Black History Month

The latest from Vivek Shraya's VS. Books: a poetic exploration of Black identity, history, and lived experience influenced by the constant search for liberation. In this incendiary debut collection, activist and poet Cicely Belle Blain intimately revisits familiar spaces in geography, in the arts, and in personal history to expose the legacy of colonization and its impact on Black bodies. They use poetry to illuminate their activist work: exposing racism, especially anti-Blackness, and helping people see the connections between history and systemic oppression that show up in every human interaction, space, and community. Their poems demonstrate how the world is both beautiful and cruel, a truth that inspires overwhelming anger and awe - all of which spills out onto the page to tell the story of a challenging, complex, nuanced, and joyful life. In Burning Sugar, verse and epistolary, racism and resilience, pain and precarity are flawlessly sewn together by the mighty hands of a Black, queer femme. This book is the second title to be published under the VS. Books imprint, a series curated and edited by writer-musician Vivek Shraya, featuring work by new and emerging Indigenous or Black writers, or writers of colour.

Dr. Edith Vane, scholar of English literature, is contentedly ensconced at the University of Inivea. Her dissertation on pioneer housewife memoirist Beulah Crump-Withers is about to be published, and her job's finally safe, if she only can fill out her AAO properly. She's a little anxious, but a new floral blouse and her therapist's repeated assurance that she is the architect of her own life should fix that. All should be well, really. Except for her broken washing machine, her fickle new girlfriend, her missing friend Coral, her backstabbing fellow professors, a cutthroat new dean - and the fact that the sentient and malevolent Crawley Hall has decided it wants them all out, and the hall and its hellish hares will stop at nothing to get rid of them.

Family loyalty, betrayal and the redemptive power of love are at the heart of this poignant and unforgettable novel set in Canada and Jamaica. When Maria Galloway dies, she leaves everything to her spoiled, wayward grandson, Vittorio. Her only granddaughter, Molly, whom she raised from infancy, is left to confront the unyielding bitterness Maria harboured against her. As Molly begins to trace the complex interrelationships in her loving but divided family, she recalls her idyllic childhood, spent in her grandmother’s sky-blue house in Jamaica. There, surrounded by a jungle of coconut, mango and avocado trees and enveloped in the smells of mouth-watering sweet cakes and spicy Jamaican foods, she received her grandmother’s pure and simple generosity, and the return of unconditional love. But as Molly enters adolescence, she grows increasingly aware of her grandmother’s vulnerabilities and disappointments, her human frailties. When Maria decides that things might get better if she leaves Jamaica and joins her adult children in Canada, she takes Molly with her. But it isn’t long before she, a woman who has always lived on her own terms and has never been afraid to speak her mind, clashes with her children. Even Molly falls into disfavour when Maria discovers that she is romantically involved with a woman. From generational saga to tender love story, The Heart Does Not Bend is a vivid and heartfelt portrayal of an indomitable matriarch and the women who must free themselves from her.

Acclaimed by Adrienne Rich as "fierce, sensuous . . . a work of great beauty and moral imagination," In Another Place, Not Here tells of two contemporary Caribbean women who find brief refuge in each other on an island in the midst of political uprising. Elizete, dreaming of running to another place to escape the harshness of her daily life on the island, meets Verlia, an urban woman in constant flight who has returned to her island birthplace with hopes of revolution. Their tumultuous story moves between city and island, past and future, fantasy and reality.

On the far outreaches of a crumbling desert empire, two women--a princess and a soldier--will haggle over the price of a nation in this richly imagined, breath-taking sapphic epic fantasy filled with rebellion, espionage, and assassinations.   Touraine is a soldier. Stolen as a child and raised to kill and die for the empire, her only loyalty is to her fellow conscripts. But now, her company has been sent back to her homeland to stop a rebellion, and the ties of blood may be stronger than she thought.   Luca needs a turncoat. Someone desperate enough to tiptoe the bayonet's edge between treason and orders. Someone who can sway the rebels toward peace, while Luca focuses on what really matters: getting her uncle off her throne.   Through assassinations and massacres, in bedrooms and war rooms, Touraine and Luca will haggle over the price of a nation. But some things aren't for sale. "A perfect military fantasy: brutal, complex, human and impossible to put down." - Tasha Suri, author of Empire of Sand

In the tradition of Ta-Nehisi Coates, a bracing, provocative and perspective-shifting book from one of Canada's most celebrated and uncompromising writers, Desmond Cole. The Skin We're In will spark a national conversation, influence policy and inspire activists. NATIONAL BESTSELLER WINNER OF THE 2020 TORONTO BOOK AWARD A bracing, provocative, and perspective-shifting book from one of Canada's most celebrated and uncompromising writers, Desmond Cole. The Skin We're In will spark a national conversation, influence policy, and inspire activists. In his 2015 cover story for Toronto Life magazine, Desmond Cole exposed the racist actions of the Toronto police force, detailing the dozens of times he had been stopped and interrogated under the controversial practice of carding. The story quickly came to national prominence, shaking the country to its core and catapulting its author into the public sphere. Cole used his newfound profile to draw insistent, unyielding attention to the injustices faced by Black Canadians on a daily basis. Both Cole's activism and journalism find vibrant expression in his first book, The Skin We're In. Puncturing the bubble of Canadian smugness and naive assumptions of a post-racial nation, Cole chronicles just one year-2017-in the struggle against racism in this country. It was a year that saw calls for tighter borders when Black refugees braved frigid temperatures to cross into Manitoba from the States, Indigenous land and water protectors resisting the celebration of Canada's 150th birthday, police across the country rallying around an officer accused of murder, and more. The year also witnessed the profound personal and professional ramifications of Desmond Cole's unwavering determination to combat injustice. In April, Cole disrupted a Toronto police board meeting by calling for the destruction of all data collected through carding. Following the protest, Cole, a columnist with the Toronto Star, was summoned to a meeting with the paper's opinions editor and informed that his activism violated company policy. Rather than limit his efforts defending Black lives, Cole chose to sever his relationship with the publication. Then in July, at another police board meeting, Cole challenged the board to respond to accusations of a police cover-up in the brutal beating of Dafonte Miller by an off-duty police officer and his brother. When Cole refused to leave the meeting until the question was publicly addressed, he was arrested. The image of Cole walking out of the meeting, handcuffed and flanked by officers, fortified the distrust between the city's Black community and its police force. Month-by-month, Cole creates a comprehensive picture of entrenched, systemic inequality. Urgent, controversial, and unsparingly honest, The Skin We're In is destined to become a vital text for anti-racist and social justice movements in Canada, as well as a potent antidote to the all-too-present complacency of many white Canadians.

This book offers the first concentrated examination of the representation of the black female subject in Western art through the lenses of race/color and sex/gender. Charmaine A. Nelson poses critical questions about the contexts of production, the problems of representation, the pathways of circulation and the consequences of consumption. She analyzes not only how, where, why and by whom black female subjects have been represented, but also what the social and cultural impacts of the colonial legacy of racialized western representation have been. Nelson also explores and problematizes the issue of the historically privileged white artistic access to black female bodies and the limits of representation for these subjects. This book not only reshapes our understanding of the black female representation in Western Art, but also furthers our knowledge about race and how and why it is (re)defined and (re)mobilized at specific times and places throughout history.

A timely and original look at the role of the eyewitness account in the representation of slavery in British and European art Gathering together over 160 paintings, watercolors, drawings, and prints, this book offers an unprecedented examination of the shifting iconography of slavery in British and European art between 1760 and 1840. In addition to considering how the work of artists such as Agostino Brunias, James Hakewill, and Augustus Earle responded to abolitionist politics, Sarah Thomas examines the importance of the eyewitness account in endowing visual representations of transatlantic slavery with veracity. "Being there," indeed, became significant not only because of the empirical opportunities to document slave life it afforded but also because the imagery of the eyewitness was more credible than sketches and paintings created by the "armchair traveler" at home. Full of original insights that cast a new light on these highly charged images, this volume reconsiders how slavery was depicted within a historical context in which truth was a deeply contested subject.

This volume broaches the complicated topic of black identity in a multicultural and diasporic country: Canada. The stories of African Canadians have been interwoven into the history of Canadian society for over 150 years, yet their presence in its dominant narratives remains marginal. Drawing on photographs from the Wedge Collection, Position as Desired reflects on what it means to be African Canadian. It includes depictions of largely unknown or uncelebrated African individuals in Canada as well as works that celebrate the growth and diversity of the African Canadian community today. A selection of works by photographers Buseje Bailey, Michael Chambers, Stella Fakiyesi, and David Zapparoli, all of whom established their practice in the 1990s, present overt assertions of African Canadian identity, and four emerging photographers--Christina Leslie, Megan Morgan, Dawit L. Petros and Stacey Tyrella--continue the conversation.

eat salt | gaze at the ocean explores the themes of Black sovereignty, Haitian sovereignty, and Black lives, using the Haitian (original) zombie as a metaphor for the condition and treatment of Black bodies. Interspersed with information about zombies, Haiti, and policies is the author's personal narrative of growing up Black and Haitian of immigrant parents on stolen land. The collection is divided into two sections: the first half focusses on zombies, while the second focusses on the ocean/water and the violent crossing experienced by enslaved folks. The book's title refers to the "cure" for reversing the process of becoming a zombie.

Winner, Trillium Book Award and Edmund White Award for Debut Fiction; Finalist, Rogers Writers' Trust of Canada Fiction Prize; a Globe and Mail Best Book of the Year In Tea Mutonji's disarming debut story collection, a woman contemplates her Congolese traditions during a family wedding, a teenage girl looks for happiness inside a pack of cigarettes, a mother reconnects with her daughter through their shared interest in fish, and a young woman decides to shave her head in the waiting room of an abortion clinic.These punchy, sharply observed stories blur the lines between longing and choosing, exploring the narrator's experience as an involuntary one. Tinged with pathos and humour, they interrogate the moments in which femininity, womanness, and identity are not only questioned but also imposed. Shut Up You're Pretty is the first book to be published under the imprint VS. Books, a series of books curated and edited by writer-musician Vivek Shraya featuring work by new and emerging Indigenous or Black writers, or writers of colour.

NATIONAL BESTSELLER A fierce and illuminating debut from FOLD founder Jael Richardson about a young woman who must find the courage to determine her own future and secure her freedom Set in an imagined world in which the most vulnerable are forced to buy their freedom by working off their debt to society, Gutter Child uncovers a nation divided into the privileged Mainland and the policed Gutter. In this world, Elimina Dubois is one of only 100 babies taken from the Gutter and raised in the land of opportunity as part of a social experiment led by the Mainland government. But when her Mainland mother dies, Elimina finds herself all alone, a teenager forced into an unfamiliar life of servitude, unsure of who she is and where she belongs. Elimina is sent to an academy with new rules and expectations where she befriends Gutter children who are making their own way through the Gutter System in whatever ways they know how. When Elimina's life takes another unexpected turn, she will discover that what she needs more than anything may not be the freedom she longs for after all. Richardson's Gutter Child reveals one young woman's journey through a fractured world of heartbreaking disadvantages and shocking injustices. Elimina is a modern heroine in an altered but all too recognizable reality who must find the strength within herself to forge her future and defy a system that tries to shape her destiny.

Spanning three continents, Butter Honey Pig Bread tells the interconnected stories of three Nigerian women: Kambirinachi and her twin daughters, Kehinde and Taiye. Kambirinachi believes that she is an Ogbanje, or an Abiku, a non-human spirit that plagues a family with misfortune by being born and then dying in childhood to cause a human mother misery. She has made the unnatural choice of staying alive to love her human family but lives in fear of the consequences of her decision.

During the night of April 10, 1734, Montréal burned. Marie-Joseph Angélique, a twenty-nine-year-old slave, was arrested, tried, and found guilty of starting the blaze that consumed forty-six buildings. Suspecting that she had not acted alone and angered that she had maintained her innocence, Angélique's condemners tortured her after the trial. She confessed but named no accomplices. Before Angélique was hanged, she was paraded through the city. Afterward, her corpse was burned. Angélique, who had been born in Portugal, faded into the shadows of Canadian history, vaguely remembered as the alleged arsonist behind an early catastrophic fire. The result of fifteen years of research, The Hanging of Angélique vividly tells the story of this strong-willed woman. Afua Cooper draws on extensive trial records that offer, in Angélique's own words, a detailed portrait of her life and a sense of what slavery was like in Canada at the time. Predating other first-person accounts by more than forty years, these records constitute what is arguably the oldest slave narrative in the New World. Cooper sheds new light on the largely misunderstood or ignored history of slavery in Canada. She refutes the myth that Canada was a haven at the end of the Underground Railroad. Cooper also provides a context for Canada in the larger picture of transatlantic slavery while re-creating the tragic life of one woman who refused to accept bondage.

ONE OF THE NEW YORK TIMES BOOK REVIEW'S TEN BEST BOOKS OF THE YEAR * MAN BOOKER PRIZE FINALIST * "A gripping historical narrative exploring both the bounds of slavery and what it means to be truly free." --Vanity Fair Eleven-year-old George Washington Black--or Wash--a field slave on a Barbados sugar plantation, is initially terrified when he is chosen as the manservant of his master's brother. To his surprise, however, the eccentric Christopher Wilde turns out to be a naturalist, explorer, inventor, and abolitionist. Soon Wash is initiated into a world where a flying machine can carry a man across the sky, where even a boy born in chains may embrace a life of dignity and meaning, and where two people, separated by an impossible divide, can begin to see each other as human.   But when a man is killed and a bounty is placed on Wash's head, they must abandon everything and flee together. Over the course of their travels, what brings Wash and Christopher together will tear them apart, propelling Wash ever farther across the globe in search of his true self. Spanning the Caribbean to the frozen Far North, London to Morocco, Washington Black is a story of self-invention and betrayal, of love and redemption, and of a world destroyed and made whole again.

Social Justice Poetry Spoken-word poet Valerie Mason-John unsettles readers with potent images of ongoing trauma from slavery and colonization. Her narratives range from the beginnings of the African Diaspora to the story of a stowaway on the Windrush, from racism and sexism in Trump's America to the wide impact of the Me Too movement. Stories of entrapment, sexual assault, addictive behaviours, and rave culture are told and contrasted to the strengthening and forthright voice of Yaata, Supreme Being. I Am Still Your Negro is truth that needs to be told, re-told, and remembered. I was your Negro Captured and sold I am still your negro Arrested and killed --from "I Am Still Your Negro"

A powerful and emotional novel about the dangers that arise when we stay silent in the face of prejudice, or are complicit in its development. As a young man, Virgil Moody vowed he would never be like his father, he would never own slaves. When he moves from his father's plantation in Savannah to New Orleans, he takes with him Annie, a tiny woman with sharp eyes and a sharper tongue, who he is sure would not survive life on the plantation. She'll be much safer with him, away from his father's cruelty.

"My parents were slaves in New York State. My master's sons-in-law ... came into the garden where my sister and I were playing among the currant bushes, tied their handkerchiefs over our mouths, carried us to a vessel, put us in the hold, and sailed up the river. I know not how far nor how long -- it was dark there all the time." Sophia Burthen's account of her arrival as an enslaved person into what is now Canada sometime in the late 18th century, was recorded by Benjamin Drew in 1855. In It Was Dark There All the Time, writer and curator Andrew Hunter builds on the testimony of Drew's interview to piece together Burthen's life, while reckoning with the legacy of whiteness and colonialism in the recording of her story. In so doing, Hunter demonstrates the role that the slave trade played in pre-Confederation Canada and its continuing impact on contemporary Canadian society. Evocatively written with sharp, incisive observations and illustrated with archival images and contemporary works of art, It Was Dark There All the Timeoffers a necessary correction to the prevailing perception of Canada as a place unsullied by slavery and its legacy.

FINALIST FOR THE GOVERNOR GENERAL'S AWARD FOR NON-FICTION Interrogating our ideas of race through the lens of her own multi-racial identity, critically acclaimed novelist Tessa McWatt turns her eye on herself, her body and this world in a powerful new work of non-fiction. Tessa McWatt has been called Susie Wong, Pocahontas and "black bitch," and has been judged not black enough by people who assume she straightens her hair. Now, through a close examination of her own body--nose, lips, hair, skin, eyes, ass, bones and blood--which holds up a mirror to the way culture reads all bodies, she asks why we persist in thinking in terms of race today when racism is killing us.      Her grandmother's family fled southern China for British Guiana after her great uncle was shot in his own dentist's chair during the First Sino-Japanese War. McWatt is made of this woman and more: those who arrived in British Guiana from India as indentured labour and those who were brought from Africa as cargo to work on the sugar plantations; colonists and those whom colonialism displaced. How do you tick a box on a census form or job application when your ancestry is Scottish, English, French, Portuguese, Indian, Amerindian, African and Chinese? How do you finally answer a question first posed to you in grade school: "What are you?" And where do you find a sense of belonging in a supposedly "post-racial" world where shadism, fear of blackness, identity politics and call-out culture vie with each other noisily, relentlessly and still lethally?     Shame on Me is a personal and powerful exploration of history and identity, colour and desire from a writer who, having been plagued with confusion about her race all her life, has at last found kinship and solidarity in story.

The killing of Trayvon Martin in 2012 by a white assailant inspired the Black Lives Matter movement, which quickly spread outside the borders of the United States. The movement's message found fertile ground in Canada, where Black activists speak of generations of injustice and continue the work of the Black liberators who have come before them.   Until We Are Free contains some of the very best writing on the hottest issues facing the Black community in Canada. It describes the latest developments in Canadian Black activism, organizing efforts through the use of social media, Black-Indigenous alliances, and more. "Until We Are Free busts myths of Canadian politeness and niceness, myths that prevent Canadians from properly fulfilling its dream of multiculturalism and from challenging systemic racism, including the everyday assaults on black and brown bodies. This book needs to be read and put into practice by everyone." --Vershawn Young, author of Your Average Nigga: Performing Race, Literacy, and Masculinity and co-author of Other People's English: Code Meshing, Code Switching, and African American Literacy Contributors:  Silvia Argentina Arauz - Toronto, ON  Leanne Betasamosake Simpson - Toronto, ON  Patrisse Cullors - Los Angeles, CA Giselle Dias - Wilfrid Laurier University, Waterloo, ON OmiSoore Dryden - Dalhousie University, Halifax, NS Paige Galette - Whitehorse, YK Dana Inkster - University of Lethbridge, Lethbridge, AB  Sarah Jama - Hamilton, ON El Jones - Mount Saint Vincent University, Halifax, NS Anique Jordan - Toronto, ON Dr. Naila Keleta Mae - University of Waterloo, Waterloo, ON Janaya Khan - Los Angeles, CA Gilary Massa - York University, Toronto, ON Robyn Maynard - University of Toronto, Toronto, ON QueenTite Opaleke - Toronto, ON Randolph Riley - Halifax, NS Camille Turner - York University, Toronto, ON Ravyn Wngz - Toronto, ON  

'There is, as you pick it up, nothing to prepare you for its power' OBSERVER'Quite simply, one of the most beautiful books I have ever read' AMINATTA FORNAHow do we navigate our complex histories for our children? What is our duty to share and what must we leave for them to discover? Writing to his daughter, David Chariandy asks difficult, unsettling, perhaps impossible questions - questions made all the more poignant by our current political landscape.With tender, spare and luminous prose, Chariandy looks both into his heart and mind and out to the world and humanity.In the tradition of Ta-Nehisi Coates and Chimamanda Ngozi Adichie, this is a book about race; this is a book about family.

Delving behind Canada's veneer of multiculturalism and tolerance, Policing Black Lives traces the violent realities of anti-blackness from the slave ships to prisons, classrooms and beyond. Robyn Maynard provides readers with the first comprehensive account of nearly four hundred years of state-sanctioned surveillance, criminalization and punishment of Black lives in Canada. While highlighting the ubiquity of Black resistance, Policing Black Lives traces the still-living legacy of slavery across multiple institutions, shedding light on the state's role in perpetuating contemporary Black poverty and unemployment, racial profiling, law enforcement violence, incarceration, immigration detention, deportation, exploitative migrant labour practices, disproportionate child removal and low graduation rates. Emerging from a critical race feminist framework that insists that all Black lives matter, Maynard's intersectional approach to anti-Black racism addresses the unique and understudied impacts of state violence as it is experienced by Black women, Black people with disabilities, as well as queer, trans, and undocumented Black communities. A call-to-action, Policing Black Lives urges readers to work toward dismantling structures of racial domination and re-imagining a more just society.

Halifax's former Poet Laureate Afua Cooper and photographer Wilfried Raussert collaborate in this book of poems and photographs focused on everyday Black experiences. The result is a jambalaya -- a dialogue between image and text. Cooper translates Raussert's photos into poetry, painting a profound image of what disembodied historical facts might look like when they are embodied in contemporary characters. This visual and textual conversation honours the multiple layers of Blackness in the African diaspora around North America and Europe. The result is a work that amplifies black beauty and offers audible resistance.

NATIONAL BESTSELLER   Winner of the Rakuten Kobo Emerging Writer Prize for Nonfiction Nominated for the Evergreen Award A powerful, moving memoir about what it's like to be a student of colour on a predominantly white campus. A booksmart kid from Toronto, Eternity Martis was excited to move away to Western University for her undergraduate degree. But as one of the few Black students there, she soon discovered that the campus experiences she'd seen in movies were far more complex in reality. Over the next four years, Eternity learned more about what someone like her brought out in other people than she did about herself. She was confronted by white students in blackface at parties, dealt with being the only person of colour in class and was tokenized by her romantic partners. She heard racial slurs in bars, on the street, and during lectures. And she gathered labels she never asked for: Abuse survivor. Token. Bad feminist. But, by graduation, she found an unshakeable sense of self--and a support network of other women of colour. Using her award-winning reporting skills, Eternity connects her own experience to the systemic issues plaguing students today. It's a memoir of pain, but also resilience.

"Brand turns her clear, unflinching eye to issues of sex and sexism: male violence toward women; how Black women learn the erotic; the vulnerability of Black female life in the city; and the stereotypes of Black females in popular culture. She looks at the denial of racism by the white liberal cultural elite, the centrality of 'whiteness' in definitions of North American culture, the responses of the dominant culture to difference, and white appropriation and representations of Black culture. The history and experience of Toronto's Black community are illuminated in essays charting the differing issues and politics confronting white and Black immigrant groups, the growth of the Black consciousness movement, and the coming of age and the inner lives of a new generation of Blacks in the city." "And she examines her personal history, further exploring her themes as she journeys home to Trinidad, tells of being turned down for a job, describes becoming a leftist, reviews her influences as a poet, and considers the process of filmmaking as a metaphor for the way each of us makes decisions about what we will - and will not - see."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

Theorizing Empowerment: Canadian Perspectives on Black Feminist Thought is a collection of articles by Black Canadian feminists centralizing the ways in which Black femininity and Black women's experiences are integral to understanding political and social frameworks in Canada. What does Black feminist thought mean to Black Canadian feminists in the Diaspora? What does it means to have a feminist practice which speaks to Black women in Canada? In exploring this question, this anthology collects new ideas and thoughts on the place of Black women's politics in Canada, combining the work of new/upcoming and established names in Black Canadian feminist studies.

Winner, Writers' Trust of Canada Dayne Ogilvie Prize for LGBTQ2S+ Emerging Writers Shortlisted for the Pat Lowther Memorial Award and the Gerald Lampert Memorial Award In The Gospel of Breaking, Jillian Christmas confirms what followers of her performance and artistic curation have long known: there is magic in her words. Befitting someone who "speaks things into being," Christmas extracts from family history, queer lineage, and the political landscape of a racialized life to create a rich, softly defiant collection of poems. Christmas draws a circle around the things she calls "holy": the family line that cannot find its root but survived to fill the skies with radiant flesh; the body, broken and unbroken and broken and new again; the lover lost, the friend lost, and the loss itself; and the hands that hold them all with brilliant, tender care. Expansive and beautiful, these poems allow readers to swim in Jillian Christmas's mother-tongue and to dream at her shores.