, beauty, here, beyond base expectations of frivolity and superficiality, is conceived of as a thing to recover. Where Things Touch is an exploration of an essential human pleasure, a necessary freedom by which to challenge what we know of ourselves and the world we inhabit.

Is it possible to archive the invisible symptoms of an illness? Is the archive emotional? Emmalea Russo's Wave Archive moves between essay and poetry while also pondering the mind-body connection and the unreliability of thought patterns and histories. Here, Russo invokes her own experiences with seizures, photographs and art-making, archival and indexical processes, brain waves, and the very personal need to document and store while simultaneously questioning the reliability of memory and language. Drawing upon the history of epilepsy in both ancient and modern brain treatments, Wave Archive disrupts and restores the archive over and over again, exploring the very edges of consciousness.

Amidst the dangers of figurative language, the coercion of sentimentality, and the insidious freight of abstraction, these poems embody the necessity for the critical, the communal, the real. Are the Rivers in Your Poems Real uses conceptual critiques of public discourse and experimental social cartographies, as well as lyrics of intimacy, to defy prescribed ways of being. This is an act of resistance against dangerous and domineering narratives, and the power they inscribe.

Two sex addicts meet and fall in love. A woman catches her husband cheating on her with their dog and escapes to her sister's horse farm. Four friendsfellow pervsgrow up and drift apart, pining for each other in silence until one of them is murdered.In Jess Taylor's sophomore story collection, contemporary views of female sexuality are subverted, and women are given agency over their desires and bodies. Through these characters, sex is revealed to be many things at once: gross, shameful, exhilarating, hidden or openand always complicated. Reminiscent of the works of Maggie Nelson, Mary Gaitskill and Chris Kraus, the stories in Just Pervs explore the strange oppression and illumination created by desire, the bewilderment of adolescence, and the barriers to intimacy both discovered within and imposed upon ourselves.

Fanny, a seventeen-year-old high school senior, has lost both her parents in a car accident. Granted permission to live independently in the family home located on the outskirts of a small Norwegian town, she passes the days performing her unchanging routine: going to school, maintaining the house, chopping and stacking wood, and keeping the weeds at bay. As Fanny grieves and attempts to come to terms with the sad circumstances of her life, a fairy tale-like world full of new possibilities begins to emerge around her.Written by Rune Christiansen, one of Norway's most exciting literary talents, and masterfully translated by Kari Dickson, Fanny and the Mystery in the Grieving Forest is a beautiful, poetic portrait of grief, friendship, independence, and transgression.

Symphony No. 3 follows the life of renowned French composer Camille Saint-Sans as he ascends from child prodigy to worldwide fame. As his acclaim grows in Paris, the musical world around him clamours with competitors, dilettantes, turncoats and revenge seekers. At the height of his success, Camille leaves everything behind to embark on a Dantean quest for his dead lover, Henri. At the end of this adventure, still haunted by the holes in his past, he takes up an invitation to journey by ocean-liner to the New World.Finely crafted in its own unique rhythmic language, Symphony No. 3 is cast in four sections to mirror Saint-Sans's famous work, popularly known as the Organ Symphony. Written and performed in London England in the infamous late 1880s, this was the composition he hoped would finally destroy Beethoven's stranglehold on the industry and reinvent the form. Though set in the decades surrounding the fin de siecle, Symphony No. 3 speaks directly to our present moment and the rise of political violence.

In Vancouver for Beginners, the nostalgia of place is dissected through the mapping of a city where readers are led past surrealist development proposals, post-apocalyptic postcards, childhood landmarks long gone and a developer who paces at the city's edge, shoring it up with aquariums.In these poems you will traverse a city lined with rivers, not streets. Memory traps and tourist traps reveal themselves, and the ocean glints, elusive, in the background. Here there are many Vancouvers and no Vancouver, a city meant for elsewhere after the flood has swept through. This place of the living and the dead has been rewritten: forests are subsumed by parks, buildings sink and morph, and the climate has changed.Vancouver for Beginners is a ghost story, an elegy, a love song for a city that is both indecipherable and a microcosm of a world on fire.

Winner of RBC Bronwen Wallace Award for Emerging WritersWinner of CBC Poetry PrizeFrom hybrid bodies to shifting landscapes, Re-Origin of Species blurs the lines of the real. These poems journey through illness and altered states to position disability and madness as evolutionary traits; skilled adaptations aligned with ecological change.A lyric contemplation of our relationship to the environment, this book looks at the interdependence of species. Weaving personal narratives with a study of the insect kingdom, it draws parallels between human illness, climate change, and the state of peril in the natural world.

Rather than making "e;something"e; out of "e;nothing,"e; what follows is an endeavour to express the potential of language and thought to encounter what is infinitely beyond both yet to be imagined.In The Nothing That Is, Johanna Skibsrud gathers essays about the very concept of "e;nothing."e; Addressing a broad range of topicsincluding false atrocity tales, so-called fake news, high-wire acts, and telepathy, as well as responses to works by John Ashbery, Virginia Woolf, Anne Carson, and morethese essays seek to decentre our relationship to both the "e;givenness"e; of history and to a predictive or probable model of the future.The Nothing That Is explores ways in which poetic language can activate the possibilities replete within our every moment. Skibsrud reveals that within every encounter between a speaking "e;I"e; and what exceeds subjectivity, there is a listening "e;Other,"e; be it community or the objective world.

Where, the Mile End, Irish poet Julie Morrissy's debut collection, embodies an energetic lyricism that whips through Europe and North America with humour, curiosity and a distinct edginess. Morrissy's lines track emotional, physical, and geographical change, as she intimately links the vitality of two continents: the snow, the streets, the sensual memories. Where, the Mile End reimagines the places we inhabit, the moments we remember, the things we long for.

If poetry is a place to question, I Am a Body of Land by Shannon Webb-Campbell is an attempt to explore a relationship to poetic responsibility and accountability, and frame poetry as a form of re-visioning.Here Webb-Campbell revisits the text of her earlier work Who Took My Sister? to examine her self, her place and her own poetic strategies. These poems are efforts to decolonize, unlearn, and undoo harm.Reconsidering individual poems and letters, Webb-Campbell's confessional writing circles back, and challenges what it means to ask questions of her own settler-Indigenous identity, belonging, and attempts to cry out for community, and call in with love.Edited, with an introduction by multiple award-winning writer and activist Lee Maracle.

Now I've killed another person. I'm a serial killer. Sure, two people is hardly serial, but it's a good start. I'm still young. Who knows where opportunities might lead me? Opportunity makes the thief, or the murderer, or even the pastry chef. It's well documented.Mama's Boy Behind Bars is the second book in David Goudreault's wildly successful and darkly funny Mama's Boy trilogy. Once again written with gritty humour in the form of a confession, Mama's Boy Behind Bars picks up where the first book in the series left off.Mama's Boy finds himself in jail following a tender and violent search for his long lost mother. In an attempt to survive his incarceration, he sets out to make a name for himself in prison and is desperate to achieve his ambition of joining the ranks of the hardcore criminals. But things get wildly complicated when he falls in love with a prison guard. Can Mama's Boy juggle love and crime?

Hasan Namir's debut collection of poetry, War / Torn, is a brazen and lyrical interrogation of religion and masculinitythe performance and sense of belonging they delineate and draw together. Namir summons prayer, violence, and the sensuality of love, revisiting tenets of Islam and dictates of war to break the barriers between the profane and the sacred.

Acha lives with her mother in Montreal's Centre-Sud neighbourhood. She's only thirteen but claims to be older. She has never known her father, and resents her mother for leaving Hakim, her stepfather. Her only friends are Mel and Jo, two local prostitutes, and Baz, a musician in his twenties, who comes to her rescue one day and with whom she proceeds to fall in love. Her impossible love for Baz, her precociousness and her rebellious streak come together into an explosive cocktail. Raw and heartrending, Worst Case, We Get Married is the statement Acha gives to a social worker.From acclaimed Quebecois writer Sophie Bievenu, and translated by JC Sutcliffe, comes Worst Case, We Get Married, a powerful and moving coming-of-age novel. Originally published in French in 2011 as Et au pire, on se mariera, the novel was adapted into a film by Bienvenu and Lea Pool in 2017. "e;Sophie Bienvenu gets inside the head of a whip-smart, lovesick teenager whose fantasy life bleeds into her reality to chilling effect. Listen to her story and be seduced (and horrified). Worst Case, We Get Married is Quebec lit at its best."e; Neil Smith, author of Boo

Throughout their youth, Columpa Bobb and Tania Carter wrote poetry with their mother, award-winning author Lee Maracle. The three always dreamed that one day they would write a book together. This book is the result of that dream.The wide-ranging poems in Hope Matters focus on the journey of Indigenous peoples from colonial beginnings to reconciliation. But they also document a very personal journeythat of a mother and her two daughters.Written collaboratively, Hope Matters offers a blend of three distinct and exciting voices that come together in a shared song of hope and reconciliation.