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Quebec City crime reporter Mary Roberts is about to leave her desk for the day when she receives word that a woman has been struck down in the centre of town. The victim is Renée Brancourt. A former pin-up, she'd once been a big star, treading the boards at the Comédie-Française, until her lover, Robert Marchand, plunged over Montmorency Falls. Renée's inability to accept his death led her to be institutionalized.?Now on her deathbed at the Hôtel-Dieu Hospital, the faded vedette tells Mary that Robert's death was no accident. She points an accusing finger at Albert Frédéric, the most respected lawyer in the city, thus setting the young reporter on a trail that will ultimately imperil her own life.? Whispering City began as a 1947 Canadian feature shot in both English and French (La Forteresse). Predating Alfred Hitchcock's I Confess by six years, it is the earliest film noir set in Canada. In his novelization, Horace Brown improves upon the film, altering the dialogue, shedding its weaknesses, providing backstory, and giving flesh to its characters. The result brings tension and is a much darker noir.First issued in 1947 by Global Publishing of Pickering, Ontario. Whispering City has since become one of the most sought-after Canadian pulp novels. This Ricochet Books edition marks a return to print after seventy-six years.

In his third collection of verse, Quicker Than The Eye, Joe Fiorito continues to craft short, sharp poems that define the harder edges of urban life. His principal tools are a photographer's eye for detail, and a musician's ear for the sound of the human voice. Now, in Quicker Than The Eye, Canada's poet of the streets turns his gaze inward, writing about the influences of early love, family tragedy, and the search for meaning in a world where "the desolate things are mine." A master of spare, razor-sharp language, Fiorito manages to strip sentiment from memory in order to find tenderness and enduring truth on the margins of the city. He has never written more austerely or more beautifully.

States of Emergency is a book-length poem about the apocalyptic present, written in a language whose meaning is liquid and full of slippage, always spilling out from its container. In Yoyo Comay's hands, words roil, churn, and surge. By taking on different mood and modes, from the prophetic to the colloquial, he has created a form that is a constant unravelling-a leap of faith into intuitive meaning, a letting go into ongoingness. "I am catapulted into where I am," he writes, "and the air concusses around me." Comay sees poetry as a visceral experience: a state of immanence, embodiment, emergence, emergency. This is poetry as diary and seismograph, an infinite scroll for the end of days. It is a debut like no other.

"The past decade has seen a rise in documentaries, memoirs and podcasts that revisit the legacies of women wronged by pop culture. With movements like #MeToo and #TimesUp challenging long-standing narratives around female celebrities, it's no surprise so many believe the representation of women in the media has improved. In her scathingly witty collection of essays, Girls, Interrupted: How Pop Culture is Failing Women, Lisa Whittington-Hill argues otherwise. Pop culture's treatment of women, writes Whittington-Hill, is still marked by misogyny and misunderstanding. From the gender bias in celebrity memoir coverage to problematic portrayals of middle-aged women and the sexist pressure on female pop stars to constantly reinvent themselves, Girls, Interrupted critically examines how mainstream media keeps failing women and explores what we can do to fix it. A work of searing relevance, this candid and often cathartic debut marks Whittington-Hill as a cultural critic of the first rank."--