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WINNER - Prix du livre d’Ottawa 2016 WINNER - Prix Jean-Éthier-Blais 2015 WINNER - Prix Gabrielle-Roy 2014 FINALIST - Prix littéraire Trillium 2015 From the founding of New France to the present day, Quebec women have had to negotiate societal expectations placed on their gender. Tracing the evolution of life writing by Quebec women, Patricia Smart presents a feminist analysis of women’s struggles for autonomy and agency in a society that has continually emphasized the traditional roles of wife and mother. Writing Herself into Being examines published autobiographies and autobiographical fiction, as well as the annals of religious communities, letters, and a number of published and unpublished diaries by girls and women, to reveal a greater range of women’s experiences than proscribed, generalized roles. Through close readings of these texts Smart uncovers the authors’ perspectives on events such as the 1837 Rebellion, the Montreal cholera epidemic of 1848, convent school education, the struggle for women’s rights in the early twentieth century, and the Quiet Revolution. Drawing attention to the individuality of each writer while situating her within the social and ideological context of her era, this book further explores the ways women and girls reacted to, and often rebelled against, the constraints imposed on them by both Church and state. Written in a clear and compelling narrative style that brings women’s voices to life, Writing Herself into Being – the author’s own translation of her award-winning French-language book De Marie de l’Incarnation à Nelly Arcan: Se dire, se faire par l’écriture intime (Boréal, 2014) – offers a new and gendered view of various periods in Quebec history.

"Comic book superheroes, fantasy kingdoms, and futuristic starships have become inescapable features of today's pop-culture landscape, and the people we used to deride as "nerds" or "geeks" have ridden their popularity and visibility to mainstream recognition. It seems it's finally hip to be square. Yet these conventionalized representations of geek culture typically ignore the real people who have invested time and resources to make it what it is. Getting a Life recentres our understanding of geek culture on the everyday lives of its participants, drawing on fieldwork in comic book shops, game stores, and conventions, including in-depth interviews with ordinary members of the overlapping communities of fans and enthusiasts. Benjamin Woo shows how geek culture is a set of interconnected social practices that are associated with popular media. He argues that typical depictions of mass-mediated entertainment as something that isolates and pacifies its audiences are flawed because they do not account for the conversations, relationships, communities, and identities that are created by engaging with the products of mass culture. Getting a Life combines engaging interview material with lucid interpretation and a clear, interdisciplinary framework. The volume is both an accessible introduction to this contemporary subculture and an exploration of the ethical possibilities of a life lived with media.

Like a Québécois Bridget Jones’s Diary, Autopsy of a Boring Wife tells the hysterically funny and ultimately touching tale of forty-eight-year-old Diane, a woman whose husband is having an affair because, he says, she bores him. Diane takes the change to heart and undertakes an often ribald, highly entertaining journey to restore trust in herself--and others--that offers an astute commentary on women and girls, gender differences, and the curious institution of twenty-first century marriage. All the details are up for scrutiny in this brisk, yet tender story of a path to recovery. Autopsy of a Boring Wife is a wonderfully fresh novel of the pitfalls of an apparently “boring” life that could be any of ours.

Despite the common belief that art galleries will naturally become more gender equitable over time, the fact is that many art institutions in Canada have become even less so over the last decade, with female artists making up less than 25 per cent of the contemporary exhibitions of several major galleries. In the first large-scale overview of gender diversity in Canadian art exhibitions, Anne Dymond makes a persuasive plea for more consciously equitable curating. Drawing on data from nearly one hundred institutions, Diversity Counts reveals that while some galleries are relatively equitable, many continue to marginalize female and racialized artists. The book pursues an interdisciplinary approach, considering the art world's resistance to numeric data, discourses on representation and identity, changing conceptualizations of institutional responsibility over time, and different ways particular institutions manage inclusion and exclusion. A thoughtful examination of the duty of public galleries to represent underserved communities, Dymond's study bravely navigates the unspoken criteria for acceptance in the curatorial world. Demonstrating how important hard data is for inclusivity, Diversity Counts is a timely analysis that brings the art world up to date on progressive movements for social transformation.