Talon Books,Canada – förlag

This award-winning novel by playwright Wadji Mouawad is a thriller and a road novel – written in the North African storytelling tradition in which events unfold from an animal point of view.

The novel opens with a brutal murder: the protagonist arrives home to find his wife lying in a pool of blood. Driven by grief and the need to find whoever did this – “I want to see his face, I want to know who he is” – the protagonist sets out on desperate journey from Montreal to Indian reserves along the Canada–U.S. border, south through Civil War sites in the Midwest, to Animas, New Mexico. The furious odyssey awakens long-buried memories that make present circumstances even more painful.

This masterful novel is told in a bestiary of voices, more than fifty animals, birds, and insects, each with their own characterization and style of speaking, reveal the unflattering contrast between the human and the natural. Violent and dark, the novel nevertheless moves beyond the thriller genre to become a book of multiple levels, rich in symbolism and open to complex interpretation. While set in North America, Mouawad’s Lebanese roots suffuse the text, which becomes an examination of cultural influences and at the same time an excavation of childhood trauma and the legacy of war.

Anima has resonated with readers worldwide. It’s been translated into German, Italian, Spanish, and Catalan. It won the Thyde Monnier Grand Prize from the Société des Gens de Lettres, the Mediterranean Prize, the Literary Prize for a Second Novel in Laval, the Golden Alga Award, the Phoenix Award (as part of the Beirut Spring Festival), and the Catalan Llibreter Prize for Foreign Novel, all in 2012 and 2013. In 2015, Anima won the Lire en Poche, a prize awarded annually in France in celebration of the paperback book. An elegant translation by Linda Gaboriau brings this celebrated novel to English readers.

Aboriginal Canadians tell their own stories, about their own people, in their own voice, from their own perspective.If as recently as forty years ago there was no recognizable body of work by Canadian writers, as recently as thirty years ago there was no Native literature in this country. Perhaps a few books had made a dent on the national consciousness: The Unjust Society by Harold Cardinal, Halfbreed by Maria Campbell, and the poetry of Pauline Johnson and even Louis Riel. Now, three decades later, Native people have a literature that paints them in colours that are psychologically complex and sophisticated. They have a literature that validates their existence, that gives them dignity, that tells them that they and their culture, their ideas, their languages, are important if not downright essential to the long-term survival of the planet. Tomson Highway’s From Oral to Written is a study of Native literature published in Canada between 1980 and 2010, a catalogue of amazing books that sparked the embers of a dormant voice. In the early 1980s, that voice rose up to overcome the major obstacle Native people have as writers: they are not able to write in their own Native languages, but have to write in the languages of the colonizer, languages that simply cannot capture the magic of Native mythology, the wild insanity of Trickster thinking. From Oral to Written is the story of the Native literary tradition, written – in multiple Aboriginal languages, in French, and in English – by a brave, committed, hard-working, and inspired community of exceptional individuals – from the Haida Nation on Haida Gwaii to the Mi’kmaq of Nova Scotia’s Cape Breton Island. Leading Aboriginal author Tomson Highway surveys the first wave of Native writers published in Canada, highlighting the most gifted authors and the best stories they have told, offering non-Native readers access to reconciliation and understanding, and at the same time engendering among Native readers pride in a stellar body of work.

This poetry collections focuses on a hybridized Indigiqueer Trickster character named Zoa who brings together the organic (the protozoan) and the technologic (the binaric) in order to re-beautify and re-member queer Indigeneity. This Trickster is a Two-Spirit / Indigiqueer invention that resurges in the apocalypse to haunt, atrophy, and to reclaim. Following oral tradition (à la Iktomi, Nanaboozho, Wovoka), Zoa infects, invades, and becomes a virus to canonical and popular works in order to re-centre Two-Spirit livelihoods. They dazzlingly and fiercely take on the likes of Edmund Spenser, Shakespeare, Charles Dickens, and John Milton while also not forgetting contemporary pop culture figures such as Lana Del Rey, Grindr, and Peter Pan. Zoa world-builds a fourth-dimension, lives in the cyber space, and survives in NDN-time – they have learned to sing the skin back onto their bodies and remain #woke at the end of the world. “Do not read me as a vanished ndn,” they ask, “read me as a ghastly one.”

full-metal indigiqueer is influenced by the works of Jordan Abel, Tanya Tagaq, Daniel Heath Justice, Claudia Rankine, Vivek Shraya, Qwo-Li Driskill, Leanne Simpson, Kent Monkman, and Donna Haraway. It is a project of resurgence for Two-Spirit / Indigiqueer folk who have been ghosted in policy, page, tradition, and hi/story – the very lives of Two-Spirit / Indigiqueer youth are rarely mentioned (and even dispossessed in our very mandates for reconciliation), our lives are precarious but they too are precious. We find ourselves made spectral in settler and neocolonial Indigenous nationalisms – if reconciliation is a means of “burying the hatchet,” Zoa seeks to unearth the bones buried with those hatched scalps and perform a séance to ghost dance Indigiqueerness into existence. Zoa world-destroys in order to world-build a new space – they care little for reconciliation but rather aim to reterroritorialize space in literature, pop culture, and oral storytelling. This project follows in the tradition of the aforementioned authors who, Whitehead believes, utilize deconstruction as a means of decolonization. This is a sex-positive project that tirelessly works to create coalition between those who have, as Haraway once noted, “been injured, profoundly.” Zoa stands in solidarity with all qpoc folk who exist as ghosts with intergenerational and colonial phantom pains – they sing with Donna Summer, RuPaul, Effie White, and Trixie Mattel. The space made is a post-apocalyptic hub of sex and decolonization – a world where making love is akin to making live.

Checking In comprises a long poem and a series of other post-conceptual pieces – concrete poems, homolinguistic translations, Yiddish aphorisms – that offer exuberant commentary on the timelessness of digital information and our ravenous appetite for data and connection.The title poem, composed as a series of faux social-media updates, is a parodic investigation of contemporary literary and pop culture. As a euphoric parade of “alternative facts” or “fake news,” “Checking In” offers satiric comment on the state of American politics. Each ironically investigative line erupts as a self-reflexive mash-up, speaking to our seemingly insatiable desire for information while acknowledging how fraught that information can be.The Internet is not only voyeuristic but a mirage. We seek fulfillment but enter an unsettling, uninhibited flow of information in which every data point refers to itself and reinforces a techno-capitalist culture. Checking In founds a site of radical, grafted linkages, codes, indices, ludic identities. An interdisciplinary and paradoxical repository of fragments, analyses, echoes, and provocations, (re)presented in a slippery ellipsis of contexts and possibilities, its poems are inter-subjective theatres of infinite re-framing. From Gargantua and Pantagruel listening to They Might Be Giants to bill bissett and Slavoj Žižek Awake in the Red Desert of the Real, Checking In tours the shards of post-consumerist culture and reminds us we are living in a resonant present, where the past is always with us, and our icons, idols, and ideologies are posting, poking, sharing, and liking …Karasick’s words luxuriate in the materiality of language and the production of meaning. She checks in with pop culture, media studies, semiotics, critical theory, feminist theory, and contemporary Canadian and American literature. The lover of language play, the poetry reader, and the academic alike will drink in this poet-performer’s concoctions; as ever, they’re fun, smart, and topical.With full-colour Vispo video stills by Jim Andrews.

The two one-act plays in Talker’s Town and The Girl Who Swam Forever are set in a small northern B.C. mill town in the 1960s. They portray identical characters and action from entirely different gender and cultural perspectives. In many ways, the two separate works are inter-related coming-of-age stories, with transformation as a key theme.The central action in both plays involves an Aboriginal girl, Roberta Bob, who escapes from a residential school and hides out by the river. In Nelson Gray’s Talker’s Town, the story is conveyed by a teenage non-Indigenous boy whose friend has had a relationship with the girl and whose attempts to hush up the affair lead to disastrous consequences. In Marie Clements’s The Girl Who Swam Forever, the action unfolds from the perspective of the girl, who – to claim her past and secure her future – must undergo a shape-shifting transformation and meet her grandmother’s ancestral spirit in the form of a hundred-year-old sturgeon.Employing a single setting and working with the same set of characters, the playwrights have created two radically different fictional worlds, one Aboriginal and one non-Aboriginal. Published together, the plays form a fascinating diptych that reveals rifts between Indigenous and colonial/settler histories and provides a vehicle for cultural exchange. As a starting point for trans-cultural dialogue, this set of plays will be of interest to educators, theatre directors, and the general reader interested in the current discourse arising from Canada’s Truth and Reconciliation Commission, Idle No More, and the Indigenous Rights Movement happening throughout North America. Read as a set, these two plays also invite conversations about negotiating creative boundaries, particularly with respect to eco-centric politics and cultural appropriation.Talker’s Town: cast of 5 men and 1 woman. The Girl Who Swam Forever: cast of 2 women and 2 men.

From the author of Into the Sun and Vandal Love, acclaimed for “prose that’s both lyrical and gritty, able to evoke big emotions with exquisite intimacy” (O, The Oprah Magazine), White is a riveting novel that explores whiteness, modern humanitarianism, and the lies of American exceptionalism and white supremacy.Assigned to write an exposé on Richmond Hew, the conservation world’s most elusive and corrupt humanitarian worker, an intrepid journalist finds himself on a plane to the Democratic Republic of the Congo – a country he thinks he understands. But when he meets Sola, a woman searching for a rootless white orphan who believes herself possessed by a skin-stealing demon, he slowly uncovers a tapestry of corruption and racial tensions generations in the making.This harrowing search leads him into an underground network of sinners and saints – and everything in between: an anthropologist who treats orphans like test subjects; a community of charismatic Congolese preachers; street children who share accounts of sexual abuse and abandonment; a renowned and revered conservationist who suddenly vanishes. And then there is the journalist himself, Deni Béchard, lost in his own misunderstanding of privilege and the myth of whiteness, and plagued by traumatic memories of his father. At first seemingly unrelated, these disparate elements coalesce one by one into a map of Richmond Hew’s movements.Fevered and dreamlike, White offers readers a poignant re-entry into the haunting and psychologically complex world of Joseph Conrad’s Heart of Darkness.

In They Write Their Dreams on the Rock Forever, ‘Nlaka’pamux elder Annie York explains the red-ochre inscriptions written on the rocks and cliffs of the lower Stein Valley in British Columbia. This is perhaps the first time that a Native elder has presented a detailed and comprehensive explanation of rock-art images from her people’s culture. As Annie York’s narratives unfold, we are taken back to the fresh wonder of childhood, as well as to a time in human society when people and animals lived together in one psychic dimension.This book describes, among many other things, the solitary spiritual meditations of young people in the mountains, once considered essential education. Astrological predictions, herbal medicine, winter spirit dancing, hunting, shamanism, respect for nature, midwifery, birth and death, are some of the topics that emerge from Annie’s reading of the trail signs and other cultural symbols painted on the rocks. She firmly believed that this knowledge should be published so that the general public could understand why, as she put it, “The Old People reverenced those sacred places like that Stein.”They Write Their Dreams on the Rock Forever opens a discussion of some of the issues in rock-art research that relate to “notating” and “writing” on the landscape, around the world and through the millennia. This landmark publication presents a well-reasoned hypothesis to explain the evolution of symbolic or iconic writing from sign language, trail signs and from the geometric and iconic imagery of the dreams and visions of shamans and neophyte hunters. This book suggests that the resultant images, written or painted on stone, constitute a Protoliteracy which has assisted both the conceptualization and communication of hunting peoples’ histories, philosophies, morals and ways life, and prepared the human mind for the economic, sociological and intellectual developments, including alphabetic written language.

At the crossroads at the end of childhood, Nana faces the hectic passing of her adolescence and the arrival of new responsibilities as her grandmother Joséphine approaches her last hours. To calm the storm, Nana reads the enthralling tales of Josaphat-the-Violin – a returning character in Tremblay’s Plateau-Mont-Royal Chronicles. Three of Josaphat’s fantastical stories contain revelations whose full influence in her own existence Nana cannot yet measure. In parallel, Nina’s rebellious mother Maria languishes back in Montréal. She is torn between her desire to gather her young family around her and her deep uncertainty about being able to care for them properly. Always in search of what’s "best" and what’s "elsewhere," will Maria seize the opportunity "which only hits the door of life once"? However, the most difficult passage in the lives of Tremblay’s characters is that of time, inexorable, irrevocable, altering and often breaking everything in its path: the feelings and souls it binds and unbinds, sometimes for the better, and too often for the worse. Rites of Passage is the awaited fourth instalment in Michel Tremblay’s enthralling and intensely moving Desrosiers Diaspora series of novels, translated from French by the critically acclaimed and long-time Tremblay specialist Linda Gaboriau. Novels Crossing the Continent (2008 Prix du grand public Salon du livre de Montréal / La Presse), Crossing the City (2009 Prix du grand public Salon du livre de Montréal / La Presse), and A Crossing of Hearts, instalments one, two, and three in Tremblay’s saga, were all published by Talonbooks.

People Live Here is a collection of three exciting new plays by George F. Walker, Canada’s king of black comedy and a winner of two Governor General’s Literary Awards for Drama. The Chance is a funny, quirky, and suspenseful play portraying three aspiring but economically deprived women living in a working-class neighbourhood of Toronto. The serendipitous discovery of a $300,000 cheque left behind by one of Jo’s one-night stands sends Jo’s mother Marcie, optimistic but exhausted, and stripper Amie, Jo’s friend and colleague, into a furious conjectures on how to use the money (if at all).

Her Inside Life is a heartwarming story introducing Violet, an unbalanced widow under house arrest for committing a serious crime and looking to regain the respect of her daughter and her social worker, who visit regularly. The reappearance of Leo – a man Violet thought she had killed – offers an odd opportunity for the main character to show she doesn’t belong in the madhouse.

Kill the Poor, this collection’s last chapter, is an intense comedy portraying a couple struggling for money and recuperating from a serious car accident. But what if the expected settlement changes the couple’s life for the better? A hired detective and the building’s custodian provide help, but the mysterious driver of the other car makes a comeback … for the worse. Altogether, George F. Walker’s People Live Here completes the Parkdale Palace trilogy of plays dealing with issues of social justice and allying heart, humour, and a contemporary reflection on human inequalities.

Lily has always felt in-between. She looks Vietnamese but thinks of herself as white – her parents adopted her from an orphanage in Vietnam. Her parents both have good jobs, but her best friend Brit is always super broke. When Karim – a guy she’s liked for a long time – shows interest in her for the first time, Brit starts to hang out with some grade-twelves who wear T-shirts saying "white pride." After Karim confronts Brit about her racism, a series of fear-induced misunderstandings lead to a lockdown, and Lily finds herself truly in-between, forced to make seemingly impossible choices about whose side she's on, and which friend she's going to believe. Set in a school facing the real-life challenges of immigration, income inequality, and fears of violence, The In-Between is a realistic, complex, and believable exploration of the conflicts students navigate in contemporary schools. Like Youssef’s international hit Jabber, seen by hundreds of thousands of young people across North America and Europe and winner of Berlin's Ikarus Prize, The In-Between brings humour, sensitivity, and a deftly authentic ear to the adult-sized questions all young people must begin to confront as they enter their later teens.

TIME: All. SPACE: The Multiverse. Come along for the ride to Kamloopa, the largest Powwow on the West Coast. This high-energy Indigenous matriarchal story follows two urban Indigenous sisters and a lawless Trickster who face our world head-on as they come to terms with what it means to honour who they are and where they come from. But how to go about discovering yourself when Christopher Columbus allegedly already did that? Bear witness to the courage of these women as they turn to their Ancestors for help in reclaiming their power in this ultimate transformation story. In developing matriarchal relationships and shared Indigenous values, Kamloopa explores the fearless love and passion of two Indigenous women reconnecting with their homelands, Ancestors, and stories. Kim Senklip Harvey’s play is a boundary-blurring adventure that will remind you to always dance like the Ancestors are watching. Kamloopa: An Indigenous Matriarch Story is the work of Kim Senklip Harvey, a proud Indigenous woman from the Syilx, Tsilhqot’in, Ktunaxa, and Dakelh First Nations, listed for the Gina Wilkinson Prize for her work as an emerging director and widely considered to be one of this land’s most original voices among the next generation of Indigenous artists.

A lyrical collection focussing on a specific street and on a particular tree growing there, Earle Street, by Governor General’s Award winner Arleen Paré, takes the concept of street and urban living, the houses on the street, the neighbours, the boulevard trees and wildlife, and the street’s history as a poetic focal point. The book is divided into four sections, each of which differently considers the poet’s home street – as a river, as an arboretum, as a window, and finally as a whole world – resulting in an extended meditation on place, community, and lesbian domesticity that is at once poetic and philosophical. "Start from the inside," Paré writes, "as though organic, as though building from inside a seed." Here is the macrocosm reflected, examined, and refracted through the microcosm of a single, quiet neighbourhood street.

Peg is struggling for survival at her boarding school. Three über-cool “it” girls take aim at Peg and make her life utterly miserable. When her beloved Grandmother dies she just wants to disappear. Then an unexpected gift arrives; inside it, Peg finds three cast-iron Canadian soldiers. In despair, she throws them against the floor. How can they help her? They are so small, and the girls’ shadow is so big. But, miraculously, the toys come to life as Indigenous snipers from World War I, just in time to wage an epic battle against the girls. A powerful play that will appeal to audiences both young and old, Iron Peggy uses a creative and ever-surprising blend of voices and sceneries to tell this moving story. With 2018 marking the 100th-year anniversary of WWI, Iron Peggy is an excellent introduction to its history and a touching testimony that not only celebrates the First Nation participation in the war effort but also a young girl’s personal victory. Iron Peggy, by award-winning, international Métis performer and playwright Marie Clements, was commissioned by the Vancouver International Children’s Festival and premiered at Vancouver’s Waterfront Theatre in 2019. (Adapted from Vancouver International Children’s Festival online presentation.)

In the follow-up to her BC Book Prize-winning book of poetry, Prison Industrial Complex Explodes, Mercedes Eng continues her poetic investigation of racism and colonialism in Canada, weaponizing the language of the nation-state against itself in the service of social justice. my yt mama is a collection of poems that considers historic and contemporary colonial violence in the Canadian prairies, a settler geography and state of mind that irrevocably shaped Eng’s understanding of race as person of colour born and raised in Treaty 7 Territory in Medicine Hat, Alberta.

These poems document an education in white supremacist ideology that began in infancy and occurred everywhere: at home where the author lived with her white mother, 1261 kilometres away from her Chinese migrant father’s family; in public institutions such as the school, the library, and the museum that erase Indigenous peoples’ histories while producing the myth of the "vanishing Indians;" and in the media and entertainment in which white supremacist beauty standards are constructed and reinforced. Keenly attuned to the language of those in power, Eng exposes the violence of the English language in the colonial project, taking on the words of Canadian politician F. W. Gershaw’s history of the city of Medicine Hat as occasioned by Canada’s Centennial, to derail the superficially neutral language of yt history that mythologizes nation and city while simultaneously deriding Indigenous ways of being (ontology) and ways of knowing (epistemology) as "legends" or "myths." Like the author herself, my yt mama is hybrid: part memoir, part history, part discourse analysis, part love letter to her mother.

Here is the only known first-person account from a Chinese worker on the famously treacherous parts of transcontinental railways that spanned the North American continent in the nineteenth century. The story of those Chinese workers has been told before, but never in a voice from among their number, never in a voice that lived through the experience. Here is that missing voice, a voice that changes our understanding of the history it tells and that so many believed was lost forever. Dukesang Wong’s written account of life working on the Canadian Pacific Railway, a Gold Mountain life, tells of the punishing work, the comradery, the sickness and starvation, the encounters with Indigenous Peoples, and the dark and shameful history of racism and exploitation that prevailed up and down the North American continent. The Diary of Dukesang Wong includes all the selected entries translated in the mid-1960s by his granddaughter, Wanda Joy Hoe, for an undergraduate sociology paper. Background history and explanations for the diary’s unexplained references are provided by David McIlwraith, the book’s editor, who also considers why the diarist’s voice and other Chinese voices have been silenced for so long.

Lac-Mégantic, Québec, Canada – July 6, 2013. On a hot summer night, a driverless, out-of-control train descends the slope that leads to the scenic town below and explodes, pulverizing the downtown area and killing forty-seven unsuspecting victims. The devastation, which leaves the people of Lac-Mégantic dazed and in mourning, is quickly the object of a tortuous cover-up. Who are the tragedy’s real culprits? In this fascinating piece of investigative journalism, which unfolds like a thriller, Saint-Cerny reveals the inner workings of the 2013 Lac-Mégantic rail disaster. She uncovers how the disaster, far from being just an "error of a faulty system," was caused by powerful people and institutions distant from the town itself. The tragedy of Lac-Mégantic began far before the train’s brakes failed; it was conceived in the offices of Wall Street hedge funders, of Dakota black-gold cowboy magnates, of oil conglomerates, of a political class entirely devoted to the interests of the rail industry. And when it struck, it hit a population which, while still in shock, found itself at the mercy of local predators.

The fruit of five years of work and interviews with nearly a hundred people, including victims and their relatives, Mégantic: A Tragedy in Waiting, tells the story of the disaster in three acts – before, during, and after – in an investigation whose ultimate goal is to prevent the preventable.

The fifth novel in the Desrosiers Diaspora series from Québécois national treasure Michel Tremblay.

It’s May 1922, and preparations are in full swing for the marriage of Nana and Gabriel, which will take place the following month. There’s just one problem: Nana’s wedding dress has yet to be bought. Nana’s mercurial mother, Maria, torn between her desire to measure up as a mother and the inescapable constraints of poverty, wonders how to pay for the wedding. And she’s not the only one battling demons – the thought of the upcoming reunion unsettles every member of the large and dispersed Desrosiers family. While the wedding invitations announce a celebration, they also stir up old memories, past desires, and big regrets.

The Grand Melee extends Michel Tremblay’s beloved familial and historical saga, and bridges the Desrosiers Diaspora series and the now-classic Chronicles of the Plateau-Mont-Royal. This book includes a newly translated introduction by Michel Tremblay specialist and Éditions Leméac publisher Pierre Filion.

The music of thinking. The thinking of music. Music at the Heart of Thinking is a poetry that works through language as the true practice of thought and improvisation as the tool that listens to and notates thinking. From jazz, the unpredictable ad lib driving itself from itself. From a drunken Shaolin monk, the poem as imbalanced tai chi. From Keats’s negative capability, the half-closed eye, the estrangement of language. All intended to bump beyond the end of the word into focus. As a response to readings in contemporary texts, art, and ideas. Music at the Heart of Thinking relocates critical language and thinking to the poetic bavardage at the heart of such endeavours. The poetics that generates these texts arises out of a lifelong poem project that has its roots in the long poem genre of the ’80s and its interest in the resistance to closure and the containment of meaning characteristic of the lyric. This book continues the work of two previous out-of-print publications, Music at the Heart of Thinking (1987) and Alley, Alley Home Free (1990). The poems are generated as textual responses in the reading, looking, and listening of the poet’s attention to his cultural milieu. Thus the writing addresses contemporary texts and art over the past forty years. Within this poetry of estrangement lie possible coherences for some sense of writing as a notation for thinking as feeling. The difficulty of this writing is literal and intentional, wary of any attempt to make thinking simple, easy, or predictable.

eat salt | gaze at the ocean explores the themes of Black sovereignty, Haitian sovereignty, and Black lives, using the Haitian (original) zombie as a metaphor for the condition and treatment of Black bodies. Interspersed with information about zombies, Haiti, and policies is the author’s personal narrative of growing up Black and Haitian of immigrant parents on stolen land. The collection is divided into two sections: the first half focusses on zombies, while the second focusses on the ocean/water and the violent crossing experienced by enslaved folks. The book’s title refers to the “cure” for reversing the process of becoming a zombie.

Two plays from rising Canadian theatre star Ellie Moon. Asking For It looks at gender roles and sexual consent in the wake of the Ghomeshi scandal, and considers the various ways in which sexual consent is understood personally, culturally, and legally. In this documentary play, Moon speaks with people of all ages and backgrounds about their assumptions and experiences around consent to sexual relations, and with legal experts about the current state of sexual assault law in Canada. What I Call Her is a play about gaps in how people perceive and understand the world they live in, female generational rage, and the loneliness of holding on to one’s own truth.

A father who feels his family is better off without him … a daughter who retreats completely into the virtual world … a family torn apart by the past with little hope for a future. But each discovers the desire to save each other, and perhaps themselves. From the acclaimed Canadian playwright, comedian, and radio broadcaster Tetsuro Shigematsu, author of the award-winning plays Empire of the Son and 1 Hour Photo, comes a powerful display of theatrical and literary emotion: Kuroko. Maya is a hikikomori (引きこもり), an extreme recluse who hasn’t left her bedroom in five years, spending all her time in Virtual Reality. So her father hires an actor to befriend her online and entice her back into the real world. How? By visiting the scariest place on earth, Aokigahara, the “Suicide Forest.” When we lose what gives our lives purpose, when the distance between us and those closest to us seems impossible to bridge, where do we turn? Can virtual worlds offer real solutions? Is an honourable death better than a meaningless life? Kuroko is a story about a family who are worlds apart, separated by pain, from past and present, alone in the real and virtual worlds, each unsure of the way back home. It is a story about finding something real in the places we least expect it, of building bridges where healing seems impossible, and saving others as a way of saving ourselves. Like good speculative fiction that is ostensibly about the future, but actually addresses the present, Kuroko may be set in Japan, but it is in fact an examination of contemporary Western culture.

One Good Thing is a charming collision of memoir with the living, exuberant, and vulnerable natural world. Written in sixty-four short epistolary chapters, M.A.C. Farrant’s latest offering represents a search for hope and appeasement in a rapidly changing and often perplexing society. One Good Thing is also an homage to gardening columnist extraordinaire Helen Chesnut of Victoria’s Times Colonist, each section of the book focusing and expanding on one of her gardening columns.Using a familiar “Dear Helen” structure, almost every piece in One Good Thing intimately and playfully relates to the gardening article that gave rise to it while simultaneously ranging into myriad other topics, including the author’s creative practice, personal and familial details, and comic riffs on a number of close-to-the-heart themes. With a mindful persistence that’s often hilarious, the book strives to find personal “calm abidance” through the practice of gardening as mediated by the universal and personal practice of writing.