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Single mother Alice Chow is drowning. With a booming online business, a resentful teenage daughter, a screen-obsessed son, and a secret boyfriend, she can never get everything done in a day. So it’s a relief when Alice wakes up one morning to find the counters are clear, the kids’ rooms are tidy, and orders are neatly packed and labelled. But she doesn’t remember staying up late to take care of things. As the strange pattern continues, she realizes someone—or something—has been doing her chores for her.

For most of Jen Sookfong Lee's life, pop culture was an escape from family tragedy and a means of fitting in with the larger culture around her. Anne of Green Gables promised her that, despite losing her father at the age of twelve, one day she might still have the loving family of her dreams. Princess Diana was proof that maybe there was more to being a good girl after all. And yet as Jen grew up, she began to recognize the ways in which pop culture was not made for someone like her.

Single mother Alice Chow is drowning. With a booming online cloth diaper shop, her resentful teenage daughter Luna, and her screen-obsessed son Luca, Alice can never get everything done in a day. It’s all she can do to just collapse on the couch with a bottle of wine every night. It’s a relief when Alice wakes up one morning and everything has been done. The counters are clear, the kids’ rooms are tidy, orders are neatly packed and labeled. But no one confesses they’ve helped, and Alice doesn’t remember staying up late. Someone–or something–has been doing her chores for her.

From Knopf Canada's New Face of Fiction program - launching grounds for Yann Martel's Life of Pi and Ann-Marie MacDonald's Fall on Your Knees - comes this powerfully evocative novel. At age 18, Seid Quan is the first in the Chan family to emigrate from China to Vancover in 1913. Paving the way for a wife and son, he is profoundly lonely, even as he joins the Chinatown community. Weaving in and out of the past and the present, The End of East pieces together the spellbinding tale of Seid Quan's family.

On a sunny May morning, social worker Jessica Campbell sorts through her mother's belongings after her recent funeral. In the basement she makes a shocking discovery - two dead girls curled into the bottom of her mother's chest freezers. She remembers a pair of foster children who lived with the family in 1988: Casey and Jamie Cheng - troubled, beautiful, and wild teenage sisters from Vancouver's Chinatown.

From a master of family dynamics comes this vivid tale of two misfits who find each other while stumbling toward their own true identities. In 1958, eight-year-old Danny Lim has been sent to buy cigarettes for his father, when he realizes that he has lost the money. Frantic, he rushes through Vancouver's Chinatown and behind a nightclub, where he sees Miss Val, a long-time burlesque dancer. Danny is enraptured with her sequined garters and silk robe, and Val, touched by his fascination, gives him a pack of cigarettes and her silk belt.

The experience of motherhood is monumental, yet rarely discussed in connection with literary or creative life. How do we navigate the twin devotions of love and art? How does motherhood disrupt the creative process? How does it enhance it? Good Mom on Paper is a collection of twenty essays that goes beyond the clichés to explore the fraught, beautiful, and complicated relationship between motherhood and creativity. Honest and intimate, critical and hopeful, this collection offers solace and joy to creative mothers and asks how we can better support their work.

On a sunny May morning, social worker Jessica Campbell sorts through her mother’s belongings after her recent funeral. In the basement, she makes a shocking discovery - two dead girls curled into the bottom of her mother’s chest freezers. She remembers a pair of foster children who lived with the family in 1988: Casey and Jamie Cheng - troubled, beautiful, and wild teenaged sisters from Vancouver’s Chinatown. After six weeks, they disappeared; social workers, police officers, and Jessica herself assumed they had run away.

Gus Van Sant’s film and the ’90s cult of the alternative Gus Van Sant’s 1991 indie darling My Own Private Idaho perplexed and provoked, inspiring a new ethos for a new decade: being different was better than being good. Gentlemen of the Shade examines how the film was a coming-of-age for a generation of young people who would embrace the alternative and bring their outsider perspectives to sustainability, technology, gender constructs, and social responsibility.