Winner of the 2017 Scotiabank Giller Prize Jean Mason has a doppelganger. She's never seen her, but others* swear they have. *others | noun. A peculiar collection of drug addicts, scam artists, philanthropists, philosophers and vagrants - the regulars of Bellevue Square. Jean lives in downtown Toronto with her husband and two kids. The proud owner of a thriving bookstore, she doesn't rattle easily - not like she used to. But after two of her customers insist they've seen her double, Jean decides to investigate. Curiosity grows to obsession and soon Jean's concerns shift from the identity of the woman, to her very own. Funny, dark and surprising, Bellevue Square takes readers down the existentialist rabbit hole and asks the question: what happens when the sense you've made of things stops making sense?

A muscle's "twitch force" is a measurement of its energy potential. It's history dependent: you can forget it, but it's engraved on you where you can't see it, and all it wants to do is repeat. Scotiabank Giller Prize winner Michael Redhill's first collection of poetry in eighteen years, Twitch Force has a gnomic, satirical, and lucid intelligence. In "Ingredients," heredity's recipe is told via short-form family narrative; in "My Arrangements," a stolen laptop battery leads to an encounter with the Israeli Olympic women's beach volleyball team; while in "The Women," human beauty is parsed down to the level of chromosomes: "I'm beautiful; I have my mother's feet. The women who change into men are beautiful men who were once beautiful women." This is poetry concerned with love and its loss, despair and hard-won hope, knowledge and essential mystery, aging and timelessness. Readers are cautioned: ideas that present as self-explanatory may be closer than they appear. Twitch Force is a stunningly realized return to the form from one of Canada's bravest and most original poets.

From the award-winning author of "Martin Sloane" and "Fidelity" comes a riveting story of two families in different centuries--one searching for the past, the other creating a record of it.

What does it really mean to love another person? The question hovers like a persistent wisp of fog over the story of Martin Sloane, an Irish-born artist who creates intricate, object-filled boxes, and Jolene Iolas, the young American woman who finds herself drawn first to Martin Sloane's art and then to the man himself. The story of their relationship across two decades, and of Jolene's search for Martin Sloane when one day he disappears from their home without warning or explanation, is told in a novel that brilliantly and movingly explores the vagaries of love and friendship, the burdens of personal history, and the enigmatic power of art.

An Anchor Books Original

Seventy-four distinguished writers tell personal tales of books loved and lost–great books overlooked, under-read, out of print, stolen, scorned, extinct, or otherwise out of commission.

Compiled by the editors of Brick: A Literary Magazine, Lost Classics is a reader’s delight: an intriguing and entertaining collection of eulogies for lost books. As the editors have written in a joint introduction to the book, “being lovers of books, we’ve pulled a scent of these absences behind us our whole reading lives, telling people about books that exist only on our own shelves, or even just in our own memory.” Anyone who has ever been changed by a book will find kindred spirits in the pages of Lost Classics.

Each of the editors has contributed a lost book essay to this collection, including Michael Ondaatje on Sri Lankan filmmaker Tissa Abeysekara’s Bringing Tony Home, a novella about a mutual era of childhood. Also included are Margaret Atwood on sex and death in the scandalous Doctor Glas, first published in Sweden in 1905; Russell Banks on the off-beat travelogue Too Late to Turn Back by Barbara Greene–the “slightly ditzy” cousin of Graham; Bill Richardson on a children’s book for adults by Russell Hoban; Ronald Wright on William Golding’s Pincher Martin; Caryl Phillips on Michael Mac Liammoir’s account of his experiences on the set of Orson Welles’s Othello, and much, much more.