Showing results by publisher "Knopf Canada" in Women's Fiction

A woman leaves the man she lives with and moves to a low stone cottage in a university town. She joins an academic department and, high up in her office on the thirteenth floor, begins a research project on the poet Paul Celan. She knows nothing of Celan, still less of her new neighbors or colleagues. She is in self-imposed exile, hoping to find dignity in her loneliness. Like everywhere, the abiding feeling in the city is one of paranoia. The weather is deteriorating, the ordinary lives of women are in peril, and an unexplained curfew has been imposed. But then she meets Clara.

In the late nineteenth century, Charlotte Bell is growing up at Fayne, a vast and lonely estate straddling the border between England and Scotland, where she has been kept from the world by her adoring father, Lord Henry Bell, owing to a mysterious condition. Charlotte, strong and insatiably curious, revels in the moorlands, and has learned the treacherous and healing ways of the bog from the old hired man, Byrn, whose own origins are shrouded in mystery.

A young woman moves from the place of her birth to the remote northern country of her forebears to be housekeeper to her brother, whose wife has recently left him. Soon after her arrival, a series of inexplicable events occurs - collective bovine hysteria; the demise of a ewe and her nearly born lamb; a local dog's phantom pregnancy; a potato blight. She notices that the local suspicion about incomers in general seems to be directed with some intensity at her and she senses a mounting threat that lies 'just beyond the garden gate.'

In the winter of 2008, as snow falls without interruption, an actor in a Beckett play blanks on her lines. Fleeing the theatre, she beats a retreat into her past and arrives at Snow Road Station, a barely discernible dot on the map of Ontario. The actor is Lulu Blake, in her sixties now, a sexy, seemingly unfooled woman well-versed in taking risks. Out of work, humiliated, she enters the last act of her life wondering what she can make of her diminished self.

Florence, the 1550s. Lucrezia, third daughter of the grand duke, is comfortable with her obscure place in the palazzo: free to wonder at its treasures, observe its clandestine workings, and to devote herself to her own artistic pursuits. But when her older sister dies on the eve of her wedding to the ruler of Ferrara, Moderna and Regio, Lucrezia is thrust unwittingly into the limelight: the duke is quick to request her hand in marriage, and her father just as quick to accept on her behalf.

Akemi’s desire for independence and aversion to marriage are unusual in her small village. A gift for drawing allows her to move to a rooming house in Tokyo where she studies medical illustration, finding satisfaction in the precision and purpose of her work. Sayako is the first roommate to pay Akemi attention, and they quickly become inseparable—Sayako drawn to Akemi’s humble origins, so distinct from her own insufferable, wealthy family; Akemi attracted to Sayako’s rebelliousness and her aspiration to be a painter.

At sixty-six, Paula Spencer—mother, grandmother, widow, addict, survivor—is finally living her life. A job at the dry cleaners she enjoys, a man—Joe—with whom she shares what she wants, friends who see her for who she is, and four grown children, now with families and petty dramas the likes of which Paula could only have hoped for. Despite its ghosts, Paula has started to push her past aside. That is until Paula’s eldest, Nicola, turns up on her doorstep. Independent, affluent, a loving wife and mother, “a success”—Nicola is suddenly determined to leave it all behind.

The sun rises on a quiet June morning in 2009. August Epp sits alone in the hayloft of a barn, anxiously bent over his notebook. Eight women - ordinary grandmothers, mothers, and teenagers; yet to August, each one extraordinary - will climb the ladder into the loft, and the day's true task will begin. This task will be both simple and subversive: August, like the women, is a traditional Mennonite, and he has been asked to record a secret conversation. They have 48 hours to make a life-altering choice on behalf of all the women and children in the colony.

With murder dominating the news, the respected wife of a New Brunswick sea captain is drawn into the case of a British home child whose bad luck has turned worse. Mortified that she must purchase the girl in a pauper auction to save her from the lechery of wealthy townsmen, Josephine Galloway finds herself suddenly the proprietor of a boarding house kept afloat by the sweat and tears of a curious and not completely compatible collection of women, including this English teenager, Flora Salford.

Our Woman refuses to be sunk by what life is about to serve her. She's just caught her son Jimmy in the barn with another man. She's been accosted by Red the Twit, who claims to have done the unmentionable with her husband. And now her son's gone and joined the only group that will have him: an army division on its way to Afghanistan.

An unforgettable tour de force in the voice of an ordinary-extraordinary woman who has simply had enough. Through the character of Bina, who is writing out her story on the backs of discarded envelopes, Anakana Schofield filters a complex moral universe filled with humour and sadness, love and rage, and the consolations, obligations and mysteries of lifelong friendship. A work of great power, skill, and transformative empathy from a unique and astonishing writer, whose previous book, Martin John, was shortlisted for the Giller Prize.

Eunice does the best that she can—uneducated, and with a daughter and ailing mother both depending solely on her, her life is a series of limitations. She moves through the rooms of the penthouse suite in silent servitude, and though Mabel is ashamed of this invisibility act they've both perfected, the era of slavery is still fresh in the country's consciousness, and Eunice thinks it best not to dwell too hard on such things. But when tragedy strikes, and a little boy dies, Eunice must decide if she can face the indifference and injustices of the ruling class she has spent so long orbiting.

On a cold February afternoon, Stella catches sight of a man she hasn't seen for many years, but instantly recognizes. Or thinks she does. At the same moment on the other side of the globe, in the middle of a crowd of Chinese New Year revelers, Jake realizes that things are becoming dangerous. They know nothing of one another's existence, but both Stella and Jake flee their lives: Jake in search of a place so remote it doesn't appear on any map, and Stella for a destination in Scotland, the significance of which only her sister, Nina, will understand.

It’s the eve of her 25th wedding anniversary and Mary Gooch is waiting for her husband, Jimmy, to come home. But Mary isn’t just waiting for Jimmy. She is waiting for a mother who accepts her, children she is unable to have, a life beyond the well-worn path from her bedroom to the refrigerator. Mary is waiting for her life to start. As she waits for Jimmy, the night passes into day and it becomes clear that he isn’t coming home. A letter left in the mailbox confirms her worst fears and Mary is left alone to make a difficult decision.

In this sweeping tale, at once epic and intimate, Shyam Selvadurai introduces us to Siddhartha Gautama—who will later become “the enlightened one,” or the Buddha—an unusually bright and politically astute young man settling into his upper-caste life as a newlywed to Yasodhara, a woman of great intelligence and spirit. Mansions of the Moon traces the couple’s early love and life together, and then the anguished turmoil that descends upon them both as Siddhartha’s spiritual calling takes over and the marriage partnership slowly, inexorably crumbles.

Justine feels uneasy in her marriage, her theatre career and her relationship with her estranged mother, a famous painter. An intuitive and uncanny mimic, distinguished by a pronounced scar across her forehead (the result of a childhood accident), Justine has made acting the centre of her life since she was a teenager, but lately her outwardly charmed life in Toronto has begun to ring false. After a disastrous audition in London, England, a chance encounter with a stranger leads to an unorthodox business proposition that would allow Justine to abandon the world she knows indefinitely.

In the autumn of 2015, 40-something journalist Liz is working at a national newspaper in Washington, DC, where Hillary Clinton’s run for the presidency is the talk of the town. The divorced parent of a college-age son, she appears to lead a full, happy life: devoted friends, a job she adores, a breezy dating life. But deep inside, Liz is stalled in neutral, stuck in a clandestine affair with her boss and still brooding on her marriage, which ended in betrayal, hurt and anger 10 years ago.

Jen and Hugh Maddox have just survived every parent's worst nightmare. Relieved, but still terrified, they sit by the hospital bedside of their 15-year-old daughter, Lana, who was found bloodied, bruised, and disoriented after going missing for four days during a mother-daughter vacation in the country. As Lana lies mute in bed, unwilling or unable to articulate what happened to her during that period, the national media speculates wildly and Jen and Hugh try to answer many questions. 

A rising star in the London arts scene of the early 1970s, gifted composer Ralph Boyd is approached by renowned novelist Edmund Greenslay to score a stage adaptation of his most famous work. Welcomed into Greenslay's sprawling bohemian house in Putney, an artistic and prosperous district in southwest London, the musical wunderkind is introduced to Edmund's beautiful activist wife Ellie, his aloof son Theo, and his nine-year old daughter Daphne, who quickly becomes Ralph's muse.

When Lily moves into new boyfriend Marcus's apartment and plunges headlong into their relationship, she must contend with an intangible, hostile presence—Marcus’s ex-girlfriend, Sinead. As Lily and Marcus become more deeply involved, Lily becomes obsessed with Sinead's fate and thinks she sees her everywhere. She must question not only her sanity, but whether the man she loves is someone she can, or should, be with at all.