From the author of How Should a Person Be? (“one of the most talked-about books of the year”— Time Magazine ) and the New York Times Bestseller Women in Clothes comes a daring novel about whether to have children. In Motherhood, Sheila Heti asks what is gained and what is lost when a woman becomes a mother, treating the most consequential decision of early adulthood with the candor, originality, and humor that have won Heti international acclaim and made How Should A Person Be? required reading for a generation. In her late thirties, when her friends are asking when they will become mothers, the narrator of Heti’s intimate and urgent novel considers whether she will do so at all. In a narrative spanning several years, casting among the influence of her peers, partner, and her duties to her forbearers, she struggles to make a wise and moral choice. After seeking guidance from philosophy, her body, mysticism, and chance, she discovers her answer much closer to home. Motherhood is a courageous, keenly felt, and starkly original novel that will surely spark lively conversations about womanhood, parenthood, and about how—and for whom—to live.

In this outrageous exposé of Canada's secrets, scandals, and occasional awkward lapses in proper etiquette, you'll discover Canada's bizarre history and shocking present. From whether Canadian cuisine and sexuality exist, to instructions on how to write Canadian literature, you'll discover some real stuff about Canada. Honestly. The authors didn't just copy and paste from Wikipedia. Ok, so there may be a few mistakes. But the idea is that this stuff is real. We think.

When Jacob Two-Two's father brings him back a small lizard from Kenya, it grows to enormous proportions, and to protect his now identifiable Diplodocus from frightened grown-ups, Jacob runs away with him to British Columbia.

Winner of the 2007 B.C. Award for Canadian Non-fiction A Globe and Mail Best 100 Book (2006) National Post Best Books (2006) A bold cultural portrait of contemporary Canada through the work of its most celebrated novelists, short story writers, and storytellers. Stories are the surest way to know a place, and at a time when the fabric of the country seems daily more uncertain, Noah Richler looks to our authors for evidence of the true nature of Canada. He argues why fiction matters and seeks to discover — in the extra-ordinary diversity of communities these writers represent — what stories, if any, bind us as a nation. Over two years, Richler has criss-crossed the country and interviewed close to one hundred authors — a who’s who of Canadian literature, including Wayne Johnston, Michael Crummey, Alistair MacLeod, Gil Courtemanche, Jane Urquhart, Joseph Boyden, Miriam Toews, Yann Martel, Fred Stenson, Douglas Coupland, and Rohinton Mistry — about the places and ideas that are most meaningful to their work. The result is a journey through the reality of Canada and its imagination at a critical point in the country’s evolution. Within thematic chapters he exposes our “Myths of Disappointment” and considers the stories of our native peoples, the rise of the city, and how our history as a colony shapes our society and politics even today. This Is My Country, What's Yours? is an impassioned literary travelogue and a vivid portrayal of our society, the work of Canadian authors, and the idea of writing itself. This Is My Country, What's Yours? is based on Noah Richler’s ten-part documentary of the same name originally broadcast on CBC Radio’s flagship Ideas program in spring 2005.

Living in a rat-infested hotel in Franco’s post-war Spain, André Bennett, a Canadian painter, loves Toni, his girl friend, who wants him to return home. Roger Kraus, a Nazi on the run, shadows the young artist day and night. They meet on a bridge during the last night of the fiesta, and as the sky is shredded by exploding fireworks, the story draws to its violent climax. Originally published in 1954, The Acrobats marks Mordecai Richler’s stunning debut as a novelist.

In Beyond Imagination, 21 of Canada's most eminent writers of Jewish decent try in their various ways to make sense - if sense can be made - of the Holocaust. Together they bear witness to the most catastrophic and profoundly troubling event of our century, in essays, memoirs, short stories, and poems. With the assistance of the publisher, the contributors to this volume are donating their royalties to help establish a Chair in Jewish Studies at the University of Toronto.

Solway argues in this feisty and polemical book that the time has arrived to take stock and engage passionately with our literature, and especially our poetry, if it is ever to be rescued from the swamp of second-ratedness into which it has descended. He contends that almost all of the poetry (and much of the fiction) being written in Canada these days is turgid, spurious and pedestrian, the result of two highly questionable developments: the proliferation of Creative Writing departments in universities throughout the country, and a largely subsidized literature industry, abetted by a press of cousinly critics and reviewers, intended to construct a patchwork national psyche, create a sense of ideological cohesion and glorify the tribe. In consequence of this we have sponsored a coterie of underachieving overproducers and proceeded to collude in their diffusion by virtue of our silent complicity or our chauvinism. Solway believes that we are on the whole far too nice, far too politically correct and, in a word, far too `Canadian', to register our disapproval bluntly and agonistically. The last thing we want to do is offend anyone. But all that such manoeuvres ensure is that nothing changes while conscience is appeased. There comes a time when diffidence and affability, those specifically Canadian virtues, work against our best interests and prevent the candid and occasionally brutal assessments without which the critical stupor and aesthetic fog so congenial to us must remain destructively in place. In Director's Cut, Solway attempts to dispel that fog, to see clearly and to speak directly to a readership that has been far too receptive of questionable work.

Analyzes the works of Canadian Jewish poet A.M. Klein (1909-1972) written in the late 1920s-early 1950s, reading them as a combative poetic response to history. Klein's early poetry in "Hath Not a Jew, " composed against the background of the rise of antisemitism in Europe and in Montreal, his hometown, reveals his deep identification with Jewish tradition and his disillusionment with the humanist inability to confront Nazism. Deeply affected by news of the Holocaust, he wrote his mock epic "The Hitleriad" in 1942, in which he presented Hitler's ugliness, mediocrity, and meanness of spirit. This seems an attempt to demystify Hitler, paralleled perhaps by Arendt's concept of the banality of evil. "The Rocking Chair, " a collection of poems, and the novel "The Second Scroll" represent Klein's attempt to come to terms with the post-Holocaust world. Ch. 4 (pp. 61-80), "The Hitleriad: Against the Silence of the Apocalypse, " appeared in "Studies in American Jewish Literature" 9 (1990).