A Book-of-the-Month Club "Best Novel of 2007." In the waning days of World War II, Sheilagh Fielding makes her way to a deserted island off the coast of Newfoundland. But she soon comes to suspect another presence: that of a man known only as her Provider, who has shadowed her for twenty years.Against the backdrop of Newfoundland's history and landscape, Fielding is a compelling figure. Taller than most men and striking in spite of her crippled leg, she is both eloquent and subversively funny. Her newspaper columns exposing the foibles and hypocrisies of her native city, St. John's, have made many powerful enemies for her, chief among them the man who fathered her children—twins—when she was fourteen. Only her Provider, however, knows all of Fielding's secrets. Reading group guide included.

In Join the Revolution, Comrade, Charles Foran brings to the essay form the same restlessness and originality that mark his novels and non-fiction. Foran visits places in Vietnam that have been 'colonized' by western war films, talks to Shanghai residents about their colossal city and commiserates with the people of Bali about the effects of terrorist bombs on their island. In Beijing he looks up old friends he had known back in 1989 during the days before and after the June 4th massacre. "Join the revolution, Comrade," a friend had loved to say, quoting a line from a Bertolucci film. Foran also 'encounters' Miguel de Cervantes, the Buddha of Compassion, and the pumped-up American Tom Wolfe. He maps the geography of Canadian literature and pinpoints the 'inner-Newfoundland' of Wayne Johnston. He defends the novel against those who would tame it and uses an ancient Chinese philosopher to explain how one imagination -- his own-- works. Whether exploring the waterways of Thailand or the streets of his childhood in suburban Toronto, meditating on raising children in post-9/11 Asia or the music of good prose, Charles Foran's writing is fresh, alert, and free of convention.

Out-migration, driven by high unemployment and a floundering economy, has been a defining aspect of Newfoundland society for well over a century, and it reached new heights with the cod moratorium in 1992. This Newfoundland “diaspora” has had a profound impact on the province’s literature. Many writers and scholars have referred to Newfoundland out-migration as a diaspora, but few have examined the theoretical implications of applying this contested term to a predominantly inter-provincial movement of mainly white, economically motivated migrants. The Newfoundland Diaspora argues that “diaspora” helpfully references the painful displacement of a group whose members continue to identify with each other and with the “homeland.” It examines important literary works of the Newfoundland diaspora, including the poetry of E.J. Pratt, the drama of David French, the fiction of Donna Morrissey and Wayne Johnston, and the memoirs of David Macfarlane. These works are the sites of a broad inquiry into the theoretical flashpoints of affect, diasporic authenticity, nationalism, race, and ethnicity. The literature of the Newfoundland diaspora both contributes to and responds to critical movements in Canadian literature and culture, querying the place of regional, national, and ethnic affiliations in a literature drawn along the borders of the nation-state. This diaspora plays a part in defining Canada even as it looks beyond the borders of Canada as a literary community.

“Speaking in the Past Tense participates in an expanding critical dialogue on the writing of historical fiction, providing a series of reflections on the process from the perspective of those souls intrepid enough to step onto what is, practically by definition, contested territory.” — Herb Wyile, from the Introduction The extermination of the Beothuk ... the exploration of the Arctic ... the experiences of soldiers in the trenches during World War I ... the foibles of Canada’s longest-serving prime minister ... the Ojibway sniper who is credited with 378 wartime kills—these are just some of the people and events discussed in these candid and wide-ranging interviews with eleven authors whose novels are based on events in Canadian history. These sometimes startling conversations take the reader behind the scenes of the novels and into the minds of their authors. Through them we explore the writers’ motives for writing, the challenges they faced in gathering information and presenting it in fictional form, the sometimes hostile reaction they faced after publication, and, perhaps most interestingly, the stories that didn’t make it into their novels. Speaking in the Past Tense provides fascinating insights into the construction of national historical narratives and myths, both those familiar to us and those that are still being written.

"Steeped in the tradition of the Indian epic, yet modern and vastly entertaining." —The Times (London) In her fiction debut, Alice Albinia weaves a multithreaded epic tale that encompasses divine saga and familial discord and introduces an unforgettable heroine. Leela—alluring, taciturn, haunted—is moving from New York back to Delhi. Worldly and accomplished, she has been in self-imposed exile from India and her family for decades; twenty-two years earlier, her sister was seduced by the egotistical Vyasa, and the fallout from their relationship drove Leela away. Now an eminent Sanskrit scholar, Vyasa is preparing for his son’s marriage. But when Leela arrives for the wedding, she disrupts the careful choreography of the weekend, with its myriad attendees and their conflicting desires. Gleefully presiding over the drama is Ganesh—divine, elephant-headed scribe of the Mahabharata, India’s great epic. The family may think they have arranged the wedding for their own selfish ends, but according to Ganesh it is he who is directing events—in a bid to save Leela, his beloved heroine, from Vyasa. As the weekend progresses, secret online personas, maternal identities, and poetic authorships are all revealed; boundaries both religious and continental are crossed; and families are ripped apart and brought back together in this vibrant and brilliant celebration of family, love, and storytelling.

The March Hare Anthology commemorates twenty years of one of Canada1s most successful literary festivals. Blending local and inte ational writers from Canada, Ireland and the world with the cream of Newfoundland and Labrador1s professional musicians, The March Hare is a unique celebration of words and music. This anthology contains the writing of authors such as: Al Pittman Michael Ondaatje Wayne Johnston Lo a Crozier Michael Crummey Lisa Moore John Ennis Michael Winter Be ard O1Donoghue John Steffler Paul Durcan Joan Clarke Alistair MacLeod Be ice Morgan Adrian Fowler1s work has appeared in various magazines and collections of Canadian writing. He was co-editor with Al Pittman of the poetry anthology 31 Newfoundland Poets, published in 1979. He lives in Co er Brook, Newfoundland, where he teaches English at Sir Wilfred Grenfell College.

The First World War saw staggering loss of life and was a catalyst for many political and social changes. It was also shaped by the media and art forms that expressed it: film, photography, poetry, memoir, posters, advertisements, and music. This volume's scope shows that today's instructors contend with many different issues in teaching the First World War in a variety of classroom settings. Among these issues are the war's relation to modernism; global reach in the Middle East and South Asia; influence on psychiatry, pacifism, and consumer culture; and effect on public health and the 1918 influenza pandemic.

A New York Times bestseller: "Udall masterfully portrays the hapless foibles and tragic yearnings of our fellow humans." —San Francisco Chronicle Golden Richards, husband to four wives, father to twenty-eight children, is having the mother of all midlife crises. His construction business is failing, his family has grown into an overpopulated mini-dukedom beset with insurrection and rivalry, and he is done in with grief: due to the accidental death of a daughter and the stillbirth of a son, he has come to doubt the capacity of his own heart. Brady Udall, one of our finest American fiction writers, tells a tragicomic story of a deeply faithful man who, crippled by grief and the demands of work and family, becomes entangled in an affair that threatens to destroy his family’s future. Like John Irving and Richard Yates, Udall creates characters that engage us to the fullest as they grapple with the nature of need, love, and belonging. Beautifully written, keenly observed, and ultimately redemptive, The Lonely Polygamist is an unforgettable story of an American family—with its inevitable dysfunctionality, heartbreak, and comedy—pushed to its outer limits.

"With her unparalleled gifts for truth and magic, Linda Hogan reinforces my faith in reading, writing, living." —Barbara Kingsolver Raised in a remote seaside village, Thomas Witka Just marries Ruth, his beloved since infancy. But an ill-fated decision to fight in Vietnam changes his life forever: cut off from his Native American community, he fathers a child with another woman. When he returns home a hero, he finds his tribe in conflict over the decision to hunt a whale, both a symbol of spirituality and rebirth and a means of survival. In the end, he reconciles his two existences, only to see tragedy befall the son he left behind.

An uproarious debut that lays bare the complicated generational relationships of Chinese American women. Raucous twin sisters Moonie and Mei Ling Wong are known as the “double happiness” Chinese food delivery girls. Each day they load up a “crappy donkey-van” and deliver Americanized (“bad”) Chinese food to homes throughout their southern California neighborhood. United in their desire to blossom into somebodies, the Wong girls fearlessly assert their intellect and sexuality, even as they come of age under the care of their dominating, cleaver-wielding grandmother from Hong Kong. They transform themselves from food delivery girls into accomplished women, but along the way they wrestle with the influence and continuity of their Chinese heritage. Marilyn Chin’s prose waxes and wanes between satire and metaphorical lyric, referencing classical Chinese tales and ghost stories that are at turns sensual, lurid, hilarious, shocking, and surreal.