Social satire, fabulist tales and darkly humorous dystopian visions by some of Canada's most adventurous and distinguished writers. The 23 stories in Darwin's Bastards take us on a twisted, wild ride into some future times and parallel universes where characters as diverse as a dead boy, a one-legged international actuarial forensics specialist, a pharmaceutical guinea pig, and a far-sighted fetus engage in their own games of the survival of the fittest. The collection includes the first new short story by William Gibson to be published since 1997, as well as original, previously unpublished fiction by Lee Henderson, Timothy Taylor, Heather O'Neill, Mark Anthony Jarman, and others. From recent Trillium Award-winner Pasha Malla's hilarious take on the apocalypse, where Prince is the only man left alive, to newcomer Matthew J. Trafford's brilliant triptych about the fallout from the cloning of Jesus Christ, to iconoclast Sheila Heti's meditative romp about beleaguered physicists and Oracle of Delphi-like BlackBerrys, Darwin's Bastards is a fast-moving, thought-provoking reading extravaganza.

BLOOD AND MAGIC… …rage in the streets of Seattle. The shift of a few blocks of gang turf costs lives, innocent and guilty, silenced forever and then forgotten in the city's deepest shadows. Lone Star, Seattle's contracted police force, fights a losing battle against the city's newest conquerors—the gangs. From his years of undercover work, Lone Star officer Rick Larson thinks he knows the score. The gangs rule their territories by guns and spells, force and intimidation, and it's the most capricious of balances that keeps things from exploding into all-out warfare. Inside the Cutters, one of the city’s most dangerous gangs, Larson is in a prime position to watch the balance, react to it, and report to his superiors. But when the balance begins to shift unexpectedly, Larson finds himself not only on the wrong side of the fight, but on the wrong side of the law as well…

What do literary dystopias reflect about the times? In Blast, Corrupt, Dismantle, Erase, contributors address this amorphous but pervasive genre, using diverse critical methodologies to examine how North America is conveyed or portrayed in a perceived age of crisis, accelerated uncertainty, and political volatility. Drawing from contemporary novels such as Cormac McCarthy’s The Road, Neil Gaiman’s American Gods, and the work of Margaret Atwood and William Gibson (to name a few), this book examines dystopian literature produced by North American authors between the signing of NAFTA (1994) and the tenth anniversary of 9/11 (2011). As the texts illustrate, awareness of and deep concern about perceived vulnerabilities—ends of water, oil, food, capitalism, empires, stable climates, ways of life, non-human species, and entire human civilizations—have become central to public discourseover the same period. By asking questions such as “What are the distinctive qualities of post-NAFTA North American dystopian literature?” and “What does this literature reflect about the tensions and contradictions of the inchoate continental community of North America?” Blast, Corrupt, Dismantle, Erase serves to resituate dystopian writing within a particular geo-social setting and introduce a productive means to understand both North American dystopian writing and its relevant engagements with a restricted, mapped reality.

Drawing on philosophical reflection, spiritual and religious values, and somatic practice, Spirit and the Obligation of Social Flesh offers guidance for moving amidst the affective dynamics that animate the streets of the global cities now amassing around our planet. Here theology turns decidedly secular. In urban medieval Europe, seculars were uncloistered persons who carried their spiritual passion and sense of an obligated life into daily circumambulations of the city. Seculars lived in the city, on behalf of the city, but—contrary to the new profit economy of the time—with a different locus of value: spirit. Betcher argues that for seculars today the possibility of a devoted life, the practice of felicity in history, still remains. Spirit now names a necessary “prosthesis,” a locus for regenerating the elemental commons of our interdependent flesh and thus for cultivating spacious and fearless empathy, forbearance, and generosity. Her theological poetics, though based in Christianity, are frequently in conversation with other religions resident in our postcolonial cities.

First there was the traveller; then the word was emigrants. In America, they turned into immigrants. And today -- in many parts of the world -- they are (we are) aliens. From somewhere else. At odds with and yet fully inside of another culture. At home nowhere. This new issue of Granta features tales from the constantly shifting terrain of alien culture. Mark Gevisser writes of two closeted gay South African men, whose friendship has lasted five decades, dating back to a regime determined to keep black and white apart. Dinaw Mengestu writes of a war being waged in the Congo by exiles managing it from afar in France. Robert Macfarlane goes for a walk in Palestine, and meets families who can no longer return to their own homes. Nami Mun conjures a couple who feel like strangers in the wake of a terrible betrayal. Whether it's the closely observed ecology of marriage life or the violent acts of criminals, this issue of Granta will draw into focus one of the most pressing issues of our time: Who do we call outsiders?

For the first time in his life, Lugh MacKeir, Laird of Tunvegan, finds himself in a battle he cannot win. His precious daughter is dying of the same illness that claimed his wife. The Isle of Parraba is a whispered legend, a place rumored to be ruled by a sorceress, an isle no one can reach. Yet, legend speaks of a powerful healer as well. Lugh MacKeir, desperate, determines to find Parraba and face its mysterious ruler. Iosobal is the Lady of Parraba, mystical and magical, a woman apart from the world around her. Drawn to something familiar in Lugh?s child, however, she reluctantly agrees to help her in exchange for Lugh clearing the blocked entrance to a very special cave. But the child?s illness defies Iosobal?s skill, and Lugh?s task proves more of a challenge than he anticipated. In the end, the secret to saving Lugh?s daughter lies in Iosobal?s ability to open her heart to a brash warrior who has invaded her tranquil sanctuary. She must find the courage to end her isolation, and the wise innocence of a child must lead them all to A Lost Touch of Paradise.

Darwin Minor travels a dangerous road. A Vietnam veteran turned reluctant expert on interpreting the wreckage of fatal accidents, Darwin uses science and instinct to unravel the real causes of unnatural disasters. He is very, very good at his job. His latest case promises to be his most challenging yet. A spate of seemingly random high-speed car accidents has struck the highways of southern California. Each seems to have been staged-yet the participants have all died. Why would anyone commit fraud at the cost of his own life? The deeper Darwin digs, the closer he comes to unmasking an international network specializing in intimidation and murder, whose members will do anything to make sure Darwin soon suffers a deadly accident of his own. "A literary thriller like no other...A hard-charging, edge-of-the-seat tale."-Milwaukee Journal Sentinel

Eighteen essays review and celebrate the life and thought of Phillip Johnson, the Cal Berkeley legal scholar who became a leading figure in the intelligentdesign movement.

Contains thirty-three short stories chosen by the editor as the best in science fiction for 2010, including selections by Damien Broderick, Steven Popkes, Rachel Swirsky, and others, and features a summation of the year's events, as well as a list of honorable mentions.

In Sweet Lechery, cultural journalist Jeet Heer offers a quirky collection of literary criticism that touches on a wide range of contemporary topics. From Margaret Atwood to Philip K. Dick, from Seth to Marshall McLuhan, Heer considers the literary and social contributions of canonical authors, artists, theorists and polemicists alike. Drawing from a variety of disciplines and genres, he links sex to economics, porn to high-brow literature, and tackles the oddball themes of cannibalism and vegetable sex in Canadian fiction. He examines the struggles of science fiction writers and the artistic opportunities of comic artists, weighing in on partisan politics for good measure. Rich with contextual detail and social commentary, these essays examine the cultural, historical and political forces that inform the books we read and write.