Matsyagandha, Daseyi, Yojanagandha-the queen of Hastinapur, Satyavati. Abandoned as a baby, preyed on by a rishi, she hardens herself, determined that the next time she is with a man, she will be the one to win. And win she does: the throne of Hastinapur for herself, and the promise that her sons will be heirs to the kingdom. But at what cost? In a palace where she is disdained and scorned, Satyavati must set aside her own loss and pain if she is to play the game of politics. She learns to be ruthless, unscrupulous-traits that estrange her from everyone around. Everyone, except the man she cheated of his birthright.

It’s 1981, and Sylvia Taylor has signed on as rookie deckhand on a wallowy 40-foot salmon troller. Looking forward to making money for university, she is determined to master the ins and outs of fishing some of the most dangerous waters in the world: the Graveyard of the Pacific. For four months, she helps navigate the waters off northern Vancouver Island, learning the ways of fisherfolk and the habitat in which they breathe, sleep and survive. The politics of selling fish, the basics of tying gear, near-death experiences, endless boat troubles, the emotional perils of sharing cramped quarters—all are part of a steep and unforgiving learning curve. Taylor’s story captures the reality of life on a fishboat and documents the end of an era, a time when the fishing industry wasn’t yet marred by unchecked overfishing or hyper-regulation. Her lyrical, simple prose explores the tight-knit relationship of fishers with the west coast’s wild, untamed waters. Her memoir bursts with all the humour and hell, peace and upheaval that is the Pacific Ocean.

Homefront: It's hard to separate that word from war. In the First and Second World Wars, the homefront was a clear entity and location--if you weren't on the frontlines, you were on the homefront. But during current times of peacekeeping, peacemaking and armed interventions, the notion of homefront seems to comprise only those who are in some way directly affected by the military: family and friends or ex-soldiers--an invisible group camouflaged by everyday jobs and activities. Editors Barb Howard and Joan Dixon have compiled an insightful collection of essays and reflections from 14 writers, including Melanie Murray, Scott Waters, Ryan Flavelle and Chris Turner. All have found themselves, at one time or another, embedded on the homefront. And even though each experience is unique and comes from a single perspective, common motifs surface: family, fate, death and memory. This anthology captures triumphs, incredible fortitude and humour, often in the face of grief, as well as the complicated logic, fears, anger and other everyday realities that are part of homefront life.

Longtime fans of Carrie Fisher and her body of work will welcome this smart and thoughtful tribute to a multimedia legend.

The first book in Tarryn Fisher's fan-favorite Love Me with Lies trilogy, The Opportunist is the twisty, unconventional second-chance love story you didn't see coming! When Olivia Kaspen spots her ex-boyfriend in a Miami record shop, she ignores good sense and approaches him. It’s been three years since their breakup, but when Caleb reveals he’s suffering from amnesia after a recent car accident, first she feels regret—and then opportunity. If he doesn't remember her, then he also doesn’t remember her manipulation, her deceit, or the horrible way she broke his heart. Seeing a chance to reunite with Caleb, she keeps their past, and the details around the implosion of their relationship, a secret. Wrestling to keep her true identity and their sordid history under wraps, Olivia’s greatest obstacle is Caleb’s wicked new girlfriend, Leah, who's equally determined to possess the man who no longer remembers her. But soon Olivia must face the consequences of her lies, and in the process discover that sometimes love falls short of redemption.

The 1930s were the cinema's age of innocence, the decade when Hollywood concentrated, despite, or perhaps because of, the misery and gloom of the Great Depression, on escapism and entertainment, when the arrival of talkies had given the medium a voice, when the big studios with their stables of stars were deciding what the public wanted, and providing it on a massive scale.