A rich, unmined piece of Canadian history, an intense psychological drama, a mystery to be solved . . . and a hardwon escape from a family curse. Like his friends Banting and Best, Dr. John FitzGerald was a Canadian hero. He founded Connaught Labs, saved untold lives with his vaccines and transformed the idea of public health in Canada and the world. What so darkened his reputation that his memory has been all but erased? A sensitive, withdrawn boy is born into the gothic house of his long dead grandfather, a brilliant yet tormented pathologist of Irish blood and epic accomplishment whose memory has been mysteriously erased from public consciousness. As the boy watches his own father—also an eminent doctor—plunge into a suicidal psychosis, he intuits, as the psychiatrists do not, some unspeakable secret buried like a tumour deep in the multi-generational layers of the family unconscious. Growing into manhood, he knows in his bones that he must stalk an ancient curse before it stalks him. To set himself free, he must break the silence and put words to the page. His future lies in the past.

Canadians view their healthcare – recognized throughout the world as an exemplary system – as iconic and integral to their identity. In Toward the Health of a Nation Leslie Boehm recounts the first seventy years in the life of one of the foundations of Canada's healthcare system, the Institute of Health Policy, Management and Evaluation at the University of Toronto. Boehm – a graduate of IHPME, and an instructor there throughout his career – charts the institute's history from its inception in 1947 as the Department of Hospital Administration to the present day. The first program of its kind in Canada, and one of the few in the world, the school was founded at a time when the issue of healthcare was becoming a significant part of national and provincial discussions and policies. Initially concentrating on hospital management and professional degrees, it has expanded to offer academic degrees and facilitate important research into health systems, policies, and outcomes. In Toward the Health of a Nation Boehm demonstrates the excellence of the program, its faculty, and its graduates, as well as their accomplishments in major government initiatives and royal commissions. In the seventy years since IHPME's inception healthcare has grown to become a major part of government and business activity, and it will only increase in coming years. An in-depth history of a major program in graduate health education, Toward the Health of a Nation highlights how important healthcare is to a modern, functional society.

Seven stories of passion and love separated by centuries but mysteriously intertwined—this is a tale of horror and beauty, tenderness and sacrifice. An archaeologist who unearths a mysterious artifact, an airman who finds himself far from home, a painter, a ghost, a vampire, and a Viking: the seven stories in this compelling novel all take place on the remote Scandinavian island of Blessed where a curiously powerful plant that resembles a dragon grows. What binds these stories together? What secrets lurk beneath the surface of this idyllic countryside? And what might be powerful enough to break the cycle of midwinterblood? From award-winning author Marcus Sedgwick comes a book about passion and preservation and ultimately an exploration of the bounds of love. This title has Common Core connections. A Publishers Weekly Best Children's Book of 2013 A Kirkus Reviews Best Teen Book of 2013

Poetry. Women's Studies. Populated by the quotidian events and things that punctuate our days (air travel, medical exams, bathrooms, phones, etc.), the poems in Niina Pollari's DEAD HORSE are anything but common. Hyperaware, the speaker in these poems "watch es] you watch me." She is mercurial, monstrous "a vampire in a grayly coughing dawn," a lover who wants to put her "thigh meat next to yours," to sit with swan's blood inside her mouth and smile but also tender in her grotesqueness: "I'm nothing / But a massive garbage mountain / Wiggling abundantly / And all I want to know is / Do you love me? / Now that I can dance." And then there it is, that word love. That is the force that ultimately animates the poems, their vulnerability & bravery: "If you say you love me / I will open my mouth and you can live in it." "These poems are so rhythmic you can almost ride them. Moving through the daily deaths of the earth, the questions of what to hold together and what to let, Niina Pollari writes from a place where emotion meets bone, exploring what it means to be a blood container. You will see your own skull." Melissa Broder "Niina Pollari's poems unfold with a phrasal clarity I didn't know I needed, and which disturbs me: 'like an animal / enjoying the warm sunshine with blood in my mouth.' Her poems deploy the vatic informality of Tytti Heikkinen or Hiromi It, indubitably of the present yet of a material insoluble to the present, a voice that issues from a Grecian urn or can of Coors. This is resolved, odd, clear-complicated stuff, lovely 'like a fakey arcade.'" Joyelle McSweeney"

A New York Times Best Thriller of the Year "Terrific. You might come for the mystery, but you will stay for the sheer energy."--New York Times Book Review An utterly delicious debut thriller that tells the story of the most likable murderess you will ever meet, perfect for fans of Riley Sager and Jessica Knoll. “I could just kill you right now!” It’s something we’ve all thought at one time or another. But Ruby has actually acted on it. Three times, to be exact. Though she may be a murderer, Ruby is not a sociopath. She is an animal-loving therapist with a thriving practice. She’s felt empathy and sympathy. She’s had long-lasting friendships and relationships, and has a husband, Jason, whom she adores. But the homicide detectives at Miami Beach PD are not convinced of her happy marriage. When we meet Ruby, she is in a police interrogation room, being accused of Jason’s murder. Which, ironically, is one murder that she did not commit, though a scandal-obsessed public believes differently. As she undergoes questioning, Ruby’s mind races back to all the details of her life that led her to this exact moment, and to the three dead bodies in her wake. Because though she may not have killed her husband, Ruby certainly isn’t innocent. Alternating between Ruby’s memories of her past crimes and her present-day fight to clear her name, Blood Sugar is a twisty, clever debut with an unforgettable protagonist who you can’t help but root for—an addicting mixture of sour and sweet.

Over the course of a single summer day, ten teenagers in Salem, Massachusetts, will discover important truths about themselves and each other. There is Nicole, whose decision to betray her best friend will shock everyone, most of all herself; Kelly, who meets the convicted felon she has been writing to for years; Maria, whose definition of a true friend is someone who will cut her. Then there is Sadie, a chubby eleven-year-old whose mother forces her to wear a "please don't feed me" sign stapled to her shirt; while Joy, a fifteen-year-old waitress hoping for true intimacy narrowly escapes a very dark fate. Derik discovers that his usual good looks and charm won't help him hold onto the girl he wants, while nineteen-year-old drifter, Mearl, is desperately looking for a place to call home. Sean is torn between his loyalty to his girlfriend and the possibility of finding something more with her friend, while Ginger's single-minded pursuit to bring down her nemesis only proves that they may be more alike than she thought. Seamlessly woven together, this incredibly powerful and compelling collection of stories chronicles the very real trials of today's teen experience.

In Powers of Horror, Julia Kristeva offers an extensive and profound consideration of the nature of abjection. Drawing on Freud and Lacan, she analyzes the nature of attitudes toward repulsive subjects and examines the function of these topics in the writings of Louis-Ferdinand Céline, Marcel Proust, James Joyce, and other authors. Kristeva identifies the abject with the eruption of the real and the presence of death. She explores how art and religion each offer ways of purifying the abject, arguing that amid abjection, boundaries between subject and object break down.