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Stuart Ross's sometimes poignant, sometimes outrageous third story collection deepens his exploration of the possibilities of the short story and narrative. A trio of tales probe fame through the lens of 1960s-70s French pop and disco icon Claude François; legendary Hollywood actor Lee Marvin saves the day, again and again; the citizens of a small town worship an all-knowing potato; a man dons a bib to devour his neighbour's house; a tourist finds both love and a dead frog in Nicaragua; and, in one particularly educational anti-story, the author instructs readers in the art of writing the short story. In I Am Claude François and You Are a Bathtub, Ross, a veteran of the Canadian literary underground, unleashes his arsenal of pathos, absurdism, humour, and cantankerousness.Poetry.

"The amazing pageant of birds, negotiating exercise and sports in later years, and an appreciation of the natural world."--

BUT THE SUN, AND THE SHIPS, AND THE FISH, AND THE WAVES, Conyer Clayton's follow-up to her award-winning debut, We Shed Our Skin Like Dynamite, is a collection of prose poems that employs surrealism, humour, and body horror to cope with CPTSD, assault, loss, fear, and the memories of it all. The narrator weaves her way through largely aquatic landscapes--water parks, ponds, beast-filled lakes, vast oceans. She walks through time, reverting to childhood and back within a few lines, has the sureness of knowledge that exists only in dreamscapes, and foreshadows the inevitable with a calm derived from accepting the absurd. These poems, hallucinatory and unexpected, are threaded by repetition: Here is another car accident. Here is another man to flee from. Here is questioned memory. Here is the site of grief, revisited, and sometimes, within it, tentatively, hope. In these poems, Clayton explores how we question the validity of our own memories, especially those related to abuse and assault, and the way we forget--or obsess over potentially forgetting--memories of those who've died. These poems validate dreams, by proxy, and all internal experience as authentic and valid experience that carries wisdom . . . even when we don't know it.There is so much pain contained with this book, and through it all, the narrator survives and perseveres. While the poems do not shy away from facing suffering, neither do they crumble under its weight. ... BUT THE SUN, AND THE SHIPS, AND THE FISH, AND THE WAVES is a powerful testimony of survivorship.--The Ampersand ReviewPoetry.

History tells us that the short and violent life of William Bonney, better known as Billy the Kid, ended at the hand of Pat Garrett on the moonless night of July 14, 1881. But I AM BILLY THE KID tells a different story, straight from Billy himself. This revisionist history seen through the lens of a twenty-first century sensibility features the picaresque hero we thought we knew and the unexpected one that we don't: a fearless and determined young woman who is in no mood to be saved and would much prefer exacting her own revenge.Billy has been in an alcoholic haze since a failed attempt to escape notoriety by faking his own death. By 1915, his fame has only increased, and when word of a possible ruse leaks out, Billy finds himself once again on the run. He agrees to follow his elder brother Joseph north from New Mexico Territory, to possible sanctuary in Canada. Billy and Joseph encounter Turner Wing, a young woman with a fierce sense of self-determination and the skills with a gun to back it up, and her father, a man with a past and a burlap sack over his head due to a significant facial disfiguration. They are in desperate search of Turner's sister, who has been abducted by a pair of marauding thieves. Billy and Joseph know the truth about the girl's fate and, following their own code of honour, form an uneasy alliance with the Wings to avenge her death.Fiction. Historical Fiction.

Heroines Revisited is a large format follow-up volume to the original Heroines: Photographs by Lincoln Clarkes that was released by Anvil in 2002. This new edition features over 150 portraits accompanied by three new critical essays that contextualize the five-year photo project and the controversial body of work. The Heroines Project is an epic photo documentary of the addicted women that were living and working in Vancouver's Downtown Eastside in the late '90s and early 2000s. University of Western Ontario professor Kelly Wood writing in Philosophy of Photography states, "Heroines forced viewers and respondents to take sides in an uneasy ethical dialogue that does not acknowledge the series' uncanny ability to perform against viewers' expectations of certain visual categories and discusses how these expectations might preclude photography's ability to enact or incite political change." Essays by Kelly Wood, Paul Ugor, and Melora Koepke; Interview with the artist by Theresa Norris.