Books

What would drive women to risk the lives of their children and innocent people to leave their mother country forever?

On April 30, 1982, two women and their families hijack a Polish passenger plane flying from Breslau to Warsaw in a bold attempt to escape Martial Law in Communist Poland and find safety in West Berlin. Among the hijackers are a cotton spinner whose husband wants to avoid a long prison sentence, a schoolteacher with a sick daughter, a pregnant fourteen-year-old who has visions of the Virgin Mary, and an ambitious young filmmaker. Inspired by real events, Voices in the Air is told from the point of view of these four women and a stewardess in love with the married pilot.  Will they find happiness beyond the Iron Curtain or was the hijacking not worth the risk?

Told using traditional narrative and documentary film-style interviews, Voices in the Air follows the main characters’ lives before and after the hijacking, and through real-life events as the fall of the Berlin Wall, the fight for women’s rights in modern Poland, the Covid pandemic and the refugee crisis on the Polish-Belarus border. A must-read novel exploring ambiguous moral choice, censorship, emigration, fate and regret.

Praise for Voices in the Air

Kasia Jaronczyk’s Voices in the Air is a remarkable achievement – the novel depicts multiple characters as if they lived on two flaps with a hinge between them – a before and an after – with a dramatic event in the middle that changes everything for them all. The depiction of Marshal Law Poland is gritty and compelling, and the variety of post-emigration stories is psychologically subtle and profound.—Antanas Sileika The Death of Tony

Samara and J., a struggling young couple, are off to J.’s birthplace, Upton Bay, a small town turned upscale theatre and winery destination. Sam has been hired by an editor friend to write a promotional piece about the place while she and J. stay with his grandfather Otto, a prominent businessman in his day.

But their visit does not go as planned. Sam’s explorations of Upton’s tourist attractions lead her to ugly truths behind the quaint little town’s façade—discoveries that are counterpointed with vignettes of the town’s wealthy, elderly ruling class, painting a different picture than the one Sam’s friend expects her to provide. Tensions between Sam and J. worsen as J.’s true nature emerges and Sam begins to question both his values and his family’s past—especially after Otto tells them stories about his time as a German soldier during WW2.

Back in the city, Sam’s opinions and judgments about what is right and wrong are tested when a shocking truth surfaces about her grandmother’s flight from Norway after the war, profoundly changing Sam’s understanding of who she is and who she wants to become.

In A Town with No Noise, fact and fiction combine to ask difficult questions about the communities we build, questions that are as relevant today as ever: Who stays? Who is chased away? And who decides?

Praise for A Town With No Noise

The epigraph of Karen Smythe’s novel A Town with No Noise is a gorgeous poem by Derek Walcott, which alludes to stories hidden in plain sight. Smythe’s narrative wends through deceptively bucolic small-town Ontario, then Toronto, then northern Ontario, to arrive, finally, at the devastating story of a Jewish girl and her family in Nazi-occupied Norway. In this skilful intertextual weave of fiction and true history, the reader is shocked and moved to come upon a past in Europe that Smythe’s characters—in Canada—would prefer to forget. Smythe’s protagonist Samara has taken herself on a journey of revelation and remembrance, a journey that will make of her a writer: a healer and mender. And Karen Smythe has written this story: her novel is a captivating and brave achievement.—Dawn Promislow, author of Wan

Karen Smythe is a brilliant and insightful observer of her character’s inner lives, and A Town With No Noise is no exception. Smythe is a master at articulating tension between Samara and J., between their expectations and the reality that hides behind the facade of Upton Bay, and Samara’s discoveries of certain character’s pasts. Smythe’s descriptions are gorgeous and poetic, her pacing deft and precise. A beautiful novel that I couldn’t put down.—Danila Botha author of Things that Cause Inappropriate Happiness

A compelling novel of family secrets and revelations, Karen Smythe’s A Town With No Noise lays bare WWII histories of cruelty, connection, and the bright flame of repair and healing that persists into our present day. Read this powerful, moving story of a young woman coming to terms with the past, and confronting our contemporary inequalities, for its clarity and urgent call for reckoning.—Elise Levine, author of Say This and This Wicked Tongue

With its inventive layering of a fictional narrative with footnotes, a transcription of a recording, a play, journalism, and historical details, the novel invites us to question how history is written, remembered, and forgotten, and to listen to the stories of others. A Town with No Noise will surprise, move, and push you to see the world differently, as only the best fiction can.—Kasia Jaronczyk, author of Voices in the Air and Lemons

Based on Tea Gerbeza’s experience with scoliosis, How I Bend Into More re-articulates selfhood in the face of ableism and trauma. Meditating on pain, consent, and disability, this long poem builds a body both visually and linguistically, creating a multimodal space that forges Gerbeza’s grammar of embodiment as an act of reclamation. Paper-quilled shapes represent the poet’s body on the page; these shapes weave between lines of verse and with them the reclaimed disabled body is made. How I Bend Into More is a distinctive poetic debut that challenges ableist perceptions of normalcy, and centers “the double architecture / of  ( metamorphosis (.”

Praise for How I Bend Into More

How I Bend Into More is a singular, stunning debut. The brilliance and courage with which Tea Gerbeza remembers, witnesses, experiences, and imagines is matched only by the intensity with which she bends the boundaries of art. Gerbeza expands the possibilities of poetry, renewing the creative potential of everything from punctuation, lines, and images to layout, paper, and the corporeal body itself. Read this book immediately and share in this expansion, this renewal.—Daniel Scott Tysdal, author of The End Is in the Middle: Mad Fold-In Poems

How I Bend Into More is a healing line. Tea Gerbeza’s sculptural pages crack the brackets of shame and unfurl the self—the vertebral I—until poem and body touch. This is the quilled work of a heart. A bouquet of paper roses unfolding in the hand.—Jennifer Still, author of Legs, Comma, and Girlwood 

In What to feel, how to feel, Shane Neilson dazzles in the lyric essay form. Focusing on non-neurotypicality, Neilson investigates his supposed difference of self while also holding to account society’s construction of that difference, moving from his early childhood to adulthood and then back again in terms of a neurodivergent fathering of his own son. Covering subjects that have yet to receive attention in Canadian literature, including how the medical profession discriminates against its own, Neilson’s poetic accounts of stigma and self-discovery interleavened with literary history mark a first in our letters.

Praise for What to Feel, How to Feel

Poetic, unique, and captivating, Nielson’s stunning disability treatise examines what it means to feel on the outside of societal acceptance, all while challenging perceptions of self. In this powerful read, Nielson expertly plays with structure to immerse the reader inside his brain, which is a beautiful, honest, and brilliant place to be. —Dr. Kelly S. Thompson, national bestselling memoirist of Still, I Cannot Save You

In The Field, Sadiqa de Meijer’s follow up to the Governor General’s Award winning alfabet/alphabet, brings us essays that move searchingly through their central questions. What meaning does a birthplace hold? What drives us to make contact with a work of art? How do we honour the remains of the dead? This writing constitutes a form of fieldwork grounded in intimate observation. In The Field is an extraordinary book, one that invites readers to bring renewed attention to their own lives and to embrace the subjectivity in the experiences of others.

Praise for Sadiqa de Meijer

“De Meijer has now clearly established herself as powerful essayist and memoirist.”—Canadian Journal of Netherlandic Studies

“A superb collection of national thinkers, crackling with insight on the issues of the age.”—Chatelaine

Selected and introduced by Brian Bethune, Best Canadian Essays 2026 provides a unique perspective on what constitutes the best Canadian nonfiction writing published in the previous year. Featuring topics of motherhood and the choice to be child-free, climate change, catfishing, addiction and mental health, these fourteen essays offer poignant and clear-eyed insights into the diverse—sometimes underexplored—aspects of our society and ourselves.

Featuring:

Selected by editor Mary Dalton, the 2026 edition of Best Canadian Poetry showcases the best Canadian poetry writing published in the past year.

Featuring introductions by Mary Dalton and series editor Anita Lahey, Best Canadian Poetry 2026 offers a collection of brief but impactful glimpses into our current literary landscape, that expands our worldview and continues in the series tradition of asking: What constitutes a great poem?

Featuring:

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

Shortlisted for the 2025 J.W. Dafoe Book Prize • A Globe 100 Best Book of 2024

From the bestselling author of Bush Runner: The Adventures of Pierre Esprit-Radisson

This is the story of the collision of two worlds. In the early 1600s, the Jesuits—the Catholic Church’s most ferocious warriors for Christ—tried to create their own nation on the Great Lakes and turn the Huron (Wendat) Confederacy into a model Jesuit state. At the centre of their campaign was missionary Jean de Brébeuf, a mystic who sought to die a martyr’s death. He lived among a proud people who valued kindness and rights for all, especially women. In the end, Huronia was destroyed. Brébeuf became a Catholic saint, and the Jesuit’s “martyrdom” became one of the founding myths of Canada.

In this first secular biography of Brébeuf, historian Mark Bourrie, bestselling author of Bush Runner: The Adventures of Pierre-Esprit Radisson, recounts the missionary’s fascinating life and tells the tragic story of the remarkable people he lived among. Drawing on the letters and documents of the time—including Brébeuf’s accounts of his bizarre spirituality—and modern studies of the Jesuits, Bourrie shows how Huron leaders tried to navigate this new world and the people struggled to cope as their nation came apart. Riveting, clearly told, and deeply researched, Crosses in the Sky is an essential addition to—and expansion of—Canadian history.

Praise for Crosses in the Sky

“Crosses in the Sky is dramatic and enthralling . . . Bourrie has done more than any other Canadian historian writing for a general audience to disinter the root causes of degenerating settler-Indigenous relations and disrupted Indigenous societies in the 400 years since Brébeuf’s death. And he has done it with attention-grabbing panache.”
—Charlotte Gray, Globe and Mail

“Bourrie’s colloquial writing style and storytelling skill make Crosses in the Sky . . . an interesting and accessible retelling of an important chapter in Canadian history.”
—Kate Jaimet, Canada’s History

“Bourrie’s latest, like its Charles Taylor Prize-winning predecessor, Bush Runner, focuses on the clash between European and Indigenous cultures in 17th-century colonial North America. Here, it’s the events leading to the violent ruin of Huronia, traditional home of the Huron-Wendat people, as they were experienced by the French Jesuit missionary and mystic Jean de Brébeuf.”
—Emily Donaldson, Globe and Mail

“[Mark Bourrie] writes meticulous history in bracing style.”
—National Post

“In 2019, Mark Bourrie published Bush Runner, a biography of the adventurer Pierre-Esprit Radisson that was ‘compelling, authoritative, not a little disturbing—and a significant contribution to the history of 17th-century North America,’ as I wrote at the time. The same can be said about Bourrie’s latest, Crosses in the Sky: Jean de Brébeuf and the Destruction of Huronia . . . In reinterpreting the Jesuit’s martyrdom against the backdrop of Huronia’s destruction, Bourrie presents a revisionist history.”
—Ken McGoogan, Toronto Star

“Canada’s greatest historian has done it for a third time, stripping the carcass of Canadian history and leaving readers horrified, riveted, in shock . . . A triumph.”
—Heather Mallick, Toronto Star

“Gripping stuff, grippingly told.”
—Literary Review of Canada

“Bourrie is fast becoming the dean of Canadian literary non-fiction . . . Bourrie also manages to be panoramic in his historical descriptions of Huronia while concurrently focusing on biographical details of Brébeuf’s missionary work. This treatment of the problematic legacy of both the cleric and his religious order is top drawer.”
—Winnipeg Free Press

“Crosses in the Sky paints a detailed and nuanced portrait of that destruction, enriching our modern understanding of a time and people who have been stereotyped or simply ignored for too long.”
—Ottawa Review of Books

“In Crosses, the first secular biography of Brébeuf, Bourrie takes the accepted Sunday school version and ‘humanizes’ it. Here, the Jesuits aren’t quite so noble, the Hurons are not so pure, and the Iroquois are no longer one-dimensional villains . . . This is a ripping yarn in the classic sense, with plenty of action—epic canoe voyages, battles, and of course, martyrdom—and it marks Bourrie’s second foray into the early history of the French in Canada.”
—Ian Coutts, Zoomer

“Crosses in the Sky provides a detailed account of the giant-framed missionary who walked among the Hurons . . . This patron saint of Canada has long been given plenty of attention by Jesuits, whether for his missionary spirit or for his extreme suffering. It is good to see his legend now given serious historical treatment.”
—Michael Taube, Washington Examiner

“[A] fascinating and engrossing tale . . . a meticulously researched book . . . It told me, on nearly every page, something I did not know about the history of this province, of the lives lived here in the 17th century.”
—Edith Cody-Rice, Millstone News

“Bourrie looks at how such early encounters between French colonists and missionaries and Indigenous Peoples continue to resonate in those same relationships.”
—Quill & Quire

As Canada heads towards a pivotal election, bestselling author Mark Bourrie charts the rise of Opposition leader Pierre Poilievre and considers the history and potential cost of the politics of division.

Six weeks into the Covid pandemic, New York Times columnist David Brooks identified two types of Western politicians: rippers and weavers. Rippers, whether on the right or the left, see politics as war. They don’t care about the destruction that’s caused as they fight for power. Weavers are their opposite: people who try to fix things, who want to bring people together and try to build consensus. At the beginning of the pandemic, weavers seemed to be winning. Five years later, as Canada heads towards a pivotal election, that’s no longer the case. Across the border, a ripper is remaking the American government. And for the first time in its history, Canada has its own ripper poised to assume power.

Pierre Poilievre has enjoyed most of the advantages of the mainstream Canadian middle class. Yet he’s long been the angriest man on the political stage. In Ripper: The Making of Pierre Poilievre, bestselling author Mark Bourrie, winner of the Charles Taylor Prize, charts Poilievre’s rise through the political system, from teenage volunteer to outspoken Opposition leader known for cutting soundbites and theatrics. Bourrie shows how we arrived at this divisive moment in our history, one in which rippers are poised to capitalize on conflict. He shows how Poilievre and this new style of politics have gained so much ground—and warns of what it will cost us if they succeed.

Praise for Ripper

“Mark Bourrie has produced a searing but convincing critique of the Conservative Leader’s shortcomings that will give pause to anyone outside the diehard Poilievre base.”
—Charlotte Gray, Globe and Mail

“In his pull-no-punches book, Mr. Bourrie portrays Mr. Poilievre as one serious ripper: mean, sneering, insulting, truth-evading, skilled at whipping up mass anger.”
—Marsha Lederman, Globe and Mail

“If Pierre Poilievre is going to win, shake [the comparison to Trump] he must. This book, with all its pungent reminders of his record, will make it harder to do.”
—Lawrence Martin, Globe and Mail

“Every Liberal in their war room, every journalist covering the campaign and—should he win—every stakeholder doing business with an eventual Poilievre government owes it to themselves to read Bourrie’s Ripper so that they can have a clear picture of who Poilievre is, how he came to be, and how that past is almost certain to shape his decision-making going forward.”
—Jamie Carroll, The Hill Times

“Former political journalist Mark Bourrie’s new book, Ripper, is a bracing reminder of some of the reputations Poilievre has ruined, the malicious fictions he has promoted, [and] the tiresome slogans he stitches into every utterance.”
—Susan Riley, The Hill Times

“This book is a phenomenal effort, carefully researched and nicely written. Ripper should be widely read by everyone who cares about the value of casting an informed vote on April 28.”
—Michael Harris, The Tyee

“Despite [the rush to print], the work never seems rushed. It is lengthy and historically detailed while relying on media, secondary sources and parliamentary debates.”
—Winnipeg Free Press

“Ripper is a must-read for all who are concerned about the path Canada is on.”
—Timothy Niedermann, Ottawa Review of Books

“By positioning Poilievre in the context of the global social and economic cleavages that permitted him him to attain power, Bourrie transcends a simple biography and creates a snapshot of our riven historical moment, one that should prove illuminating for anyone looking around in abject confusion and wondering how we got to this particular point.”
—Steven Beattie, That Shakespearean Rag

“The page-turner is crack for political junkies.”
—Cult MTL

“Mark Bourrie’s new book is a detailed and surgical examination of the man who could be Canada’s next prime minister.”
—NB Media Co-op

“Ripper has no business being so detailed and wide-ranging, so authoritative and convincing, so brilliantly analytical and colourfully entertaining.”
—Ken McGoogan

“[Mark Bourrie’s] latest book Ripper isn’t just a biography—it’s a field guide to fascism wrapped in a Canadian flag soaked in Axe body spray.”
—Dean Blundell

“If it weren’t for Mark and a small number of others willing to make sacrifices, popular Canadian history would have vanished entirely from book stores.”
—Dan Gardner

“[Ripper] is far from a hatchet job. Bourrie appreciates Poilievre’s cunning and instinct for the jugular—he just doesn’t like him too much.”
—Ethan Phillips, Oversight

“In a scathing but comprehensive recent biography, Ripper: The Making of Pierre Poilievre, the historian Mark Bourrie points out that his [Poilievre’s] thinking on most subjects has not advanced much since adolescence.”
—Michael Ledger-Lomas, UnHerd

“Bourrie’s style is accessible, the prose is clear and sparse . . . Bourrie’s dry wit brings a chuckle now and then.”
—Margaret Shkimba

“[Bourrie] helpfully puts the past twenty years of federal politics into a single reference book. Even his endnotes are engaging.”
—Nora Loreto

Praise for Mark Bourrie

“Bourrie’s book positively sings . . . [Big Men Fear Me] is thoroughly researched and the prose is clean and engaging . . . [McCullagh] made The Globe the dominant voice in English Canadian journalism. Bourrie’s biography does him full justice.”
—Globe and Mail

“Canada’s greatest historian has done it for a third time, stripping the carcass of Canadian history and leaving readers horrified, riveted, in shock . . . A triumph.”
—Heather Mallick, Toronto Star

“Bourrie is fast becoming the dean of Canadian literary non-fiction . . . Bourrie also manages to be panoramic in his historical descriptions of Huronia while concurrently focusing on biographical details of Brébeuf’s missionary work. This treatment of the problematic legacy of both the cleric and his religious order is top drawer.”
—Winnipeg Free Press

“Crosses in the Sky is dramatic and enthralling . . . Bourrie has done more than any other Canadian historian writing for a general audience to disinter the root causes of degenerating settler-Indigenous relations and disrupted Indigenous societies in the 400 years since Brébeuf’s death. And he has done it with attention-grabbing panache.”
—Charlotte Gray, Globe and Mail

“A remarkable biography of an even more remarkable 17th-century individual . . . Beautifully written and endlessly thought-provoking.”
—Maclean’s

“Gripping stuff, grippingly told.”
—Literary Review of Canada