by Daniel Karasik
People grow in dimensions other than those we perceive. The teenage narrator of award-winning author Daniel Karasik’s latest story must deal with the fact that his older sister is now a grown woman, and Lucy, his crush-next-door, has become a mystery, with depths beyond his comprehension. Has he been coasting all this time, school and television his life’s only sources of momentum?
LUCY, WHOM I HAVE known for ages and with whom I’d like to have sex, says to me in our grade twelve civics class: “There’s a party in the woods on Friday. Michael Opperich and Shira Coffler found this secret spot.”
“Near the train tracks.”
WHEN I GET HOME from school, the phone is ringing. It’s Lucy.
“What are you doing right now?” she says.
“Talking to you.”
“What were you doing when I called?”
“Nothing. Drinking a glass of chocolate milk. Taking off my shoes. I just got home.”
“So what are you doing next?”
“Hanging up the phone.”
Lucy and I have known each other since we were four, when my house was two doors down from hers and our parents used our pre-pre-pubescent love affair—she was my girlfriend, and I liked to kick her, apparently—as a means of arranging some reciprocal babysitting. When my parents wanted to go to the movies on a Saturday night, they’d leave me with Lucy and the Friedmans; when Mr. and Mrs. Friedman wanted to spend some time with their mistress or mistress, respectively, they’d deposit Lucy on our front stoop. We know each other too well. Lucy knows, for example, that I don’t like talking on the phone, while I know, for example, that Lucy will call me after school every day, without fail, until the end of time.
I wind up in front of the TV with potato chips. After fifteen minutes I feel like I’m wasting my life and should be discovering a new energy source or writing a scathing exposé on modern waste-removal methods instead of lying on the couch. At four-thirty Tania comes into the house and calls out, “Hello?”
“You’re not supposed to be home,” I say, because my sister lives downtown now and this is my house, not hers.
“That’s interesting,” she says, and goes into the washroom to primp. My sister makes pit stops at home—my home—when she’s meeting Rod, the thirty-two-year-old software designer whom she, my twenty-one-year-old sister, insists she loves, Rod who still lives in his parents’ basement on Oakland Drive, two blocks over, where his collection of much-signed Pink Floyd paraphernalia is apparently unsurpassed.
She comes into the family room, where the TV flickers against my closed eyelids. “I’m going out for the night,” she says, and I open my eyes to see that she’s tucked her shoulder-length red hair into a pair of bobbing pigtails, creating the impression that she’s approximately eleven years old. My eleven-year-old sister will have sex tonight with a big man in his parents’ basement. I feel dirty.
As she pulls away in Rod’s Camaro, I stumble out to the living room window and watch them go. I wonder if she’s happy. She claims she is, what with the alleged love, the apartment in the Annex subsidized by my dad, the approaching end to her biology degree at U of T. I’d like to ask her: Is there life beyond the wire? Does life get bigger than this? Realer?
about the author
DANIEL KARASIK is a writer, director, and actor. A recent grand prize winner of the CBC Literary Award for Fiction and the Canadian Jewish Playwriting Award, he is the author of a book of plays, The Crossing Guard & In Full Light (Playwrights Canada Press), with two more books fresh off the presses: a play for children, The Remarkable Flight of Marnie McPhee (Playwrights Canada Press), and a debut poetry collection, Hungry (Cormorant Books). He also helms the Toronto-based theatre company Tango Co., through which he has developed many of his plays, subsequently produced across Canada, in the United States, and regularly in translation in Germany.
from the library
by Cynthia Flood
New wife and mother Julie is a woman struggling to find her place. Her dilemmas, while modest, feel harsh, and reflect the ways in which women were once denied control over their own bodies. Her first steps toward independence bring great pain—and not only to herself. With sparing, incisive prose, Cynthia Flood unravels what it meant to be a married woman in post-war era Vancouver, creating an evocative and even unsettling experience for the reader.
“With a precision of language that startles and delights, Cynthia Flood offers glimpses of those moments in which the essence of an entire life is revealed.”
— Nancy Richler, author of The Imposter Bride
“What a great story! Told in terse, restrained sentences, yet opening to a lush and radiant heart, Addresses captures the anguish of a marriage gone off the rails, and the moments of redemption that arrive from unexpected places. Flood’s use of language is uniquely her own–staccato, clean as a knife, and brilliant. Cynthia Flood has done it again.”
— Shaena Lambert, author of Radiance
“The abruptness of the title tells so much about this exquisitely drawn story by Cynthia Flood. ‘Tell the truth but tell it slant,’ Emily Dickinson advised, and that’s always been the approach Flood has preferred for her bone-china fictions, edging into them sideways. Once escorted into the story’s arrhythmic heart, we readers have no choice but to immerse ourselves in a world long gone but still very much with us, to emerge both shaken and stirred.”
— Dave Margoshes, author of A Book of Great Worth
by Pauline Holdstock
After undergoing a cosmetic treatment to recover her lost youth, a middle-aged woman finds herself reconnected to her alienated daughter - a young woman still searching for her own path in life - in an unexpected and incredible way. A modern-day fable from two-time Scotiabank Giller Prize nominee Pauline Holdstock.
“Hers is the kind of prose you get lost in.”
— National Post on The Hunter and the Wild Girl
“Holdstock’s writing manages to be both heartbreakingly poetic and densely detailed ... sad passages, ghostlike recollections, written almost from the vantage point of the present, establish the book as a great work of fiction.”
— The Globe and Mail on Into the Heart of the Country, longlisted for the 2011 Scotiabank Giller Prize
“Holdstock, with a few deft strokes, pulls the reader into the tumultuous life of an alluring rabble of characters: painters, sculptors, patrons, fools, and slaves . . . In Beyond Measure, she proves herself a master of pacing. Her lively, macabre plot trips lightly along in spite of its dark elements.”
— The Globe and Mail on Beyond Measure, finalist for the 2004 Giller Prize and the 2004 Commonwealth Writers' Prize
of My Sound
by Andrew Forbes
Saxophonist Metche Hufu and his band are the talk of Addis Ababa, filling nightclubs and packing dance floors. But the precarious existence of this golden age of culture depends on an emperor’s benevolence - and when his power begins to wane, Metche Hufu's music threatens to be silenced by the sounds of a country torn apart.
“How do you give voice to a sax player silenced by the politics of his country? If you’re a jazz singer like Kurt Elling, you take Dexter Gordon’s solo on ‘Body and Soul’ from his Homecoming album and you turn it into vocalese. If your name is Andrew Forbes and your tenor sax player is Ethiopian and it is Addis Ababa 1973 and his musical idol is King Curtis, you write The Expansiveness of My Sound and what you write is wider, more straight-ahead, stronger with political fervour, sadder than Elling but every bit as smart. Forbes is doing it solo and you have to imagine the quartet behind him. Read it with your fingers tapping and you’ll catch the beat. Read it with your ears open and you’ll hear Metche Hufu’s body and soul. Dig it!”
— T. F. Rigelhof, author of Hooked on Canadian Books: The Good, the Better, and the Best Canadian Novels Since 1984
by Matt Cahill
Portraits of people marooned within themselves, trapped by their past experiences, by uncertainty and anxiety — individuals for whom each new situation is a grueling journey towards the present, a place where action and choice are possible. In Second World, Matt Cahill illustrates, with honesty and empathy, how the most important breakthroughs are not the life-altering revelations, but rather the minor miracles that get us through each day.
Deep Breaths Underwater
by Meghan Rose Allen
June's mother is getting married and there's nothing June can do about it. Counting down the days to the wedding while trapped with a sort-of friend and unwanted family-to-be at their lakeside cottage in the Kawarthas, June searches desperately for a way to make the world - and her life - stand still.
Trigger Finger Blues
by Chad Pelley
Marcel, a sensitive sniper, knew his life was missing something. But he didn't know what until he set his crosshairs on it: Violet Caine. A ginger-headed lover of Thai food, wanted dead simply because her brother messed with the wrong bike gang. It's a story of redemption coming too late, and the ways happenstance can turn a warm man cold. Then warm again. Whether fate wrote his troubled life, or he wrote it himself, he wants Violet Caine to be the end of it - be it figuratively or literally.
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
Memories of a Carnivore
by Julie Dupuis
A hybrid travelogue and memoir that pieces together the fragmented recollections of one woman’s rocky journey toward vegetarianism. From her rural upbringing in francophone Northeastern Ontario to exotic locations, outlandish adventures, and bizarre meals, Julie relives her struggle to make the right food choices for herself and examines the consequences of her decisions.