Review of "Antkind" by Charlie Kaufman.

Review of "The Man in the Red Coat" by Julian Barnes.

Review of "A Russian Sister" by Caroline Adderson.

Review of "Underland" by Robert Macfarlane.

Review of "The Last Bookseller: A Life in the Rare Book Trade" by Gary Goodman, and "A Factotum in the Book Trade" by Marius Kociejowski.

Review of "Ducks: Two Years in the Oil Sands" by Kate Beaton.

Review of "Wanda" written and directed by Barbara Loden, "Suite for Barbara Loden" by Nathalie Léger, translated by Natasha Lehrer and Cécile Menon and "Wanda" by Barbara Lambert.

Review of "Stories I Might Regret Telling You" by Martha Wainwright.

Review of "Turn Every Page" directed by Lizzie Gottlieb

Review of "Holiday, 1909" by Charles Chapman.

Michael Hayward on books that may make you a better writer.

John Huston's final film, of the James Joyce short story from "Dubliners", was a worthy capstone to his career of nearly fifty years.

Review of "Short Story Advent Calendar" by Hingston & Olsen Publishing.

“Everything is collage,” a character observes in Divisadero (McClelland & Stewart), Michael Ondaatje’s first novel in seven years.

This recent collection compiles the very best of the poet's oeuvre.

Michael Hayward reviews John Berger’s From A to X, a tale of anger, displacement and resistance.

Michael Hayward on Memoirs from Beyond the Grave by François-René de Chateaubriand

Michael Hayward on "The Baker's Wife" by Marcel Pagnol.

Michael Hayward on "The Glorious Mountains of Vancouver’s North Shore: A Peakbagger’s Guide."

Guernica Editions’ Writers Series was started in the year 2000, and to date twenty-two Canadian writers have been profiled, P.K. Page, Alistair MacLeod and Don McKay among them.

Michael Hayward on "Strange Planet" by Nathan W. Pyle.

Review of Half-Blood Blues by Esi Edugyan. Edugyan's novel was the winner of the 2011 Giller Prize and shortlisted for the Man Booker Prize, Governor General's Literary Award and Roger's Writer's Trust Award.

Fourteen personal essays by the American novelist William Styron, which he selected just before his death from pneumonia in 2006.

Michael Hayward reviews Have You Seen...? by David Thomson (Knopf.)

The eight and a half pieces in John Berger’s new book here is where we meet (Bloomsbury) are described by the publisher as “fictions,” but could equally be read as fragments of autobiography. In “Lisboa,” the narrator, a man named John of Berger’s ag

Even at age eighty-one, John Berger has lost none of his fire, which smoulders and flares in the seventeen “Dispatches on Survival and Resistance” in Hold Everything Dear (Pantheon). Berger has an innate empathy for the disadvantaged and the disenfra

Review of "Mushrooms of British Columbia" by Andy MacKinnon and Kem Luther.

Michael Hayward on the recursive nature of reading and writing inspiration.

Review of "Clyde Fans" by Seth.

A hardcover “ciné roman” version of La Jetée has just been republished by Zone Books. The pair—film and book—make a fascinating combination: the duration of each static image in the film highlights the time dimension, while in the book version the im

Many boomers like me will remember trooping through school corridors to sit with their classmates in a darkened gymnasium, watching as a small hand-carved canoe survives a full range of watery perils beginning in the snowmelt streams that feed into L

The subjects—the ordinary Americans of small towns and cities, factories, sidewalks, parks and backyards—inhabit a territory that seems somewhere outside of time.

Michael Hayward reviews a new compendium of The Chicagoan, the “Lost Magazine of the Jazz Age.”

Even the healthiest reader can uncover the fatal illness within thanks to The Complete Manual of Things That Might Kill You: A Guide to Self-Diagnosis for Hypochondriacs, reviewed by Michael Hayward.

Michael Hayward reviews The Curious Case of Benjamin Button, directed by David Fincher (Criterion).

The Dam Busters (Anchor Bay dvd), Michael Anderson’s 1955 movie version of the attacks, is still considered a classic war movie, and despite special effects that look tame when compared to modern cgi sequences, the pacing of the film and the power of

Michael Hayward reviews Graham Robb's The Discovery of France, a scholarly but entertaining history of France’s emergence in the modern era.

As an avid long-distance cyclist who also loves to be pulled into a good adventure story, I could not resist Cioma Schönhaus’s book The Forger (Granta), a memoir that describes how Schönhaus lived in hiding in wartime Berlin while working clandestine

Canadian readers may doubt that they can learn anything new about winter from The Facts of Winter (McSweeney’s), a book that is faux in many ways. The afterword is a faux biography by Paul La Farge, an American “translator,” of the book’s purported a

Fitz Hugh Ludlow’s The Hasheesh Eater (Rutgers) was first published in 1857, and is now reprinted as another in Rutgers’ Subterranean Lives series. Described as “the first full-length example of American drug literature,” this account is closely mode

One reality of modern publishing is that this season’s new books are next season’s remainders. This harsh fact is compounded by the inexorable disappearance of good used bookstores everywhere, with the result that many excellent books that have had t

Michael Hayward reviews Cascadia: The Life and Breath of the World, co-edited by Trevor Carolan and Frank Stewart.

Those who have read Michael Ondaatje’s The English Patient (Vintage), and those who have seen the film version, will remember that the sole possession of the eponymous patient, Count László de Almásy, was a battered copy of Herodotus’s Histories, an

Jim Christy and the editors who worked on Rogues, Rascals, and Scalawags Too should be congratulated for their uncanny ability to squeeze every last euphemism out of their thesauri.

For summer I favour books that can withstand the indignities of the season: beat-up paperbacks that can get stained by sunscreen, or library hardcovers in Brodart jackets that can be wiped clean with a damp cloth. But I make exceptions for new books

Karen Connelly has travelled extensively in southeast Asia and described her experiences through non-fiction (Touch the Dragon, a memoir of her year in Thailand, won the Governor General’s Award in 1993) and poetry. Connelly’s first novel, The Lizard

"Poetry is the most personal of the literary arts; laureates notwithstanding, few poets enjoy national stature nowadays, and fewer still are known beyond the boundaries of their native land."

Julien Gracq, one of France’s most senior and respected writers, provides a living bridge to the era of Proust and Alain-Fournier, and in his slim book The Narrow Waters (Turtle Point) Gracq explores a theme favoured by both of those writers: the mys

Michael Hayward reviews The Paris Review Interviews, IV (Picador).

The unabridged audio version of the Odyssey (Penguin) opens with a brief interlude of eerie music, followed by the voice of Gandalf announcing: “The Odyssey, translated by Robert Fagles, read by Ian McKellan,” and with that, one is caught up in an ep

Michael Hayward reviews The Paris Review Interviews, Vol. III, a collection of discussions with the leading dramatists, poets and novelists of the past fifty years.

Paul Auster’s New York Trilogy was a revelation to me: literary puzzles examining the nature of fiction-writing; an intellectual meta-fiction that turned the hard-boiled detective genre on its head. Those three novels featured characters with cryptic

Michael Hayward reviews Moomin: The Deluxe Anniversary Edition by Tove Jansson, a collection of comic strips that contain "the poetry of our world: sad, joyful, dangerous, enchanting."

Review of "The Overstory" by Richard Powers.

For me and other residents of the North Shore of Greater Vancouver, the wilderness is literally blocks away. A line drawn due north from the peaks of the North Shore mountains to the Yukon border will intersect only four roads other than logging road

Michael Hayward reviews Bonnie Bremser’s gritty memoirs that kick dust in the face of the romanticized Beatnik lifestyle.

"Cedar, Salmon and Weed is probably not the Great Canadian Novel—but it could be the Great Bamfield Novel; it seems to have few competitors for that distinction."

Venice and the Islamic World, 828—1797, edited by Stefano Carboni (Yale University) provides a comprehensive overview of Venice’s artistic heritage, shown within the context of nine centuries of commerce between La Serenissima and the Islamic empires

I’ve always had mixed feelings about Stuart McLean’s Vinyl Café show on CBC Radio One. Sometimes it seems a bit twee or corny, but if I’m driving around town on a Sunday I’ll always tune in because I know that somewhere along the way, Stuart McLean w

Pushkin is one of those admirable small presses with an eclectic list that suggests the proprietors are interested in more than the bottom line; Paul Morand’s Venices, translated by Euan Cameron, would be a perfect choice for reading on the Lido.

Michael Hayward on the journeys documented by writers.

Roger Deakin's Wildwood is a heady romp through the world’s forests and their entangled histories. Reviewed by Michael Hayward.

It’s much more fun to read this first-hand account of the war and its aftermath observed from ground level than a professional historian’s account, written decades after the fact.

Michael Hayward reviews Blue Nights by Joan Didion (Knopf).

You’ll Be Okay offers a feminine perspective on the Beat Generation from the wife of one of its most celebrated authors.

Review of "Bunker: Building for the End Times" by Bradley Garrett.

A new collection of essays from John McPhee, staff writer at the New Yorker.

"A mild, or homeopathic, dose of the infinite is the crucial element in the aesthetic experience known as the sublime." A review of The Shell of the Tortoise.

Michael Hayward reviews American Smoke by Iain Sinclair, an account of the author's road trip across North America in search of traces of the Beat Generation.

Don McKay’s Strike/Slip (McClelland & Stewart) was awarded the 2007 Dorothy Livesay Poetry Prize and, just as Geist was going to press, this year's Griffin Poetry Prize. It deserves both awards and more: poetry does not get much better than this.

Michael Hayward on a selection of Notting Hill Editions' latest releases.

Michael Hayward reviews The Old Castle’s Secret by Carl Barks.

In The Architects Are Here (Viking), Michael Winter revisits his fictional alter ego Gabriel English, who has previously appeared as a central figure in two short story collections and in This All Happened, Winter’s first novel (published in 2000).

The subject of Michael Winter’s novel The Big Why (Anansi) is Rockwell Kent, who was an accomplished artist and book illustrator during the 1930s and who was fascinated by the far north. The Big Why begins when Kent arrives in the isolated coastal vi

"Old New Yorker writers never die, they just keep being republished in shiny new editions." Michael Hayward reviews collections of New Yorker pieces.

The Oxford Companion to Food (2nd edition, Oxford) is an extremely dangerous book.

While considering the list of writers interviewed for each volume of The Paris Review Interviews (Picador) I couldn’t help thinking: “What an amazing literary gathering that would have been!” For the launch of volume i we can imagine a New York penth

In a perfect world, the writers we love would have all their stories published as beautifully as The Red Tenda of Bologna has been.

Cormac McCarthy’s new novel The Road (Knopf) presents a vision of unrelenting grimness as two nameless characters, a father and his young son, make their way beneath a sunless sky through a world adrift with ash, trudging across a post-apocalyptic Am

For many years, the poet, linguist and typographer Robert Bringhurst has immersed himself in studying the Aboriginal cultures and languages of the Pacific northwest coast, studies that culminated in his acclaimed Masterworks of the Classical Haida My

Every aspect of a book—the page dimensions, paper type, font, length of text line, space between text lines, margin sizes and so on—is the result of a designer’s decision. When these decisions are well made, then reading a book’s text is like reading

Anne Michaels’s second novel, The Winter Vault, was published thirteen years after her debut, Fugitive Pieces. Was it worth the wait?

Jeremy Mercer’s Time Was Soft There (St. Martin’s Press) is an account of “A Paris Sojourn at Shakespeare & Co.” In January 2000, Mercer was staying in a seedy hotel in the north of Paris and running out of money when he dropped in at Shakespeare & C

Michael Hayward reviews Selfish, Shallow, and Self-Absorbed: Sixteen Writers on the Decision Not to Have Kids, a collection of essays with a title that speaks for itself.

Michael Hayward reviews Trauma Farm by Brian Brett (Greystone).

Thirty-three international publishing houses are participating in The Myths, a project in which contemporary writers from all over the world were invited to retell any myth in any way they chose. Trumpeted as “the most ambitious simultaneous world-wi

"A door has closed, another door has opened. You have entered the winter of your life." A review of Paul Auster's memoir.

Michael Hayward on the newly translated The Unwomanly Face of War by Svetlana Alexievich.

Carlo Levi is perhaps best known to North Americans for Christ Stopped at Eboli, a memoir of the time he spent in political exile (for anti-Fascist activities) in the Basilicata region of southern Italy, between 1935 and 1936 (the memoir was made int

Michael Hayward drove across the country to see Stephen Fry's Mythos.

As Kerouac later described it, the letter was “a work of literary genius. Neal, he was just telling me what happened one time in Denver, and he had every detail. It was just like Dostoevsky. And I realized that’s the way to tell a story—just tell it!

Blood flows vigorously in Cormac McCarthy’s new novel No Country for Old Men (Knopf), in which a grim and emotionless gunman methodically sets out to trace and recover the spoils of a drug deal gone wrong in the badlands just north of the Mexican bor

Unreliable narrator, post-modernist self-reference and contemporary literary references—Michael Hayward on the nature of the autobiography.

A peek inside Roger Deakin’s living, breathing farmhouse in the waning years of his life in Notes from Walnut Tree Farm, reviewed by Michael Hayward.

Michael Hayward reviews Notes on the Cinematographer, a cryptic compendium of notes and quotes from the French filmmaker Robert Bresson.

Novels in Three Lines is an addictive collection of brief items—“true stories of murder, mayhem, and everyday life”—that were first published anonymously in 1906 in the French newspaper Le Matin; I dare you to eat just one.

Michael Hayward on "How To Do Nothing."

Michael Hayward on the perfect setup for a classic “film noir.”