Canisia Lubrin

Windham-Campbell Prize, Winner OCM Bocas Prize for Caribbean Literature, Winner OCM Bocas Prize for Caribbean Literature Poetry, Winner Griffin Poetry Prize, Finalist Derek Walcott Prize for Poetry, Finalist Rebel Women Lit Caribbean Reader's Awards, Finalist Governor General's Literary Award for Poetry, Finalist Trillium Book Award for Poetry, Finalist Raymond Souster Award, Longlist Pat Lowther Memorial Award, Longlist Quill & Quire 2020 Books of the Year: Editor's Picks CBC Best Canadian Poetry of 2020 Winnipeg Free Press Top 10 Poetry Picks of 2020 The Paris Review, Contributor's Edition, Best Books of 2020 The Dyzgraphxst presents seven inquiries into selfhood through the perennial figure Jejune. Polyvocal in register, the book moves to mine meanings of kinship through the wide and intimate reach of language across geographies and generations. Against the contemporary backdrop of intensified capitalist fascism, toxic nationalism, and climate disaster, the figure Jejune asks, how have I come to make home out of unrecognizability. Marked by and through diasporic life, Jejune declares, I was not myself. I am not myself. My self resembles something having nothing to do with me.

The Dyzgraphxst

Bhanu Kapil

Una McCormack

David Naimon

Marilyn Strathern

Nisha Ramayya

Federico Campagna

Daniel Heath Justice

Theo Downes-Le Guin

Shoshone Collective

Standard Deviation

When Ursula K. Le Guin started writing a new story, she would begin by drawing a map. The Word for World presents a selection of these images by the celebrated author, many of which have never been published before, to consider how her imaginary worlds enable us to re-envision our own. 

Le Guin’s maps offer journeys of consciousness beyond conventional cartography, from the Rorschach-like archipelagos of Earthsea to the talismanic maps of Always Coming Home. Rather than remaining within known terrain, they open up paradigms of knowledge, exemplified by the map’s edges and how a map is read, made and re-made, together. The Word for World brings her maps together with poems, stories, interviews, recipes and essays by contributors from a variety of perspectives to enquire into the relationship between worlds and how they are represented and imagined.

The Maps of Ursula K Le Guin

The Word for World

Code Noir

Dionne Brand

Phoebe Wang

Orient yourself in the city with these nineteen works of creative non-fiction that offer a different, more multifarious wayfinding. In this second volume of The Unpublished City, imagination is the means by which these writers find detours, shortcuts and convergences. Even as they are inventing and imagining the city, these emerging Toronto-based writers find themselves marked through tender and violent encounters. For them, the city is more than backdrop, but a witness, an accomplice and a lover.This anthology's maps of experience bring us beyond the city's limits to the cul-de-sacs and vertical dimensions of Mississauga, Vaughan, North York and Scarborough. They follow buried creeks and migratory bird corridors, they chase highs and confront colonial landmarks, they navigate waiting rooms and prop up fallen strangers. Shaped by the city, their visions also shift and plot its architectures of living in an endless symbiosisThe Unpublished City Volume II features work by Jennifer Tamanique Batler, DM St. Bernard, Lue Boileau, Angela Britto, Fathima Cader, Rachel Chen, Aylan Couchie, Nehal El-Hadi, Ryanne Kap, Emily Macrae, Téa Mutonji, E. Martin Nolan, Oubah Osman, Deepa Rajagopalan, Natasha Ramoutar, Wayne Salmon, Zoe Imani Sharpe, Leanne Toshiko Simpson and Julia Zarankin. With a foreword by Tracey Lindberg.

Volume II

The Unpublished City

Voodoo Hypothesis

Winner of the Carol Shields Prize for Fiction * Finalist for the Atwood Gibson Writers' Trust Fiction Prize * A Globe and Mail Best Book of 2024 'A revelation... Lubrin is one of the finest writers and thinkers of our time.' Maaza Mengiste 'Code Noir is storytelling at its deepest and most intimate.' Dionne Brand *** A dazzling political tour de force from multi-award-winning author Canisia Lubrin The original Code Noir was an infamous set of fifty-nine decrees passed by King Louis XIV. The Code enforced strict rules governing the lives of slaves in the French colonies for over a hundred years. Canisia Lubrin's stunning debut brings together fifty-nine linked fictions, riffing on the historical to take an electrifying new look at the present day. Interspersed with original black-and-white drawings by acclaimed visual artist Torkwase Dyson, this inventive, shape-shifting braid of narratives ranges from contemporary reality to unexpected dystopia, futuristic fantasy to historical adventure. Linked by the determination of individuals to look beyond official decrees, beyond the ruins of the past, and to create meaning – and freedom – for themselves, the fictions of Code Noir combine immense literary and political force in unforgettable, multi-layered fragments.

Windham-Campbell Prize, Winner OCM Bocas Prize for Caribbean Literature, Winner OCM Bocas Prize for Caribbean Literature Poetry, Winner Griffin Poetry Prize, Winner Derek Walcott Prize for Poetry, Winner Rebel Women Lit Caribbean Readers' Awards, Finalist Governor General's Literary Award for Poetry, Finalist Trillium Book Award for Poetry, Finalist Raymond Souster Award, Longlist Pat Lowther Memorial Award, Longlist Quill & Quire 2020 Books of the Year: Editor’s Picks CBC Best Canadian Poetry of 2020 Winnipeg Free Press Top 10 Poetry Picks of 2020 The Paris Review, Contributor's Edition, Best Books of 2020 The Dyzgraphxst presents seven inquiries into selfhood through the perennial figure Jejune. Polyvocal in register, the book moves to mine meanings of kinship through the wide and intimate reach of language across geographies and generations. Against the contemporary backdrop of intensified capitalist fascism, toxic nationalism, and climate disaster, the figure Jejune asks, how have I come to make home out of unrecognizability. Marked by and through diasporic life, Jejune declares, I was not myself. I am not myself. My self resembles something having nothing to do with me.

Canisia Lubrin

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