Getting Lit with Linda

Wishing all listeners of Geting Lit With Linda a very Happy International Women’s Day! With guest, Andrea Warner, we want to let you know that Season 6 is set to launch very soon!

In this, the 78th episode and the final one of season 5, Linda offers the “Nine Days of Christmas” with nine different book recommendations for the holidays. Who makes the cut? Well, we could say you need to listen to find out, but we want you to find the books easily, so here they are with their links:

Alice Zorn’s Colours in her Hands (Freehand Books), Téa Mutonji’s Shut Up You’re Pretty (VS Books, Arsenal), Katherena Vermette’s Real Ones (Hamish Hamilton), Ian Williams', What I Mean to Say (Anansi), Sarah Polley's Run Towards the Danger: Confrontations with a Body of Memory (Penguin), Suzette Mayr’s The Sleeping Car Porter (Coach House Press), Derek Webster’s National Animal (Véhicule Press), Sue Goyette's A Different Species of Breathing (WLUP),and Bart Vautour’s The Truth About Facts (Invisible Publishing)

Linda writes an open letter to Ivan Coyote, in response to their book, Care Of: Letters, Connections, and Cures (published by McClelland & Stewart during the pandemic). This important volume of letters is extraordinary and, while we're no longer in the throes of a pandemic, it remains as relevant as ever. With references to WB Yeat's poem "The Second Coming" and an article by Anna Russell that appeared in The New Yorker, this episode highlights the vital contribution this book makes - and it's more than just a pineapple.

In this episode, Linda converses with Jenny Haysom (2.48) about her novel Keep (published by Anansi). Featuring three main characters, the narrative is driven by the conflict that emerges when Harriet, an elderly poet, is diagnosed with the onset of dementia and must face selling her house -- and the two home stagers, Eleanor and Jacob, tasked with emptying it of its contents. Both Eleanor and Jacob are drawn into Harriet's world and the questions around what we keep, what we throw away, and what we value and why. It becomes clear why Haysom refers to this Victorian-esque novel as "a ghost story without ghosts."