Kirjahaku

Jolene Iolas, a student in upstate New York, encounters the work of Martin Sloane while visiting a Toronto gallery. She strikes up a correspondence with the older artist and eventually they become lovers. Then, without a word of warning, he vanishes, and Jolene loses everything to her grief.

Professor David Hollis speculates that the sunken ship containing this important historical record lies in the landfill where the city's new Union Arena is to be built.

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.Author Biography: Michael Redhill is the managing editor of the literary journal Brick. He has also worked as editor, ghostwriter, anthologist, scriptwriter, and in leaner times, waiter, house painter, and book seller. Martin Sloane is his first novel. He lives in Toronto.

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...

The only true account of the trial and punishment of the good doctor, Gustavus Katterfelto, the greatest natural philosopher who ever lived or ever will live by his confederate and friend Roger Gossage."My name is Roger Gossage. I pray my handwriting be legible to you, but as I am a-ship, I risk the swells playing havoc upon my scrawl. Whichever lenses or magnifiers you may require to read on, I beg you fetch them now..."

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.

This remarkable autobiographical play by the award-winning author of Building Jerusalem and Martin Sloane, is a Russian-doll-like play: concentric stories enveloping each other. A writer is told, in confidence, a terrible tale of murder and injustice and he promises never to repeat the story. Goodness is the writer breaking his word. Recently divorced, Michael Redhill goes to Poland to get away frm his life and to do some research on the Holocaust. Thwarted by witnesses unwilling to talk, he returns home via England, but in London is introduced to someone who can tell him a 'real' story of evil. Through this reluctant witness, Redhill learns of a genocide. He encounters, through the memory of the storyteller, an alleged war criminal, about to be put on trial. But this is an old man with Alzheimer's who can no longer remember the time his crimes were allegedly committed. Has his guilt dissolved with his memory? Could he be pretending to be ill in order to escape punishment? The witness conjures for Redhill the war criminal's passionate and beautiful daughter, who will defend her father at all costs. There is also the prosecuting attorney, who has much in common with the old man whose destruction he seeks. As well as an uncomfortable attraction to his daughter. Each is drawn to the other. All is witnessed by a female prison guard -- the one who tells the playwright, years later, what really happened in the quest to give a nation some closure. Everyone's story is compelling, and the ending is as unexpected as it is shocking. Who do we believe? A prison guard still wounded by history? A writer suffering from heartache? A dying war criminal? What is our responsibility? Who does memory serve? Did the past really happen? And if it did, who has a claim on it? Goodness is a play about what happens in the gaps between experiencing, telling and hearing.