The title story of this collection begins with talk of an act being "too transparent in its hopefulness, too easy in its forgiveness". 1990; Penguin, 1991 On first reading, this seems a straightforward observation about the narrator's relationship with her mother. She has been dreaming of her mother
"In the lane, I had already lost a boot and fallen on my knees so that now my trousers were soaked and one of my socks was sodden and the bottoms of both my sleeves were freezing against my wrists." Harper Collins, 1990 This is Timothy Findley, writing
House of Anansi, 2013 Astoria Imprint The clear skies and no wind? That's not often true, actually, in Théodora Armstrong's debut collection. The characters herein are faced with stormy conditions and life is in flux. But 100% visibility? That's true: her vision is impeccable, her scope expansive but her
"Food and hot tea lift my spirits." So says Nora Porteous, who has returned to her family home in Australia, a “wretched and slothful old woman”. 1978; Penguin Books, 1984 Well, some might think her so. Wretched. Slothful. Old. At least, she muses that it's possible. But Nora works against
Gaspereau Press, 2008 When I was in high school, it mattered a great deal : what radio station you listened to. There were more than two, but there only two that mattered: CJBK or CKSL. Knowing which station someone’s radio was tuned to revealed a cornerstone to their
