LITMIR.BIZ

Hoping to erase her unhappy old life, Hazel jumps in her beat-up old car and speeds away. When she pulls up to the Evening and Morning Star Trailer Park, where nothing turns into even more of nothing, she decides it just might be the new life she's looking for. At the centre of this new life is King, a motorcycle-riding, hard-drinking, guitar-playing kind of guy. Hazel loves him to death. He spends his days fixing cars, while Hazel spends hers working at the town’s thrift shop. Evenings they spend with Spiney and Sissy, playing cards or drinking at Old Joe’s. It’s a clear kind of life, pure as water in the old quarry. As Hazel settles into the trailer park, she begins to settle into her new life too. She covers the trailer’s yard with wildflowers. She makes new friends, like Egbert (Egg), who helps her create elaborate tableaux in the thrift-shop window. She may even learn how to cook. But when King’s repeated brushes with the law bring him a spell in jail, things begin, slowly and surely, to unravel. Maybe Hazel hasn’t outrun herself after all, maybe year-round Christmas lights and thrift-shop glamour can’t outshine honesty, and maybe Hazel can’t make her world perfect by willing it so. Fun and sad and true, King feels like a slumber party: just you and your best friend in sleeping bags whispering through the long night. And when you wake up in the morning, you’ll blink, shake your head, and for a second, just a second, the world will seem like a more magical place.

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Write for buyers. Write for bosses. Think hyper. Think branding. Tell your visitor where to go. Poetry and ‘plain language’ collide in the writing machine that is Human Resources. Here at the intersection of creation and repackaging, we experience the visceral and psychic cost of selling things with depleted words. Pilfered rhetorics fed into the machine are spit out as bungled associations among money, shit, culture, work and communication. With the help of online engines that numericize language, Human Resources explores writing as a process of encryption. Deeply inflected by the polyvocality and encoded rhetorics of the screen, Human Resources is perched at the limits of language, irreverently making and breaking meaning. Navigating the crumbling boundaries among page, screen, reader, engine, writer and database, Human Resources investigates wasting words and words as waste – and the creative potential of salvage.

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Minor earthquakes every day; that's what they say. Lucy feels the tremors like a needle sensitized to respond to the slightest movement. She feels the push, the blind thrust of the earth's elastic body, pushing out, pulling in, behaving unpredictably. She lies awake at night, staring into the darkness, thinking of the tectonic plates moving against one another, building up tension, until something has to give.On an isolated island in Lake Ontario live twins Lucy and Levi and their father, Daniel. While Daniel desperately mourns for his dead wife, Levi and Lucy grow up ever more entwined in their enchanted childhood of fairy tales and rhymes. But when a fissure in the fragile cocoon of the family explodes into a chasm, each of the three is hurled in a different direction. Soon, there emerges a geographical triangle – Vancouver, Montreal, the island – that also maps out the terrain of love and the territory of family. Part Egyptian myth, part Alice in Wonderland, How the Blessed Live is an ethereally quiet, unexpected debut from a novelist to be watched.

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In the vast, unnamed metropolis of Hello … Hello, art and commerce have finally and completely conjoined; stylish cafés serve up zebra mussels and the air is thick with a gentle rain of sparrows plummeting down from the mirrored office towers. Everywhere, people are falling for an edgy new fashion accessory: a shiny ball filled with poison that hangs from a delicate chain. In this oddly peaceful world, Cassandra, a salesgirl at a clothing store called the Abyss, meets a charismatic ad man named Ben in the graveyard where she is mourning her lover, the last true artist on earth. They find themselves helplessly attracted to one another. Ben walks Cassandra home and invites her out to dinner, which leads to sex, marriage and a house in Semi-Residentia. Then comes baby. All one and a half inches of her. Hello … Hello, nominated for several Dora awards, including Best Play and Best Musical, is a tragic, comedic and curiously erotic attack on western society’s predilection for escapist consumerism and entertainment. If the boy-meets-girl musical is the shiny happy ball, then the content of the play, and its characters, are the poison held within.

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This remarkable autobiographical play by the award-winning author of Building Jerusalem and Martin Sloane, is a Russian-doll-like play: concentric stories enveloping each other. A writer is told, in confidence, a terrible tale of murder and injustice and he promises never to repeat the story. Goodness is the writer breaking his word. Recently divorced, Michael Redhill goes to Poland to get away frm his life and to do some research on the Holocaust. Thwarted by witnesses unwilling to talk, he returns home via England, but in London is introduced to someone who can tell him a 'real' story of evil. Through this reluctant witness, Redhill learns of a genocide. He encounters, through the memory of the storyteller, an alleged war criminal, about to be put on trial. But this is an old man with Alzheimer's who can no longer remember the time his crimes were allegedly committed. Has his guilt dissolved with his memory? Could he be pretending to be ill in order to escape punishment? The witness conjures for Redhill the war criminal's passionate and beautiful daughter, who will defend her father at all costs. There is also the prosecuting attorney, who has much in common with the old man whose destruction he seeks. As well as an uncomfortable attraction to his daughter. Each is drawn to the other. All is witnessed by a female prison guard – the one who tells the playwright, years later, what really happened in the quest to give a nation some closure. Everyone's story is compelling, and the ending is as unexpected as it is shocking. Who do we believe? A prison guard still wounded by history? A writer suffering from heartache? A dying war criminal? What is our responsibility? Who does memory serve? Did the past really happen? And if it did, who has a claim on it? Goodness is a play about what happens in the gaps between experiencing, telling and hearing.

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A girl faints in the Toronto subway. Her friends are taken to the hospital with unexplained rashes; they complain about a funny smell in the subway. Swarms of police arrive, and then the hazmat team. Panic ripples through the city, and words like poisoning and terrorism become airborne. Soon, people are collapsing all over the city in subways and streetcars and malls, always prompted, they say, by some unidentifiable odour. Alex was witness to this first episode. He’s a photographer: of injuries and deaths, for his job at the hospital, and of life, in his evening explorations of every nook and cranny of the city. Alex is a diabetic, now facing the very real possibility of losing his sight, and he’s determined to create a permanent vision of his city through his camera lens. As he rushes to take advantage of his dying sight, he encounters an old girlfriend – the one who shattered his heart in the eighties, while she was fighting for abortion rights and social justice and he was battling his body’s chemical demons. But now Susie-Paul is fighting her own crisis: her schizophrenic brother has been missing for months, and the streets of Toronto are more hostile than ever. Maggie Helwig, author of the critically lauded Between Mountains, has fashioned a novel not of bold actions but of small gestures, showing how easy and gentle is the slide into paranoia, and how enormous and terrifying is the slide into love. This is a remarkable novel: romantically and politically charged, utterly convincing in its portrait of our individual and societal instability, and steadfast in its faith in redemption.

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‘All of Nichol’s work is stamped by his desire to create texts that are engaging in themselves as well as in context, and to use indirect structural and textual devices to carry meaning. In The Martyrology different ways of speaking testify to a journey through different ways of being. Language is both the poet’s instructor and, through its various permutations, the dominant 'image’ of the poem. The [nine] books of The Martyrology document a poet’s quest for insight into himself and his writing through scrupulous attention to the messages hidden in the morphology of his own speech.’ – Frank Davey

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The Gold Coast swelters in record temperatures, and car salesman Gary Braswell's hot under the collar. With sales at rock-bottom, and up to his neck in debt to loan shark Jocko Mackenzie, Gary's sweating on a fat commission from a mysterious Russian couple.<br /> <br />If the loan is not repaid, there's more than Gary's kneecaps at stake – his long-suffering wife's also in peril. But Jocko demands more than repayment and has sinister plans for the hapless salesman.<br /> <br />Gary turns his skills to real estate and is soon embroiled in the murky world of money laundering. With the federal police sniffing around and Jocko on his tail, Gary concocts an audacious scam.<br /> <br />Success means money – lots of it.<br />Failure means death.<br />But can hard-drinking, cocaine-snorting Gary pull it off?<br /> <br />Hilarious and dark, <b><i>Sold</i></b> is noir at its best – a whirlpool of sex, drugs, and real estate.

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In this witty and entertaining memoir, Alister Kershaw describes the pleasures of his prolonged residence in France – a country of villages – from 1948, when even Paris was a series of villages. In post-war Paris, Kershaw lived a penniless but joyous existence, tramping streets he had long imagined from the poets and novelists he had read. 'Village to Village' captures a Paris long gone but vividly remembered. The author conjures Paris prior to the triumph of the technocrats and town planners, and the major redevelopments that changed the provincial cities for all time. It also traces the author's move into the Berry, two hours south of Paris, where he lives in a hamlet of six houses and finds a rural life amongst a small group of traditional winemakers. What will his neighbours make of this intruder – a writer, a poet, a broadcaster – and an Australian into the bargain?

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Winner, 2019 Anna Julia Cooper and C.L.R. James Award, given by the National Council for Black StudiesFinalist, 2019 Pauli Murray Book Prize in Black Intellectual History, given by the African American Intellectual History Society Winner, 2019 Outstanding Book Award, given by the History of Education Society The inspiring story of the black students, faculty, and administrators who forever changed America’s leading educational institutions and paved the way for social justice and racial progress The eight elite institutions that comprise the Ivy League, sometimes known as the Ancient Eight—Harvard, Yale, Princeton, Penn, Columbia, Brown, Dartmouth, and Cornell—are American stalwarts that have profoundly influenced history and culture by producing the nation’s and the world’s leaders. The few black students who attended Ivy League schools in the decades following WWII not only went on to greatly influence black America and the nation in general, but unquestionably awakened these most traditional and selective of American spaces. In the twentieth century, black youth were in the vanguard of the black freedom movement and educational reform. Upending the Ivory Tower illuminates how the Black Power movement, which was borne out of an effort to edify the most disfranchised of the black masses, also took root in the hallowed halls of America’s most esteemed institutions of higher education. Between the close of WWII and 1975, the civil rights and Black Power movements transformed the demographics and operation of the Ivy League on and off campus. As desegregators and racial pioneers, black students, staff, and faculty used their status in the black intelligentsia to enhance their predominantly white institutions while advancing black freedom. Although they were often marginalized because of their race and class, the newcomers altered educational policies and inserted blackness into the curricula and culture of the unabashedly exclusive and starkly white schools. This book attempts to complete the narrative of higher education history, while adding a much needed nuance to the history of the Black Power movement. It tells the stories of those students, professors, staff, and administrators who pushed for change at the risk of losing what privilege they had. Putting their status, and sometimes even their lives, in jeopardy, black activists negotiated, protested, and demonstrated to create opportunities for the generations that followed. The enrichments these change agents made endure in the diversity initiatives and activism surrounding issues of race that exist in the modern Ivy League. Upending the Ivory Tower not only informs the civil rights and Black Power movements of the postwar era but also provides critical context for the Black Lives Matter movement that is growing in the streets and on campuses throughout the country today. As higher education continues to be a catalyst for change, there is no one better to inform today’s activists than those who transformed our country’s past and paved the way for its future.

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