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Inspired by the work of Souvankham Thammavongsa, Catherine Hernandez and Wayson Choy, this unforgettable novel follows the reunification of Filipino…
caregiver families over one Canadian winter—and the mysterious progress of Monolith, who appears and disappears in their lives. When five-year-old Monolith is taken from the Philippines to live with his mother in Canada, he immediately lashes out. Unable or unwilling to speak, he attacks her and destroys his new home.Everyone wants to know why—and everyone has a theory. But unlike the solid certainty his name suggests, the answer isn’t so simple.From a cliffside town in the Tagaytay highlands of the Philippines, to the Filipino communities in the desert of Osoyoos, the Arctic world of Iqaluit, the suburbs of southern Ontario, Sarnia's Chemical Valley, Montréal’s Côte-des-Neiges, and Toronto’s Little Manila, Austria-Bonifacio takes readers into the kaleidoscope of the Filipino diaspora, uncovering the displacement, estrangement, resilience and healing that happen behind closed doors.As each chapter unfolds, truths are revealed in humorous, joyful, devastating and surprising ways: through an incisive caregiver's instruction manual, a custody battle over texts and e-mails, a disarmingly direct self-help guide, a series of desperate résumés, a kundiman songbook, and more.Monolith appears again and again, as a misbehaving boy in a store, the subject of town gossip, a face in a fundraising campaign, a client in questionable care, a dying man’s beacon of hope—and an unlikely new friend.Compellingly readable, incisive and resonant, Jennilee Austria-Bonifacio’s stunning debut opens a window into the homes and hearts of the Filipino-Canadian community.
A troubled Delia Ellis returns to her old neighbourhood, Don Mount Court, to retrieve a beloved childhood diary. While the…
entries uncover significant revelations around her mother’s past, it's Delia’s return home that leads to a true understanding of the circumstances that forged her identity.
“A scintillating debut full of nuanced and achingly human characters.” — Zalika Reid-Benta, author of Frying PlantainBack in the low-income…
neighbourhood where she was raised, a young woman rediscovers the importance of community, home, and finding one’s voice.Just before the demolition of her childhood home in east Toronto, Delia Ellis returns to retrieve her beloved diary. Using it as a compass, she rediscovers life as a precocious teen growing up in the nineties.Delia’s writings reveal her anxieties following a move to Don Mount Court, a Toronto government housing complex, where she struggles to navigate life with an overprotective Jamaican mother and her father’s inept replacement, “Neville the nuisance.” Delia’s troubles compound when she enlists her naive younger sister in a scheme to reunite their parents and recapture the idealistic life she yearns for.Yet, through the lens of adulthood, Delia’s entries take a wrecking ball to the perception of her parents’ love story she’d long built up in her mind, uncovering a child’s internalization of a failed marriage, poverty, and a mother come undone.
&“Maurice Vellekoop's beautiful graphic memoir feels painfully honest. It's about art and life and families and belief, about who we…
are and what forms us, the magic and the hurt, and it evokes times that are well-lost while reminding us of the battles still being fought every day. Most of all, I think, it's about love.&” —Neil GaimanFor fans of Fun Home by Alison Bechdel, I&’m So Glad We Had This Time Together is an epic graphic memoir about a queer illustrator surviving his intensely Christian childhood in 1970s Toronto.Meet little Maurice Vellekoop, the youngest of four children raised by Dutch immigrants in the 1970s in a blue-collar suburb of Toronto. Despite their working-class milieu, the Vellekoops are devoted to art, music, and film, and they instill a deep reverence for the arts in young Maurice—except for literature. He&’d much rather watch Cher and Carol Burnett on TV than read a book. He also loves playing with his girlfriends&’ Barbie dolls and helping his Mum in her hair salon, which she runs out of the basement of their house. In short, he is really, really gay. Which is a huge problem, because the family is part of the Christian Reformed Church, a strict Calvinist sect. They go to church twice on Sunday, and they send their kids to a private Christian school, catechism classes, and the Calvinist Cadet Corps. Needless to say, the church is intolerant of homosexuality. Though she loves her son deeply, Maurice&’s mother, Ann, cannot accept him, setting the course for a long estrangement. Vellekoop struggles through all of this until he graduates from high school and is accepted into the Ontario College of Art in the early 1980s. Here he finds a welcoming community of bohemians, including a brilliant, flamboyantly gay professor who encourages him to come out. But just as he&’s dipping his toes into the waters of gay sex and love, a series of romantic disasters, followed by a violent attack, sets him back severely. And then the shadow of the AIDS era descends. Maurice reacts by retreating to the safety of childhood obsessions, and seeks to satisfy his emotional needs with film- and theatre-going, music, boozy self-medication, and prolific art-making. When these tactics inevitably fail, Vellekoop at last embarks on a journey towards his heart&’s true desire. In psychotherapy, the spiderweb of family, faith, guilt, sexuality, mental health, the intergenerational fallout of World War II, King Ludwig II of Bavaria, French Formula Hairspray, and much more at last begins to untangle. But it&’s going to be a long, messy, and occasionally hilarious process. I&’m So Glad We Had This Time Together is an enthralling portrait of what it means to be true to yourself, to learn to forgive, and to be an artist.