Winner of the 2022 Center for Fiction First Novel Prize Winner of the 2023 Arab American Book Award for Fiction Shortlisted for the 2022 Scotiabank Giller Prize Shortlisted for the 2023 PEN/Jean Stein Book Award Shortlisted for the 2022 VCU Cabell First Novelist Award Winner of the Graywolf Press African Fiction Prize, a lush experimental novel about love as a weapon of empire. In the aftermath of the Arab Spring, an Egyptian American woman and a man from the village of Shobrakheit meet at a café in Cairo. He was a photographer of the revolution, but now finds himself unemployed and addicted to cocaine, living in a rooftop shack. She is a nostalgic daughter of immigrants “returning” to a country she’s never been to before, teaching English and living in a light-filled flat with balconies on all sides. They fall in love and he moves in. But soon their desire—for one another, for the selves they want to become through the other—takes a violent turn that neither of them expected. A dark romance exposing the gaps in American identity politics, especially when exported overseas, If an Egyptian Cannot Speak English is at once ravishing and wry, scathing and tender. Told in alternating perspectives, Noor Naga’s experimental debut examines the ethics of fetishizing the homeland and punishing the beloved . . . and vice versa. In our globalized twenty-first-century world, what are the new faces (and races) of empire? When the revolution fails, how long can someone survive the disappointment? Who suffers and, more crucially, who gets to tell about it?

RBC Bronwen Wallace Award winner Noor Naga's bracing debut, a novel-in-verse about a young woman's romantic relationship with a married man and her ensuing crisis of faith. 2021 Arab American Book Award - George Ellenbogen Poetry Award, Winner Pat Lowther Memorial Award, Winner Gerald Lampert Memorial Award, Longlist Fred Cogswell Award For Excellence In Poetry, Second Place Winner CBC Best Canadian Poetry of 2020 Coocoo is a young immigrant woman in Toronto. Her faith is worn threadbare after years of bargaining with God to end her loneliness and receiving no answer. Then she meets her mirror-image; Muhammad is a professor and father of two. He's also married. Heartbreaking and hilarious, this verse-novel chronicles Coocoo's spiraling descent: the transformation of her love into something at first desperate and obsessive, then finally cringing and animal, utterly without grace. Her best friend, Nouf, remains by her side throughout, and together they face the growing contradictions of Coocoo's life. What does it mean to pray while giving your body to a man who cannot keep it? How long can a homeless love survive on the streets? These are some of the questions this verse-novel swishes around in its mouth.

The narrator of The Longcut is an artist who doesn’t know what her art is. As she gets lost on her way to a meeting in an art gallery, walking around in circles in a city she knows perfectly well, she finds herself endlessly sidetracked and distracted by the question of what her work is and how she’ll know it when she sees it. Her mental peregrinations take her through the elements that make up her life: her dull office job where she spends the day moving items into a “completed” column, insomniac nights in her so-called studio (also known as her tiny apartment), encounters with an enigmatic friend who may or may not know her better than she knows herself. But wherever she looks she finds only more questions—what is the difference between the world and the photographed world, why do objects wither in different contexts, what is Cambridge blue—that lead her further away from the one thing that really matters. An extraordinary feat of syntactical dexterity and comic ingenuity, The Longcut is ultimately a story of resistance to easy answers and the place of art and the artist in the world.

An epic, multi-perspective debut novel bringing the streets of Cairo to life

A rollicking, exuberant and powerfully moving story of a family swept up by social unrest in post–World War II Cairo Abd el-Aziz Gaafar, formerly a well-respected landowner now in the grip of penury, moves his family to Cairo and takes on menial work at the Automobile Club—a place of refuge and luxury for its European members, but one where Egyptians may appear only as servants. Alku, the lifelong Nubian servant of Egypt’s corrupt king, runs the show in all but name. The servants, a squabbling, humorous, and deeply human group, live in a perpetual state of fear: beaten for their mistakes, their wages dependent on Alku’s whims. When Abd el-Aziz’s pride gets the better of him and he stands up for himself, his death—as much from shame as from his injuries after Alku has him beaten—leaves his widow further impoverished and two of his sons obliged to work in the Club. As the family is drawn into the turbulent politics of Egypt—public and private—both servants and masters are subsumed by the country’s social upheaval. Soon, the Egyptians of the Automobile Club face a stark choice: to live safely but without dignity as servants, or to fight for their rights and risk everything.

A woman discovers something toxic at work in the isolated village where she is apprenticing as a pharmacist, in this fable-like novel about power, surveillance, prescriptions, and cures by a captivating debut voice. On a remote mountaintop somewhere in Europe, accessible only by an ancient funicular, a small pharmacy sits on a square. As if attending confession, townspeople carry their ailments and worries through its doors, in search of healing, reassurance, and a witness to their bodies and their lives. One day, a young woman arrives in the town to apprentice under its charismatic pharmacist, August Malone. She slowly begins to lose herself in her work, lulled by stories and secrets shared by customers and colleagues. But despite her best efforts to avoid thinking and feeling altogether, as her new boss rises to the position of mayor, she begins to realize that something sinister is going on around her. The Weak Spot is a fable about our longing for cures, answers, and an audience--and the ways it will be exploited by those who silently hold power in our world.

Exploring the politics of representation and the cultural changes that occurred in the city, this post colonial study addresses the questions of modernity and space that haunt our perception of Calcutta.

A collection of stories from the Iranian author includes a tale about a woman whose former maid becomes her jailer and a story about an old woman searching for her fugitive sons in Sweden.

The #1 national bestseller “Marvelous . . . viciously funny and acutely intelligent” (Maclean’s), When We Lost Our Heads is the spellbinding story of two young women whose friendship is so intense it not only threatens to destroy them, it changes the course of history Marie Antoine is the charismatic, spoiled daughter of a sugar baron. At age twelve, with her pile of blond curls and unparalleled sense of whimsy, she’s the leader of all the children in the Golden Mile, the affluent strip of nineteenth-century Montreal where powerful families live. Until one day in 1873, when Sadie Arnett, dark-haired, sly and brilliant, moves to the neighbourhood. Marie and Sadie are immediately inseparable. United by their passion and intensity, they attract and repel each other in ways that set them both on fire. Marie, with her bubbly charm, sees all the pleasure of the world, whereas Sadie’s obsession with darkness is all-consuming. Soon, their childlike games take on the thrill of danger and then become deadly. Forced to separate, the girls spend their teenage years engaging in acts of alternating innocence and depravity, until a singular event unites them once more, with devastating effects. After Marie inherits her father’s sugar empire and Sadie disappears into the city’s gritty underworld, the working class begins to foment a revolution. Each woman will play an unexpected role in the events that upend their city—the only question is whether they will find each other once more. From the beloved Giller Prize-shortlisted author who writes “like a sort of demented angel with an uncanny knack for metaphor” (Toronto Star), When We Lost Our Heads is a page-turning novel that explores gender and power, sex and desire, class and status, and the terrifying strength of the human heart when it can’t let someone go.

It is the winter of 1915 and Iraq has been engulfed by the First World War. Hungry for independence from Ottoman rule, Ahmad leaves his peaceful family life on the banks of the Tigris to join the British-led revolt. Thousands of miles away, Welsh teenager Carwyn reluctantly enlists and is sent, via Gallipoli and Egypt, to the Mesopotamia campaign. Carwyn’s and Ahmad’s paths cross, and their fates are bound together. Both are forever changed, not only by their experience of war, but also by the parallel discrimination and betrayal they face. Ruqaya Izzidien’s evocative debut novel is rich with the heartbreak and passion that arise when personal loss and political zeal collide, and offers a powerful retelling of the history of British intervention in Iraq.