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Monica, a young woman studying art history in Montreal, has lost touch with her Innu roots. When an exhibition unexpectedly articulates a deep, intergenerational wound, she begins to search for stronger connections to her Indigeneity. A new friendship with Katherine, an Indigenous woman whose life is filled with culture and community, emphasizes for Monica the possibilities of turning from assimilation and toxic masculinity to something deeper and more universal.

Travelling across the continent, from Eastern Canada to Vancouver to Mexico City, Monica connects with other Indigenous artists and thinkers, learning about their traditional ways and the struggles of other Nations. Throughout these journeys, she is guided by visions of giant birds and ancestors that draw her back home to Pessamit. Reckonings with family and floods await, but amidst strange tides, she reconnects to her language, Innu-aimun, and her people.

A timely, riveting story of reclamation, matriarchies, and the healing power of traditional teachings, Nauetakuan, a silence for a noise affirms how reconnecting to lineage and community can transform Indigenous futures.

The Men is a work that will be both familiar and fresh to anyone who has read Lisa Robertson. As a poet Robertson has received unrivaled praise for her uncompromising intelligence and style. The Men will not only compliment her previous work, but will add a new layer as a far more personal and lyrical book than anything she has yet published. Who are the men? The Men are a riddle. What do they want? Their troubles become lyric. The Men explores a territory between the poet and a lyric lineage among men. Following a tradition that includes Petrarch's Sonnets, Cavalcanti, Dante's works on the vernacular, Montaigne, and even Kant, Robertson is compelled towards the construction of the textual subjectivity these authors convey—a subjectivity that honours all the ambivalence, doubt, and tenderness of the human. Yet she remains angered by the structure of gender these works advance. It is this troubled texture of identification that she examines in The Men. How does a woman of the present century see herself, in men's lyric texts of the renaissance, in the tradition of the philosophy of the male subject, as well as in the men that surround her, obfuscating, dear, idiotic and gorgeous as they often seem? What if "she" wrote "his" poems? At once intimate and oblique, humorous and heartbreaking, composed and furious, The Men seeks to defamiliarize both who, and what men are.

Never forget / to connect the dots / This book is an attempt to connect a couple. In Begin by Telling, experimental pop sensation Meg Remy (U.S. Girls) spins a web out from her body to myriad corners of American hyper-culture. Through illustrated lyric essays depicting visceral memories from early childhood to present day, Remy paints a stark portrait of a spectacle-driven country.

As though channel surfing, we catch glimpses of Desert Storm, the Oklahoma City Bombing, random street violence, the petrochemical industry, small town Deadheads, a toilet with uterus lining in it, the county STD clinic, and missionaries at the front door. Each is shared through language of the body; the sensation of experiencing many of the defining events and moments of a country.

Immersive and utterly compelling, the threads in Begin by Telling nimbly interweave with probing quotes and statistics, demonstrating the importance of personal storytelling, radical empathy, and the necessity of reflecting on society and one's self within that construct.

Praise for Begin By Telling:

"Begin By Telling explores the horrors and absurdity of being a "girl" in the mediated warscape of America. With sharp emotional intelligence, Remy reveals a cultural systemic rot that begins with family and fractals out into school, life, the media, the government, and history. Both hallucinogenic and lucid, this work is a radical interrogation of trauma, and a literary salve for the feminist psyche." —Michelle Tea, author of Black Wave and Against Memoir: Complaints, Confessions and Criticisms

"Powerful and distinctive, Begin by Telling ripped through me with the velocity and weight of a freight train; it's roar drowning out the world around me. A beautiful and brutal work, that forces the reader forward, but is crafted to leave space to catch your breath." —Tegan Quin from Tegan and Sara and co-author of High School

Shortlisted for the 2024 Pat Lowther Memorial AwardShortlisted for the 2024 Gerald Lampert Memorial Award

?The islands of an archipelago are isolated above sea level but attached underwater; connected yet separate. archipelago, the debut poetry collection from Laila Malik, traces fragments of family, becoming and unbecoming against the shifting shorelines of loss, multigenerational migration, and (un)belonging.

Malik's lyrical poems intertwine histories of exile and ecological devastation. Beginning with a coming of age in the 80s and 90s between Canada, the Arabian Gulf, East Africa and Kashmir, they subvert conventions of lineage, instead drawing on the truths of inter-ethnic histories amidst sparse landscapes of deserts, oceans, and mountains. They question why the only certainties of "home" are urgency and impossibility.

At its core, archipelago is a letter to the daughters who come before and after, a quiet disclosure of barbed ancestral legacies that only come into focus through poetry.

In She Who Lies Above, Beatriz Hausner brings Hypatia of Alexandria, the fourth-century Byzantine mathematician, astronomer, and philosopher, to life. She does so through layered ventriloquism: publishing amorous correspondence from the feminist icon’s friend and former student, Synesius of Cyrene, and scribing Hypatia’s replies in turn.

These letters are “discovered” by Bettina Ungaro, a librarian and archivist by day and poet by night. She, in turn, collates the correspondence to build a vision of the couple’s relationship while writing a kind of postmodern critique of contemporary book and reading culture. These interjections both borrow from and juxtapose writing from ancient times, and, in doing so, explore the evolution of modern knowledge keeping.

The result is a rigorous, hyper-layered collection of poems that are elegiac and erotic; steeped in appreciation for a life of books and the technical and transcendent brilliance their authors can exhibit.

Shortlisted for the 2024 Amazon Canada First Novel Award

Winner of the 2022 Prix littéraire des Collégiens

Nominated for the 2021 Prix des libraires du Quebec

Caroline is seven years old when her family flees Pinochet’s regime, leaving Chile for Montreal on Christmas Eve, 1986. She fears Santa won’t find them on the plane but wakes to find a new doll at her side, her mother preserving the holiday even amidst persecution and turmoil. This symbol of care is repeated throughout their relocation as her parents work tirelessly to provide the family with a new vision of the future.

Once in Canada, Caroline accompanies her parents as they clean banks at night. She experiences racist microaggressions at school, discovers Québécois popular culture, and explores her love of reading and writing in French. Slowly, the Andean peaks disappear from Caroline’s drawings and a fracture between her parents’ identity and her own begins to grow.

This expansive coming-of-age autobiographical novel probes the plurality of identity, elucidating the interwoven complexities of immigrating to a new country. As the Andes Disappeared tenderly reflects the journey of millions and is a beautiful ode to family commitment and the importance of home—however layered that may be.

This tenth-anniversary edition of Kate Cayley's award-winning collection includes three new stories.

A young mother intrudes into the life of an older woman, thinking she knows what's best. An academic becomes convinced that he is haunted by his double. Two children spy on their supposedly criminal neighbours. A man enables his cousin's predatory impulses out of loyalty, and a circus performer dreams of a perfect wedding. These characters fail despite their best intentions and continue on despite their failures.

The stories in How You Were Born, each more incisive and devastating than the last, examine the difficult business of love, loyalty, and memory. Sharing the bizarre and tragi-comic of life—whether in present-day Toronto or in small towns of the early 20th century—Cayley champions the importance of connections, even when missed or mislaid, and the possibility of redemption.

From award-winning writer Johanna Skibsrud, Mediumshares the lives and perspectives of women who—in their roles as biological, physical, or spiritual mediums—have helped to shape the course of history.

Helen of Troy, Anne Boleyn, Shakuntala Devi, Hypatia of Alexandria, Marie Curie: Medium interprets the voices of women vilified over time, silenced by famous husbands, forced into sex work, or wrongly accused. Reckoning with the dominant historical narratives of each woman’s era, Skibsrud underscores the power of poetry to bring about new formulations for understanding the relationship between past and present, self and other.

These deeply resonant and performative poems use language as a bridge across experience, sensibility, and time. Each exploration begins with a brief vignette inspired by the “vidas” that once began manuscripts of the troubadours. Both vidas and poems provide lyrical reinterpretations of real and imagined elements in the lives of scholars, scientists, computer engineers, mystics, entrepreneurs, artists, nurses, and other leaders.

Shani Mootoo’s great-great-grandparents were brought to Trinidad as indentured labourers by the British. There is no record of where they were from in India or whether it was kidnapping, trickery, or false promises of wealth that took them to the Caribbean. 

In Oh Witness Dey! Mootoo expands the question of origins, from ancestry percentages and journey narratives, through memory, story, and lyric fragments. These vibrant poems transcend the tropes of colonial violence through saints and spices, rebellion and joy, to reimagine tensions and solidarities among various diasporas. They circumvent traditional conventions of style to find new routes toward understanding. They invite the reader to witness history, displacements, and the legacies of our inheritance.

You will talk about 2016. You will talk about The Lighted City. You will be brave and truthful. You will get to the bottom of what happened.

Paul (Paulina) Hayes loves her cousin Adrian. Inseparable from a young age, they play The Lighted City, an imaginary world where they pretend to live together and can escape a childhood that seems both too sad and too grown-up. But The Lighted City isn’t without danger.

Years later, Paul is struggling with PTSD after a season of turmoil—one in which Adrian is dead, and radio and television are filled with reports of missing children. Just as stability is settling into her life and relationships, Paul is dragged back into the fate that Adrian seems to have scripted for them. And so she finds herself journeying across the country, down into a ravine, and back to The Lighted City, where so much of her childhood played out. Only by doing so can she begin to come to terms with “the day everything happened”—and what has unfolded since then.

With a unique blend of contemporary storytelling and psychological fiction, Play is a haunting, riveting novel that reminds us of both the beauty and danger of imagination.

Shael lives in a vast prison camp, a monstrosity developed after centuries of warfare and environmental catastrophe. As a young transfeminine person, they risk abject violence if their identity and love affair with Coe, an insurrectionary activist, are discovered. But desire and rebellion flare, and soon Shael escapes to Riverwish, a settlement attempting to forge a new way of living that counters the camp’s repression.

As the complexities of this place unfold before Shael, Disobedience asks: How can a community redress harm without reproducing unaccountable forms of violence? How do we heal? What might a compassionate, sustainable model of justice look like?

This is a remarkable work of queer and trans speculative fiction that imagines how alternative forms of connection and power can refuse the violent institutions that engulf us.

Monsters, Martyrs, and Marionettes is a revelatory collection of personal essays that subverts the stereotypes and transcends the platitudes of family life to examine motherhood with blistering insight.

Documenting the birth and early life of her three daughters, Adrienne Gruber shares what it really means to use one’s body to bring another life into the world and the lasting ramifications of that act on both parent and child. Each piece peers into the seemingly mundane to show us the mortal and emotional consequences of maternal bonds, placing experiences of “being a mom” within broader contexts—historical, literary, biological, and psychological—to speak to the ugly realities of parenthood often omitted from mainstream conversations.

Ultimately, these deeply moving, graceful essays force us to consider how close we are to death, even in the most average of moments, and how beauty is a necessary celebration amidst the chaos of being alive.