It’s the season for treason… The king of Yusan must die. The five most dangerous liars in the land have been mysteriously summoned to work together for a single objective: to kill the God King Joon. He has it coming. Under his merciless immortal hand, the nobles flourish, while the poor and innocent are imprisoned, ruined…or sold. And now each of the five blades will come for him. Each has tasted bitterness―from the hired hitman seeking atonement, a lovely assassin who seeks freedom, or even the prince banished for his cruel crimes. None can resist the sweet, icy lure of vengeance. They can agree on murder. They can agree on treachery. But for these five killers―each versed in deception, lies, and betrayal―it’s not enough to forge an alliance. To survive, they’ll have to find a way to trust each other…but only one can take the crown. Let the best liar win.

It’s the season for treason… The king of Yusan must die. The five most dangerous liars in the land have been mysteriously summoned to work together for a single objective: to kill the God King Joon. He has it coming. Under his merciless immortal hand, the nobles flourish, while the poor and innocent are imprisoned, ruined…or sold. And now each of the five blades will come for him. Each has tasted bitterness―from the hired hitman seeking atonement, a lovely assassin who seeks freedom, or even the prince banished for his cruel crimes. None can resist the sweet, icy lure of vengeance. They can agree on murder. They can agree on treachery. But for these five killers―each versed in deception, lies, and betrayal―it’s not enough to forge an alliance. To survive, they’ll have to find a way to trust each other…but only one can take the crown. Let the best liar win.

Finalist for the Writers' Trust Fiction Prize and for the Governor General's Literary Award, this powerful new work, about a transgender sex worker in the red-light district of Bombay who is given an unexpected task, is a gripping literary page-turner--difficult and moving, surprising and tender. Anosh Irani's best novel yet, and his first with Knopf Canada. The Parcel's astonishing heart, soul and unforgettable voice is Madhu--born a boy, but a eunuch by choice--who has spent most of her life in a close-knit clan of transgender sex workers in Kamathipura, the notorious red-light district of Bombay. Madhu identifies herself as a "hijra"--a person belonging to the third sex, neither here nor there, man nor woman. Now, at 40, she has moved away from prostitution, her trade since her teens, and is forced to beg to support the charismatic head of the hijra clan, Gurumai. One day Madhu receives a call from Padma Madam, the most feared brothel owner in the district: a "parcel" has arrived--a young girl from the provinces, betrayed and trafficked by her aunt--and Madhu must prepare it for its fate. Despite Madhu's reluctance, she is forced to take the job by Gurumai. As Madhu's emotions spiral out of control, her past comes back to haunt her, threatening to unravel a lifetime's work and identity. This is a dark, devastating but ultimately redemptive novel that promises to be one of the most talked-about publications of the year.

Alternate cover edition of ISBN 9781770919211 Mustard shouldn’t still be here, but he is. Imaginary friends don’t normally stay with their person until that person is a teenager. Imaginary friends don’t suddenly become visible to their person’s mom and then go on a date with them, either. This darkly comedic bedtime story by Canadian theatre’s indie darling Kat Sandler blurs imagination with reality in order to save a family from its own destruction.

Alternate cover edition of ISBN 9781770919211 Mustard shouldn’t still be here, but he is. Imaginary friends don’t normally stay with their person until that person is a teenager. Imaginary friends don’t suddenly become visible to their person’s mom and then go on a date with them, either. This darkly comedic bedtime story by Canadian theatre’s indie darling Kat Sandler blurs imagination with reality in order to save a family from its own destruction.

Noises Off, the classic farce by the Tony Award—winning author of Copenhagen, is not one play but two: simultaneously a traditional sex farce, Nothing On, and the backstage “drama” that develops during Nothing On’s final rehearsal and tour. The two begin to interlock as the characters make their exits from Nothing On only to find themselves making entrances into the even worse nightmare going on backstage. In the end, at the disastrous final performance, the two plots can be kept separate no longer, and coalesce into a single collective nervous breakdown.

Noises Off, the classic farce by the Tony Award—winning author of Copenhagen, is not one play but two: simultaneously a traditional sex farce, Nothing On, and the backstage “drama” that develops during Nothing On’s final rehearsal and tour. The two begin to interlock as the characters make their exits from Nothing On only to find themselves making entrances into the even worse nightmare going on backstage. In the end, at the disastrous final performance, the two plots can be kept separate no longer, and coalesce into a single collective nervous breakdown.

Had I become disenchanted with the form I had once fallen so madly in love with as a pubescent, pimple-faced suburban homo with braces? Maybe theatre was like an all-consuming high school infatuation that now, ten years later, I saw as the closeted balding guy with a beer-gut he’d become. There were of course those rare moments of transcendence that kept me coming back. But why did they come so few and far between? A lot of plays are dull. And one dull play, it seems, can turn us off theatre for good. Playwright and theatre director Jordan Tannahill takes in the spectrum of English-language drama – from the flashiest of Broadway spectacles to productions mounted in scrappy storefront theatres – to consider where lifeless plays come from and why they persist. Having travelled the globe talking to theatre artists, critics, passionate patrons and the theatrically disillusioned, Tannahill addresses what he considers the culture of ‘risk aversion’ paralyzing the form. Theatre of the Unimpressed is Tannahill’s wry and revelatory personal reckoning with the discipline he’s dedicated his life to, and a roadmap for a vital twenty-first-century theatre – one that apprehends the value of ‘liveness’ in our mediated age and the necessity for artistic risk and its attendant failures. In considering dramaturgy, programming and alternative models for producing, Tannahill aims to turn theatre from an obligation to a destination.

A propulsive debut that grapples with timely questions about what it means to be charitable, who deserves what, and who gets the power to decide It’s the middle of the night in Los Angeles when Maya, a married mother of one, receives the phone call. Her colleague Marc has been accused of assaulting a local girl in Likanni, where they operate a charitable orphanage. Can she get on the next flight? When Maya arrives, protesters surround the compound. The accuser is Lele, her former protégé and the chief’s daughter. There are no witnesses, no proof of any crime. What happened that night? And what will happen to the orphanage if this becomes a scandal? Caught between Marc and Lele, the charity and the villagers, her marriage and new temptations, Maya lives the secret contradictions of the aid worker: there to serve the most deprived, but ultimately there to govern. As Maya feels the pleasures, freedoms, and humanity of life in Likanni, she recognizes that her American life is inextricably woven into this violent reality — and that dishonesty in one place affects the realities in another.