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Interview with Stephen Henighan

On April 10, I sat down with Stephen Henighan to chat about writing and his latest novel, THE WORLD OF AFTER from Cormorant Books. You can check out the video of our conversation on our YouTube channel.

The World of After is about three men and a tragedy that binds them together while also tearing them apart. It is a journey to freedom and of self-discovery in a post-Cold War world.


The relationships in The World of After are complicated. Sometimes, it feels like their friendships exist out of obligation rather than mutual love and at one point in the book, it is said that Canadians living in Oxford are just expected to be friends. How do you see the friendships at the heart of the novel? What did you hope a reader might feel?

This novel falls into what I would call the “trans-Atlantic” category.  The characters’ behaviour, including their friendships is conditioned by the fact that they are overseas. It’s a situation where the Canadians feel they should be friends with each other even though they often don’t have much in common and are probably people who wouldn’t spend time together at home. At the same time, the emotional stakes in the central friendship triangle, between Kevin, Alex and Leon, are rendered more intense by the three young men’s intellectual competition, their arguments over poetry and Russia’s direction under Boris Yeltsin. And it’s more complicated, of course, because Leon isn’t Canadian.  His identity as an East London Jew from a traditionally Communist family prompts strong but complicated responses in both Kevin, the Montrealer, and Alex from Toronto.

I don’t think directly about reader response. I work to make the characters as true as they can be, and hope that their humanity will draw the reader in, whether I’m writing about people with few opportunities in life or about intellectuals who are receiving a privileged graduate education, as is the case in this novel.

I tried to craft a novel about the 1990s as a “long decade,” beginning with the fall of the Berlin Wall in 1989 and concluding only in 2001 or 2003—a decade of uncertainty and unleashed energy but also of a kind of freedom to explore the world with fresh eyes.

Stephen Henighan

Zed, states toward the end, as a historian, “small decisions do change large destines”. This reflects on Kevin’s and Leon’s misstep in the novel, but also speaks to the great historical themes in the book. Can you talk about that?

One of the conundrums with which the novel presents the reader is that Zed, a conservative, traditional historian, sees the morality of an individual’s acts as a decisive factor in shaping capital-h History, while Leon, the radical analyst of social class, downplays the role of the individual. In light of the novel’s events, the reader has to ask: is Leon taking this position out of intellectual conviction, or out of discomfort with confronting his role in the tragedy that breaks up their triangular friendship and dispatches the three young men on their journeys through the Europe of the 1990s?

At the same time, as your question suggests, Zed’s statement has resonances for the rest of the novel.  To what extent is the war in ex-Yugoslavia in the 1990s the result of the actions of a particular individual, Slobodan Milosevic, and to what extent is it a product of a historical watershed: the end of the Cold War and the rise of ethno-nationalism? (Likewise today: would any Russian president have invaded a fast-Westernizing Ukraine, or is the war the product of Vladimir Putin’s particular personality and decisions?)

There’s an ongoing debate about these questions throughout the novel.  Zed gets the last word, which in some ways is close to my heart, though I’m still not absolutely certain that he’s right.

At one point Leon says: “You know what I say? I say don’t worry, new divisions will come along and you’re not going to like them one bit. The West will be gripped by some new oppressive ideology that’s even more repellent than anti-communism.” Feels like a premonition. What are your thoughts given the current situation in Ukraine?

It’s funny, throughout the novel the characters follow, and argue about, the disastrous government of Boris Yeltsin, which ushered Russia into Western capitalism in a position of almost supine weakness—a negative experience that opened the door to a “strong leader” like Putin who would withdraw Russia from the Western system or use it to his own advantage. Until Russia invaded Ukraine in February, I had actually forgotten how much there was in the novel about the Yeltsin government –the long-distance cause of the present catastrophe.

When Leon says that, I actually think more about the idea of the 1990s as the ambiguous borderland between the Cold War, which wound down between 1989 and 1991, and the West’s anti-Islamic fervour, which began to crank up after the September 11, 2001 attacks in New York and the U.S. invasion of Iraq in 2003. When the Berlin Wall fell, there was a hope, in Europe at least, of a rebirth of the cultural diversity of Central and Eastern Europe—that all those ethnic minorities living alongside each other would emerge and remind us of the value of linguistic and cultural multiplicity.  Also, for people brought up in the 1970s and 1980s, the old binary, us-or-them ways of perceiving the world, travelling in the world, interacting with people from different places, became new and uncertain.

Here I was playing, in my own mind at least, with the British historian Eric Hobsbawm’s idea that the 19th century was a “long century” in that it began with the French Revolution in 1789 and ended only with the outbreak of the First World War in 1914. In a similar vein, I tried to craft a novel about the 1990s as a “long decade,” beginning with the fall of the Berlin Wall in 1989 and concluding only in 2001 or 2003—a decade of uncertainty and unleashed energy but also of a kind of freedom to explore the world with fresh eyes. I would read Leon’s warning about future oppressive ideologies as referring to Islamophobia and the War on Terror, though perhaps, in light of the invasion of Ukraine, one could read it in other ways as well.

I love how all the characters are so fixated on each other’s political leanings. Is that an accurate portrayal of life at Oxford at the time? Or perhaps even now?

I’m not sure.  My impression from talking to people who are still there is that Oxford became much less politicized after the year 2000 or so.  The ferment of the 1990s waned. In the novel, part of the fixation comes from the central characters belonging to a small graduate community where people inevitably peel off into groups that caricature each other’s views, in one of the minority of Oxford colleges known for liberal or leftist politics.

Kevin reflects that he had no desire to return to Montreal and an easier life, and that he longs for a “post-war condition whose Central European heart seemed to offer a kind of hope.” I can’t help but think about all the people immersed in academia at the time. Where do you think Kevin would be right now? Or Leon? Alex?

Kevin isn’t much of an academic, as his struggles at Oxford demonstrate.  Part of the attraction of a potentially revived Mitteleuropa –a Central Europe that might bring back the cultural diversity of, say, the Austro-Hungarian Empire– is that it provides him with a destiny that can be defined in vague, rather misty, terms that don’t require the sort of precise, even pedantic, definitions of which academia is so fond. 

Where would they be today?  Leon would be a highly successful academic, Kevin would continue to grind along as a rather mediocre Cégep teacher in Montreal. And Alex? Well, we see where he ends up at the end of the book…..  He might be involved in laundering money for the Russian invasion of Ukraine, or, given that he betrays very powerful people near the novel’s conclusion, he might no longer be alive.

Each time I finished a new, shorter draft, I let it sit for a year or two until I was able to return to it and see it clearly enough, I hoped, to notice which bits of each sentence stuck out awkwardly.

Stephen Henighan

Let’s talk about the length of this novel. The World of After was originally over 800 pages. Knowing, The Path of the Jaguar and Mr. Singh Among the Fugitives was a quarter that length and your short stories display your mastery of telling great stories with fewer pages. What was different about this story? And how did you manage to cut so much?

To reduce the 800-page manuscript to the current 450 pages, I eliminated some slightly preposterous subplots; but mostly I focused –very consciously so—on the skills I’ve tried to develop in writing short stories and columns for Geist magazine: making every word count, cutting unnecessary words out of each sentence, trying to convey more than explain. It was very much a chopping and compressing process that I undertook paragraph by paragraph.  That’s why it took me eight or nine years. Each time I finished a new, shorter draft, I let it sit for a year or two until I was able to return to it and see it clearly enough, I hoped, to notice which bits of each sentence stuck out awkwardly.

This isn’t the first long or longish novel I’ve written: my first novel, Other Americas (1990) and my third one, The Streets of Winter (2004), are both over 300 pages. I think The Path of the Jaguar and Mr. Singh Among the Fugitives were shorter because I was, quite conspicuously, writing about protagonists who were from cultural backgrounds very different from mine. It’s not that I had less to say about their humanity, but rather that I had to vet each word or reaction to make sure it sounded plausible. Writing in the first-person as Kevin I was able to let myself go in a way that I wasn’t quite able to do when I was writing in the first person as Mr. R. U. Singh.

Kevin is quite different from me: he’s a lifelong Montrealer, a fifth-  or sixth-generation Canadian while I’m an immigrant who grew up mainly in the Ottawa Valley but moved around a lot, too. Kevin is less middle-class than I am, and he has never been to England prior to his arrival in Oxford as a graduate student.  By contrast, I had already lived about four years of my life in the U.K. when I went to study there, and had grown up with a British mother and stepfather.  There were things about British society which  I understood intuitively that Kevin has to learn.  Still, the mere fact that he’s a straight white male with an Irish surname who belongs to the same generation as I do probably emboldened me to assume I could guess his reactions to most situations which, in the end, made for a more expansive story.

It would be impossible to not talk about the women in the novel. Kevin is quite the Lothario: a bit judgmental of all the women, sexually, and yet pursuant, regardless. At times, I felt sorry for him because it was clear and I think he even admits to this, that he could not connect emotionally with many of them. Who do you think, of all the women, he loved most?

Definitely Catherine.  She’s the would-be soulmate with whom his ultimate incompatibility is most painful.  At the same time, I’m not sure I’d accept the Lothario designation. The novel covers twelve years of Kevin’s life, from the ages, roughly, of 32 to 44.  Would we designate a single man who, between 32 and 44, has three serious relationships (I’m counting Camille, Kumiko and Catherine)  and three or four other affairs a “Lothario”?  I think the compressed space of the novel may make Kevin appear more assiduous in this regard than we might consider him to be if he were one of our friends. Yet, at the same time, you’re not wrong: there IS a kind of post-fall-of-the-Berlin-Wall release of energy at an emotional and sexual level that runs parallel to his intellectual and political discovery of the world of 1990s Europe and which, I hope, enriches and illuminates his wayward quest.

The women in the novel are all pretty independent; most of them resemble Kevin in not being particularly monogamous. Each embodies a different reaction to the cultural shifts of the time:  Camille’s support of Québécois nationalism, Kumiko’s quest for a shared expatriate bond—until she realizes she will have to return to Japan and “become Japanese again” in order to work in her field; Leonie’s dedication to being a single female academic while pursuing her passion for working-class men and her refusal to take seriously anyone from North America; and most significantly to the novel’s themes, Catherine’s   “Ostalgie”—her nostalgic longing for the communal and traditionalist elements of Cold War Eastern Europe—which frames the whole book.

A question from our audience: I’m so impressed with you being able to work on 5 different projects at once! How do you manage all those stories in your head? Are they all very different stories so that you can keep them straight?

Please don’t be impressed!  I really don’t keep them all in my head. In fact, that’s the benefit of having lots of unfinished manuscripts on your desk.   By the time I return to the one that’s too long and too thin or just not working in some way I can’t put my finger on, so much time has passed –often two or three years—that rereading it is like reading the work of a stranger. And that makes it easier to edit it and, eventually—after many more drafts, alas—make it better (at least that’s what I keep hoping).

Are you ever surprised to suddenly understand something a character does?

I think this works the other way around: I’m often surprised by what my characters do. I have a plot nicely organized, I know what’s supposed to come next, then they just go off in a different direction and I no longer have a plot but a mess. As part of that mess, I sometimes start to understand why the characters have refused to act as I wished them to. And that may lead to greater comprehension of my characters—if I’m lucky.

What are you working on now?

I’m never not writing short stories so inevitably there are a couple of mangled short story drafts on my desk. I have a book of essays that’s two or three essays away from completion and a second draft of a John le Carré-like novel set in Egypt during the build-up to the overthrow of Hosni Mubarak in 2011. My pandemic project has been to try to finally finish a long academic/ non-fiction book on the relationship between history and literature in Angola. I’ve been writing little snippets of this book since 2005.  In March 2020 I started working on it full-tilt.  I’ll finish it in the next few months if I’m lucky—and if I’m not distracted by something else!


Stephen Henighan is the author of five novels, four collections of short stories, and four books of essays. His work has been published in PloughsharesThe Globe and MailGeist Magazine, and The Walrus — to name a few. He has translated novels into English from Portuguese and Romanian and is the General Editor, Biblioasis International Translation Series. He is currently a professor of Spanish and Hispanic Studies at the University of Guelph. You can follow him on Twitter @stephenhenighan

May Readings

The month of May is the pleasant time; its face is beautiful; the blackbird sings his full song, the living wood is his holding, the cuckoos are singing and ever singing; there is a welcome before the brightness of the summer.

– Lady Gregory


It feels like the closer we get to summer, the more these months become my favourite. I love May because it feels like it is the period at the end of a long run-on, unpunctuated winter sentence. I love May because I start to pull together my summer reading list and look at our schedule for next year. May is exciting!

This month, we welcome two more authors to share their work.

On May 8, Charlotte Mendel joins us with her young adult fiction novel, Reversing Time from Guernica Editions.

In Reversing Time, one boy’s quest to change history “the odds are definitely against Simon, racing home from school every day a step ahead of the school bullies–until he finds the talisman. Even as the talisman begins to destroy his family, Simon discovers that he belongs to a tribe of people with the power to travel along the length and breadth of their own life lines. Simon is shocked to learn that they expect him to help halt humanity’s destiny: extinction. A fast-paced fantasy YA novel, Reversing Time tackles vital themes in today’s society–such as climate change and the environment–within the context of an exciting page-turner.”


“Charlotte Mendel was born in Nova Scotia and spent three years travelling around the world, working in France, England, Turkey, Israel and India. She is the author of Turn Us Again (Roseway/Fernwood, 2013), which won the H.R. Percy Novel Prize, the Beacon Award for Social Justice, and the Atlantic Book Award in the Margaret and John Savage First Book category. Her second novel, A Hero (Inanna Publications, 2015) was shortlisted for the 2016 William Saroyan International Prize for Writing, and was a Finalist in the 2016 International Book Awards in the General Fiction category. Charlotte currently lives in Enfield with twenty chickens, four goats, three sheep, two cats, two children, one husband and thousands of bees.”

Register for our event here. PWYC. All proceeds go to the author.


On May 29, Anna Dowdall will read from her latest novel, April on Paris Street. From Guernica Editions, this mystery introduces us to Ashley Smeeton, private investigator.

“The basic damsel-in-distress gig sounds perfect to private investigator Ashley Smeeton, who’s got her own personal and professional struggles in Montreal. Against the backdrop of the winter Carnaval, the job first takes her to Paris where she’s drawn into an unsettling world of mirages and masks, not to mention the murderous Bortnik brothers. When she returns to Montreal, a city rife with its own unreasonable facsimiles, the case incomprehensibly picks up again. Convinced she’s being played, Ashley embarks on an even more dangerous journey into duplicity. In a world of masks behind masks, it’s hard to say where the truth lies.”

“Anna Dowdall was born in Montreal and recently moved back there, which surprised no one but her. She’s been a reporter, a college lecturer and a horticultural advisor, as well as other things best forgotten. Her well-received domestic mysteries, After the Winter and The Au Pair, feature evocative settings and uninhibited female revenge, with a seasoning of moral ambiguity and noir. She reads obscure fiction in English and French and thinks Quebec is an underrecognized mise en scène for mystery and domestic suspense.”

Register for the event here. PWYC. All proceeds go to the author.


Only four more readings of the season. Why not join our mailing list? We’ll send monthly invites and news about our new upcoming in-person events and our continued online events. Are you an author looking for a place to share your work? Contact us today for more information. junctionwrites@gmail.com

Featured post

…some form of April hallelujah 

“Spring is made of solid, fourteen-karat gratitude, the reward for the long wait. Every religious tradition from the northern hemisphere honors some form of April hallelujah, for this is the season of exquisite redemption, a slam-bang return to joy after a season of cold second thoughts.”

Barbara Kingsolver, Animal, Vegetable, Mineral

It has been said that April is the cruelest month, but I do not, I cannot, have faith in such a statement. It’s kicked off with laughter (if your foolish joke lands) and it ends with a very real promise of warm sun on your face (not like the now you see it, now you don’t sunshine of March).

April at Junction Reads is going to be great. We’ve got Cary Fagan joining us for #TheFirstThirty with GREAT ADVENTURES FOR THE FAINT OF HEART (follow us on Instagram for more details). Stephen Henighan returns on Sunday April 10 with THE WORLD OF AFTER and Edith Blais joins us with her incredible memoir, THE WEIGHT OF SAND.

This month, we’ve got two very different books to talk about and we cannot wait.


On April 10, Stephen Henighan returns to Junction Reads with his latest novel, THE WORLD OF AFTER. It might make you think about an April Fool’s joke that went horribly wrong and it might make you think about those important friendships you once had, but that ended or fizzled out.

Stephen has published several novels, short stories, and non-fiction titles. “For his fiction Stephen has won the Potter Short Story Prize and a McNally-Robinson Fiction Prize.  For his non-fiction he has been a finalist for the Governor General’s Literary Award, the Canada Prize in the Humanities, a National Magazine Award and a Western Magazine Award.”

From Cormorant Books: “When Kevin, an Irish Montrealer, attends graduate school at Oxford University in the early 1990s he meets Leon, a London Jew from a Communist family, and Alex, a Soviet defector’s son raised in Toronto. As the trio begins to form a complex and conflicted friendship, Alex pulls away and spends more of his time tutoring a charming, yet troubled, upper-class undergraduate and less of it with Kevin and Leon. In a fit of jealousy, Kevin and Leon play a prank on Alex and the undergrad, a prank with dire consequences.

Ultimately, the three young men go their separate ways, but what happened that night binds them together and helps lead them to freedom and self-discovery in a post-Cold War world.”

You can register for the event today. PWYC. All proceeds to the author. All attendees are entered into a raffle for a chance to win a copy from Cormorant Books.

This reading is supported by the Canada Council for the Arts and The Writer’s Union of Canada Public Readings Program.


On April 24, we will meet Edith Blais, who will share a reading from her incredible memoir about her kidnapping and 450 days of captivity and her incredible escape in March 2020. In The Weight of Sand, “Edith Blais describes her harrowing hostage experience for the first time—and reveals that writing poetry in secret helped save her life.

Edith recounts the prolonged terror of her months as a hostage, enduring violent sandstorms, constant relocations, grueling hunger strikes, extreme isolation, and the unpredictability of her captors. She also shares the luminous poems she wrote in secret with a borrowed pen, which became a lifeline of creativity and one of the few possessions she smuggled out in her escape, strapped to her leg under her clothes.”

From Greystone Books:Edith Blais is a chef and self-taught writer and artist who chooses to lead a simple life. In 2019, she and her traveling companion, Luca Tacchetto, were taken hostage by an Islamic militant group in the Sahel region of Africa. Her writings during her fifteen months of captivity became the basis for her first book. Edith escaped her captors in March 2020 and currently lives in Sherbrooke, Quebec.”

You can register for the event today. PWYC. All proceeds to the author. All attendees are entered into a raffle for a chance to win a copy from Cormorant Books.

Interview with Lindsay Zier-Vogel

On February 6, I sat down Lindsay Zier-Vogel to talk about her debut novel, Letters to Amelia. Published by Book*hug Press, it is part epistolary, part historical and all love! We talked about letter-writing, motherhood, and Amelia Earhart. What I felt so deeply in our conversation was love. Lindsay’s passion for letter-writing; her love of history, and her experiences as a mother are all bound up in this gorgeous novel and I hope you will all get a chance to read it.

You can check out the video of our full conversation and reading here.


The novel opens in the Thomas Fisher Rare Book Library. You also have your own handbound books there and I urge people to go and see them. Can you talk about your experiences with the TFRBL and how it influenced the writing of Letters to Amelia?

I just love that library! I spent quite a bit of time there while I was doing my Masters and before I knew who the characters were in Letters to Amelia, or what the plot was, I knew I wanted it set there. I’m so grateful to John Shoesmith, the outreach librarian at the Fisher, who took me on tours of the backend of the library (deeeeeep into the sub-basement!) and answered all of my very practical questions about the realities of working in a library.

The letters between Amelia Earhart and Gene Vidal feel so real and authentic I had to look up whether they were in fact fictional. There must have been a lot of research that went into writing these letters. What inspired them? Were there other writers or biographers who were particularly influential?

I looked at a lot of Amelia’s archived and digitized letters that are housed at Purdue University to get a sense of her handwriting and the physicality of the letters. I originally hoped Amelia’s books and many articles would provide an entry into her written voice, but I found them to be quite formal and highly edited, lacking the personal quality I was looking for. Eventually, I found a collection of letters she wrote to her mother from when she was four years old until her disappearance—Letters From Amelia: An Intimate Portrait of Amelia Earhart by Jean L. Backus—and reading these letters unlocked her voice for me.

The heartbeat of the story for me is love, particularly motherlove. Amelia Earhart is this fearless, grounded, big dreamer and Grace is so afraid she won’t be able to raise a fearless dreamer. How did your experience as a mother affect/influence the story?

The story really took shape when I was very pregnant with my second child, and though I had taken many running starts, I began writing the book as it currently exists when she was a newborn. It was so helpful to be just on the other side of pregnancy to be able to write about the experience, something I couldn’t have done when I was deep inside the reality of it with my first child.

“I found a collection of letters (Amelia) wrote to her mother from when she was four years old until her disappearance…reading these letters unlocked her voice for me.”

Lindsay Zier-Vogel

I love when I read a novel and am introduced to characters so vivid, they could have their own novel, or short story: Patrick (a priest for 30 years); Jenna and Eric and their pregnancy dreams; Pat and Mike in Newfoundland. Do you create sketches or profiles for tertiary characters?

Patrick and Pat and Mike came very clearly, very quickly in early drafts, but it took a few passes before I really figured out Jenna and Eric’s stories. My writing group is in love with Patrick and they are petitioning for fan fiction about Patrick. I ended up cutting a lot of Patrick scenes and they’re still in mourning about it.

Grace takes an Internet dive into all the theories/conspiracies behind Amelia’s disappearance. Do you have your own theory? What are your thoughts on this obsession?

I, like Grace, prefer to focus on Amelia’s deep, rich life, rather than focusing on her disappearance. She was such a remarkable human and is so much more than her death. It’s pretty rare that someone truly disappears, which I think it what fuels the obsession with finding out THE TRUTH (all caps!), and I also think the impossibility of ever finding out what happened also fuels that often-obsessive search. My theories vacillate depending on the day. Some days I think she crashed into the ocean, some days I think she and Fred landed on Nikumaroro, though thinking of her agony is often too much for me to bear.

“People often say putting a book out into the world is like birthing a human, but for me it feels more like sending a kid out in the world—it’s so exciting and a little terrifying, but mostly just so wonderful.”

Lindsay Zier-Vogel

Have you written any more letters to Amelia since completing the novel?

I have! One! I wrote it the day the novel came out—on September 7, 2021. I took a picnic and the book to the lake, and sat on the edge of the water, where Amelia fell in love with flying and wrote her another letter.

At the heart of the novel is love and reading Letters to Amelia it’s all I felt. Love and a strong connection to you as its author. How did it feel putting the final touches on LTA and then seeing it in print?

Holding this book in my hands is truly a dream come true. Seeing the words (my words!) in print is surreal and still just so thrilling. As soon as it had a spine, and those beautiful end papers, it stopped being just mine, and now exists out in the world. People often say putting a book out into the world is like birthing a human, but for me it feels more like sending a kid out in the world—it’s so exciting and a little terrifying, but mostly just so wonderful.


Lindsay Zier-Vogel is a Toronto-based writer, arts educator and the creator of the internationally-acclaimed Love Lettering Project. After studying contemporary dance, she received her MA in Creative Writing from the University of Toronto. Her writing has been widely published in Canada and the U.K. Since 2001, she has been teaching creative writing workshops in schools and communities. Her hand-bound books are housed in the permanent collection at the Thomas Fisher Rare Book Library in Toronto. As the creator of the Love Lettering Project, Lindsay has asked people all over the world to write love letters to their communities and hide them for strangers to find, spreading place-based love. Lindsay also writes children’s books. Because of The Love Lettering Project, CBC Radio has deemed Lindsay a “national treasure.” Letters to Amelia is her first book.

February is for flying!

We’re at the worst of winter. Shorter days, mean longer nights, it’s cold where I am, and it’s about to get colder. Every morning, when I see the sun shining through the window, I imagine, maybe it’s not that cold. I dream of warm spring rain falling and carrying it away. When I flick on the stove, I think about sitting by a roaring fire in a big cottage somewhere. I go online and search beach vacation and I just look at the stock photos of people running in the sand, frolicking in the water.

What is her point, you might be asking? Well, my point is that winter is for dreaming. Winter is for sitting in your favourite chair and imaging another world. I’ve said it before (maybe even in my last post), winter is for reading! And because winter is for flying and traveling around the world, we’ve got two PERFECT books to talk about this month.


Join us on February 6 when we welcome Lindsay Zier Vogel with her epistolary novel, LETTERS TO AMELIA from Book*hug Press. Register through our EventBrite page. PWYC. Tickets are $0-$20. All proceeds go to the author.

“Grace Porter is reeling from grief after her partner of seven years unexpectedly leaves. Amidst her heartache, the 30-year-old library tech is tasked with reading newly discovered letters that Amelia Earhart wrote to her lover, Gene Vidal. She becomes captivated by the famous pilot who disappeared in 1937. Letter by letter, she understands more about the aviation hero while piecing her own life back together. When Grace discovers she is pregnant, her life becomes more intertwined with the mysterious pilot and Grace begins to write her own letters to Amelia. While navigating her third trimester, amidst new conspiracy theories about Amelia’s disappearance, the search for her remains, and the impending publication of her private letters, Grace goes on a pilgrimage of her own.”


On February 20, we welcome Cheuk Kwan with his collection of essays, HAVE YOU EATEN YET? In this collection, Kwan takes us on his documented journey to Chinese restaurants around the world. Published by Douglas & McIntyre. Register at EventBrite. PWYC. Tickets are $0-$20. All proceeds go to the author.

“From Haifa, Israel, to Cape Town, South Africa, Chinese entrepreneurs and restaurateurs have brought delicious Chinese food across the globe. Unravelling a complex history of cultural migration and world politics, Cheuk Kwan narrates a fascinating story of culture and place, ultimately revealing how an excellent meal always tells an even better story. Dotting even the most remote landscapes, family-run Chinese restaurants are global icons of immigration, community and delicious food. The cultural outposts of far-flung settlers, bringers of dim sum, Peking duck and creative culinary hybrids like the Madagascar classic soupe chinoise, Chinese restaurants are a microcosm of greater social forces—an insight into time, history and place. From Africa to South America, the Jade Gardens and Golden Dragons reveal an intricate tangle of social schisms and political movements, offering insight into global changes and diasporic histories, as the world has moved into the 21st century.”

December Readings

I’ve said it before, and I’ll say it again, summer reading has nothing on winter reading. Curling up in a chair with a cosy blanket and a comfy pillow, I can’t wait to finish A GOOD NAME from Yejide Kilanko. I am a short story super fan and Frances Boyle brings our first collection of the season, SEEKING SHADE.

You can register now for both events. As always, you have the chance to win your very own copy of the books. Thanks to the publishers for supporting our events with these great raffles! Pay what you can in support of our authors. See you there!

December 5Yejide Kilanko joins us with her novel (and fabulous eyeglasses!). A GOOD NAME from Guernica Editions is a must read. I’m about half way through and the tension is incredibly taut. 

“Twelve years in America and Eziafa Okereke has nothing to show for it. Desperate to re-write his story, Eziafa returns to Nigeria to find a woman he can mold to his taste. Eighteen-year-old Zina has big dreams. An arranged marriage to a much older man isn’t one of them. Trapped by family expectations, Zina marries Eziafa, moves to Houston, and trains as a nurse. Buffeted by a series of disillusions, the couple stagger through a turbulent marriage until Zina decides to change the rules of engagement.”

December 12: Frances Boyle comes to Junction Reads with her collection of stories from The Porcupine’s Quill. 

“In Seeking Shade, ordinary situations are imbued with extraordinary emotion as women and men explore identity and independence, navigate complicated relationships and confront the fallibility of mind and body.

A reckless young woman dances through the Second World War—and through the lives of many a man in uniform. A graduate student considers a popular film and revisits a past tragedy as she watches flames devour her apartment building. A hardworking man struggles to come to grips with his own helplessness at three stages of enforced quietude. A wife and mother questions her health—and her sanity—when she is plagued by phantom pains and visions of ghostly twins.”

October Readings

I don’t know about you, but Fall is when I get most excited about books. Sure beach reading has its pluses and who doesn’t love consuming delicious books with your feet in the sand, but this is the season I’ve been waiting for.

Sitting in a chair with a blanket across my legs, I’ve got two books on the go right now. And I am so excited to talk about them!

S.M. Freedman is coming on October 17 to talk about her suspenseful THE DAY SHE DIED. It is a book that explores the deep love of childhood friendship and what it means when you feel your life falling apart.

From Dundurn Press:

After a traumatic head injury, Eve questions every memory and motive in this mind-bending psychological thriller. Eve Gold’s birthdays are killers, and her twenty-seventh proves to be no different. But for the up-and-coming Vancouver artist, facing death isn’t the real shock — it’s what comes after. Recovering from a near-fatal accident, Eve is determined to return to the life she’s always wanted: a successful artistic career, marriage to the man who once broke her heart, and another chance at motherhood. But brain damage leaves her forgetful, confused, and tortured by repressed memories of a deeply troubled childhood, where her innocence was stolen one lie — and one suspicious death — at a time. As the dark, twisted pages unfold, Eve must choose between clinging to the lies that helped her survive her childhood and unearthing the secrets she buried long ago.”


On October 24, Jessica Moore returns to Junction reads with her narrative poetry in THE WHOLE SINGING OCEAN. We don’t normally include poetry in our readings, but Jessica’s prosaic memoir is exceptional on so many levels.

From Harbour Publishing (Nightwood Editions):

“Part long poem, part investigation, this true story begins with a whale encounter and then dives into the affair of the École en bateau, a French countercultural school aboard a boat. The École was based on the ideals of ’68, but also twisted ideas about child psychology, Foucault’s philosophy and an abolition of the separation between adults and children. As more troubling details are revealed, the text touches on memory, trauma and environmental grief, ultimately leading to buried echoes from the author’s own life and family history. At the dark heart of The Whole Singing Ocean is the question: How is it possible to hold two things—rapture and pain—at once?

February 22nd at 3030 Dundas West

We are excited to finish our first year with a great line up. 3030 is a super venue with a fantastic menu and delicious indie beers on tap. The Junction just happens to be the coolest place in Toronto to live and work.

Hope we see you there! 4-7pm 3030 Dundas West, Toronto.

February 22, 2015

Aggrey Sambay

Ron Schafrick

Peter Norman

Nancy Jo Cullen

Michael Winter

We will be off the month of March and will return April 26th.

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