An astonishing masterwork of memoir from one of our most renowned and acclaimed writers, telling pieces of her own story in nonfiction for the first time.

“Why do you write?” the organizer of a literary event in Mexico City asks Miriam Toews. Each attempted answer from Toews—all of them unsatisfactory to the organizer—surfaces new layers of grief, guilt, and futility connected to her sister’s suicide. She has been keeping up, she realizes, a decades-old internal correspondence, filling a silence she barely understands. And we, her readers, come to see that the question is as impossible to answer as deciding whether to live life as a comedy or a tragedy.

Marking the first time Toews has written her own story in nonfiction, A Truce That Is Not Peace explores the uneasy pact every creative person makes with memory. Wildly inventive yet masterfully controlled; slyly casual yet momentous; wrenching and joyful; hilarious and humane—this is Toews at her dazzling best, remaking her world and inventing a brilliant literary form to contain it.

Introduction by Kate Beaton

Alistair MacLeod has been hailed internationally as a master of the short story. Now MacLeod’s collected stories, including two never before published, are gathered together for the first time in Island. These 16 superbly crafted stories, most of them firmly based in Cape Breton even if its people stray elsewhere, depict men and women living out their lives against the haunting landscape that surrounds them. Focusing on the complexities and abiding mysteries at the heart of human relationships, MacLeod maps the close bonds and impassable chasms that lie between man and woman, parent and child, and invokes memory and myth to celebrate the continuity of the generations, even in the midst of unremitting change. Eloquent, humane, powerful, and told in a voice at once elegiac and life-affirming, the stories in this astonishing collection seize us from the outset and remain with us long after the final page. 

How does one of the greatest storytellers of our time write her own life? The long-awaited memoir from one of our most lauded and influential cultural figures.

“Every writer is at least two beings: the one who lives, and the one who writes. Though everything written must have passed through their minds, or mind, they are not the same.”

Raised by ruggedly independent, scientifically minded parents—entomologist father, dietician mother—Atwood spent most of each year in the wild forest of northern Quebec. This childhood was unfettered and nomadic, sometimes isolated (on her eighth birthday: “It sounds forlorn. It was forlorn. It gets more forlorn”), but also thrilling and beautiful.

From this unconventional start, Atwood unfolds the story of her life, linking seminal moments to the books that have shaped our literary landscape, from the cruel year that spawned Cat’s Eye to the Orwellian 1980s of East Berlin where she wrote The Handmaid’s Tale. In pages bursting with bohemian gatherings, her magical life with the wildly charismatic writer Graeme Gibson and major political turning points, we meet poets, bears, Hollywood actors, and larger-than-life characters straight from the pages of an Atwood novel.

As we travel with her along the course of her life, more and more is revealed about her writing, the connections between real life and art—and the workings of one of our greatest imaginations

“A zeitgeisty paean to boundary-defying love, friendship and the beauty of this endangered planet. I confess to a lump in my throat.” –Daily Mail

A beloved writer returns with a tale of science, magic, love, and identity.

In the late 19th century, Charlotte Bell is growing up at Fayne, a vast and lonely estate straddling the border between England and Scotland, where she has been kept from the world by her adoring father, Lord Henry Bell, owing to a mysterious condition.

Introduction by David A. Robertson

Franklin Starlight is called to visit his father, Eldon. He’s 16 years old and has had the most fleeting of relationships with the man. The rare moments they’ve shared haunt and trouble Frank, but he answers the call, a son’s duty to a father. He finds Eldon decimated after years of drinking, dying of liver failure in a small-town flophouse. Eldon asks his son to take him into the mountains, so he may be buried in the traditional Ojibway manner.

What ensues is a journey through the rugged and beautiful backcountry, and a journey into the past, as the two men push forward to Eldon’s end. From a poverty-stricken childhood to the Korean War, and later the derelict houses of mill towns, Eldon relates both the desolate moments of his life and a time of redemption and love and in doing so offers Frank a history he has never known, the father he has never had, and a connection to himself he never expected.

Fight Night is told in the unforgettable voice of Swiv, a nine-year-old living in Toronto with her pregnant mother, who is raising Swiv while caring for her own elderly, frail, yet extraordinarily lively mother. When Swiv is expelled from school, Grandma takes on the role of teacher and gives her the task of writing to Swiv’s absent father about life in the household during the last trimester of the pregnancy. In turn, Swiv gives Grandma an assignment: to write a letter to “Gord,” her unborn grandchild (and Swiv’s soon-to-be brother or sister). “You’re a small thing,” Grandma writes to Gord, “and you must learn to fight.”