National Network for Equitable Library Service

<p>Homelessness is not new to Vancouver. There have been homeless people in Vancouver since it was founded in 1886.

<p>From the author of <i>Dead Man in the Orchestra Pit</i> and <i>Foozlers</i> comes another tale of madcap human folly.</p> <p>Louella Debra Poule is doin

<p><i>Further Confessions of a Small Press Racketeer</i> takes up where Stuart Ross’s <i>Confessions of a Small Press Racketeer</i> left off in 2005.

<p><i>Valery the Great</i> is a crackling, electric collection of dark humour that follows the bizarre and beautiful lives of its protagonists.

<p>Winner, SFU Writer's Studio's First Book Competition (2010)</p> <p>Winner, Canadian Authors Association Exporting Alberta Award (2011)</p> <p>Unmarried an

<p>Second Prize Winner, Canada's National One-Act Playwriting Competition (1994)</p> <p><i>Shylock</i> is an award-winning play about a Jewish actor who finds him

<p>Winner, 3-Day Novel Contest (2013)</p> <p>Joshua Chapman Green is searching for answers.

<p>The year is 1964 and first-time film director Alan Schneider is about to embark on a project combining the talents of Buster Keaton and Samuel Beckett.

<p>Dodging down back-alleys in bomb-torn Beirut. Wheeling past God and traffic in Mombassa, Kenya.

<p><i>Atomic Storybook</i> is a novel about a young painter named Owen who is regularly abducted by beings he calls “the space pricks.” These otherworldly visitors perform experim

<p>Kobzar Literary Award, Finalist</p> <p>Eric Hoffer Award, Shortlist</p> <p>City of Victoria Book Prize, Finalist</p> <p>Vancouver, summer 1962.

<p>Winner of the W.O.

<p>Winner, City of Victoria Butler Book Prize</p> <p>Finalist, Charles Taylor Prize for Literary Non-Fiction</p> <p>Nominated for the BC National Award for Canadian No

<p>In prose that’s as sharp as broken glass and shot through with poetry, Teresa McWhirter unlocks the extraordinary subculture of urban adults in their twenties and early thirties.

A bold, vibrant panorama of the Great Depression by “the moral voice of the American stage” (The New York Times).