196 pages/trade paper
Available in the US
World Rights Available
These twenty short stories interconnect the friendships of four First Nations people — Everett Kaiswatim, Nellie Gordon, Julie Papequash, and Nathan (Taz) Mosquito — as the collection evolves over two decades against the cultural, political, and historical backdrop of the 90s and early 2000s.
These young people are among the first of their families to live off the reserve for most of their adult lives, and must adapt and evolve. In stories like “Stranger Danger”, we watch how shy Julie, though supported by her roomies, is filled with apprehension as she goes on her first white-guy date, while years later in “Two Years Less A Day” we witness her change as her worries and vulnerability are put to the test when she is unjustly convicted in a violent melee and must serve some jail time. As well as developing her characters experientially, Dawn Dumont carefully contrasts them, as we see in the fragile and uncertain Everett and the culturally strong and independent but reckless Taz.
In stock. Buy it now!
160 pages/trade paper
nipê wânîn: my way back is a poetic journey of one woman discovering her Cree heritage and how it has shaped her. The poems are written in both Cree and English, on facing pages. Her pathway for the poems was paved by her grandmother’s life and teachings.
I am my grandmother’s thought. I was in her tears. I have shared dreams with her. I am a sprig of present produced by the past, cultivating the future.
(from “I am”)
292 pages/trade paper
After the move to Delwood, Matt Humphreys, sixteen, comes to understand that his father, Jack, is a broken man not looking to heal after losing his wife. It has left him angry, bitter, and a drinker. Matt knows it falls on his shoulders to provide care and attention for his younger brother, Ben; he wishes he could give Ben another life other than the upheaval he’s known.
Matt has once again reestablished himself — new friends, a spot on the basketball team, a girlfriend — and if he was given a chance to stay, he might just do something meaningful with his life. All it takes is a collision between the nomadic Humphreys men and the town-born-and-bred Rutger family to set their erratic lives in motion once again.
Byrna Barclay ed
Readers of Wanderlust, an anthology of travel stories, will at once feel that need to roam, the longing for surprise, the thrill of just recognizing the threat of danger, and the nomadic impulse simply to move oneself for the sake of moving, that restless and endless quest for a new beginning — even if it means the end of one life and the start of a new one.
In every story a character embarks on a journey of discovery. They travel through the Nordic Viking age, experience family life in Italy, interpret the Lascaux Caves in France, climb Nicaragua’s volcanoes, undertake a road trip through the villages of Mexico, and finally are brought back to the Canadian prairies. Editor and contributor Byrna Barclay draws inspiration from the philosophers who expounded on the theory that, rather than change, a person simply becomes more of what he or she already was at birth.
72 pages/trade paper
Helpless Angels weaves several themes together: music’s impact on a life, expressed through memory; poems that are like songs; music found in or described through nature; poems that directly consider music’s power; and, as a counterpoint to how music carries us through life, how art — and each of us — deals with significant loss: the death of a loved one. Helpless Angels looks at a long-term development — the ubiquitousness of widespread personal access to music performed by others that began in the 1950s and has continued to expand ever since. The collection explores via the medium closest to music, poetry, and a number of the delightful or at least positive dimensions to this enormous change in the fabric of people’s everyday lives.
180 pages/trade paper
Throughout the years, Campbell’s work has remained consistently engaging, her tone steady and trustworthy and her control of imagery precise. There are subtle changes in her presentation of the natural world and slight shifts in her metaphysical approach to space, time, and possibility. But in this retrospective there is no doubt that her strength lies in her ability to capture the transcendence that occurs when nature informs the mind and the commonplace rises to philosophical insight. Though universal in scope, the poems only give up all their richness upon slow and careful readings.
The Poetry Show, CKUW Winnipeg
240 pages/trade paper
Get the eBook at Kobo, Amazon Kindle, or your favourite eBookstore
At 46, Miles Hann gives it all up for the little cottage he has built on the slopes of his native Ingonish, Cape Breton. Miles has five times circumnavigated the globe and in his years of wandering has grown weary of man’s work of mendacity and pursuit of pleasure. Mostly though, Miles is tired; even a trip around the harbour is a weighty prospect. He writes himself a letter to express better his commitment to stay away from all, to contemplate the animals of the slope and to try for even one day with no ill thought of others. He does not manage it. For, people climb the hill to his door. They know Miles is a quiet man, a polite man; that Miles has travelled everywhere there is to travel and that he alone must have the answers to the burning questions singeing their hearts. Also — who else is there free like this to drop in on any time you want? No one is who.
Miles listens to every word of how yet again the world has been maligning even these poor gentle folk. And, afterward, though he has told them nothing, each visitor agrees that: yes, Miles Hann is one wise man. On their way back down his hill they agree to it; they stop and turn to his lofty house and say aloud: “Yes! Wise if ever wise there was one. The man bothers with not a soul!” Miles waves his hand and he shakes his head too, turning for his trees: ‘Further proof of the pride,’ he says. ‘And that everyone is a wound.’ The next time that someone comes (and it is every day now), Miles runs for the cover of his trees, to crouch and hide from them. He spies at the same instant the little red fox that had been visiting him: ‘Charlie, the one who found my glasses! the one who now leads me haphazardly up the mountain proper and out onto the beautiful lonesome rockslide scree of a blackening evening. Here is one place I have not been up to in many, many years’, and as he remarks further at its utter forlornness, lurking in the black spruce fringe is a badly starved coyote pack, one grown desperate and bold, one that has killed.
At 46, Miles MacPherson gives it all up for the little cottage he has built on the slopes of his native Ingonish, Cape Breton. Miles has five times circumnavigated the globe and in his years of wandering has grown weary of man’s work of mendacity and pursuit of pleasure. Mostly though, Miles is tired; even a trip around the harbour is a weighty prospect. He writes himself a letter to express better his commitment to stay away from all, to contemplate the animals of the slope and to try for even one day with no ill thought of others. He does not manage it. For, people climb the hill to his door. They know Miles is a quiet man, a polite man; that Miles has travelled everywhere there is to travel and that he alone must have the answers to the burning questions singeing their hearts. Also — who else is there free like this to drop in on any time you want? No one is who.
Miles listens to every word of how yet again the world has been maligning even these poor gentle folk. And, afterward, though he has told them nothing, each visitor agrees that: yes, Miles MacPherson is one wise man. On their way back down his hill they agree to it; they stop and turn to his lofty house and say aloud: “Yes! Wise if ever wise there was one. The man bothers with not a soul!” Miles waves his hand and he shakes his head too, turning for his trees: ‘Further proof of the pride,’ he says. ‘And that everyone is a wound.’ The next time that someone comes (and it is every day now), Miles runs for the cover of his trees, to crouch and hide from them. He spies at the same instant the little red fox that had been visiting him: ‘Charlie, the one who found my glasses! the one who now leads me haphazardly up the mountain proper and out onto the beautiful lonesome rockslide scree of a blackening evening. Here is one place I have not been up to in many, many years’, and as he remarks further at its utter forlornness, lurking in the black spruce fringe is a badly starved coyote pack, one grown desperate and bold, one that has killed.
312 pages/trade paper
Buy an eBook version of this book at Kobo, Amazon Kindle Store, or your favourite eBook store
Cluck is a darkly comic novel about Henry, an only child whose mother has bipolar disorder. As a teen, Henry becomes a radio junkie lost in the world of music. As a young man, he becomes obsessed with a female DJ whose evening show mysteriously beams out of Idaho and into his car while he’s driving over Vancouver’s Lions Gate Bridge. Henry has to live his life in the shadow cast by his mother, but he never completely gives up hope that he can find his place. In his thirties, his life slowly starts to open in positive directions, including sporadic success with chicken farming, outsider art (he calls himself a knit reactor), and romance. It’s not until Henry is in his fifties that he comes into his own and feels free to be himself, but not without one final struggle with his own quirkiness.
Cluck was a finalist in The Great BC Novel Contest (2013), and a version of a chapter was shortlisted for a story contest run by the American literary journal Glimmer Train.
"Cluck almost defies description. It's an upbeat, humorous and yet also poignant and strangely believable novel — original but never daft. Henry emerges as a likeable victim who struggles hugely to find his place in the world against formidable odds." — Cherie Thiessen, BC BookWorld
216 pages/trade paper
When avalanching glaciers thrust a massive Antarctic ice sheet into the open ocean, the captain of an atomic submarine must risk his vessel to rescue the survivors of a smashed polar research station; in Washington the President’s top advisor scrambles to spin the disaster to suit his master’s political aims; and meanwhile two intrepid newsmen sail south into the storm-lashed Drake Passage to discover the truth.
Onboard the submarine, as the colossal ice sheet begins its drift toward South America and the world begins to take notice, scientists uncover a secret that will threaten the future of America’s military power and change the fate of humanity.
And beneath the human chaos one brave Blue Whale fights for the survival of his species.
384 pages/trade paper
Hanne and Her Brother is a dynamic novel that plays with the distinctions between the light and dark sides of life, and though the subject matter is difficult at times, the tale never strays too far from the light. Stenson writes with whimsy, weaving rich, long sentences to capture the odyssey of Hanne Lemmons. Between her protective father, lack of siblings or friends, and isolated homeschooling, Hanne yearns for a companion to bring drama and excitement to her life. At sixteen, however, she is thrust into a journey of both hardships and personal discovery that takes her across Canada from the Cowichan Valley to Eastend, Saskatchewan.
The novel places Stenson firmly in the vibrant tradition of contemporary writers fascinated by the complexities of small town life. Though this tradition begins with George McKay Brown, Joyce Carey and Dylan Thomas in England, it is extended by our own western Canadian writers Ethel Wilson, Jack Hodgins, and Sandra Birdsell and painters like William Kureluk and E.J. Hughes. These artists create big, boisterous canvases that begin in realism but morph into something more mysterious and funny, a bold, ragged beauty full of character and country.
Stenson is enchanted by the landscapes of British Columbia and the prairies, and in the story, these landscapes are as magical as the characters who struggle to live in them. Hanne Lemmon’s story is a brawling tale of love and loss and strength, set in small towns and villages with a cast of characters as large with life and humour as the landscapes around them. There is a vast love beneath this novel that is contagious and irresistible and there is also a great subtlety to this tale that shudders in a renaissance clockwork beauty. Readers who like W.O. Mitchell, John Irving, Kent Haruf, or Per Petterson, will love Stenson’s new novel.
152 pages/trade paper
The short fictions in Rea Tarvydas’ debut collection collectively capture various versions of the expat life that share the feeling of being between two worlds, the experience of being neither here nor there and trying to find a way to fill that space.
The stories follow a kind of “life cycle” of expatriates in Hong Kong, a place often called the “most thrilling city on the planet”. From the hedonistic first days in “How To Pick Up A Maid in Statue Square”, as Fast Eddy instructs on how best to approach Filipina maids on their rest day, through the muted middle in “Rephrasing Kate”, as Kate encounters a charismatic bad boy and is forced to admit her infidelities, to the inevitable end in “The Dirty Duck”, as Bill realizes his inability to commit and resolves to return home to Australia — Hong Kong alters each of these characters with its frenetic mixture of capitalism and exoticism.
Characters exist between the worlds they once knew and this place which now holds them in its spell and shapes them to its ends. Their stories explore how they cope with this space where loneliness and alienation intersect, a place where insomniac young bankers forfeit their ambition by chasing deviant sexual encounters, or consume themselves with climbing the corporate ladder. It is a world where passive domestics live and work for the money they can send home, while their keepers assemble poolside to engage in conversations aroused by the expats’ desire to connect to others who share their fates.
204 pages/trade paper
The collective force of Judy McCrosky’s Lifting Weights is a raw adventure into the unknown. In “Death TV”, we meet a butterfly collector whose explorations into the violent mayhem of television programming draw out society’s preoccupation with watching people die as a source of entertainment. A journalist with a nose for a good story takes us inside the world of “thinking machines” as she tries to discern whether cybernetic horses conform to her dictum that living means being true to your identity. In the surreal tale “Sand Dove”, an unhappy woman leaves her husband and makes her way to a small beach community where she finds an injured bird that conjures for her a sort of baby to compensate for all the miscarriages she has had. In the title story, “Lifting Weights”, Jane and Sandra, future archeologists on an alien planet, have their lives tested in climbing to the surface of a dark underground cavern into which they have fallen. In their quest to survive one of them discovers a new inner strength that had always eluded her, while she solves an ancient mystery as to why the civilization on the planet became extinct.
McCrosky’s imagination knows few limits, though in her quest to entertain in these twelve stories she remains true to her themes of optimism and exploration, while maintaining her central vision that our greatest fears and threats are conquerable.
In 1997, Guatemala is emerging from thirty-six years of civil war. Amparo Ajuix, a determined young woman who lives in a Mayan village with her husband, runs a savings club for the local women with the help of an American NGO. Eager to take advantage of Guatemala’s new democracy to strengthen the culture of the Mayan people, she campaigns to switch the language of instruction in the village’s primary school from Spanish to the local language of Cakchiquel.
But Amparo’s life is wracked with tensions. Dona María, an older woman who influences the market where Amparo sells her handicrafts, is jealous of Amparo’s savings club. Amparo’s best friend, Raquel, is a born-again Protestant who disdains Amparo’s devout Catholicism. Yolanda, Amparo’s pretty seventeen-year-old sister, flirts with foreign men in the nearby tourist town of Antigua. Most seriously of all, Amparo’s husband, Eusebio, suspects that he is not the father of her second child, with whom she is pregnant. The erosion of complicity between them poisons their marriage.
In 2003, Amparo works as a teacher in a language school for tourists in Antigua. She is tasked with the special case of a man, whom she calls Ricardo, who wishes to study her native Cakchiquel Mayan language. The experience of teaching this man confronts her with the in-between nature of her own culture. She does not speak Cakchiquel perfectly, as her parents do, yet as a Native person she cannot be completely accepted into Spanish-speaking Guatemalan society, and her Catholicism is mixed with beliefs in traditional Mayan gods. Her crisis about what to preserve and what to discard from her culture is accentuated when her son, Pablito, an enigmatic boy whom she struggles to understand, falls ill.
"I think it is extremely hard to write on Mayas by any non-Maya author, not only because of the language, but because of the cosmovision that informs their thinking. Stephen Henighan’s did however an excellent job of dealing with Kaqchikel, and a better job than all non-Maya Guatemalan novelists, with the possible exception of Mario Payeras, in crafting the Maya belief system."
— Dr. Arturo Arias, Prof. of Central American Latin & Mesoamerican Indigenous Cultural Studies, UC Merced
410 - 2nd Avenue North
Saskatoon, SK S7K 2C3