"Hearts are broken," Lillian Dyson carefully underlined in a book. "Sweet relationships are dead." But now Lillian herself is dead. Found among the bleeding hearts and lilacs of Clara Morrow's garden in Three Pines, shattering the celebrations of Clara's solo show at the famed Musée in Montréal. Chief Inspector Gamache, the head of homicide at the Sûreté du Québec, is called to the tiny Québec village and there he finds the art world gathered, and with it a world of shading and nuance, a world of shadow and light. Where nothing is as it seems. Behind every smile there lurks a sneer. Inside every sweet relationship there hides a broken heart. And even when facts are slowly exposed, it is no longer clear to Gamache and his team if what they've found is the truth, or simply a trick of the light.

‘For a very long time, the days went by, each just like the day before, then I began to think, and everything changed’ Deep underground, thirty-nine women live imprisoned in a cage. Watched over by guards, the women have no memory of how they got there, no notion of time, and only vague recollection of their lives before. As the burn of electric light merges day into night and numberless years pass, a young girl - the fortieth prisoner - sits alone and outcast in the corner. Soon she will show herself to be the key to the others' escape and survival in the strange world that awaits them above ground. Jacqueline Harpman was born in Etterbeek, Belgium, in 1929, and fled to Casablanca with her family during WWII. Informed by her background as a psychoanalyst and her youth in exile, I Who Have Never Known Men is a haunting, heartbreaking post-apocalyptic novel of female friendship and intimacy, and the lengths people will go to maintain their humanity in the face of devastation. Back in print for the first time since 1997, Harpman’s modern classic is an important addition to the growing canon of feminist speculative literature.

When Laura Willowes’s beloved father dies, she is absorbed in the household of her brother and his family. There, she leaves behind “Laura” and enters into the state of “Aunt Lolly,” a genteel spinster indispensable to the upbringing of her nieces. For twenty years, Lolly is neither indulgent nor impulsive, until one day when she decides to move to a village in the Chilterns, much to her family’s chagrin.   But it’s in the countryside, among nature, where Lolly has her first taste of freedom. Duty-bound to no one except herself, she revels in the solitary life. When her nephew moves there, and Lolly feels once again thrust into her old familial role, she reaches out to the otherworldly, to the darkness, to the unheeded power within the hearts of women to feel at peace once more . . .

For forty years, Colony 3245.12 has been Ofelia’s home. On this planet far away in space and time from the world of her youth, she has lived and loved, weathered the death of her husband, raised her one surviving child, lovingly tended her garden, and grown placidly old. And it is here that she fully expects to finish out her days–until the shifting corporate fortunes of the Sims Bancorp Company dictates that Colony 3245.12 is to be disbanded, its residents shipped off, deep in cryo-sleep, to somewhere new and strange and not of their choosing. But while her fellow colonists grudgingly anticipate a difficult readjustment on some distant world, Ofelia savors the promise of a golden opportunity. Not starting over in the hurly-burly of a new community... but closing out her life in blissful solitude, in the place she has no intention of leaving. A population of one. With everything she needs to sustain her, and her independent spirit to buoy her, Ofelia actually does start life over–for the first time on her own terms: free of the demands, the judgments, and the petty tyrannies of others. But when a reconnaissance ship returns to her idyllic domain, and its crew is mysteriously slaughtered, Ofelia realizes she is not the sole inhabitant of her paradise after all. And, when the inevitable time of first contact finally arrives, she will find her life changed yet again–in ways she could never have imagined...

A darkly comic suspense in the vein of All’s Well and Yellowface, She’s a Lamb! is an edgy and incisive novel that marches toward showtime with a growing unease about the dangers of magical thinking and the depths of delusion Jessamyn St. Germain is meant to be a star. Not an actor who occasionally books yogurt commercials and certainly not a lowly usher at one of Vancouver’s smallest regional theaters. No, she is bound for greatness, and that’s why the part of Maria in the theater’s upcoming production of The Sound of Music is hers. Or it’s going to be. Jessamyn may have been relegated to the position of childminder for the little brats playing the von Trapp children, but it’s so obvious she’s there for a different reason — the director wants her close to the role so when Samantha, the lead, inevitably fails, Jessamyn will be there to take her place in the spotlight. This must be it. Because if it isn’t, well, then every skipped meal, every brutal rehearsal, every inch won against a man attempting to drag her down will have all been for nothing. Sharp, relentless, and darkly funny, She’s a Lamb! is a cutting satire about the grotesque pall patriarchy casts over one woman’s delusional quest to achieve her dreams and the depths she will sink to for a chance at the life she’s convinced she deserves.

In this wildly funny and heartwarming office comedy, an admin worker accidentally gains access to her colleagues’ private emails and DMs and decides to use this intel to save her job—a laugh-till-you-cry debut novel you’ll be eager to share with your entire list of contacts, perfect for fans of Anxious People and Eleanor Oliphant Is Completely Fine. As far as Jolene is concerned, her interactions with her colleagues should start and end with her official duties as an admin for Supershops, Inc. Unfortunately, her irritating, incompetent coworkers don’t seem to understand the importance of boundaries. Her secret to survival? She vents her grievances in petty email postscripts, then changes the text colour to white so no one can see. That is, until one of her secret messages is exposed. Her punishment: sensitivity training (led by the suspiciously friendly HR guy, Cliff) and rigorous email restrictions. When an IT mix-up grants her access to her entire department’s private emails and DMs, Jolene knows she should report it, but who could resist reading what their coworkers are really saying? And when she discovers layoffs are coming, she realizes this might just be the key to saving her job. The plan is simple: gain her boss’s favour, convince HR she’s Supershops material and beat out the competition. But as Jolene is drawn further into her coworker’s private worlds and secrets, her carefully constructed walls begin to crumble—especially around Cliff, who she definitely cannot have feelings for. Soon she will need to decide if she’s ready to leave the comfort of her cubicle, even if it means coming clean to her colleagues. Crackling with laugh-out-loud dialogue and relatable observations, I Hope This Finds You Well is a fresh and surprisingly tender comedy about loneliness and love beyond our computer screens. This sparkling debut novel will open your heart to the everyday eccentricities of work culture and the undeniable human connection that comes with it.

Chess Story, also known as The Royal Game, is the Austrian master Stefan Zweig's final achievement, completed in Brazilian exile and sent off to his American publisher only days before his suicide in 1942. It is the only story in which Zweig looks at Nazism, and he does so with characteristic emphasis on the psychological. Travelers by ship from New York to Buenos Aires find that on board with them is the world champion of chess, an arrogant and unfriendly man. They come together to try their skills against him and are soundly defeated. Then a mysterious passenger steps forward to advise them and their fortunes change. How he came to possess his extraordinary grasp of the game of chess and at what cost lie at the heart of Zweig's story. This new translation of Chess Story brings out the work's unusual mixture of high suspense and poignant reflection.

A collection of playfully elucidating essays to help reluctant poetry readers become well-versed in verse Developed from Adam Sol’s popular blog, How a Poem Moves is a collection of 35 short essays that walks readers through an array of contemporary poems. Sol is a dynamic teacher, and in these essays, he has captured the humor and engaging intelligence for which he is known in the classroom. With a breezy style, Sol delivers essays that are perfect for a quick read or to be grouped together as a curriculum. Though How a Poem Moves is not a textbook, it demonstrates poetry’s range and pleasures through encounters with individual poems that span traditions, techniques, and ambitions. This illuminating book is for readers who are afraid they “don’t get” poetry but who believe that, with a welcoming guide, they might conquer their fear and cultivate a new appreciation.

‘For a very long time, the days went by, each just like the day before, then I began to think, and everything changed’ Deep underground, thirty-nine women live imprisoned in a cage. Watched over by guards, the women have no memory of how they got there, no notion of time, and only vague recollection of their lives before. As the burn of electric light merges day into night and numberless years pass, a young girl - the fortieth prisoner - sits alone and outcast in the corner. Soon she will show herself to be the key to the others' escape and survival in the strange world that awaits them above ground. Jacqueline Harpman was born in Etterbeek, Belgium, in 1929, and fled to Casablanca with her family during WWII. Informed by her background as a psychoanalyst and her youth in exile, I Who Have Never Known Men is a haunting, heartbreaking post-apocalyptic novel of female friendship and intimacy, and the lengths people will go to maintain their humanity in the face of devastation. Back in print for the first time since 1997, Harpman’s modern classic is an important addition to the growing canon of feminist speculative literature.

Welcome to the world’s oldest advertising agency, where ghosts control the board room AC, an ancient executive assistant runs a cave full of thousand year old billboards, and there are bones in the walls. With biting wit, Aurora Stewart de Peña satirizes the creative industry she’s spent years in. From the people who brought you the invention of advertising comes Julius Julius, a rambling architectural wonder, outpost of the very first ad man of ancient Pompeii, built on the backs of generations of creative survivors who just want to lie on the floor of a conference room and cry about the lumber account without being sexually harassed. In a trio of voices from different time periods, we move through the mythical Agency, interrogating the process of stoking desire for a living. We meet the Senior Brand Anthropologist, who’s being surprised by dirty bars of Irish Spring she can’t remember buying, the Creative Director, whose ascent involved an ad campaign starring his dead best friend, and the Account Supervisor, whose only crime is not being a genius. (But the Fisherman Jack Tuna Campaign was her idea, despite what it says on the awards submissions.) Stewart de Peña’s debut novel reveals the cracks in the veneer of the creative industries, and the crisis of consciousness underneath in a novel full of compassion, humour, and blonde sausage dogs.

Throughout her life Sybil Van Antwerp has used letters to make sense of the world and her place in it. Most mornings around half past ten Sybil sits down to write letters—to her brother, to her best friend, to the president of the university who will not allow her to audit a class she desperately wants to take, to Joan Didion and Larry McMurtry to tell them what she thinks of their latest books, and to one person to whom she writes often yet never sends the letter. Sybil expects her world to go on as it always has. A mother, grandmother, wife, divorcée, distinguished lawyer, she has lived a full life. But when letters from someone in her past force her to examine one of the most painful periods of her life, she realizes the letter she has been writing over the years needs to be read and that she cannot move forward until she finds it in her heart to offer forgiveness.

A whipsmart debut about three women—transgender and cisgender—whose lives collide after an unexpected pregnancy forces them to confront their deepest desires around gender, motherhood, and sex. Reese almost had it all: a loving relationship with Amy, an apartment in New York City, a job she didn't hate. She had scraped together what previous generations of trans women could only dream of: a life of mundane, bourgeois comforts. The only thing missing was a child. But then her girlfriend, Amy, detransitioned and became Ames, and everything fell apart. Now Reese is caught in a self-destructive pattern: avoiding her loneliness by sleeping with married men. Ames isn't happy either. He thought detransitioning to live as a man would make life easier, but that decision cost him his relationship with Reese—and losing her meant losing his only family. Even though their romance is over, he longs to find a way back to her. When Ames's boss and lover, Katrina, reveals that she's pregnant with his baby—and that she's not sure whether she wants to keep it—Ames wonders if this is the chance he's been waiting for. Could the three of them form some kind of unconventional family—and raise the baby together? This provocative debut is about what happens at the emotional, messy, vulnerable corners of womanhood that platitudes and good intentions can't reach. Torrey Peters brilliantly and fearlessly navigates the most dangerous taboos around gender, sex, and relationships, gifting us a thrillingly original, witty, and deeply moving novel.

Welcome to the world’s oldest advertising agency, where ghosts control the board room AC, an ancient executive assistant runs a cave full of thousand year old billboards, and there are bones in the walls. With biting wit, Aurora Stewart de Peña satirizes the creative industry she’s spent years in. From the people who brought you the invention of advertising comes Julius Julius, a rambling architectural wonder, outpost of the very first ad man of ancient Pompeii, built on the backs of generations of creative survivors who just want to lie on the floor of a conference room and cry about the lumber account without being sexually harassed. In a trio of voices from different time periods, we move through the mythical Agency, interrogating the process of stoking desire for a living. We meet the Senior Brand Anthropologist, who’s being surprised by dirty bars of Irish Spring she can’t remember buying, the Creative Director, whose ascent involved an ad campaign starring his dead best friend, and the Account Supervisor, whose only crime is not being a genius. (But the Fisherman Jack Tuna Campaign was her idea, despite what it says on the awards submissions.) Stewart de Peña’s debut novel reveals the cracks in the veneer of the creative industries, and the crisis of consciousness underneath in a novel full of compassion, humour, and blonde sausage dogs.

An inventive exploration of Indigenous families, womanhood, and alternate post-colonial realities by a writer of Māori and Coast Salish descent. Tauhou envisions a shared past between two Indigenous cultures, set on reimagined versions of Vancouver Island and Aotearoa that sit side by side in the ocean. Each chapter in this innovative hybrid novel is a fable, an autobiographical memory, a poem. A monster guards cultural objects in a museum, a woman uncovers her own grave, another woman remembers her estranged father. On rainforest beaches and grassy dunes, sisters and cousins contend with the ghosts of the past — all the way back to when the first foreign ships arrived on their shores. In a testament to the resilience of Indigenous women, the two sides of this family, Coast Salish and Māori, must work together in understanding and forgiveness to heal that which has been forced upon them by colonialism. Tauhou is an ardent search for answers, for ways to live with truth. It is a longing for home, to return to the land and sea.