CBIP is the Only Complete Reference and Buying Guide to English-language Canadian books currently in print. The two volumes (Author/Title Index and Subject Index) and the microfiche editions are indispensable to the book profession. Since CBIP encourages submissions from the largest to the smallest publishers, the two volumes provide access to many titles not listed elsewhere. Containing 40,000 titles, of which 5,000 have a 1997 imprint, the Author/Title Index is extensively cross-referenced. The Subject Index lists the titles under 700 subject categories. Both books offer the most complete directory of Canadian publishers available, listing names, and standard book number prefixes, as well as the street, e-mail and web addresses of more than 4000 houses. CBIP is referred to constantly by order librarians, booksellers, researchers, and all those involved in book acquisition. As well, CBIP is invaluable as a record of the vast wealth of publishing and writing activity in the scientific, literary, academic, and arts communities across Canada.

CBIP is the only complete reference and buying guide to English-language Canadian books currently in spirit. The two volumes (Author/Title Index and Subject Index) and the microfiche editions are indispensable to the book profession. Since CBIP encourages submissions from the largest to the smallest publishers, the two volumes provide access to many tides not listed elsewhere. Containing 40,000 titles, of which 5,000 have a 1997 imprint, the Author/Title Index is extensively cross-referenced. The Subject Index lists the tides under 700 subject categories. Both books offer the most complete directory of Canadian publishers available, listing names, and standard book number prefixes, as well as the street, e-mail and web addresses of more than 4000 houses. CBIP is referred to constantly by order librarians, booksellers, researchers, and all those involved in book acquisition. As well, CBIP is invaluable as a record of the vast wealth of publishing and writing activity in the scientific, literary, academic and arts communities across Canada.

The study of children's illustrated books is located within the broad histories of print culture, publishing, the book trade, and concepts of childhood. An interdisciplinary history, Picturing Canada provides a critical understanding of the changing geographical, historical, and cultural aspects of Canadian identity, as seen through the lens of children's publishing over two centuries. Gail Edwards and Judith Saltman illuminate the connection between children's publishing and Canadian nationalism, analyse the gendered history of children's librarianship, identify changes and continuities in narrative themes and artistic styles, and explore recent changes in the creation and consumption of children's illustrated books. Over 130 interviews with Canadian authors, illustrators, editors, librarians, booksellers, critics, and other contributors to Canadian children's book publishing, document the experiences of those who worked in the industry. An important and wholly original work, Picturing Canada is fundamental to our understanding of publishing history and the history of childhood itself in Canada.

Focusing on the work of black, diasporic writers in Canada, particularly Dionne Brand, Austin Clarke, and Tessa McWatt, Blackening Canada investigates the manner in which literature can transform conceptions of nation and diaspora. Through a consideration of literary representation, public discourse, and the language of political protest, Paul Barrett argues that Canadian multiculturalism uniquely enables black diasporic writers to transform national literature and identity. These writers seize upon the ambiguities and tensions within Canadian discourses of nation to rewrite the nation from a black, diasporic perspective, converting exclusion from the national discourse into the impetus for their creative endeavours. Within this context, Barrett suggests, debates over who counts as Canadian, the limits of tolerance, and the breaking points of Canadian multiculturalism serve not as signs of multiculturalism’s failure but as proof of both its vitality and of the unique challenges that black writing in Canada poses to multicultural politics and the nation itself.