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A dazzling, original novel of slavery and freedom, from the author of the international bestseller Half-Blood Blues

When two English brothers arrive at a Barbados sugar plantation, they bring with them a darkness beyond what the slaves have already known. Washington Black – an eleven year-old field slave – is horrified to find himself chosen to live in the quarters of one of these men. But the man is not as Washington expects him to be. His new master is the eccentric Christopher Wilde – naturalist, explorer, inventor and abolitionist – whose obsession to perfect a winged flying machine disturbs all who know him. Washington is initiated into a world of wonder: a world where the night sea is set alight with fields of jellyfish, where a simple cloth canopy can propel a man across the sky, where even a boy born in chains may embrace a life of dignity and meaning – and where two people, separated by an impossible divide, can begin to see each other as human.

But when a man is killed one fateful night, Washington is left to the mercy of his new masters. Christopher Wilde must choose between family ties and young Washington's life. What follows is a flight along the eastern coast of America, as the men attempt to elude the bounty that has been placed on Washington's head. Their journey opens them up to the extraordinary: to a dark encounter with a necropsicist, a scholar of the flesh; to a voyage aboard a vessel captained by a hunter of a different kind; to a glimpse through an unexpected portal into the Underground Railroad. This is a novel of fraught bonds and betrayal. What brings Wilde and Washington together ultimately tears them apart, leaving Washington to seek his true self in a world that denies his very existence.

From the blistering cane fields of Barbados to the icy plains of the Canadian Arctic, from the mud-drowned streets of London to the eerie deserts of Morocco, Washington Black teems with all the strangeness of life. This inventive, electrifying novel asks, What is Freedom? And can a life salvaged from the ashes ever be made whole?

The unbelievable true story of Canada’s first known spree killer, told by a veteran of the Royal Canadian Mounted Police.

In June 1966, Matthew Charles Lamb took his uncle’s shotgun and wandered down Ford Blvd in Windsor, Ontario. At the end of the bloody night, two teenagers lay dead, with multiple others injured after an unprovoked shooting spree. In his investigation into Lamb’s story, Will Toffan pieces together the troubled childhood and history of violence that culminated in the young man’s dubious distinction as Canada’s first known spree killer—at which point the story becomes, the author writes “too strange for fiction.” Travelling from the border city streets, to the courtroom, to the Oak Ridge rehabilitation centre, and finally Rhodesia, Watching the Devil Dance is both a thrilling narrative about a shocking true crime and its bizarre aftermath and an insightful analysis of the 1960s criminal justice system.

Whether in the country or the city creature or insect plant or animal a part of a big family or a small family we all live together and we all take care of one another we all count. Count along with Cree artist Julie Flett. This 20 page book features stunning illustrations alongside translated animal names and numbers. Soy based ink and water based protective coating. Made from paper sourced from sustainable forests.

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Instant Bestseller

A moving story about two very different sisters, and a love letter to childhood, growing up, and the power of imagination—from the bestselling author of Everyone in This Room Will Someday Be Dead and Interesting Facts About Space.

Sigrid hates working at the Dollar Pal but having always resisted the idea of growing up into the trappings of adulthood, she did not graduate high school, preferring to roam the streets of her small town with her best friend Greta, the only person in the world who ever understood her. Her older sister Margit is baffled and frustrated by Sigrid’s inability to conform to the expectations of polite society.

But Sigrid’s detachment veils a deeper turmoil and sensitivity. She’s haunted by the pains of her past—from pretending her parents were swamp monsters when they shook the floorboards with their violent arguments to grappling with losing Greta’s friendship to the opioid epidemic ravaging their town. As Margit sets out to understand Sigrid and the secrets she has hidden, both sisters, in their own time and way, discover that reigniting their shared childhood imagination is the only way forward.

What unfolds is an unforgettable story of two sisters finding their way back to each other, and a celebration of that transcendent, unshakable bond.

“Offers the sly humor fans have come to expect along with a surprisingly tender ending. . . . A thought-provoking capper to Klassen’s ingenious series.” —School Library Journal (starred review)

Two turtles have found a hat. The hat looks good on both of them. But there are two turtles. And there is only one hat . . . Evoking hilarity and sympathy, the shifting eyes tell the tale in this brilliantly paced story that highlights Caldecott Medalist Jon Klassen’s visual comedy and deceptive simplicity. With a delicious buildup that takes an unexpected turn, this deadpan cap to the celebrated hat trilogy is certain to please.

This Windsor-Essex County map magnet is perfect for locals or visitors looking for a classy souvenir.

Size: 2.57" x 3"

This Windsor-Essex County map sticker is perfect for locals or visitors looking for a classy souvenir.

Material: vinyl
Size: 2.5" x 2.14"

A sweeping multi-generational story about motherhood, race and secrets in the lives of three women, perfect for readers of Brit Bennett's The Vanishing Half and David Chariandy's Brother

When 24-year-old Kareela discovers she's pregnant with a child she isn't sure she wants, it amplifies her struggle to understand her place in the world as a woman who is half-Black and half-white, yet feels neither.

Her mother, Evelyn, fled to Canada with her husband and their first-born child, Antony, during the politically charged Jamaican Exodus of the 1980s, only to realize they'd come to a place where Black men are viewed with suspicion—a constant and pernicious reality Evelyn watches her husband and son navigate daily.

Years later, in the aftermath of Antony's murder by the police, Evelyn's mother-in-law, Violet, moves in, offering young Kareela a link to the Jamaican heritage she has never fully known. Despite Violet's efforts to help them through their grief, the traumas they carry grow into a web of secrets that threatens the very family they all hold so dear.

Back in the present, Kareela, prompted by fear and uncertainty about the new life she carries, must come to terms with the mysteries surrounding her family's past and the need to make sense of both her identity and her future.

Weaving the women's stories across multiple timelines, We Rip the World Apart reveals the ways that simple choices, made in the heat of the moment and with the best of intentions, can have deeper repercussions than could ever have been imagined, especially when people remain silent.

Critical Praise

“Charlene Carr's deep dive into the complexities of race and belonging force, in the gentlest of ways, all of us to confront our own role in making the world a safer place. Carr's exploration of unresolved grief and the impact on family is one we need to hear; one we need to understand. A story of family and the decisions we make, We Rip the World Apart is a truly human exploration full of doubt, regret and most importantly, love. A remarkable story from a remarkable storyteller.” — Amanda Peters, bestselling author of The Berry Pickers

“At once intimate and epic, Charlene Carr crafts a sweeping portrait of motherhood and a woman’s right to choose across three generations of a Jamaican-Canadian family overcoming generational trauma. We Rip The World Apart explores the experiences of interracial couples and their biracial children, telling a nuanced tale of hurt and hope, all about finding yourself and your community.” — William Ping, author of Hollow Bamboo

"Charlene Carr’s eye for examining life’s most complicated spaces is at its sharpest in this frank, fearless reflection on race, identity, and parenthood. Spanning generations and brimming with family secrets, We Rip the World Apart is page-turning and propulsive, heartbreaking and hopeful in turn. An important and necessary book that will stay with me for a long time.” — Shelby Van Pelt, New York Times bestselling author of Remarkably Bright Creatures

"The novel has the raw feel of a protest, while retaining the heart that sees a family to keep trying to connect despite generations of trauma. Moving, intelligent and complex, it deftly explores our struggle to understand even those who are closest to us, the different types of violence we perpetrate on one another, the identities we fight against and the ones we choose to project, and the different ways in which we cope and respond, despite our uncertainty that any of our choices are the correct ones....[A]t times a raised fist, at others a much needed embrace." — Craig Shreve, author of The African Samurai

"For fans of Britt Bennet’s The Vanishing Half and Charmaine Wilkerson’s Black Cake, Charlene Carr’s latest is both a charged emotional epic and a gentle exploration of the nuances of love. Motherhood, autonomy, race, politics, grief—every brushstroke works to paint a complex and important picture of the world as it is, and as it could be. This novel is sure to inspire book club discussion and personal reflection, and to stay on your mind long after the final page is turned. Truly a can’t-miss read!" — Marissa Stapley, New York Times bestselling author of Lucky  

The author of the “evocative, spine-tingling, and razor-sharp” (Bustle) I’m Thinking of Ending Things that inspired the Netflix original movie and the “short, shocking psychological three-hander” (The Guardian) Foe returns with a new work of philosophical suspense.

Penny, an artist, has lived in the same apartment for decades, surrounded by the artifacts and keepsakes of her long life. She is resigned to the mundane rituals of old age, until things start to slip. Before her longtime partner passed away years earlier, provisions were made, unbeknownst to her, for a room in a unique long-term care residence, where Penny finds herself after one too many “incidents.”

Initially, surrounded by peers, conversing, eating, sleeping, looking out at the beautiful woods that surround the house, all is well. She even begins to paint again. But as the days start to blur together, Penny—with a growing sense of unrest and distrust—starts to lose her grip on the passage of time and on her place in the world. Is she succumbing to the subtly destructive effects of aging, or is she an unknowing participant in something more unsettling?

At once compassionate and uncanny, told in spare, hypnotic prose, Iain Reid’s genre-defying third novel explores questions of conformity, art, productivity, relationships, and what, ultimately, it means to grow old.

Iain Reid is the author of four previous books, including his New York Times bestselling debut novel I’m Thinking of Ending Things, which has been translated into more than twenty languages. Oscar winner Charlie Kaufman wrote and directed the film adaptation for Netflix. His second novel, Foe, is being adapted for film, starring Saoirse Ronan, with Reid cowriting the screenplay. His latest novel is We Spread. Reid lives in Ontario, Canada. Follow him on Twitter @Reid_Iain.

From an author “destined to become a titan of the macabre and unsettling” (Erin A. Craig, #1 New York Times bestselling author), a haunting debut—soon to be a Netflix original movie—about two homeowners whose lives are turned upside down when the house’s previous residents unexpectedly visit.

As a young, queer couple who flip houses, Charlie and Eve can’t believe the killer deal they’ve just gotten on an old house in a picturesque neighborhood. As they’re working in the house one day, there’s a knock on the door. A man stands there with his family, claiming to have lived there years before and asking if it would be alright if he showed his kids around. People pleaser to a fault, Eve lets them in.

As soon as the strangers enter their home, inexplicable things start happening, including the family’s youngest child going missing and a ghostly presence materializing in the basement. Even more weird, the family can’t seem to take the hint that their visit should be over. And when Charlie suddenly vanishes, Eve slowly loses her grip on reality. Something is terribly wrong with the house and with the visiting family—or is Eve just imagining things?

This unputdownable and spine-tingling novel “is like quicksand: the further you delve into its pages, the more immobilized you become by a spiral of terror. We Used to Live Here will haunt you even after you have finished it” (Agustina Bazterrica, author of Tender Is the Flesh).

Thirteen glittering, surprising, and darkly funny stories of people testing the boundaries of their lives, from two-time Scotiabank Giller Prize finalist Alix Ohlin.

In the mordantly funny “Money, Geography, Youth,” Vanessa arrives home from a gap year volunteering in Ghana to find that her father is engaged to her childhood best friend. Unable to reconcile the girl she went to dances with in the eighth grade and the woman in her father’s bed, Vanessa turns to a different old friendship for her own, unique diversion. In the subversive “The Brooks Brothers Guru,” Amanda drives to upstate New York to rescue her gawky cousin from a cult, only to discover clean-cut, well-dressed men living in a beautiful home, discussing the classics and drinking cocktails, moving her to wonder what freedoms she might be willing to trade for a life of such elegant comfort. And in “The Universal Particular,” Tamar welcomes her husband’s young stepcousin into her home, only to find her cool suburban life knocked askew in ways she cannot quite understand. 

Populated with imperfect families, burned potential, and inescapable old flames, the stories in We Want What We Want are, each one, diamond-sharp — sparkling with pain, humour, and beauty.

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ALIX OHLIN is the author of six books, including the novels Inside and Dual Citizens, which were both finalists for the Scotiabank Giller Prize and the Rogers Writers’ Trust Fiction Prize. Her work has appeared in The New Yorker, Tin House, Best American Short Stories, and many other publications. Born and raised in Montreal, she lives in Vancouver, where she chairs the creative writing program at the University of British Columbia. 

About the Book

Marvel’s newest recruit shares his own inspiring and unexpected origin story, ranging from China to the bright lights of Hollywood. An immigrant who battled everything from parental expectations to cultural stereotypes, Simu Liu struggled to forge a path for himself, rising from the ashes of a failed accounting career (yes, you read that right) to become Shang-Chi.

Our story begins in the city of Harbin, where Simu’s parents have left him with his grandparents while they seek to build a future in Canada. One day, a mysterious stranger shows up; it’s Simu’s father, who whisks him away from the only home he has ever known to the land of opportunity and maple syrup. 

Life in the new world, however, is not all that it was cracked up to be. Simu’s new guardians lack the gentle touch of his grandparents, resulting in harsh words and hurt feelings. His parents, on the other hand, find their new son emotionally distant and difficult to relate to. Although they are related by blood, they are separated by culture, language and values. 

As Simu grows up, he plays the part of the ideal son well, getting A’s at school, crushing national math competitions and making his parents proud. But as time goes on, he grows increasingly disillusioned with the expectations placed on his shoulders, and finds it harder and harder to keep up the charade. Barely a year out of college, he hits rock bottom when he is laid off from his first job as an accountant. Unemployed, riddled with shame and with nothing left to lose, Simu sees an ad on Craigslist that will send him on a wildly unexpected journey into the mysterious world of show business. Through a swath of rejections and comical mishaps, Simu’s determination leads him to succeed as an actor and to open the door to reconciling with his parents.

We Were Dreamers is more than a celebrity memoir—it’s a story about growing up between cultures, finding your family and becoming the master of your own extraordinary circumstances.

Critical Praise

“A sincere, funny, and fascinating love letter to family, and a guidebook to pursuing your dreams.” — Olivia Munn

“Don’t let Simu Liu fool you. On the outside you may see boyish good looks, talent, and a body made of tightly coiled muscle. But on the inside? It’s quite good-looking in there, too. Strong heart, beautiful ligaments, and a soul made of spun sugar. Also, he wrote this hilarious and heartfelt story about growing up, finding yourself, and seizing your moment.” — Ryan Reynolds

“Oh great, another underdog story of overachievement. Just what we needed.” — Ronny Chieng

"In this triumphant debut, Liu, star of Marvel’s Shang-Chi and the Legend of the Ten Rings, traces how he followed his immigrant dream' all the way to the big screen. . . .The book’s beating heart, however, lies in the affecting story of his family’s path to healing: 'My parents are beaming with pride at the son who has disobeyed practically every single order they had ever given.' This real-life hero’s journey is a knockout." — Publishers Weekly (starred review)

“Like your favourite superhero, within the first few pages, this book made me feel like I could do anything.”  — Shifter Magazine

“[We Were Dreamers] is an excellent celebrity memoir that takes readers beyond the velvet rope and into the life of one of Canada’s most beloved stars. Simu’s story gives readers a chance to know a different side of him as he creates a compelling narrative of his life in words.”  — The Daily Hive

In her first collection of new poems in a decade, Robyn Sarah chronicles the pandemic years with quiet wisdom and her flair for meshing the familiar with the numinous. 

We’re Somewhere Else Now moves with ease from the particular to the abstract. These are poems of grief and unexpected change, of quiet awe at the human experience. Each poem is a window for the reader to look into, “lit room to lit room,” tracking desultory days of isolation and uncertainty, while also highlighting reasons to pay attention: playing with a grandchild, the rarity of a leap year, the calls of birds.

Three poems from the collection, originally published in The New Quarterly, were nominated for a 2025 National Magazine Award in Poetry.

Praise for We’re Somewhere Else Now

“We’re Somewhere Else Now is a gravely beautiful collection, chronicling days ‘spent and drying.’ No poet has published anything close to it this year, and it confirms Sarah as one of our best.”
—Carmine Starnino, The Walrus

“Robyn Sarah’s work is powerful, visceral, but also elegant and pared down when it needs to be, employing both high formalist rhymes and minimalist beauty. Her poetry collections are consistently lauded, and this one I believe will be no different.”
—Chris Banks, The Woodlot

“Sarah’s verse is an antidote to the soul’s virus . . . Her diction seems so direct, but between the words and lines she meditates in musical nuance and wit to cast doubt on simple and complex truths.”
—Michael Greenstein, The Seaboard Review

“This collection grapples with contemporary life in a way that is both stylized and vulnerable . . . Sarah’s ability to tie scenes of everyday life to highly abstract concepts and ideas results in compelling poems.”
—Anna Roberts, The Tribune

“This is a triumphant return from Robyn Sarah, and her first book of new poems in a decade. With her characteristic quiet wisdom, Sarah turns her attention to the pandemic years, capturing both the strangeness of isolation of that period, and the subtle beauty that persists in daily life.”
—Open Book

Praise for Robyn Sarah

“[Her poems] illuminate the reader’s privacy without destroying the poet’s. And elegant play is going on even in the most acutely painful moments of clarity, a play of pure energy.”
—Margaret Avison, Canadian Women Studies

“[Hers] are the sort of metaphors that poets everywhere dream of conjuring. Metaphors that in their clarity of sense, image, and sound create spaces for meaning to reside—meaning that is elusive or otherwise impossible to articulate, but that leaves the reader with a heightened sense of recognition.”
—Anita Lahey, The Walrus

“In our positive-thinking, smiley-face popular culture, Robyn Sarah looks at the shadows cast by light.  Her poems, with their focus on the passage of time, the emptiness around the presence, the unknowing around the known, are infused with the “black baptismal water” of duende, as they choose the braver joy of life thrown into relief by that dark awareness.”
—Sonnet L’Abbé

“The cool delight of her poetry is to turn those subjects of routine forgetfulness into words that quiver in the heart . . . Sarah knows the language: its pressure points, its traditions, its crevices. Trained as a musician, she also understands flow and timing, when to sing and when to keep silent.”
—Mark Abley, Montreal Gazette

“So assured and musical is the hand that shaped them that these poems tend to memorize themselves, as though they had always formed part of our experience.”
—Eric Ormsby, Books in Canada

“Robyn Sarah’s My Shoes Are Killing Me is a lyrical power. A richly inventive, precise, meditative collection . . . This is a transformative work that continuously surprises the reader.”
—Jury citation, Governor General’s Award for Poetry 2015