book reviews

Céline Huyghebaert’s latest work, translated by Aleshia Jensen, explores the gap left by the death of her father. A melange of form informs the process of understanding the author and her father.

You don’t have to be inside baseball to appreciate Jason Smith’s The Closer, a noir potboiler knocking dingers into the highly detailed background.

Shelterbelts is an understated but forceful debut — a modern prairie drama with its own distinct visual language and memorable cast of characters, an impressive work that leaves one wanting more in the best way possible.

Tear creates a superimposition of architectural and mental space characteristic of psychoanalysis, where physical spaces become symbolic of psychological states. A deeply gothic novel somewhere between Henry James and Shirley Jackson.

Kim Fu has an uncanny talent for capturing the subtleties of interpersonal relationships between lovers, between mothers, between perfect strangers in the dark, between ourselves.

Joe Ollmann’s latest work follows the mid-life tailspin of Caleb, a recovering alcoholic and only child of world-famous cartoonist. One would expect Caleb’s sad-clown shtick to get tiresome in this kind of long-form work, but it’s a testament to Ollmann’s storytelling power.

Fawn Parker ridicules the academy and unchecked privilege. She also takes more than a few shots at poisonous celebrities along the way. The result is a truly glorious mash up of the academia of a novel like Lucky Jim and the medieval sand trap from the film The Duel.

The result of painstaking research stretching through New Brunswick, Maine, Quebec, and Vermont, this early century chronicle of queer Canadians is a labour of love.