by Caroline Adderson
Coming out of an unhappy relationship and a stint at an artist colony, Charlotte, a writer, takes a job teaching at a private ESL college. There she befriends Renata—audacious, sexy, and as changeable as Proteus. “I have a story for you,” Renata says to her one day over lunch. She doesn’t elaborate further, but Charlotte soon discovers that she has found in Renata an unexpectedly passionate and compelling subject.
“Caroline Adderson is such a graceful and intelligent writer that the work that must surely go into creating her hilarious, prismatic stories is never betrayed in the language. There is no strain on the page, not a bead of sweat. I think of her as a writer’s writer. I envy her talent and learn from her sentences. The short story, Obscure Objects, is, I’m happy to report, Adderson at her glorious best.”
— Barbara Gowdy, author of Helpless and The White Bone
“Obscure Objects, Caroline Adderson’s fierce and affecting workplace comedy, is a deadpan gem: droll, moving, snapping-smart.”
— Meg Wolitzer, author of The Uncoupling, The Ten-Year Nap, and The Position
HOT IN SUMMER, COLD in winter—as though weather reached us in the staff room. Not so: the room was unfenestrated. What actually blew over us were the perversely inverted whims of the A/C system. Here each teacher was assigned a carrel. It felt so much like a stall that after I finally left for good I blamed it, the carrel, for the near-bovine sense of complacency that kept me working there an entire year. In the facing carrel, tête-à-tête to me, though I couldn’t see her when we were both seated, was a woman I’d known slightly in university, Janine. Janine with the memorable hair. Even her eyebrows and lashes and the fuzz on her arms were a deep bronze. Yet it was she who recognized me first. She stood up in her carrel and, from her higher vantage, looked down into mine where I was arranging my things the day I was hired. “So, Charlotte,” she said. “Is this it? The inexorable end to a degree in creative writing?”
A honey-haired head popped up over the partition to my left. This was Renata, who gave me this story. She looked at me with curiosity. Later I met Sterling, who was serving time behind the right partition, ball-and-chained there by Practical English Usage. He was the one who first described the room as unfenestrated. A half-dozen or so other colleagues also toiled there, thanklessly.
In the same small room was a metal supply cupboard with a lock, the combination a countdown: ten-nine-eight. Every time we took a pencil or a stick of chalk we had to update the inventory posted inside the door and initial it so management could keep track of who was using what. The photocopy machine churned away in the corner, a beige satanic mill. There were no class texts. We photocopied chapters, which made competition for the machine especially cutthroat the fifteen minutes before class. In fact, we might have developed some rapport as a staff despite the isolating carrels if not for the way the machine pitted us one against the other, and the continuous noise of it, its insatiable demand for toner that no one wanted the grubby job of adding, its serial jams, the blinking green light on the map on the inside panel that supposedly indicated the precise location of the jam, which was usually so deep within the hot gears and plates that no fingers dared go there, if not for the obvious disgust of the briefcased repairman who appeared every few days to minister to the overworked machine. We could tell he thought it was a shitty place to work. All this divided us, just as management wanted it. They were terrified we would unionize.
about the author
CAROLINE ADDERSON is the author of four novels (A History of Forgetting, Sitting Practice, The Sky is Falling, Ellen in Pieces), two collections of short stories (Bad Imaginings, Pleased to Meet You), and three books for young readers (Very Serious Children,I, Bruno, Bruno For Real). Her work has received numerous prize nominations including the Scotiabank Giller Prize longlist, the Governor General's Literary Award, the Rogers Writer's Trust Fiction Prize, and the Commonwealth Writers' Prize. A two-time Ethel Wilson Fiction Prize and three-time CBC Literary Award winner, Caroline was also the recipient of the 2006 Marian Engel Award for mid-career achievement.
from the library
Some time after the incomprehensible death of his son, Joan Miró has settled into his new job working the overnight shift at a Hasty Market in Toronto. He has plenty of time to think beneath the fluorescent lights of the convenience store: of ghosts and late nights, of downtown living and dying, of customer service and self-preservation, of the beauty of the night sky, and of the attempts people make to connect with one another despite seemingly insurmountable distances. These fragments of life prove as difficult to make sense of as any code—until one night, when an extraordinary series of events suddenly teases a pattern from the dark.
“In this graceful, dark, and nuanced piece, Lana Storey reveals a private man unhinged by grief. These are events—and this a narrative—that will stay in my mind for a long time. Never one to shirk from difficult truths, Lana Storey writes in the tradition of George Saunders: an original, at times disturbing, but ultimately transformative worldview.”
— Carolyn Smart, author of Hooked: Seven Poems and At the End of the Day
“Cross Yourself is Lana Storey’s gorgeous swirling image constellation, a story about a man becoming unhinged from the universe and finding redemption in a downtown Hasty Market convenience store. A vibrant, beating heart of a short fiction, Cross Yourself is a vortex worth being pulled into.”
— Kathryn Kuitenbrouwer, author of the 2005 Amazon.ca/Books in Canada First Novel Award finalist The Nettle Spinner
An imaginative and resonant work of speculative literature from ReLit Award-winning author Darren Greer. Twin brothers, born on an oppressive family farm, discover a miraculous way to escape the dreariness of their lives, charting a course that promises equal measures of wonder and heartbreak.
by Kirsty Logan
Steve has his own comic book store, a limitless supply of comic books, and all the time in the world to collect them. That should be enough. But eventually, everyone - even Steve - gets lonely. And when his time comes, he too has to learn that (eternal) life isn’t about what you spend it on - it’s about who you spend it with.
“Every time I read something by Kirsty, I think, ‘Damn her, I wish I’d written that.’ She is the kind of writer that you can’t help but read with teeth-crunching envy, broken-hearted admiration, and a realization that your own work is not half as good as you’d hoped it might be. Be forewarned writers and readers: you will never be the same.”
— Shanna Germain, finalist for the 2010 John Preston Short Fiction Award and nominee for the 2008 Pushcart Prize
The depredations of a corrupt local government and the ravages of a harsh prairie winter force an ostracized but self-sufficient widow to open her home to innocents with nowhere else to turn. Journey Prize finalist Seyward Goodhand's effortless storytelling allows the humanity to shine through in this grim take on a classic tale.
A man in the throes of a breakup is selling all of his possessions on Kijiji and Craigslist. Greg’s couch, his VHS tapes, obsolete desktop computer, and cow-shaped clock – it all must go. Between pot smoking, pizza eating, and watching Alfred Hitchcock’s Rope, he meets with would-be buyers, taking his old life apart piece by discount piece in order to figure out what went wrong.
This Is a Love Crime
by Lee Kvern
Marta is a human resources employee at a grocery store chain. She moves through the days passively, always taking the path of least resistance, until a case at work - that of a hijab-wearing woman, in defiance of a strict no-hats policy - awakens her to the injustices of her own life.
“This Is a Love Crime by Lee Kvern is a cunning and intensely human look at one of the central issues of our time. It negotiates the space between belief, racism, liberty, and sexuality with curiosity and compassion.”
— Todd Babiak, bestselling author of Toby: A Man and The Garneau Block
“Lee Kvern paints with a scalpel. With characteristic unflinching honesty, she peels the relationship between Marta and Corbin back to quivering nerves in This Is a Love Crime and juxtaposes it against veiled assumptions about cultural oppression. The narrative leaps crackle with energy and empathy. When I read Kvern’s stories, I’m seduced by exquisite detail and—love or loathe them—left with the scent of her characters long after the last page.”
— Betty Jane Hegerat, author of Delivery and The Boy
“In This Is a Love Crime, Lee Kvern uses the intricately drawn characters of Corbin and Marta to explore the charged topics of ethnicity and Western modes of submission and control. Written in Kvern’s distinctive, poetic, and multi-layered style, the story leaves us with warm insight into all the characters—and challenges our hearts and preconceptions.”
— Barb Howard, author of Whipstock, Notes for Monday, and The Dewpoint Show
Health care workers on a night out unwind, allowing the anxieties and passions they've had to suppress on the job finally uncoil, like tendrils creeping out into the world - and into each other. Written with empathy and panache, this story is a portrait of briefly flaring humanity - of people granted a temporary reprieve from professionalism, and not quite knowing what to do with it.
“At the Bar is Rosenblum at her best - exploring the complicated nature of work and relationships with her trademark perceptiveness, humour, and compassion, and creating characters that will stay with you long after the story is over.”
— Amy Jones, author of What Boys Like and Other Stories