The Idyll Inn, the setting for Joan Barfoot's brilliant eleventh novel, Exit Lines, is a pastel-hued care facility designed for seniors "with healthy incomes but varying hopes, despairs, abilities and deformities." In scathing detail, Barfoot describes the Idyll Inn's plastic plants, inoffensive art and pallid recreational activities, all familiar to any reader who has had occasion to visit such a place -- or to live in one. Running the show (or so she thinks) is priggish administrator Annabelle Walker, charged with keeping the residents happy, or at least as happy as is required to keep a tidy profit flowing to far-away investors.But not all residents of the Idyll Inn choose to acquiesce. Sylvia Lodge, one of the Idyll Inn's first residents, prides herself on her steely backbone, despite crippling arthritis. Affluently widowed, she has selected the Idyll Inn as a less objectionable alternative to a perilous dwindling at home. She coolly refuses to be bossed,...

From the author of the Scotiabank Giller Prize finalist Luck and the Man Booker Prize nominated Critical InjuriesWhen Lila boards a flight to London for her first major trip with her married lover Tom, it's with anticipation of, finally, a couple of free-spirited weeks away from the demands of his family, and of the university where they both teach. They're just midway over the Atlantic, though, when their plans and their very lives are put abruptly at risk by a still-small fire passengers spot on a wing. Some people panic, some try to stay calm, but Lila finds herself spending the crisis examining Tom as well as her own middle-aged life and desires. She may go down on a burning plane or survive the journey, but the shock of these airborne moments create radically shifted perspectives on the woman she is, and the sort of life she would passionately desire, given the chance.

From the author of the Scotiabank Giller Prize finalist Luck comes the Man Booker Prize nominated Critical InjuriesHow could a celebratory trip to the ice cream store with her husband Lyle turn out so badly? Isla, long divorced from her criminal first husband, is shot by a confused youth named Roddy in a holdup gone horribly wrong. Now paralyzed, Isla deals from her hospital bed with the trauma and its effects on her family, while from his jail cell, Roddy reflects on his own life, and the nature of mistakes that can't be undone. Each of them is suddenly in the midst of an unexpected, wholly changed life, searching as best each can for consolation, forgiveness, and even possibly grace.

“There is good luck, and there is bad luck, and then there’s the ambiguous sort of luck that’s a lot of this and some of the other.”Philip Lawrence, a robust and pleasure-loving furniture-maker, dies suddenly at the age of forty-six. Though that’s terribly young by most standards, he’s lucky to have passed presumably peacefully in his sleep. Less fortunate, however, are the three women he leaves behind to make sense of his loss. There’s Nora, his wife of seventeen years, who wakes up next to his dead body. A fiery visual artist, Nora’s feminist re-interpretation of biblical themes stoked fundamentalist outrage from her small-town neighbours. Now, as her emotions run the gamut, she must confront solo life in a place she despises. Nora shares the house with Sophie, a buxom and bossy redhead, who works as the couple’s housekeeper and personal assistant. A recovering virtue addict, Sophie turns to menial tasks as a way to suppress painful memories of her two-year stint as an overseas aid worker. Philip’s death leaves her quietly reeling. And then there’s the pliable and vacuous Beth, a former beauty queen, who serves as Nora’s live-in muse and model. She mourns not Philip so much as the loss of a haven from her own creepy past. The novel follows the three days immediately after Philip’s death. Privately, each woman deals with memories and emotions, secrets and uncomfortable revelations, while at the same time preparing for the public rituals of mourning (including a funeral like no other). The narrative moves seamlessly from one perspective to another with delicious dark humour and wry insight into the nature of death, love, mourning, fundamentalism and luck. Barfoot’s tenth novel, Luck was shortlisted for the 2005 Scotiabank Giller Prize. The jury citation reads as follows: “Joan Barfoot is at the peak of her powers with this splendidly realized tragicomedy about a household in the wake of an unexpected death. With its note-perfect narration, mordant wit and wonderfully neurotic cast of characters, Luck shows how death can reveal life in all its absurdity and complexity. This scintillating comedy of manners is also a profound meditation on fate, love, and artifice.” From the Trade Paperback edition.From Publishers WeeklyStarred Review. Canadian novelist Barfoot (Dancing in the Dark) may finally get the recognition she deserves for this brilliantly conceived, masterfully realized 10th novel. Nora, a successful sculptor in her late 30s, wakes up one morning to find her custom furniture-designer husband, Philip Lawrence, 46, dead beside her. The rest of the novel simply follows her and the rest of the household, verité-style, as they make decisions and try to internalize what has happened over the course of that day and the two that follow. The rest of the household consists of Beth, a wispy former model who moved in to serve as Nora's muse over the past few years, and Sophie, a fleshy economist who burned out as an aid worker, and has been holed up with the other three as caretaker and financial manager. Barfoot makes the most of this uncomfortable ménage without overplaying her hand a single time: yes, Philip and Sophie were sleeping together, and yes, it's even possible that Beth poisoned Philip in order to get with Nora. Barfoot alternates among the three women's points of view with comic but never trivializing adroitness, and expertly spins out their backstories and recent lives together. The book is set in an English West Country town (with flashbacks to London), and there's a nice subplot concerning Nora's controversial use of religious imagery. But the real fireworks are in the minute explorations of this closed set of unorthodox relationships, all brought to a finish in a short coda set a year after Philip's death. Coming upon this novel is a fine piece of luck indeed. (Mar.) Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. From Booklist"What?" and "Now what?" are the fundamental questions the protagonists in Barfoot's novel ask themselves--again and again. Philip Lawrence "has the misfortune to die," and his wife, Nora, a sculptor, has the equal misfortune (or is it?) to wake up one morning to discover that Philip, lying beside her, has died during the night. Enter Beth, Nora's artist's model, and Sophie, the housekeeper; emotions among the women are high and run the gamut, and readers will quickly find themselves as shocked as Nora, Beth, and Sophie--after all, Philip always looked the picture of health and vitality. The narrative follows the three days immediately after Philip's death. Nora, Beth, and Sophie are a family of sorts, both before Philip's death and certainly after, and so this is very much a novel about family and home as well as death. It is at times disappointing; the basic story line is somewhat thin. But readers interested in a quick read, with its share of real life and real death, will find the book satisfying. Sarah WatsteinCopyright © American Library Association. All rights reserved

Edna Cormick, forty-three, is incarcerated in a mental hospital for murdering her husband. For twenty years, Edna escaped the world by devoting herself to the health and welfare of her husband and home, so when she learns he's been having an affair, her sense of betrayal is devastating and literally maddening. And so she sits, silently filling notebooks, trying to find where and how her life went wrong. Dancing in the Dark is a tightly woven psychological novel, which explores the idea that madness is not necessarily self-destructive, and may lead to a kind of wisdom.From the Trade Paperback edition.

From the author of the Scotiabank Giller Prize finalist Luck and the Man Booker Prize nominated Critical InjuriesFrom three very different points of view, Joan Barfoot creates three very different lives, through them examining the interdependence and ties, resentments and affections that both bind and unite mothers and daughters. At eighty, proudly fat Aggie can no longer be safely cared for by her fifty-nine year-old daughter, June. Both women's lives have been constrained by their times, and by their family responsibilities and disappointments. Aggie, though, has confronted her challenges with a sort of bitter zest, while June has leaned toward more dour and rigid standards. Frances, June's daughter, is the third generation of the women, closer in spirit to the admiring Aggie than to her mother. By turns humorous and touching, Duet for Three explores variations on family life – and the restraints and freedoms that are as much dictated by society pressures as by human...