Ranging widely in subject matter--from a musician's destructive narcissism to the strange effects a persistent Norwegian has on a bachelor's love life--the stories in this collection also vary in style. Both elegantly insightful and highly adventurous, these tales are inventive, deeply comic, sometimes very unsettling, and completely engaging.

The recent rise of global antisemitism, Holocaust denial, and American white nationalism has created a dangerous challenge to Holocaust public memory on an unprecedented scale. This book is a timely exploration of the ways in which next-generation Holocaust survivors combine old and new media to bring newer generations of audiences into active engagement with Holocaust histories. Readers have been socialized to expect memorialization artifacts about the Holocaust to come in the form of diaries, memoirs, photos, or documentaries in which gender is often absent or marginalized. This book shows a complex process of remembering the past that can positively shift our orientations toward others. Using gender, performance, and rhetoric as a frame, Lisa Costello questions public memory as gender neutral while showing how new forms of memorialization like digital archives, YouTube posts, hybrid memoirs, and small films build emotional connections that bring us closer to the past.

Discover the intriguing and diverse voices of Canada's new literary writers in this popular and nationally acclaimed annual anthology "There's nothing else like it in Canada. . . . The Journey Prize anthology has become the proving ground for new, young Canadian writers, a who's who of the coming generation. . . . I, for one, owe everything to the Journey Prize." - Yann Martel, author of Life of Pi The $10,000 Journey Prize, now known as The Writers' Trust of Canada/McClelland & Stewart Journey Prize, is awarded annually to a new and developing writer of distinction for a short story published in a Canadian literary publication. This award is made possible by James A. Michener's generous donation of his Canadian royalties earnings from his novel Journey, published by McClelland & Stewart in 1988. The Journey Prize itself is the most significant monetary award given in Canada to a writer at the beginning of his or her career for a short story or excerpt from a fiction work-in-progress. The winner of the Journey Prize is selected from among the stories that appear in the current volume of The Journey Prize Stories, published annually in the fall by McClelland & Stewart. For over a decade The Journey Prize Stories has established itself as one of the most prestigious anthologies in the country, introducing readers to the best new Canadian writers from coast to coast. It has become a who's who of up-and-coming writers, and many of the authors whose early work has appeared in the anthology have gone on to distinguish themselves with acclaimed collections of stories or novels, and have won many of Canada's most prestigious literary awards, including the Governor General's Award, the Trillium Award, the Chapters/Books in Canada First Novel Award, and The Giller Prize. The anthology sets itself apart from others in that it comprises a selection of stories that editors of literary publications from across the country have chosen as what, in their view, is the most exciting writing in English that they have published in the previous year. In recognition of the vital role literary publications play in discovering and promoting new writers, McClelland & Stewart gives its own award of $2,000 to the literary publication that originally published and submitted the winning entry. McClelland & Stewart acknowledges the continuing enthusiastic support of writers, literary publication editors, and the public in the common celebration of the emergence of new voices in Canadian fiction. In this anthology: Heather Birrell, “BriannaSusannaAlana” (The New Quarterly) (Winner) Craig Boyko, “The Baby” (from Descant) Craig Boyko, “The Beloved Departed” (Grain Magazine) Nadia Bozak, “Heavy Metal Housekeeping” (subTerrain Magazine) Lee Henderson, “Conjugation” (Border Crossings) Melanie Little, “Wrestling” (PRISM international) Matthew Rader, “The Lonesome Death of Joseph Fey” (Grain Magazine) Scott Randall, “Law School” (The Dalhousie Review) Sarah Selecky, “Throwing Cotton” (Prairie Fire) Damian Tarnopolsky, “Sleepy” (Exile) Martin West, “Cretacea” (PRISM international) David Whitton, “The Eclipse” (Taddle Creek) Clea Young, “Split” (The Malahat Review)

A fascinatingly diverse anthology of the literature of exile, from the myths of Ancient Egypt to contemporary poetry Exile lies at the root of our earliest stories. Charting varied experiences of people forced to leave their homes from the ancient world to the present day, The Heart of a Stranger is an anthology of poetry, fiction and non-fiction that journeys through six continents, with over a hundred contributors drawn from twenty-four languages. Highlights include the wisdom of the 5th century Desert Fathers and Mothers, the Swahili Song of Liyongo, The Flight of the Irish Earls, Emma Goldman's travails in the wake of the First Red Scare, the Syrian poet Nizar Qabbani's ode to the lost world of Andalusia and the work of contemporary Eritrean fabulist Ribka Sibhatu. Edited by poet and translator André Naffis-Sahely, The Heart of a Stranger offers a uniquely varied look at a theme both ancient and urgently contemporary.

This by turns shattering and hope-giving account of prisoners who dug their way to freedom from the Nazis is both a stunning escape narrative and an object lesson in the ways we remember and continually forget the particulars of the Holocaust. No Road Leading Back is the remarkable story of a dozen prisoners who escaped from the site where more than 70,000 Jews were shot in the Lithuanian forest of Ponar after the Nazi invasion of Eastern Europe in 1941. Anxious to hide the incriminating evidence of the murders, the S.S. later in the war enslaved a group of Jews to exhume every one of the bodies and incinerate them all in a months-long labor—an episode whose specifics are staggering and disturbing, even within the context of the Holocaust. From within that dire circumstance emerges the improbable escape made by some of the men, who dug a tunnel with bare hands and spoons while they were trapped and guarded day and night—an act not just of bravery and desperation but of awesome imagination. Based on first-person accounts of the escapees and on each scrap of evidence that has been documented, repressed, or amplified since, this book resurrects their lives, while also providing a complex, urgent analysis of why their story has rarely been told, and never accurately. Heath explores the cultural use and misuse of Holocaust testimony and the need for us to face it—and all uncomfortable historical truths—with honesty and accuracy.

Scholars and students of film studies and Holocaust studies will value this close analysis.

In this unique collection, Yale literary critic Shoshana Felman and psychoanalyst Dori Laub examine the nature and function of memory and the act of witnessing, both in their general relation to the acts of writing and reading, and in their particular relation to the Holocaust. Moving from the literary to the visual, from the artistic to the autobiographical, and from the psychoanalytic to the historical, the book defines for the first time the trauma of the Holocaust as a radical crisis of witnessing "the unprecedented historical occurrence of...an event eliminating its own witness." Through the alternation of a literary and clinical perspective, the authors focus on the henceforth modified relation between knowledge and event, literature and evidence, speech and survival, witnessing and ethics.

A sweeping survey of how global filmmakers have treated the subject of the Holocaust.