Canadian Books in French: A bouquet of stories and perspectives
This publication is an initiative of the Regroupement des éditeurs franco-canadiens (REFC), which brings together French-language publishers located outside of Quebec, produced in partnership with Librairies indépendantes du Québec, a cooperative of independent booksellers operating under the Les libraires banner.
The REFC supports the development of the literary sector and the promotion of Franco-Canadian literature. It strengthens and expands its members’ expertise through a partnership-driven, collaborative approach, organizing joint initiatives to foster representation, promotion, distribution, and market development. At the heart of an active publishing network, it reaches an ever-growing audience, both locally and beyond. We are guided by values such as solidarity, commitment, openness, and perseverance.
The mission of independent bookstores revolves around proximity, diversity, and service. They are spaces for expert advice, open to discovery.
Les libraires is a collective of 122 independent bookstores across Quebec, the Maritimes, Manitoba, and Ontario. It includes a transactional website (leslibraires.ca), a literary news magazine (Les libraires), and a reading-sharing community (quialu.ca).
Publication leads:
Piedad Sáenz and Vicky Sanfaçon
Cover illustration and other artwork: Josée Duranleau
Content selection: Piedad Sáenz, Noureddine Hany, and Mathieu Ricard
Writing and interview production: Vicky Sanfaçon
Copyediting: Danielle LeBlanc
English translation: Laura Schultz
Design and layout: Rémy Grondin
Printed in Quebec by : Publications Lysar
The REFC acknowledges that its offices are located on the unceded territory of the Algonquin Anishinaabe Nation, here since time immemorial.
The prices listed in this catalogue are for reference only and may change. Prices in effect at the time of purchase will be listed in bookstores and on leslibraires.ca. The translations in this catalogue are for informational purposes only.
This symbol indicates books translated from English.
Scan this QR code to access the digital catalogue. All the other QR codes in this catalogue redirect to leslibraires.ca or to the publisher’s website.
We extend our thanks to the partners below, whose invaluable support enables us to carry out this project and promote Franco-Canadian literature.
DEAR READERS, PARTNERS, AND FRIENDS OF CANADIAN LITERATURES IN FRENCH
We’re delighted to present this catalogue showcasing works published by the members of the Regroupement des éditeurs franco-canadiens (REFC), which brings together French-language publishers from across Canada. Designed for bookstores, libraries, and schools, the catalogue highlights bold titles that reflect the diversity and creativity of our literature.
Much more than a booklist, this catalogue is an invitation to discover unique voices and stories that are deeply rooted in our communities, as well as works that celebrate the cultural richness of Francophone and First Nations communities across Canada. Whether you’re looking for captivating fiction or nonfiction titles, plays, poetry, or children’s books, our carefully curated selection will leave a mark on readers from all walks of life.
This catalogue is part of a greater vision. Through partnerships with Frenchand English-language bookstores across the country, we are strengthening the presence of Canadian literature in French while fostering lasting ties between authors, readers, and the entire literary ecosystem.
We’d like to thank our partners, the Librairies indépendantes du Québec cooperative (LIQ) and the Canadian Independent Booksellers Association (CIBA), as well as Ontario Creates, the Canada Council for the Arts, and the Fédération culturelle canadienne-française (FCCF) for their financial support.
REFC
President
STÉPHANE CORMIER
WRITING IN FRENCH FROM COAST TO COAST
French-language literature has existed since the time of New France across Acadie, Quebec, Ontario, and Manitoba. In other words, Acadian, FrancoOntarian, Franco-Manitoban, and other Francophone Western Canadian literature, now collectively referred to as Franco-Canadian literature, has a long history. From colonial literature to French Canadian, provincial, or regional literature, the journey has been marked by challenges and achievements. Read on to learn more about this rich heritage.
BY LUCIE HOTTE, PROFESSOR AT THE UNIVERSITY OF OTTAWA ARTICLE
Pens that blazed trails
Anyone with an interest in Franco-Canadian literature will have heard of the luminaries who ushered in a new era in French-Canadian literature between 1867 to 1969: Gabrielle Roy (Manitoba), Antonine Maillet (New Brunswick), and Jean Éthier-Blais (Ontario). All three established their careers in Quebec since there were no French-language publishers outside of the province prior to 1972. There was a fairly active literary scene in larger cities such as Ottawa, but the capital was undoubtedly an exception at the time. Other, lesser-known writers included Ronald Després, an Acadian based in Ottawa, and playwrights such as Ontario’s Régis Roy, whose plays were very popular in the 19th century. Although works by Gabrielle Roy, Antonine Maillet, and Jean Éthier-Blais are still being read, the same cannot be said for Régis Roy or Ronald Després, even though their work was considered modern at the time. Even today, Després’ novels can be difficult to track down. The generation that took the stage in 1970 wanted to distinguish themselves from their predecessors. These writers stood out for their avant-garde linguistic, thematic, and institutional choices.
What language do
Franco-Canadian writers write in?
Franco-Canadian writers live in areas where French is a minority language. Since they frequently master both official languages, they can choose to write in either English or French—or even in different regional forms of French. In La Sagouine, Antonine Maillet writes in Acadian, a choice that enables her to underscore the otherness of Acadie to a Quebec readership while drawing connections to the languages spoken in different regions of Quebec. Writing in the vernacular has become increasingly common, though many authors still choose to write in standard French. Bringing local languages to literature is an ideological choice for many writers; it is a way to celebrate regional differences and counter everpresent linguistic insecurity. While theatre is a genre of choice for showcasing orality (e.g., André Paiement, Jean-Marc Dalpé, or Michel Ouellette in Ontario; Marc Prescott in Manitoba), common speech is also present to varying degrees in novels, short stories, and poetry.
Even as leading poets in the 1970s—including Herménégilde Chiasson (New Brunswick), Andrée Lacelle (Ontario), Paul Savoie (Manitoba-Ontario), and J.R. Léveillé (Manitoba)—favoured standard French to tackle universal themes, others, especially the generation that followed, were quick to embrace the vernacular. This is evident in the work of Georgette LeBlanc (Nova Scotia), who includes words in Acadjonne, the language of Baie Sainte-Marie, in her collections Alma, Amédé, and Prudent . Her novel Le Grand Feu is also written in this musical language, though she reverts to standard French for her most recent collection, Petits poèmes sur mon père qui est mort , where the gentle, straightforward language reads like a lullaby. Several poets in southern New Brunswick pay tribute to Chiac [the dialect of southeastern New Brunswick]; Gérald Leblanc uses it sparingly, despite titling one of his collections Éloge du chiac. Chiac becomes a recurring theme in the work of France Daigle (Pas pire, Un fin passage, Petites difficultés d’existence, and Pour sûr), whereas her earlier work employed a pared-down language marked by the ellipsis, or what became known as the Acadian litote. (Many of Daigle’s works have been translated into English by Robert Majzels.) Although France Daigle’s earlier work sidesteps the need to make her characters speak, she was confronted with this challenge when she began writing plays for the theatre company Moncton Sable.
A desire for authenticity led to the use of Chiac—a literary variation that was more accessible to readers. In Ontario, Franco-Ontarian Joual, very similar to its Quebecois, was popularized in the 1980s through the works of novelist Daniel Poliquin and poet Patrice Desbiens. Writing in the vernacular was much less common further west, although using English was becoming increasingly popular. Pierrette Requier’s magnificent poetry collection, details from the edge of the village, was written in both French and English; certain poems, such as “Notre père” and “Our Father,” echo each other. This fluidity becomes a central theme of Marc Prescott’s play, Sex, Lies et les FrancoManitobains . The use of local varieties of French, sometimes with passages written in standard French or in English, infuses these works with an evocative power. For readers in Quebec or elsewhere, there is an exotic feel that sparks interest. Regional forms of French convey a sense of authenticity, enabling writers to capture a community’s essence and showcase its particularities. Nevertheless, standard French remains the norm. We must be wary of preconceived ideas regarding Franco-Canadian literatures. If associated with a rise in identity politics, these literatures are unlikely to be focused on themes of regional identity. Franco-Canadian literature speaks to the full range of human experience found in all literatures. Now invested with literary institutions of its own, Franco-Canadian literature is flourishing.
ÉDITIONS DU PACIFIQUE NORD - OUEST
Vancouver (British Columbia)
Éditions du Pacifique Nord-Ouest, based in Vancouver, British Columbia, represents a community of Franco-Canadian authors who are passionate about their craft. Since 2020, Éditions du Pacifique Nord-Ouest has worked to spotlight local writers by publishing fiction titles that reflect the realities of their communities and nonfiction titles about regional issues.
ÉDITIONS DE LA NOUVELLE PLUME
Regina (Saskatchewan)
Founded in 1984 and based in Regina, Saskatchewan, Éditions de la nouvelle plume is committed to representing a linguistic minority keen to express its history, experience, and imagination in French. It supports emerging voices and diverse perspectives by showcasing French-language authors from Western and Northern Canada, enabling them to reach readers of all ages and backgrounds.
FICTION
MARIAGE PAR CONTUMACE [Marriage in Absentia]
Nouemsi Njiké, Prise de parole, 212 p., $24.95, ISBN: 9782897444587
Olivia Lavigne is denied a line of credit because her husband has just taken out a loan… but she’s not married. Oyono Tchakounté accidentally uncovers an American political and military secret—a mission even the President doesn’t know about. One twist follows another in the charming and hilarious Mariage par contumace, a delightful romp at the crossroads of investigative fiction, political thriller, and romantic comedy.
LE RADEAU [The Raft]
Jean-Pierre Dubé, Les Éditions du Blé, 402 p., $24.95, ISBN: 9782924915691
Le radeau tells the story of six siblings who come together twice over a meal to make up for years of silence and separation. Thomas, the youngest, gathers his brothers and sisters to celebrate Saint-Jean-Baptiste Day. Despite appearances, the six siblings barely know each other, and each is hiding a dark secret.
UN PETIT BAR DE VILLAGE ET AUTRES NOUVELLES SANS CONSÉQUENCES
[The Only Bar in Town and Other Unremarkable Stories]
Jean-Pierre Picard, La nouvelle plume, 104 p., $16, ISBN: 9782924237953
Our lives are marked by the places we go, the people we meet, and the dreams we have. For some, these experiences seem inconsequential. But for Jean-Pierre Picard, they become sources of inspiration that inform a writing style blending fiction with memory. Un petit bar de village offers 25 radiant short stories guaranteed to stir emotions.
Dévorés is set in a dystopian world where a terrifying wasp-like insect ravages everything in its path, even humans. Life on Earth has become hell—misery, chaos, and desolation plague the survivors, who must also fight over what’s left. But there’s hope. An island in Lake Ontario may have been spared from the disaster. Reaching it, however, is an enormous risk. Jack has nothing left to lose.
Rivières-aux-Cartouches was written the way a village is built—upon tales from the woods, hair salon gossip, family secrets, schoolyard rumours, confessions, and lies. But if you shut your trap and listen, you’ll hear the voices blending into one—the voice of the village. That’s Rivières-aux-Cartouches.
WELSFORD
Claude Guilmain, Prise de parole, 274 p., $25.95, ISBN: 9782897444112
Human remains have been found beneath a swimming pool in Don Mills. It turns out that in the 1970s, I lived across from the house where the body was discovered. The chief inspector of the Toronto Police Service invited me to join the investigation. I accepted. I remember when the pool’s concrete was poured nearly 50 years ago—the body was probably buried the night before.
Elsa is an extraordinary woman who loves spiders and finding treasures of all kinds. Since childhood, she has collected objects to the point of cluttering her home until it becomes unlivable. Her hoarding damages her relationships and leads her to meet a series of ragtag characters, each one quirkier than the last.
NOUS, JANE [We, Jane]
Aimee Wall (trans. by Geneviève Robichaud and Danielle LeBlanc), Perce-Neige, 240 p., $25, ISBN: 9782896914418
Searching for meaning in her life, Marthe begins an intense friendship with an older woman, also from Newfoundland. This woman tells her a story of purpose and of duty that goes by the name of Jane. Nous, Jane probes the importance of care work by women for women, underscores the complexity of relationships in close circles, and beautifully captures the inevitable heartache of understanding home.
Franco-Ontarian writer Didier Leclair is a global citizen. Born in Montreal, he spent his childhood in Africa before moving back to the country of his birth at 18. He breaks down borders through literature, using words to amplify the voices and experiences that shape and enrich society.
INTERVIEW BY VICKY SANFAÇON
Beginning with your first novel, Toronto, je t’aime (Terre d’accueil), identity seems to be a common theme that is woven through your other work. Can you tell us more about what defines this identity?
I believe identity is the critical issue of the 21st century. Diverse communities now exist all over the world. To me, a 21st-century identity is flexible and multifaceted. That’s why being a Franco-Ontarian writer doesn’t prevent me from also being African and Rwandan. You can pick up Le complexe de Trafalgar (Vermillon), whose protagonist is a Franco-Ontarian man born in Ontario, or opt for Ce pays qui est le mien (Vermillon) and follow Apollinaire, a taxi driver from Toronto born in central Africa.
Your novels, particularly Le prince africain, le traducteur et le nazi (Éditions David), feature marginalized characters who are often people of colour. Why is it important for you to tell these stories? What responsibility does the writer have for these often overlooked stories?
People on the margins of history don’t control the narrative. They live their lives and read stories about themselves, but they aren’t the ones telling them. History books in Canada and elsewhere are full of stories written by the conquerors. I try to give a voice to people who don’t recognize themselves in the official narrative. Take my latest novel, for example, the victors of World War II often forget to include communities of colour in the fight against Nazi Germany. But there were African soldiers and Black spies like Josephine Baker who put their lives on the line to defeat fascism. My responsibility is to seek out the truth. The characters in my latest novel actively oppose Hitler; they save lives. I’m planning to turn their story into a series.
What challenges do you face as a writer and as an individual living and working in a minority language? Does writing in French offer any hidden advantages or unique opportunities, especially in a predominantly English-speaking environment?
There are many challenges to being a Black writer in Canada. That’s why some of my colleagues and I founded an association for French-speaking African writers called CAFAC (Conseil des auteurs et auteures francophones afro-canadiens et afro-canadiennes).
It’s still early days, but the long-term goal is to highlight the contributions of Afro-Canadian writers. We’re trying to minimize the challenges and obstacles for future generations. Being a French speaker is a double-edged sword. On one hand, it can help you land a bilingual job and survive in Toronto, a very expensive city. It also allows you to enroll your children in French school, if you want to give them the same advantage you have. However, it’s very difficult for Franco-Ontarian artists to get their work translated. It’s a slow process. As a result, few English-speaking Ontarians are familiar with your work, even though you speak their language.
Writing a book means leaving a lasting legacy. With over ten books to your name, what is the legacy you hope to leave for future generations?
Writing is absolutely about leaving a legacy. That said, how my work is received depends on who is in charge of the literature. If researchers, professors, and readers continue to access my work after I die, my legacy will remain visible. I hope this will be the case so that future generations will know I wasn’t a bystander to history. Through my work, I have tried to point readers in the direction of progress.
APPRENTISSAGE ILLIMITÉ/ AHA LEARNING
Winnipeg (Manitoba)
Founded in 1995 in Manitoba, Apprentissage Illimité/AHA Learning is a publisher, creator, and retailer of educational and literary resources in French, Spanish, and English for all ages. As passionate pedagogical specialists, the publishing house offers a variety of dynamic and interactive resources that help learners succeed and thrive. Driven by a passion for languages and culture, Apprentissage Illimité/AHA Learning strives to make a difference by promoting learning and draws on its knowledge and skills to grow and innovate.
VIDACOM PUBLICATIONS
Winnipeg (Manitoba)
Based in Winnipeg, Manitoba, Vidacom Publications publishes titles from Canadian authors in both official languages, covering a wide range of subjects, including history, nature, photography, and Indigenous perspectives. Along with the Éditions des Plaines imprint, a publisher of French-language books for over 45 years, Vidacom’s catalogue boasts over 400 titles featuring general literature, children’s books, Indigenous titles, and educational resources.
Novelist, poet, essayist, translator, editor, and Franco-Manitoban intellectual, J.R. Léveillé offers readers the critical perspective of an exceptional artist in constant evolution. With a career spanning more than 50 years dedicated to advocating for, teaching, and enriching Franco-Manitoban culture, he is a privileged witness to the evolution and vibrancy of a literature deeply rooted in the vastness of its land and the diversity of its people.
INTERVIEW BY VICKY SANFAÇON
You edited Poésie franco-ouestienne 1974-2024, an anthology that not only marks the 50th anniversary of Éditions du Blé but also provides readers with a comprehensive overview of Francophone poetry from Western Canada, from Manitoba to Alberta, British Columbia, Nunavut, Saskatchewan, and the Northwest Territories. How would you define the identity of Francophone Western Canadian poetry, and what sets it apart from broader Franco-Canadian literature? We grouped these provinces and territories together because of the physical distance that separates them from Eastern Canadian cultural centres. This geographical remoteness limits the reach of Frenchlanguage writing from Western Canada. There isn’t a distinct Francophone Western Canadian poetry any more than there is a distinct Francophone Eastern Canadian poetry. It is just as rich, diverse, and surprising. While the vast landscape may seem like a defining feature, the North is shaped by geographies that are very different from the Prairies. Some voices have found their footing in the legacy of Métis resistance, while Francophone poetry in British Columbia, for example, is strongly influenced by international Francophonie. This poetry emerges at the crossroads of cultures, shaped by regional accents, American media influences, and a hybridity of expressive forms. Above all, our goal was to highlight this plural singularity that, in all its expressions and like all poetry, engages with the very essence of speech.
As the author of more than 30 works—as a poet, novelist, and essayist—your voice evolves and unfolds through a multifaceted body of work. What essential themes run through your creations, and how does exploring different genres allow you to deepen and re-examine these same themes?
I have always practised, perhaps due to my classical training, a reflective, almost Rimbaudian form of writing: “a thought sung and understood by the singer.” Labels highlight a direction or a tone, but I can do without them. It is about letting the very construction of the instrument speak, alongside the composition of the harmonies and melodies that emerge from it. This interplay is generative, renewable, always new, and self-sustaining. It results in both the pleasure in writing and a writing of pleasure, a spirituality and an eroticism of composition.
Rooted in the landscape of Western Canada, some of your works—such as Sûtra (Éditions du Blé) and Poème Pierre Prière (Éditions du Blé)—draw inspiration from Zen philosophy. How does this fusion of Eastern and Western thought and philosophy shape your creative process?
As a teenager, I developed an interest in pre-Socratic philosophy. I believe in the Epicurean concept of clinamen. Taoism and Zen came to me naturally. These two ways of thinking have a lot in common. They both place us before the great Void, in other words, immediacy. This form of metaphysics also has a physical component, a way of appreciating nature and the present moment—almost a kind of sweetness, I would say. The result is an absolute freedom in writing.
In 2019, Éditions du Blé launched the Nouvelle Rouge collection, a space dedicated to emerging voices in Francophone literature from Western Canada. As the director of this collection, could you give us a glimpse into the future of Francophone Western Canadian literature?
Much like Poésie franco-ouestienne , this future will be diverse and will continue to evolve, but it will ultimately be shaped by its own productions. Young artists have often gravitated toward music, theatre, and visual arts, as the direct relationship with language can sometimes feel intimidating. This collection aims to provide a space for a new generation to engage with literature and imagine their own forms with “permission to deviate from style.” So far, we have published poetry and theatre, ranging from metaphysical to lyrical poetry, and from queer, autobiographical, and language-driven theatre. The collection remains open to discovery.
Mille poèmes pour habiter l’existence is a collection brimming with life and hope for humanity, despite the forces threatening to tear it apart. Here, poetry breaks free from the hatred driven by the world’s unbridled fears. This river of poetry is a text, a breath, drawing us into the maze of the human soul.
EN TERRAIN MINÉ
[Minefields]
Véronique Sylvain, Prise de parole, 194 p., $24.95, ISBN: 9782897444617
A poignant and lucid poetic testimony addressed to “her,” En terrain miné looks back on the childhood of a person coming to terms with a neurological disorder. As she struggles to live within her body, trust her memory, and break free from her surroundings, she gradually comes to terms with her scars and discovers healing through nature and the written word.
ACADIE ROAD
Gabriel Robichaud, Perce-Neige, 168 p., $20, ISBN: 9782896912797
The title of Gabriel Robichaud’s third collection of poetry is both a nod and a tribute to the classic Acadie Rock by Guy Arsenault. Robichaud invites the reader on a distinctive guided tour of Acadie, so sit in the passenger seat and watch the shifts in the landscape, enjoying the guide’s self-deprecating humour and pointed quips.
DÉCHIRURES VERS L’AVENIR [Tearing Towards the Future]
Collective, edited by Jonathan Roy, Perce-Neige, 608 p., $45, ISBN: 9782896914791
Déchirures vers l’avenir is somewhat of a rebellious anthology that brings together 70 poets and eschews the traditional anthology format to create a multi-faceted representation of modern Acadie. Divided into five distinct collections, these poems are an invitation to revisit classics in the catalogue, as well as a tribute to the character and audacity that have anchored Perce-Neige at the heart of Acadian poetry for almost half a century.
More than ever, theatre acts as a mirror for our multicultural community. The stage becomes a springboard for multiple identities; the text is a space for spectators to see themselves while encountering the other. Johanne Parent, a playwright from Campbellton, New Brunswick, invites audiences to explore intersecting identities in her play Ornithorynques, published by Éditions Perce-Neige. The text weaves together a range of universal and deeply human emotions, while remaining firmly rooted in the language and orality of northern New Brunswick.
INTERVIEW BY VICKY SANFAÇON
Your play Ornithorynques (Perce-Neige) takes its name from the platypus, an animal so singular that it’s nearly unclassifiable. Halfway between a duck and a beaver, the platypus displays characteristics of mammals, birds, fish, and reptiles. And yet, these wildly disparate elements are brought together in a harmonious whole. Is this a metaphor for the characters you write about— characters that are both contradictory and consistent in their complexity? I like to say that I write plays for people who don’t go to the theatre. I come from a tradition of resourceful northern New Brunswickers who have to find ways to make ends meet. This is my social class. These are my people. Of course, it’s an artistic and perhaps even political choice to give them a voice.
Ornithorynques tells the story of a family living on the margins, although it goes far beyond this portrait: the play is a profound exploration of human connection and emotion. What makes drama particularly well suited to examining these issues?
Theatre is sacred; it always has been. It’s where an individual sacrifices part of themselves for the greater good of the group. In this sense, theatre is the ideal medium to explore human connection. The magic happens when an actor is able to communicate raw human emotion in front of the audience.
Orality plays an important role in your writing. Your characters converse in a seamless blend of French and English, using an informal, imperfect syntax that nonetheless conveys authenticity. How does this approach root the text in a specific place while giving a voice and visibility to those who live there?
If I want to talk to my people, I have to do it in our language, in our French accent. The standard French typically used in interviews or other formal situations doesn’t really exist in my daily life. Not in most places, at least. We don’t speak THE French language—we speak in ONE variety of the many Frenches that exist in America. Those of us who have a platform must use it in a way that reflects the reality of our communities.
Your plays are performed all over Canada, from Moncton to Carleton (Gaspésie), Quebec City, and Montreal. Do you find that your work is received differently by different audiences, depending on whether they are predominantly Frenchor English-speaking? How does the linguistic context influence the reception of your plays?
Our audiences have mostly been French-speaking, since the two theatres that co-produced the show, Moncton’s théâtre l’Escaouette and Carleton-sur-Mer’s Théâtre À tour de rôle, are French-speaking companies that produce work for French-speaking audiences. That said, I know a number of English speakers who attended the show and reported that the emotions crossed the language barrier.
DRAMA
LES REMUGLES OU LA DANSE NUPTIALE EST UNE LANGUE MORTE
[Mustiness, or The Mating Dance Is a Dead Language]
Haunted by the smells of the past, Marie-Frédérique is in search of comforting contact. Élodie, meanwhile, is grappling with new pheromones. Arnaud is rearranging his natural habitat, while Julie’s is being invaded. In this biotope, no one dances the same dance. Unbeknownst to them, one thing connects them all—a FedEx guy whom no one bothers to notice.
BOUÉE [Buoy]
Céleste Godin, Prise de parole, 64 p., $13.95, ISBN: 9782897444204
In Bouée, a group of scientists embarks on updating the portrait of humanity. With a touch of absurd humour, the characters explore existential questions: What is our place in an infinite cosmos? Is there life elsewhere? Is another Earth possible for us? Are we even equipped to meet the Other? Why do we feel so alone when we’re surrounded by life?
DANS TOUS LES SENS [In All Directions]
Sarah Migneron and Valérie Desrochers, Prise de parole, 40 p., $21.95, ISBN: 9782897444853 Jo and Cam are best friends. Their adventures are boundless and they’d love to bring someone else into the mix. With words and materials, Jo and Cam set out on a new project. But can they create the friendship they long for without getting lost in the maze of language?
After an epidemic wipes out nearly the entire population, survivors wander in search of a better world. Road theatre set in a world on the brink, Murs is a post-apocalyptic thriller that questions what remains of humanity when civilization collapses.
LES ÉDITIONS DU BLÉ
Saint-Boniface (Manitoba)
Founded in Saint-Boniface, Manitoba in 1974, Éditions du Blé is a not-for-profit French-language publisher that publishes authors from Western and Northern Canada and stories inspired by this region. They publish approximately seven titles a year in a variety of genres: poetry, fiction, nonfiction, short stories, plays, and biographies.
ÉDITIONS DES PLAINES
Winnipeg (Manitoba)
Les Éditions des Plaines has been a proud partner in promoting literature in Western Canada since 1979. Based in Winnipeg, Manitoba, its rich and varied catalogue of over 400 titles showcases authors and stories rooted in the region. It publishes textbooks, children’s books, and collections featuring First Nations, Inuit, and Métis Peoples.
ÉDITIONS
PRISE DE PAROLE
Sudbury (Ontario)
Under the vast skies of Sudbury (Ontario), Éditions Prise de parole amplifies the stories that arise from the geographical, historical, and social fringes through the publication of literary works. Its mandate reflects a desire to promote works that shed light on the complexity and richness of French-Canadian minorities, as well as those of regional and Indigenous communities. Prise de parole has published over 500 titles since its foundation in 1973—novels, short stories, poetry and drama, studies and essays in the humanities and social sciences, as well as projects that fall outside the boundaries of established categories.
ÉDITIONS
TERRE D’ACCUEIL
Oshawa (Ontario)
Since 2018, les Éditions Terre d’Accueil, based in Oshawa, Ontario, has been publishing books for all ages by immigrant authors to Canada. Their mission is to give a voice to Canadian immigrants and bring their stories to a French-speaking readership. They aim to inspire readers with real-life tales of exceptional journeys, to educate through carefully curated content, and to publish talented voices who will leave their mark on the French-speaking literary scene in Ontario, Canada, and beyond.
If children’s literature is a treasure chest filled with endless possibilities, Marie-France Comeau—author of more than a dozen children’s books— has explored every nook and cranny. She uses words to shape wondrous worlds larger than life, enchanting young and old alike with her boundless and generous imagination.
INTERVIEW BY
VICKY SANFAÇON
Your latest book, Un bisou coquelicot (Bouton d’or Acadie), gently addresses the theme of war through the story of Aly, who spends Remembrance Day with her great-grandfather and learns about the Normandy landings and the experiences of veterans. How is children’s literature a particularly effective tool for introducing young readers to sensitive topics?
I firmly believe that any sensitive subject can be addressed, especially in children’s literature. Opening a book means opening one’s mind and heart to new realities. For Un bisou coquelicot, which explores the experiences of veterans, I wanted to find the right words to honour people like my uncle Léopold and my father-in-law Isidore—heroes without capes or superpowers who faced their fears with immense courage. I spent 10 years gathering firsthand accounts from both sides of the Atlantic, which allowed me to create touching characters that readers can relate to. All that remained was to pair the text with the talent of illustrator Jean-Luc Trudel, under the guidance of Bouton d’or Acadie, to turn this book into a true treasure.
Whether it’s cooking (Un monstre dans ma cuisine, translated into English as A Monster in My Kitchen, both with Bouton d’or Acadie) or colours (Au pays de Joffrey, Bouton d’or Acadie), every aspect of daily life becomes a thrilling playground in children’s literature. Why do these simple and familiar themes continue to inspire children’s authors and delight young readers?
Children and adults alike share a love for discovering unknown places. As soon as I learned to read, I wanted to read to younger children to introduce them to worlds where anything is possible—even if they resemble our own. It’s easy to imagine, while staying grounded in reality, that cookie dough might turn into a monster or that a magical kingdom could be covered in ice crystals that change colour with the seasons. Reality fuels imagination. As Kim Yaroshevskaya so beautifully said: “Inspiration is what your most subtle self can bring you—your
direct access to knowledge, without intermediaries or teachers.” It must be true—after all, a starry-eyed puppet said so.
In your view, what role do picture books and children’s literature play in developing empathy and essential human values in children?
There are many ways to teach children empathy, and the first is by setting an example. After all, we reap what we sow! While we should never underestimate children’s emotional intelligence, empathy remains an abstract concept. It is the ability to understand what others experience, feel, and expect by putting ourselves in their place. It’s about seeing the world with your heart. With everything that’s going on in the world today, we need to prioritize empathy in our societies. Books are excellent tools for raising awareness. Among those I particularly appreciate on this subject are Le conte du Petit Chaperon à l’envers by Leif Fearn, as well as Léo les chaussettes , Tommy Tempête, Sur la rue de Tout-le-Monde (the French translation of Sheree Fitch’s EveryBody’s Different on EveryBody Street ), L’étoile dans la pomme, and Histoire de galet—to name just a few from the publishing house Bouton d’or Acadie.
What is the importance of reading picture books and novels in French in a minority-language context, where most children leave French behind as soon as the school bell rings?
I’m convinced that the key to success lies in nurturing a love for the French language—not out of obligation, but by fostering a passion for literature. It’s a message we hear time and again: reading is essential. While our language is important, the freedom to choose what we read matters even more. To spark interest in reading, we must offer a wide selection of engaging books. That’s why we need to invest in our libraries and invite guest authors, publishers, booksellers, and enthusiasts. It’s worth pursuing any approach that fosters a love of reading and introduces children to worlds of endless possibilities through books.
Éli and his father, originally from Lebanon, have recently arrived in Canada. One night, Éli catches his father with raindrop-like tears on his cheeks—he has just lost his job. However, the sadness is only temporary and the pair begin to spend more time together. The country they left behind remains in their thoughts and is still part of their identity, but as time goes on, Éli and his father grow to love their new home.
L.O.U.P.E. (T. 1) : UNE TWIGA À OTTAWA [L.O.U.P.E. (Vol. 1): A Twiga in Ottawa]
When Viviane and Simon win first place in a drawing contest organized by the Kenyan embassy, they give new meaning to “winning big.” Their prize—a twiga—will take them to new heights. Follow along as the duo explores the nation’s capital on a one-of-a-kind urban safari in the first instalment of the L.O.U.P.E. series, dedicated to young sleuths.
L’ÉGOUT DU RISQUE
[A Nose for Danger]
Paul Roux, Pacifique Nord-Ouest, 128 p., $13.95, ISBN: 9782925064299
Vincent Dunais, a devoted lover of strong odours, dreams of exploring the city’s sewers. Cunning and determined, the teenager doesn’t hesitate to venture onto a construction site and slip underground into the dark, damp pipes, where incredible dangers await. A smelly story to read with bated breath!
CRAPAUD ET ROMARIN (T. 2) : MAUDE ET LE SPECTRE
[Toad and Rosemary (Vol. 2): Maude and the Spectre]
A dark force looms over Maude’s college campus. With her sidekicks Toad and Rosemary, Maude—who has only just come to terms with being a witch—must find a way to calm this threatening presence, especially since her best friend seems to be its main target.
YOUNG ADULT BOOKS
LE SECRET DE LUCA
[Luca’s Secret]
Martine Noël-Maw, La nouvelle plume, 130 p., $16.95, ISBN: 9782925329114
Luca, 13, loves to read and draw but has no interest in school or group activities. He feels like he doesn’t fit in, so he spends time alone with his dog, Lasso. When Lasso suffers an accident, Luca plunges into despair, dark days during which he encounters the spirit of Will James—an American cowboy, artist, and writer who died in 1942.
L’ÉVASION DES PAPILLONS
[Butterfly Escape]
M.A. Chiasson, La Grande Marée, 410 p., $26.95, ISBN: 9782925262107
Determined to unravel the mystery of her mother’s imprisonment and restore her family’s honour, Elaina has only one hope left: to find Prince Rayne, who has recently gone missing. While Elaina handily finds the lost prince, finding out the secret behind his disappearance isn’t as easy. Prince Rayne’s hidden truth may bring about the kingdom’s downfall, but prying it out of him could destroy Elaina’s heart.
Three teenagers from different cities come together for the final round of an international slam contest in Paris. Justine, from Montreal, is riding an emotional rollercoaster. Mano, who lives in Harlem, has witnessed police brutality. Luc, the son of an ambassador in London, is coming to terms with his attraction to boys. Onstage, in their own words, everyone is free to find their own way.
LE CYCLE DE L’EXPANSION (T. 3) : LES ERREURS DE L’EXPANSION
[The Expansion Cycle (Vol. 3): The Errors of Expansion]
This third volume in Le cycle de l’Expansion series takes us through the years 210 to 282 of the Expansion Era. Mistakes made by the leaders of the four human settlements—each ruling over a different planet—are slowing humanity’s progress. This final volume in the series offers little reassurance about the future of the human race, delivering a powerful warning to generations to come.
TEACHERS RESOURCES FOR
COLLECTION “BONS COMPTES, BONS AMIS !” [Smart
Cents Collection]
Apprentissage illimité
A collection designed to help readers learn to build both personal and community wealth while staying mindful of our environmental and cultural footprints.
PAUL
ET SUZANNE : LE VOYAGEUR [Paul et Suzanne: The Voyageur]
A new book from Paul et Suzanne to celebrate the 25th anniversary of the educational kit Paul et Suzanne, un modèle de francisation, a series designed to make learning French fun for young students. 10 stories and 110 pages of delight for young learners. Paul and Suzanne have fun learning about figures from Canadian history: voyageurs! What do they wear? Where do they travel? What type of transportation do they use?
C POUR CIRQUE : DES LETTRES ET DES MOTS SOUS LE CHAPITEAU !
[C for Circus: Letters and Words Under the Big Top!]
Elena Martinez and Daniela Zekina, Bouton d’or Acadie, 56 p., $17.95, ISBN: 9782897502782
A thousand wonders come together under the big top: an Agile Acrobat, an Elegant Equilibrist, Jolly Jugglers, a Trapeze Trio—even a Zealous Zebu! In the great tradition of alphabet books, the 26 letters of the alphabet take centre stage in this dazzling circus, promising exciting discoveries for young and old alike under the ringmaster’s watchful eye.
OH, ACHOUKA !
Wanda Jemly and Tea S., Des Plaines, 48 p., $14.95, ISBN: 9782896118281
Achouka is convinced that having lighter skin will make her beautiful and happy. But she refuses to apply bleaching creams like her aunt, Tata Toucouleur. One day, a magical voice offers to make her wish come true. Will Achouka finally find happiness?
ANDRÉ- CARL VACHON
A shared history
From the first settlement at Port-Royal in 1605 to a culture that is thriving across New Brunswick, Nova Scotia, and beyond, the Acadian story is one of resilience and pride. Although this chapter of Canadian history is too often reduced to the Acadian Expulsion and subsequent exile, there is so much more to it. Historian, author, and Acadian history expert André-Carl Vachon argues that understanding this past enriches our appreciation of our collective narrative and helps us better understand our shared territory.
INTERVIEW BY VICKY SANFAÇON
What made you want to study Acadian history? How do these stories continue to inform our collective memory and our understanding of this shared history? It was personal curiosity, really; my maternal grandparents were Acadian. I wanted to know more about my family’s oral tradition since we didn’t learn much about Acadians in school. To understand who we are, we need to know where we come from. To avoid repeating the same mistakes, we need to know what our ancestors lived through. Acadians were forcibly displaced. Some managed to escape to what is now Quebec. Today, we welcome refugees fleeing atrocities in their home countries, such as war. Understanding our own history can help us to better welcome them.
Is there a big difference between the history taught in schools and the history uncovered through archival research? If so, what key aspects do you think are missing from history education?
There certainly is! In Quebec, for example, if the history curriculum were taught in full, high school students would learn that Acadie was settled in 1604 (before Quebec in 1608), that it was ceded with the 1713 Treaty of Utrecht, that the Acadians were deported in 1755, and that some fled to Quebec. Unfortunately, not all of this information is present in the available teaching materials. Some don’t even mention that Acadie was founded. Many completely omit the 3,312 Acadian refugees and immigrants who fled to New France between 1755 and 1775. And yet, they made up 19.5% of the population at the time. In fact, the genetic record now shows that 78.5% of Quebecers of French-Canadian origin have at least one Acadian ancestor.
In light of this information, I think it’s crucial to talk about French-speaking communities outside of Quebec. I can’t tell you how many Acadians said that Quebec tourists were surprised to learn that there are still French speakers living in New Brunswick. And yet, Acadians make up a third of that province’s population! Some people believe the Expulsion drove out every single Acadian from the province. However, there were a number of prisoners, escapees hiding in the woods, and deportees who chose to come back and resettle the land, forming Acadian communities that still exist today.
Your books are aimed at readers of all ages, from children (Raconte-moi la déportation des Acadiens, published by Petit Homme) to adults (La colonisation de l’Acadie, 1632-1654, published by La Grande Marée). Do you approach history in the same way no matter the reader?
No. When it comes to children, you have to adapt the language and amount of information presented. For adults, it all depends. Some readers are looking for the big picture, so you want to include information that is less specific and more global. Other readers want to know the smallest detail and will pore over every footnote.
ÉDITIONS DAVID
Ottawa (Ontario)
Les Éditions David, based in Ottawa since 1993, contributes to the diversity of Franco-Canadian literature by publishing authors from Ontario and other French-speaking communities across Canada. The publishing house releases around 20 titles a year that focus on one of four genres: children’s and young adult fiction; adult fiction; haiku; and general nonfiction. Éditions David also leads community initiatives to promote interest in writing and reading among Ontario’s French-speaking population.
ÉDITIONS L’INTERLIGNE
Ottawa (Ontario)
Founded in 1981 in Ottawa, Éditions L’Interligne has a catalogue of over 500 titles and is a key player on the Canadian literary scene. The publisher stands out for its commitment to promoting authentic voices and multicultural works from French-speaking Ontario, blending contemporary concerns and stylistic originality. L’Interligne publishes a wide range of genres, including full-length and short fiction, poetry, plays, and adult nonfiction.
NONFICTION
RIRE AVEC LE TRICKSTER [Laughing With the Trickster]
Tomson Highway (trans. by Jonathan Lamy), Prise de parole, 160 p., $18, ISBN: 9782897444556
In this collection of essays, Tomson Highway delves into five themes central to the human experience: language, creation, sex and gender, comedy, and death. With his signature quirky humour and masterful storytelling, Highway draws from personal anecdotes to present a series of Trickster tales and offer insightful observations. He also makes astute comparisons between Christian, classical, and Cree mythologies.
This book invites readers to explore the unforgettable landmarks of Old Quebec—a historic city where visitors can travel back in time—through postcards, some of which date back over 150 years. Offering remarkable historical images and insightful commentary, readers can delve deeper into this fascinating city’s history.
TOUS LES TAPIS ROULANTS MÈNENT À ROME
Paul Bossé, Perce-Neige, 264 p., $30, ISBN: 9782896914630
[All Escalators Lead to Rome]
Paul Bossé’s prolific and multi-faceted work has sought to elucidate environmental questions for nearly 30 years. In this memoir-ish essay, illustrated by Paul Bordeleau, Bossé takes stock of half a century of activism. The author chooses a clear-eyed and active tone over eco-anxiety, echoing calls to action voiced by scientists, artists, and activists. Because ultimately, it’s about saving life on our blue planet.
JE SUIS RACISTE,
MAIS JE ME SOIGNE [I’m a Racist, but I’m Getting Better]
Racism. Where does it come from? Why does it exist? How has it changed over time? A powerful tool for self-education, Je suis raciste, mais je me soigne explores systemic racism, white privilege, and all other forms of discrimination with precision and occasional irony. Pruneau’s writing is unsettling and eye-opening, challenging readers to rethink the Other’s place in society.
ÉDITIONS LA GRANDE MARÉE
Tracadie (New Brunswick)
Founded in 1993 in Tracadie, New Brunswick, Éditions La Grande Marée works to support and promote the richness of Francophone and Acadian literature. To date, La Grande Marée has released over 220 titles in a wide range of genres, including folk tales, historical fiction, short stories, poetry, plays, adult nonfiction, children’s books, and comics. Each book adds to the diversity and creativity of Francophone and Acadian literature, underscoring the talent of authors from New Brunswick and elsewhere across Canada.
ÉDITIONS
PERCE-NEIGE
Moncton (New Brunswick)
Éditions Perce-Neige is a small independent French-language publisher based in Moncton, New Brunswick. Founded in 1980, Perce-Neige boasts a rich catalogue of poetry, novels, essays, literary non-fiction and drama. It publishes emerging and established Acadian authors, bringing the voices representing the unique language, culture, and heritage of Acadie to a readership that spans the Francophonie.
Cree playwright, novelist, and songwriter Tomson Highway is a rare talent who can capture the vastness and beauty of his land and its inhabitants in a fair and luminous way. In his memoir, he looks back on a happy childhood in northern Manitoba. Translated from English by Charles Bender and Jean Marc Dalpé, Éternel émerveillement (Prise de parole) manages to recreate Highway’s jubilant nature and singular wit, reproducing his unique voice on the page.
INTERVIEW
BY VICKY SANFAÇON
Highway’s memoir is infused with astonishment, despite the many hardships he faced. As a translator, how did you preserve the luminous quality of his writing in the French version? What were the challenges or opportunities in recreating this tone? Preserving the light in a Tomson Highway text isn’t difficult work; it’s essential work. It’s integral to his oeuvre. Even in the darker moments of his story, Highway finds levity by making a joke or including a funny anecdote. Above all, Highway sends a message of love to the people he mentions in his memoir. From the residential school priest to his childhood bullies, he always finds a way to offer love and compassion. His profound optimism shines through in his writing. His laughter is suffused with love.
Joy and laughter, two recurring themes in Tomson Highway’s work, are also present in this memoir. How did you translate these emotions into French while retaining the intensity and singularity of Cree, which Highway describes as “the funniest and fastest language in the world”?
Tomson thinks in Cree, writes in English, and employs a French-like syntax made up of very long sentences that contain several different ideas, leading the reader on a circuitous path toward the punchline. His writing is a Trickster: he doesn’t just play with words, he lets them surprise him. It feels as if he is constantly being surprised by his own words. This shared surprise is what makes us laugh; we get the impression that even if he doesn’t know where he’s going, he’ll still manage to surprise us with a brilliant, funny punchline. His writing isn’t serious, everything is an excuse to play. Translating Highway means opening yourself up to surprise and laughter since laughter is at the heart of his writing.
As a member of the Indigenous community, how did your own identity influence your approach to translating Permanent Astonishment ? Did certain passages or themes resonate with you due to your own experience?
I can picture the reader I’m addressing since I know people who resemble Tomson Highway characters. When they speak or laugh, I can hear this laughter in my head—and when I hear it in French, that’s how I know I’ve captured Tomson’s humour. It’s important to me to reach specific people and make them hear the words as authentically as if they were reading in English, the colonial language. When I translate it into French, I picture these people in their communities and I hope they’ll laugh as much as I or anyone else would when they read the book. My goal is to have them experience Tomson Highway’s levity and humour as if he were speaking directly to them.
You co-translated the book with Jean-Marc Dalpé. What did that process look like? What individual or complementary perspectives did you each bring to the translation?
I think we both brought a unique dimension to the text. Together, we managed to write Tomson as a complex, multi-faceted character—one that is closer to reality. Working together also helped us avoid blind spots, since we were constantly challenging each other. Our goal was to pleasantly surprise the reader with every punchline. Translating as a team allowed us to provoke and surprise each other, which made the work enjoyable and especially relevant.
INDIGENOUS LITERATURE
500 ANS DE RÉSISTANCE AUTOCHTONE
Gord Hill (trans. by Marie C. Scholl-Dimanche),
Prise de parole, 134 p., $29.95, ISBN: 9782897443955
[500 Years of Indigenous Resistance]
Using strong language and evocative illustrations, 500 ans de résistance autochtone offers a powerful counterpoint to the official history of the Americas, chronicling Indigenous resistance to colonization and oppression from first contact to the present.
LA ROUTE SANS
FIN [The Everlasting Road]
Wab Kinew (trans. by Eva Lavergne), Éditions David, 480 p., $19.95, ISBN: 9782898660436
Devastated by the loss of her beloved older brother to cancer, Bugz returns to the place where she has always found comfort and strength: the Floraverse, an international multiplayer video game. But the disturbances in the Floraverse cannot be ignored, especially when Bugz realizes that the robot she created for the game, Waawaate, is becoming increasingly powerful beyond her control.
CE N’ÉTAIT PAS NOUS LES SAUVAGES
[We Were Not the Savages]
Daniel N. Paul (trans. by Jean-François Cyr), Bouton d’or Acadie, 472 p., $29.95, ISBN: 9782897501976
The first French translation of the famous book by Daniel N. Paul, We Were Not the Savages (Fernwood Publishing). First published in 1993, this foundational work of Indigenous historiography has seen multiple editions, incorporating the author’s ongoing research. It clearly shows that the horrors of history continue to haunt the First Nations and all Canadians today.
JE SUIS
CORBEAU [I Am Raven]
David Bouchard and Andy Everson (trans. by Marie-Hélène Duval), Des Plaines, 28 p., $22.95, ISBN: 9782896110520
Some say your totem reveals who you were in a past life, or who you may become in the next. That may be true. Others will tell you that your totem is the source of your strengths and weaknesses. That, I believe. Je suis Corbeau takes us into the world of First Nations mythology, where humans and animals coexist and help one another.
From Shediac to Montreal, multidisciplinary artist Xénia identifies as being part of both the queer and Acadian communities. Whether it’s through poetry, prose, performance, or theatre, Xénia’s fresh, distinctive writing uses Chiac, an Acadian dialect from southeastern New Brunswick, to assert an identity rooted in the land that is unique, yet fully embodied.
INTERVIEW BY VICKY
SANFAÇON
The poetry collection des fleurs comme moi (Prise de parole) is about expressing your identity and taking pride in who you are, in all your complexity. But more importantly, it’s about revealing your authentic self. What makes poetry—and art in general—the best tool for self-discovery and self-development?
When you’re on a journey of self-discovery, when you’re questioning parts of you like gender identity, sexual orientation, or everyday things like where you want to live, art can reveal your true feelings. Art can act as a springboard for our emotions without having to name what we’re feeling. When I write, I don’t always know what I’m trying to say. Often, it’s only after the fact that I understand. If someone had asked me when I first started writing my collection, “How does your queer pride and Acadian identity influence your gender identity?”, I wouldn’t have known what to say. But now, it’s clear through poetry, Chiac, and my experience as a queer Acadian, I was exploring and questioning my gender identity.
What role does spoken or written language play in self-development? Is it easier to develop a fluid identity when you’re using a language like Chiac that introduces different perspectives within the same expression?
I have no way of knowing if it’s easier because I didn’t have another option. Like everyone, I grew up the way I grew up, and I talk the way I talk. Sure, I could’ve learned to speak “better” or speak another language, but I chose to continue to honour my dialect by speaking it, working in it, and being proud of it. I don’t know if it’s easier to develop an identity by using a language like Chiac. However, I do know that when it comes to gender identity, for me, Chiac was essential. I was questioning my gender identity and had no model to guide me. I didn’t have an Acadian example of someone proudly non-binary, trans, or queer. In hindsight, I see how Chiac guided me along my journey.
Having grown up speaking this dialect, it was a familiar, comforting presence. A compass in my search for identity. My dialect, being a mix of two things, helped me understand that what I was feeling about my gender was normal.
There’s a lot of power in finding your own voice. That’s why it’s important to learn to speak from the heart. To express yourself the way you want to, not the way you’re expected to. What comes out when you express yourself, that’s your voice. It’s precious; it’s connected to the present and it’s crucial to actually connecting with who you are.
What’s the role and impact of queer art in the Franco-Canadian cultural space, and how does this multidisciplinary artistic expression help redefine identities, representations, and social issues within these communities? What’s really cool about queer and trans artists is that we come out and talk about concepts and experiences that go beyond Francophone pride. As an Acadian, I’m not JUST speaking about my gender identity or sexual orientation; I’m also speaking about my trans and queer identity that’s experienced THROUGH my Acadian identity. These parts of me are all related. The way I view the world, and the French-speaking world more specifically, is much broader than the one we know. Queers bring a new perspective to something that can often feel traditional, folk, or old school. And as valid as the fear of assimilation is, sometimes this fear makes the minority French-speaking culture less current. Less open. Less in touch with popular culture. But as queers, we’re here to break that open. We show our communities that even if we deviate from the norm, there’s no need to be afraid.
Learning to navigate our differences is a survival mechanism we’ve had to learn, so bringing it to our minority French-speaking communities enriches everyone’s lives. We were, are, and always will be indispensable to the evolution of our communities. Because our identities deviate from the norm, we are less afraid to deviate from the norm with our art and language. Only by opening the door to people who position themselves on the margins can the French-speaking world continue to evolve, innovate, and stay relevant.
One should read Fif et sauvage as one walks on a tightrope. Vertigo halfway between sky and ground, between Acadian, queer and Wolastoqiyik identities, between presuppositions and affirmations. Fif et sauvage is a sort of reappropriation of stereotypical subjects and pejorative terms, which allows the author to cast an honest and raw gaze upon himself and the Other.
TU
Y CONNAIS QUOI, TOI, À L’AMOUR ? [What Do You Know About Love?]
Vincent Francœur, Éditions David, 488 p., $26.95, ISBN: 9782898660092
Still shaken by his breakup, Justin tries to get back into the dating scene and live his life to the fullest. The problem is that he doesn’t know how to support his roommate and best friend, Éric, who is getting involved in an increasingly unhealthy relationship. Over time, the two young men and their new friend Katie grow distant, ensnared in complicated and prickly romantic entanglements they can’t escape.
LE MARAIS [The Pump]
Sydney Hegele (trans. by Kama La Mackerel), L’Interligne, 128 p., $22.95, ISBN: 9782896998210
Teenagers struggle to flee their oppressive town, Le Marais, Ontario, without losing their lives. In this seedy town, man-eating beavers chase the inhabitants, the water is toxic, a mysterious illness eats away at children’s skin, and violence is rampant.
MÈRE(S) ET MONDE [(M)other]
Sanita Fejzić and Alisa Arsenault (trans. by Sylvie Nicolas), Bouton d’or Acadie, 24 p., $13.95, ISBN: 9782897501884
From the delivery room to the classroom, a woman whose motherhood is questioned explains: her son doesn’t have a father, but he’s got two moms. She is the other mother. There’s only room for one mother on forms. No room for two in the minds of her peers, or her son’s friends at school (the English version of this book was also published by Bouton d’or Acadie).
ANCRAGES
Moncton (New Brunswick)
Incorporated in 2004, the literary journal Ancrages is a space dedicated to Acadian voices. For over 50 years, the act of writing has been associated with affirming Acadian culture—one that is ever-changing, modern, and diverse. Ancrages aims to continue this mission.
ÉDITIONS
BOUTON D’OR ACADIE
Moncton (New Brunswick)
Founded in 1996 in Moncton, New Brunswick to help children’s literature blossom in Acadie, Bouton d’or Acadie digs its roots into the rich soil of Acadian and Francophone culture to reach out to the universal. Known for its ambition, the editorial line spans poetry, humour, nursery rhymes, and accessible books. Its catalogue of over 300 titles includes a series of Indigenous stories from Eastern Canada written in three languages. Situated at a cultural crossroads, the publishing house encourages conversations and respect for our differences; inclusion, accessibility, and diversity are at the heart of Bouton d’or Acadie’s values.
MOUTON NOIR ACADIE
Moncton (New Brunswick)
Launched in 2020 as an imprint of Bouton d’or Acadie, Mouton noir Acadie is geared toward adults and young adults who dare to venture off the beaten path. Mouton noir Acadie’s mission is to offer a space for creative freedom where new voices and innovative ideas can blossom and reach a generation of readers in search of authentic stories and fresh perspectives.
LES PRESSES DE L’UNIVERSITÉ D’OTTAWA
Ottawa (Ontario)
Les Presses de l’Université d’Ottawa | University of Ottawa Press (PUO-UOP) is the largest bilingual university press in North America. For almost 90 years, PUO-UOP has enriched Canada’s intellectual and cultural life with a program that includes titles in the social sciences, popular science collections, and literary works. Since 2024, PUO-UOP has welcomed the public to its Publishing Studio.
LES PRESSES
UNIVERSITAIRES
DE SAINT-BONIFACE
Winnipeg (Manitoba)
Founded in 1990 as part of the Université de Saint-Boniface in Winnipeg, Manitoba, Les Presses universitaires de Saint-Boniface (PUSB) is a university publishing house that features work by Franco-Canadian authors and promotes French writing with a focus on Western Canada and its official French-speaking communities, whether by author, subject, or audience. The multidisciplinary press publishes scientific research, popular science books written by researchers, textbooks, and titles focused on Western Canada, including works by the Centre d’études franco-canadiennes de l’Ouest (CEFCO), a centre dedicated to Western Franco-Canadian research.
ACADEMIC NONFICTION BOOKS
ALTERMONDIALISMES [Alterglobalisms]
Ronald Cameron, Raphaël Canet, and Nathalie Guay, PUO, 118 p., $10.95, ISBN: 9782760337596
Given the global upheavals affecting our planet, what can we learn from feminist and environmental movements, social economy initiatives, the fight for equality, and the World Social Forum? Altermondialismes tracks the movements that have been striving to build a more just world since the advent of neoliberal globalization.
LES LITTÉRATURES FRANCO - CANADIENNES À L’ÉPREUVE DU TEMPS
[Franco-Canadian Literatures Across the Ages]
Edited by Lucie Hotte and François Paré, PUO, 318 p., $39.95, ISBN: 9782760323926
Leading literary historians from Acadie (Marguerite Maillet), French Ontario (René Dionne), and Western Canada (Annette Saint-Pierre) have compiled a series of studies that span Franco-Canadian literatures from the 17th century to today. These analyses stand as a testament to significant literary activity, reflecting not only the literary history but also the self-image and aspirations of each community.
This work examines the phenomenon of linguistic insecurity—its history, manifestations, and impact. Focusing specifically on linguistic insecurity within the Francophonie, it draws its examples from Canadian Francophone communities. This essay analyzes the key expressions of linguistic insecurity as a continuum, explores the connections between linguistic insecurity and diglossia, and examines the role of linguistic and social ideologies in identity formation.
L’IRRATIONNEL À L’ÉPREUVE DE LA LITTÉRATURE
[Irrationality Put to the Test of Literature]
Edited by Jean Valenti, María Fernanda Arentsen, and Jorge Machín Lucas, PUSB, 180 p., $25, ISBN: 9781990706011
Far from being confined to a single field of knowledge or isolated from other symbolic domains, the irrational is polymorphic, relative, and contextual. Resisting any attempt at universal definition, it exists within a cultural stratigraphy, disrupting the interpretive habits of our supposedly modern societies, built on reason and consensus.
OTHER BOOKS
TO DISCOVER
L’ENTRÉE ENCEINTE DES FEMMES [Enter the Women Expecting]
I speak an I, a They, and a We. Like languages learned by stray cats pawing the asses of ambidextrous stars. I kill I. I conjugate They. I teach us the essentials of the soul, whether this body is good or ill-fated, you can always get by with a sense of humour. Because, fuck! Love is never reciprocal when you’ve only got three quarters of a body between the two of you.
Perroquet grows up in the prairie, in Opelousas. While trying to navigate his parents’ separation, he finds refuge in his grandmother’s aromatic kitchen and in the noisy butcher shop owned and run by Mal, his grandfather. Mal delights in the simplicity of yesteryear, cutting meat, cooking for family, and the satisfaction of a job well done. A descendant from a long line of French-speaking butchers in Louisiana, Perroquet hopes to carve a place for himself. To define his own identity. He begins to collect words, selecting them carefully like ingredients in a recipe that improves one pen stroke, or one knife stroke, at a time.
HUMANISMES [Humanisms]
Daniel Lavoie, Des Plaines, 126 p., $21.95, ISBN: 9782896118397
Before a star becomes a star, it is nothing This statement may seem silly at first But one day, she decides to pay the price
To become a star, she has to give her life
DU PAIN ET DU JASMIN [Bread and Jasmine]
Monia Mazigh, Éditions David, 264 p., $23.95, ISBN: 9782895974543
Nadia fled Tunisia during the 1984 riots that shook the country. Outraged by the culture of silence and submission that the younger generation could no longer bear, she defied her parents and left. After being disowned, she emigrated to Canada, where she rebuilt her life. Twenty-five years later, she encourages her daughter Lila to visit Tunis and stay with family friends, Aunt Neila and Uncle Mounir. There, she will face another revolution. (House of Anansi Press published the English translation, Hope Has Two Daughters.)
ILS SONT… [They Are]
Michel Thériault and Magali Ben, Bouton d’or Acadie, 24 p., $9.95, ISBN: 9782897500511
Same-sex couples haven’t always been accepted in society, but love and beauty always win! Two boys are friends, two boys grow old together, two old men are… in love! Singer-songwriter Michel Thériault adds a new string to his bow (Cupid’s, perhaps?), while illustrator Magali Ben enchants with her exceptional colour illustrations. (This book has been translated into English as Roger and Matthew, published by Fitzhenry and Whiteside.)
MÉMOIRE VAGABONDE [Wandering Memory]
Guy Bélizaire, Terre d’Accueil, 166 p., $24.95, ISBN: 9782925133384
In this collection of 15 short stories, Guy Bélizaire draws upon his memory to take us on journeys through different cities around the world. The characters in Mémoire vagabonde navigate situations that compel us to reflect on the human condition and life’s hardships while inviting us to rethink humanity’s place in society.
L’AVERTI (T. 3) : LES HÉRITIERS [The Herald (Vol. 3): The Heirs]
Vanessa Léger, La Grande Marée, 718 p., $34.95, ISBN: 9782349724335
Until his death in 1870, Auguste Roussel never stopped believing in a glorious future for his newspaper. Three generations later, The Herald remains a family affair—woven into the lives of the Roussels and bearing witness to their remarkable journey in a rapidly changing world. As history’s defining moments make the headlines, their fates intertwine and collide, with The Herald serving as the backdrop for this sweeping family saga.
RED,
UN
MANGA
HAÏDA [Red: A Haida Manga]
Michael Nicoll Yahgulanaas (trans. by Marc Founier), Pacifique Nord-Ouest, 120 p., $19.95, ISBN: 9782925064060
This vibrant, full-colour graphic novel tells the poignant story of an Indigenous Chief so consumed by vengeance that he leads his people to war and destruction. Red is the proud Chief of a small village on one of the islands off the northwest coast of British Columbia. His sister, who was once taken by raiders, has recently been found in a nearby village. Determined to rescue her, Red swears vengeance on her captors.
