The Deception Of Livvy Higgs

For two traumatic days, Livvy Higgs is besieged by a series of small heart attacks while the ghost of her younger self leads her back through a past devastated by lies and secrets. The story opens in Halifax in 2009, travels back to the French Shore of Newfoundland during the mid-thirties and the heyday of the Maritime shipping industry, makes its way to wartorn Halifax during the battle of the Atlantic in World War II, then leaps ahead to the bedside of the elder Livvy. Caught between a troubled past, and her present and worsening living conditions, Livvy is forced to pick apart the lies and secrets told by her greedy, prideful father, Durwin Higgs, who judges her a failure, and her formidable Grandmother Creed, who has mysteriously aligned herself with Livvy's father, despite their mutual hatred. Tending to Livvy during her illness is her young next-door neighbour, Gen, a single mother, social-work student, and part-time drug dealer. Overnight, a violent scene embroils the two in each other's lives in a manner that will entwine them forever. In The Deception of Livvy Higgs, the inimitable Morrissey has written a powerful tale, the Stone Angel of the East Coast.

Something about the boat, perhaps its name, and the posture of that boy caused me to defer my anxieties for the moment. It was so rare to see someone that age stationary, somber. I was more accustomed to a rowdy adolescent enthusiasm. This young man, I realized, was exceptional only because of time and place. Maybe any one of them in those circumstances would have been the same. Quiet. But he caught my attention nevertheless and linked the moment to tender places in the memory. Doomed boys and men: in retrospect they all have that stillness. --from The Bishop’s Man by Linden MacIntyre The year is 1993 and Father Duncan MacAskill stands at a small Cape Breton fishing harbour a few miles from where he grew up. Enjoying the timeless sight of a father and son piloting a boat, Duncan takes a moment’s rest from his worries. But he does not yet know that his already strained faith is about to be tested by his interactions with a troubled boy, 18-year-old Danny MacKay. Known to fellow priests as the “Exorcist” because of his special role as clean-up man for the Bishop of Antigonish, Duncan has a talent for coolly reassigning deviant priests while ensuring minimal fuss from victims and their families. It has been a lonely vocation, but Duncan is generally satisfied that his work is a necessary defense of the church. All this changes when lawyers and a policeman snoop too close for the bishop’s comfort. Duncan is assigned a parish in the remote Cape Breton community of Creignish and told to wait it out. This is not the first time Duncan has been sent away for knowing too much: decades ago, the displeased bishop sent a more idealistic Duncan to Honduras for voicing suspicions about a revered priest. It was there that Duncan first tasted forbidden love, with the beautiful Jacinta. It was also there that he met the courageous Father Alfonso, who taught him more about spiritual devotion than he had ever known back home. But when an act of violence in Honduras shook Duncan to his core, he returned home a changed man, willing to quietly execute the bishop’s commands. Now, decades later in Cape Breton, Duncan claims to his concerned sister Effie that isolation is his preference. But when several women seek to befriend him, along with some long-estranged friends, Duncan is alternately tempted and unnerved by their attentions. Drink becomes his only solace. Attempting to distract himself with parish work, Duncan takes an interest in troubled young Danny, whose good-hearted father sells Duncan a boat he names The Jacinta. To Duncan’s alarm, he discovers that the boy once spent time with an errant priest who had been dispatched by Duncan himself to Port Hood. Duncan begins to ask questions, dreading the answers. When tragedy strikes, he knows that he must act. But will his actions be those of a good priest, or an all too flawed man? Winner of the 2009 Scotiabank Giller Prize, Linden MacIntyre’s searing The Bishop’s Man is an unforgettable and complex character study of a deeply conflicted man at the precipice of his life. Can we ever be certain of an individual’s guilt or innocence? Is violence ever justified? Can any act of contrition redeem our own complicity?

In What They Wanted, the second part of the Sylvanus Now Trilogy, award-winning author Donna Morrissey explores both new and familiar terrain: a divided house on the shores of Newfoundland and the equally challenging environment of an Alberta oil rig. After Sylvanus has a heart attack, family tensions rise to the fore. Sylvie must deal with her feelings of estrangement from her mother, Addie. Meanwhile, Chris, a natural artist, frustrates his dreams by going to work on the rig. A novel about guilt, responsibility, tragedy, and the enduring ties of family, this is vintage Donna Morrissey.

Morrissey’s acclaimed, bestselling debut. “A Dickensian brawl of a novel . . . never a dull moment! The reader is willingly swept along in the tide.” —St. Louis Post-Dispatch In this powerful novel from one of the most gifted storytellers to emerge from Canada since Carol Shields, we find “all the old-fashioned virtues: a vivid sense of place, an intricate and suspenseful plot, and a feisty heroine whom we can’t help rooting for on every page” (Margot Livesey). Kit Pitman is fourteen and lives in a ramshackle cottage on the outer banks of Newfoundland, where isolation is all she knows. The only visitors are fogbound fishermen and an occasional young man brought ashore to keep the bloodlines clean. But Kit’s isolation is compounded by the mystery that surrounds her family and her illegitimate birth. Her mother, Josie, is mentally disabled and often runs wild among the clapboard houses that dot the shore. Meanwhile, her grandmother Lizzie staunchly guards them both from the disapproving glances pious townsfolk cast their way. But when Lizzie dies suddenly, Kit and her childlike mother are left vulnerable to life’s harsh realities and to unexpected dangers that repeatedly threaten to break them apart. A wrenching story ensues, as Morrissey depicts with exceptional grace the way the lines between mother and daughter in this unlikely relationship, although blurred, are deeply felt. Kit’s Law is a novel of extraordinary, almost mythical power and marks the debut of an enormous new talent. “An extraordinary trinity of women.” —Thomas Keneally, #1 bestselling author of Schindler’s List “A stunning debut.” —The Telegraph “Impossible to put down.” —The Sunday Business Post “Speaks directly to the heart.” —The Globe and Mail

With the bestselling and beloved Kit's Law, Donna Morrissey established herself as a stunning new voice in Canadian fiction. With Downhill Chance, she has crafted a captivating successor, and in Clair Gale, she has created an unforgettable heroine. Clair is the unsinkable heart of the novel, a story of two families during wartime—the Osmonds and the Gales—joined by love, yet torn apart by fear and secrets. Morrissey blends melodrama, gritty realism and a flair for the comic in this unique novel. At its core is the unravelling of secrets—and the redemption that truth ultimately brings to the people who inhabit these pages so memorably.

Sylvanus Now is a young fisherman of great charm and strength. His youthful desires are simple: He wants a suit to lure a girl—the fine-boned beauty Adelaide. Adelaide, however, has other dreams. Set against the love story of Addie and Sylvanus is the sea on the cusp of cataclysmic change. Caught between his desire to please his wife and his strongly independent nature, Sylvanus must decide what path his future will take.

Winner of the 2017 Arthur Ellis Awards for Excellence in Canadian Crime Writing, Best Novel Winner of the 2017 Thomas Raddall Atlantic Fiction Award A powerful tale of a family reeling from the tragic loss of a son, while facing a mysterious murder on their doorstep--told by one of Canada's most beloved voices After being uprooted from their fishing outport, the Now family is further devastated by the tragic loss of their eldest son, Chris, who died working on an Alberta oil rig. Kyle Now is still mourning his older brother when the murder of a local bully changes everything. The victim's blood is found on the family's pier, and suspicion falls first on an alienated wife, and then finally on the troubled Now family. But behind this new turmoil, Chris's death continues to plague the family. Father Sylvanus Now drowns his sorrow in a bottle, while mother Addie is facing breast cancer. And the children fight their own battles as the tension persists between Kyle and his sister, Sylvie, over her role in their brother's death. A cast of vivid characters surrounds the Now family, some intriguing, others comical--all masterfully crafted. As the murder mystery unfolds, other deeper secrets are revealed. Wise in the ways of the heart, The Fortunate Brother is a moving family drama from beloved storyteller Donna Morrissey.

An examination of the contradictions within a form of expression that is both public and private, specific and abstract, conventional and countercultural. Snapshots capture everyday occasions. Taken by amateur photographers with simple point-and-shoot cameras, snapshots often commemorate something that is private and personal; yet they also reflect widely held cultural conventions. The poses may be formulaic, but a photograph of loved ones can evoke a deep affective response. In Snapshot Photography, Catherine Zuromskis examines the development of a form of visual expression that is both public and private. Scholars of art and culture tend to discount snapshot photography; it is too ubiquitous, too unremarkable, too personal. Zuromskis argues for its significance. Snapshot photographers, she contends, are not so much creating spontaneous records of their lives as they are participating in a prescriptive cultural ritual. A snapshot is not only a record of interpersonal intimacy but also a means of linking private symbols of domestic harmony to public ideas of social conformity. Through a series of case studies, Zuromskis explores the social life of snapshot photography in the United States in the latter half of the twentieth century. She examines the treatment of snapshot photography in the 2002 film One Hour Photo and in the television crime drama Law and Order: Special Victims Unit; the growing interest of collectors and museum curators in “vintage” snapshots; and the “snapshot aesthetic” of Andy Warhol and Nan Goldin. She finds that Warhol’s photographs of the Factory community and Goldin’s intense and intimate photographs of friends and family use the conventions of the snapshot to celebrate an alternate version of “family values.” In today’s digital age, snapshot photography has become even more ubiquitous and ephemeral—and, significantly, more public. But buried within snapshot photography’s mythic construction, Zuromskis argues, is a site of democratic possibility.