In the remote Kootenay Valley in western Canada, good people sometimes do bad things. Two bullied adolescents sabotage a rope swing, resulting in another boy's death. A heartbroken young man chooses not to warn his best friend about an approaching car. Sons challenge fathers and break taboos. Crackling with tension and propelled by jagged, cutting dialogue, D.W. Wilson's stories reveal to us how our best intentions can be doomed to fail or injure, how our loves can fall short or mislead us, how even friendship-especially friendship-can be something dangerously temporary. An intoxicating cocktail of adrenaline and vulnerability, doggedness and dignity, Once You Break a Knuckle explores the courage it takes just to make it through another day.

In the remote Kootenay Valley in western Canada, good people sometimes do bad things. Two bullied adolescents sabotage a rope swing, resulting in another boy's death. A heartbroken young man chooses not to warn his best friend about an approaching car. Sons challenge fathers and break taboos. Crackling with tension and propelled by jagged, cutting dialogue, D.W. Wilson's stories reveal to us how our best intentions can be doomed to fail or injure, how our loves can fall short or mislead us, how even friendship - especially friendship - can be something dangerously temporary. An intoxicating cocktail of adrenaline and vulnerability, doggedness and dignity, Once You Break a Knuckle explores the courage it takes just to make it through another day.

The short story and the short story cycle have long been considered a marginal genre, free to make room for fresh or risk-taking voices. But in thematizing masculinity in crisis, the genre uses the premise of the marginal to elevate recuperative masculinity politics and nostalgia for traditional patriarchy. Despite the scholarly tendency to link marginal genres and marginalized voices, features of the CanLit infrastructure – including genre criticism and literary prize culture – are complicit in normalizing hegemonic masculinity and the Settler colonial project. Bearers of Risk examines how male Canadian writers mobilize the early twenty-first-century short story cycle as an illustration of post-9/11 recuperative masculinity politics, exposing the tendency to position White, heteronormative men’s viewpoints as objective. Neta Gordon introduces the civil bearer of risk, a figure who comprehends the position of men as being marked by or for failure, and who reasserts masculine authority as civil duty towards community. This book looks at contemporary experimental short story cycles, debut cycles by ethnically minoritized and immigrant writers, and cycles unified by setting, whether suburban, urban, or rural. Bearers of Risk unsettles popular notions of the inherent outsider status of the short story cycle while also scrutinizing expressions of recuperative masculinity politics through which men assert their right to reclaim the centre.

It is summer and the Canadian Rockies are on fire. As the forests blaze, Alan West heads into their shadows, returning from university to his grandfather's home in the remote Kootenay Valley, wherethe man who raised him has suffered a heart attack. Confronting his own mortality, the tough and taciturn Cecil West has a dying request for his grandson: track down the father Alan has never known so that the old man can make peace with him. And so Alan begins his search for the elusive Jack West, a man who skipped town before his son could walk and of whom his grandfather has always refused to speak. His quest will lead him to Archer, an old American soldier who decades ago went AWOL across the border into Canada. Archer has been carrying a heavy burden for many years, and through him Alan learns the stories of two broken families who came together, got too close, and then fell apart in tragic ways. Ballistics is a remarkable first novel, about family ties and the wounds that can linger for generations when those relationships are betrayed.

Each story in this series offers a poignant glimpse of family life – the ties we cling to; the ties we try to sever; and the ties that make us who we are. Told from a myriad of perspectives, from a dazzling array of some of the finest short story writers of our generation (including Jhumpa Lahiri, George Saunders, Jon McGregor and Elizabeth Gilbert), Family Snapshots gives us a fresh, empathetic and moving insight into the meaning of family. The Mathematics of Friedrich Gauss is taken from D. W. Wilson's enthralling collection of short stories, Once You Break a Knuckle.