If an Egyptian Cannot Speak English, Noor Naga's Giller Prize-nominated novel, asks the reader to confront their ideas of morality and control.

The move takes away a rare opportunity for visibility and economic stability that was once guaranteed to Canadian poets, argues writer Alicia Elliott.

Alicia Elliott traces the shared struggle from its roots in the Doctrine of Discovery through to Leanne Betasamosake Simpson and Robyn Maynard's book Rehearsals for Living.

Fawn Parker's new novel What We Both Know shows why it's so hard to write the truth while trying to work through past traumas.

Sheila Heti's Pure Colour steps out of the five stages of grief and into what's been called the sixth: meaning.

It's been criticized for being used as a "shortcut," but it can actually offer something essential to its audience.

Instead of dismissing people as "crazy," Alicia Elliott longs for a world where we actually listen to them.

Zoe Whittall's The Spectacular follows three women across generations as they learn to accept their own paths.

The violence follows a formula as reliable as any slasher movie, and David Demchuk's book Red X puts it on the page.

"Art gives me hope. Will we take those values, that hope, and use them to imagine a better collective future?"

"If we really want to get serious about justice in this nation, we need to stop asking Black writers to repeat themselves and start actually reading."

Alicia Elliott found a resolution of sorts in Keith Maillard's Fatherless: to live with radical compassion.

"In a country that continually refuses to even name the legacy of violence against women, it's more important than ever that we read books that do this work."

Indigenous writers know what it's like to live in a world where the horror never stops so imagining an alternate timeline where it does end can be a comforting escape.