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When British immigrant Selena Jones marries Aidan Gilmor, a Sinhalese-Eurasian -- part British -- from Sri Lanka in the 1960s in Toronto, a passionate clash of culture ensues. Selena's mother in Wales is horrified when Selena brings Aidan home to Wales for the wedding. Back in Toronto, Selena faces further prejudice and disapproval of her "mixed marriage," despite Pierre Elliott Trudeau's new "multiculturalism," which was being encouraged but also resented. She is shocked not only by the reaction of neighbours but by the teachers at the all-White school in Toronto where she teaches, and she pretends that Aidan is a White Canadian. When two poor West Indian and two East Indian children from a new government housing project nearby unexpectedly arrive at the school, Selena is forced to take a stand in their defence. Gradually she learns to face her fears and confront racism. She is drawn into a deeper understanding of her Sri Lankan family, and especially of her father-in-law, a former tea planter under the British, who left Ceylon after Independence in 1956. She sees the effect of colonialism on Aidan and his family, trying to be "British" while caught in the middle of the civil war conflict in Sri Lanka. The revelation of her father-in-law's secret guilt about the past leads to an inevitable and shocking climax.

Winner of the 2020 International Book Award for LGBTQ Fiction; Finalist for the Foreword INDIES Book of the Year AwardsMargot Wright has led a deliberate life. At 18, she left her unusual and abusive family situation and never looked back, and then two years later she devoted herself wholly to Estelle Coté, her first and only love. But now, at 45, freshly retired from a career in antique firearms dealing, and settling into a new home with her wife, Margot finds herself feeling restless. Bored. She admits this to herself on the day she visits Le Galopant, a historic carousel that has become bafflingly meaningful to Estelle; and, as with anyone wishing to dodge a midlife crisis, Margot sets her feelings aside, intending to ignore them for as long as possible. At La Ronde, the amusement park where Le Galopant is showcased, Margot is accosted by a 17-year-old girl named Katherine de Wilde. Katy is hyper and unrefined, "rural," everything Margot cannot stand, yet she finds herself thinking more and more about the lisping girl in the Converse sneakers and "Meat is Murder" T-shirt as the days tread on. Even after Estelle discovers a massive secret she's been keeping for a decade, forces her into couples counseling and then on a road trip to confront this secret, Margot is unable to stop Katy from seeping into her thoughts. So when Katy phones her one morning with bad news, "They're taking down Le Galopant for good. It's broken!" Margot yields to impulse and pursues her interest in the girl. Set between Montreal, Quebec and various American cities, Carousel is a story about secrets--secret yearnings, lives, and losses--and the measures we take to protect our loved ones from the monsters we see ourselves to be.

Gathering together powerful voices of feminist writers, peace activists, and matriarchal studies scholars from around the globe, The Legacy of Mothers reconceptualizes mothers, motherhood, and mothering as an alternative human logic to create a new sociopolitical order. The contributors draw on ancient knowledges, Indigenous perspectives, and African traditions like Motherism to argue for the reordering of our world according to a distinctly transformative feminism. The book then explores where this new logic is already taking root, demonstrating that a better world is not just possible but already evolving./p

Releasing Hope was born out of the first book Arresting Hope, which describes participatory health research and the experience of women incarcerated inside a British Columbian provincial correctional centre from 2005 to 2007. Readers of Arresting Hope, moved by the stories written by incarcerated women, asked, "What happened next?" And, "How are the women doing, now that they are released from prison?" Starting in 2007, women who were released from prison formed a network called Women in2 Healing because they wished to continue participatory health research in the community. Their overarching research question was, "How can we improve the health of women in prison and following their release?" Releasing Hope describes the journeys of formerly incarcerated women and their encounters with the barriers (financial, emotional, familial, systemic) that they confronted during their reintegration in the community. Releasing Hope touches on the stories of individual women and the learning from participatory health research that made visible their lives, their hopes, their dreams and fears.

Finalist for the 2020 Lambda Literary Award for Lesbian FictionA Generous Spirit: Selected Work by Beth Brant collects the writing of Beth Brant, Mohawk lesbian poet, essayist, and activist. During her life, Brant's work gave voice to an often unacknowledged Two-Spirit identity, and today, her words represent continued strength, growth, and connection in the face of deep suffering. A Generous Spirit is Brant's portrait of survival and empathy at the intersection of Native American and lesbian experience. Edited by noted Native poet and scholar Janice Gould, A Generous Spirit recounts and enacts the continuance of her people and her sisters with distinct, organic voices and Brant's characteristic warmth. Her work is a simultaneous cry of grief and celebration of human compassion and connection in its shared experience. Through storytelling, her characters wrest their own voices from years of silence and find communion with other souls.

Blue Bear Woman is the first novel written by an Indigenous woman that was published in Quebec in the French language. The story of a young Cree woman's search for her roots and identity, Virginia Pesemapeo Bordeleau's debut novel, Ourse bleue, was originally published in 2007, and is her second novel to be translated into English. The novel explores contemporary Indigenous life and the impact on the Cree of the building of the Eastmain dam in northern Quebec, posited as "virgin" territory, yet which has actually been part of the Cree traditional territory since time immemorial. In search of her roots, Victoria takes a trip to the country of her Cree ancestors with her companion, Daniel. It is a long journey to the north along the shores of James Bay. Colours, smells, and majestic landscapes arouse memories that soon devolve into strange and hauntings dreams at night. In bits and pieces, uncles, aunties, and cousins arrive to tell the story of Victoria's family and bring with them images of her childhood that are tinged both with joy and sadness. Guided by her totem, the Blue Bear, she returns home to make peace with her soul, as well as release the soul of her Great-Uncle George, a hunter who has been missing in the forest for over twenty years.

A Harsh and Private Beauty, is about the life and loves of Ruby Grace, now in her 89th year, on a train journey with her granddaughter back to Chicago, the city of her birth. When the book opens, Ruby is living in a retirement care home, but as a young woman, she was a jazz and blues singer, once trained for a career in opera. The novel traces Ruby's grandparent's immigration from Ireland to New York City, her father, Daniel Kenny's life in 1920s Chicago--the era of gangsters, nightclubs, rum-running and Prohibition--and Ruby's subsequent life in Montreal and Toronto. Headstrong and talented, Ruby struggled with the conventions of the times, was trapped in a marriage that forced her to give up her singing career, and in love with another man who shares her passion for music. Now, on the train headed back to a city she cannot remember, to a daughter she hardly knows, Ruby tries to look honestly at herself and the choices she has made, choices that affected not only her children, but her grandchildren. Ruby has a stroke on route, leaving the disconnected story of her life and love in the hands of her granddaughter, Lisa, who must reveal a secret to her father, Ruby's son, that her grandmother guarded all her life.

To pursue her dream of building a life free from violence for her son and herself, Yalda flees from her nightmarish past as well as her troubled homeland, Iran. But in her new haven, she realizes that nightmares haunt not only her past, but also her present and future. She does what she can to survive, but all her plans dissolve like the shadows and ghosts that follow her. Having fled from an authoritarian regime, and now living in a North America panic-stricken by global terrorism, Yalda is obsessed with all the forms and aspects of violence. She is estranged from her beloved son, Nader, who trains to become an armed security guard, and this means he is wearing a uniform and carrying weapons, prepared to be violent. She cannot forget that her first love was shot and killed by a young prison guard and that her beloved stepbrother also met a violent death. This family history is a wound that makes guns taboo and Yalda yearns to feel safe in a troubled world. The novel is part memory, part dream, and part present, day-to-day struggles for immigrants living in Toronto and Montreal.

Winner of the 2020 International Book Award for Multicultural Fiction; Winner of the 2020 Ippy Gold Medal for Multicultural Fiction.It is 1970. The evergreens are thick with snow despite it being the month of April. In an Ottawa hospital, another daughter is born to the Azar family. The parents are from Kfarmichki, a village in Lebanon but their daughters were born in Canada. Four daughters, to be precise. No sons. Youssef is the domineering father. Samira is the quiescent mother. Rima, Katrina and Mona are the traditional daughters. Then there is Adele, the newest member. "You should've been born a boy," Samira whispers to Adele shortly after her entrance into the world. As she grows, Adele learns there are certain rules Lebanese girls must follow in order to be good daughters. First off, they must learn to cook, master housework, learn Arabic and follow the traditions of their culture. Above all, they must save themselves for marriage. But Adele dreams of being an artist. When she is accepted to the University of Toronto, this is her chance to have a life outside the confines of her strict upbringing. But can she defy her father?When Youssef surprises her with a family trip to her ancestral home, Adele is excited about the journey. In Lebanon, she meets Elias. He is handsome and intelligent and Adele develops feelings for him until Elias confides to her that her unexpected meeting with him was actually a well-devised plan that is both deceitful and shocking.Will this unravel the binding threads of this close-knit Lebanese family? Crisscrossing between Ottawa, Toronto and Lebanon, The Allspice Bath is a bold story about the cultural gap and the immigrant experience.

Thirty-two-year-old Kang is a new immigrant in Toronto. Having an older sister who was raped and suffers from the ensuing stigma in China, Kang is determined to remain a spinster, which has its own stigma in China, and she struggles with her fear and distrust of men. But Kang's story is not a hard luck story. She is an intelligent woman and a successful immigrant. Kang deals with the perplexities of a different culture by maintaining a sense of curiosity, an enjoyment of learning about the new culture, and by finding humour rather than the humiliation that so often characterizes descriptions of immigrant experience. Kang rooms with Tania, a Russian immigrant, and learns that many years earlier, Tanya was in love with a Chinese medical student at Moscow University who was abruptly returned to China for having had a relationship with her. Kang's own father once studied at that university but has never talked about it since he was forced to leave Moscow and then was labelled as a rightist during the Chinese Anti-Rightist Campaign. Since then her father has been dispatched to work and live in Kunming, a city far away from Beijing. Could the paths of her father and Tania have ever crossed? Curious about her father's past, Kang decides to pay a visit to Moscow, accompanied by Brian, Tania's nephew, a charming engineer who wants to explore his Russian Jewish roots. Spending time with Brian helps Kang to see how much her sister's tragedy has shadowed her life. When Brian suddenly shows symptoms of schizophrenia, Kang must decide whether to throw her spinster's hat away or end her relationship with Brian.

Climate change is already under way with unpredictable consequences. Evidence of changes to the earth's physical, chemical and biological processes is obvious everywhere. Greenhouse gas emissions have increased the carbon cycle concentration in the atmosphere. In the past, half of this carbon was stored in forests, while the other half was removed by oceans, but with deforestation and warming oceans, oxygen is at its lowest breathable point. Ecological degradation is global and the earth is becoming increasingly inhospitable with unprecedented weather events. The changing temperature has altered the balance of communities and degraded ecosystems. For example, in May 2016, as a result of a drier winter combined with an unusually hot, dry air mass over Northern Alberta, Canada, the temperature climbed to 32.8 °C (91°F) (Daily Data Report) resulting in 49 active wildfires covering an estimated 522,892 hectares. During the summer of 2017, hundreds of wildfires also razed thousands of hectares in the provinces of British Columbia, Manitoba, and Saskatchewan.More destructive events due to warmer ocean surface temperatures are also taking place. Warmer oceans hold less dissolved gases, including oxygen, which affects marine organisms, particularly mammals. In January 2014, in Peru's Pacific, more than 400 dolphins washed ashore dead (Foley); similarly, in New Zealand, in February 2017, more than 400 whales had beached themselves to die (Farewell). El Niño, which is a cold, low-salinity ocean current that runs along Ecuador, Peru, and Chile, has been heating and altering weather in all Pacific Rim countries. Each of the El Niño and La Niña cycles in the past twenty years have occurred with increased frequency and violence.In sum, the latest scientific evidence tell us that we are approaching climate catastrophe: global average temperature is rising, if another decade of business-as-usual fossil fuel emissions continues we can reach 2° C, a dangerous warming threshold. Climate change deepens ethical issues explored and discussed by ecofeminists around the world. This book describes the academic field of material ecofeminism, provides an overview of the land question, and explores how reigning discourses of "sustainable development" have led to a commodification of nature and have effaced the multiple visions, uses, and relationships of local human communities. The articles in this book are spaces of political projects and values that nurture anticapitalist, antipatriarchal, and anticolonial oppressions. We argue that the centrality of resisting the colonization of Mother Earth and Pachamama is supreme.

Finalist for the 2019 Golden Crown Literary Society Awards for General FictionThe Heart Begins Here is the story of the ever-optimistic, earnest Sara Requier and her disintegrating seven-year relationship with the cynical Wanda Wysoka. Along with her relationship struggles, Sara must contend with the drastic changes in the book industry that threaten her feminist bookstore, as well as a mother who refuses to accept her daughter's lesbianism. Then, just as Wanda decides to leave Sara, Wanda's new young lover, Cindy, is murdered. The story takes place in a western Canadian city in 2001 -- much of it in Sara's bookstore, Common Reader Books -- in the shadow of the disturbing political climate that followed the 9/11 attacks in the U.S. This is a transitional point in the Canadian book industry: the proliferation of big box stores, the expansion of the Internet -- and Sara is caught up in the concomitant changes in her community. The book explores themes of love and loss, of the lingering effects of a dysfunctional childhood, of misogyny, of personal and societal homophobia, and especially the challenge of integrating the personal with the political.

It is The War to End All Wars, and Ena Connelly, a keenly sensory and extraordinary woman, is newly married and living on an Ontario farm. The shock of violence in far-off battlefields is echoed in a terror much closer to hand. With bold perception and remarkable self-reliance, Ena faces a dramatically altered world. Ena is self-contained, and careful not to reach too far into the turbulent emotional lives of others. As the war progresses, Ena forms a fierce bond of loyalty for Blain, the delightful but (necessarily) duplicitous boy who comes to work for her. Through Blain, she learns to extend herself in unexpected ways-- to reach outside of herself, and to risk. Ena also grows closer to her sister-in-law, Sarah, a gifted painter. Sarah is unafraid of confronting emotional turmoil and passion but she doesn't have Ena's absolute clarity of purpose and aim. Ena helps Sarah move closer to the life she wants, while Sarah opens Ena to a terrible and essential kind of beauty. When studying Sarah's paintings, Ena comments that it is not the surface that matters, but rather what is underneath. The same is true of this novel -- underneath the meticulous detail of daily life is the emotional landscape of persistent, courageous women, watching the violence of war in Europe (World War I) and domestic violence closer to home.

Almost True is the story of an extraordinary friendship among four women living in a small village in Burgundy during World War II. Madeleine, the eccentric village beauty, is a spinner of stories and dreams. Léa, the doctor's daughter, is brave and resourceful. Simone, the outsider from Paris, has a secret of her own to hide, and the hardworking and practical Eugénie struggles to keep her vineyard alive. When Eugénie's younger brother, the reckless and handsome Gaston, is suddenly missing, the village buzzes with rumour. All four women think they know the true story of Gaston's fate, and each of them is wrong. But the truth will bind them together forever.

Finalist for the 2019 Rasmussen, Rasmussen and Charowsky Indigenous Peoples' Writing AwardHiraeth is about women supporting and lending strength and clarity to other women so they know that moving forward is always possible-- and always necessary. It documents a journey of struggle that pertains to a dark point in Canadian history that few talk about and of which even fewer seem aware. Poems speak to the 1960's "scoop up" of children and how this affected the lives of (one or thousands) of First Nations and Métis girls-- girls who later grew to be women with questions, women with wounds, women who felt like they had no place to call home. That is, until they allowed themselves to be open to the courage others have lived and shared. "Hiraeth" is a word that is Celtic in origin and it means looking for a place to belong that never existed. But this place does exist -- in the heart.

This novel traces the life experiences of a once highly successful woman who falls prey to electroshock and subsequently struggles to piece back together her life. Naomi suffers enormous memory loss; additionally, an estrangement from her family of origin that she has no way to wrap her mind around. The novel begins with her wandering the corridor of St. Patricks-St Andrews Mental Health Centre (St. Pukes) faced with the seemingly impossible challenge of coming to terms with the damage done her, as well uncovering the hidden details of her life. It moves back and forth between a relatively happy childhood in the legendary north-end Winnipeg of the mid-1900s and post-ECT adulthood in Toronto. An exceptionally kind man named Ger who befriends Naomi comes to suspect that important pieces of the puzzle of what befell her lurk beneath the surface of writing in a binder of hers, which comes to be known as Black Binder Number Three. What Naomi progressively comes to do, often with Ger's help and just as often with the help of a very different and eerily similar sister named Rose, is find ways to do justice to her life and to the various people in it. Filled with a vast array of colourful and insightful characters from a variety of communities--Toronto¹s Kensington Market of the 1970s, the 1970's trans community, north-end Winnipeg Jewry, and the ingenious and frequently hilarious mad community--this novel sensitizes us to the horror of electroshock, takes us to new levels in our understanding of what it means to be human, and, in the process, leads us to question the very concept of normalcy.

Theodor Adorno once remarked that, "...every work of art is an uncommitted crime." This book is a tribute to political artists who deviate from the mainstream and create art that engages with questions of societal oppression, survival, and resistance. It draws on interviews with transnational artists whose work is representative of emerging trends in art, visual culture, and political aesthetics. Uncommitted Crimes reflects on a new generation of artists whose creative praxis, sensibilities, influences, and frames of reference derive from multiple national, religious, and cultural genealogies, and an ambivalent relationship to Western and European nationalisms. Courageously, these racialized, Indigenous, and migrant artists straddle the divides of many categories of identity in regards to gender, sexuality, and 'race.' Their art challenges the silently imbibed worship of whiteness, heteronormative patriarchies, and colonial settler ideologies of "home." These exceptional cultural producers enter into uncomfortable dialogues, creatively. Inspired by their visionary praxis, this book is an uncommitted crime, attempting to smuggle arresting artistic ideas into a site of intellectual imagi/nation. Artists whose works are explored in this book include: Andil Gosine, Syrus Marcus Ware, Elisha Lim; Amita Zamaan and Helen Lee; Shirin Fathi; Kara Springer; Rajni Perera; Joshua Vettivelu; Brendan Fernandes; Kerry Potts and Rebecca Belmore; The Mass Arrival Collective (Farrah Miranda, Graciela Flores Mendez, Tings Chak, Vino Shanmuganathan, and Nadia Saad). The book contains 65 pages of artwork.

Finalist for the 2018 Arthur Eliis Award for Best First Crime NovelRobin MacFarland is a somewhat eccentric and highly intelligent journalist for the Home and Garden section of a Toronto paper, who at age fifty-five looks aghast in the mirror and pronounces herself, "Old. Fat. Alcoholic. Alone. Failure." She resolves to lose weight, quit drinking, and try online dating, although not, perhaps in quite that order. The intrigue begins when Robin chooses to cover a water cooling system conference where she thinks there will be a lot of men. By coincidence, her first online date is with the owner of the water company who is found dead after they have coffee. Dauntless, Robin wades into what is now a murder investigation, under the supervision of her new editor, and with the help of her best friend, Cindy, a crime reporter. The novel is framed around a plot to steal Canada's fresh water, but it hinges on Robin's hilarious journey through the middle portion of her life, a serious social issue, and a highly ironic murder weapon.

Ever since anthropology PhD student Clara Lemont started researching the African-Brazilian religion of Odùn, her days and nights became filled with dreams of swirling figures of white, drum beats and yellow eyes haunting her in the darkness. When Clara travels to Brazil to do fieldwork, she quickly finds herself immersed in a world of dark intrigue, political corruption, black magic and desire. Travelling across time and space to be reunited with her eternal lover, history, politics and sex all collide as the female energy of the goddesses and the transformative power of love combat the dark forces of evil. An evocative and sweeping tale of myth and magic, from a seventeenth-century escaped slave community in northern Brazil to 1930s Rio de Janeiro, Clara Awake will take you on a sensual journey of intense passion, intrigue and love.

Seventeen-year-old Camden splits her time between her father, a minor rock star, and her mom, a scruffy "hardware geek" who designs and implements temporary and sustainable power systems and satellite linkups for off-grid music and art festivals, tree-sits, and attends gatherings of alternative healers. Lark, Camden's father, provides her with brand-name jeans, running shoes, and makeup, while her mother's world is populated by anarchists, freaks, geeks, and hippies. Naturally, Camden prefers staying with her dad and going to the mall with his credit card and her best friend, but one summer, when Lark is recording a new album, Camden accompanies her mother, Laureen, to a healing camp on a mountain in Northern California. After their arrival, Laureen heads to San Francisco, ostensibly to find her lover, but she never comes back. Alone, penniless, and without much in the way of camping skills, Camden withdraws. Things begin to look up when she is befriended by Skinny, a young man in charge of the security detail at the camp who knew her mother as a child. The summer ends and Camden heads back to Toronto to find her dad, and it's only there that she learns Laureen's disappearance is tied, unexpectedly, to the secrets Skinny tried to keep from her for months, until, finally, he couldn't.

A Romani Women's Anthology: Spectrum of the Blue Water is grounded upon Romani women's lived experiences, and confers epistemic privilege on critical insights that derive from their authentic and personal knowledge. Romani women are impressively diverse in their attachments, status, beliefs, and identities. The chapters in this book illustrate this multiplicity by traversing writing motifs. The book is a dynamic blend of life writing, creative work, research essays about identity, childhood, immigration, work, art, memory, love, spirituality, activism, advocacy, leadership, and other themes affecting the lives of Romani women. Visual art, as well as black and white portraits of Romani women complement the written text. Through incisive creativity, pragmatic action, and affective networks, this book consolidates these diverse expressions of agency and collectivity by activists, writers, artists, academics, community leaders, educators, professionals, and cultural and community workers.