The Underpainter is a novel of interwoven lives in which the world of art collides with the realm of human emotion. It is the story of Austin Fraser, an American painter now in his later years, who is haunted by memories of those whose lives most deeply touched his own, including a young Canadian soldier and china painter and the beautiful model who becomes Austin’s mistress. Spanning decades, the setting moves from upstate New York to the northern shores of two Great Lakes; from France in World War One to New York City in the ’20s and ’30s. Brilliantly depicting landscape and the geography of the imagination, The Underpainter is Jane Urquhart’s most accomplished novel to date.

The Underpainter is a novel of interwoven lives in which the world of art collides with the realm of human emotion. It is the story of Austin Fraser, an American painter now in his later years, who is haunted by memories of those whose lives most deeply touched his own, including a young Canadian soldier and china painter and the beautiful model who becomes Austin's mistress. Spanning decades, the setting moves from upstate New York to the northern shores of two Great Lakes; from France in World War One to New York City in the '20s and '30s. Brilliantly depicting landscape and the geography of the imagination, The Underpainter is Jane Urquhart's most accomplished novel to date.

Set in the first half of the twentieth century, but reaching back to Bavaria in the late nineteenth century, The Stone Carvers weaves together the story of ordinary lives marked by obsession and transformed by art. At the centre of a large cast of characters is Klara Becker, the granddaughter of a master carver, a seamstress haunted by a love affair cut short by the First World War, and by the frequent disappearances of her brother Tilman, afflicted since childhood with wanderlust. From Ontario, they are swept into a colossal venture in Europe years later, as Toronto sculptor Walter Allward’s ambitious plans begin to take shape for a war memorial at Vimy, France. Spanning three decades, and moving from a German-settled village in Ontario to Europe after the Great War, The Stone Carvers follows the paths of immigrants, labourers, and dreamers. Vivid, dark, redemptive, this is novel of great beauty and power.

Alice Munro hails Urquhart's "most compelling depiction of the sense of place in human lives." "Urquhart's writing is poetic, in the sense that it is beautifully compact and restrained when describing the most powerful emotions," says The Times. The author Claire Messud praises her as having "a great gift for the historical novel, for the melding of ideas, events and individuals into a significant whole." In Sanctuary Line Urquhart has created a nuanced and moving novel about family legacies, love, and betrayal. Solitary, nostalgic Liz Crane returns to her family's now-deserted farmhouse--once the setting for countless happy summers spent on the northern shore of Lake Erie--to study the migratory habits of the Monarch butterfly. Encompassing all the colorful stories and blarney of successful Irish immigrants who have made the most of their relocation to North America, the Cranes' rich family history is now circumscribed by sadness. Liz's beloved cousin Amanda, a gifted military strategist, has been killed in Afghanistan, a loss that had been foreshadowed many years in the past by the disappearance of Amanda's charismatic father. Reflecting on the fragility and transience of human life and relations--mirrored in the butterflies' restless flight patterns and transcontinental migrations--Liz finds that love is there to be found where, and when, you least expect it.

With stunning virtuosity, the stories in Jane Urquhart’s dazzling first book of fiction unearth universal truths as they reach across countries and eras. A woman runs away to a cottage in the English moors to escape a love affair; shards of glass reconcile a middle-aged wife to her husband’s estrangement; a grandmother makes a startling confession from her youth; a young woman discovers herself through the life of an Italian saint; and, in a spellbinding story of artistic jealousy, we enter the mind of poet Robert Browning at the end of his life. In these beautifully crafted stories, ordinary objects brim with meaning and memories radiate with significance as Jane Urquhart illuminates the things that lie just beneath the surface of our lives.

Two worlds are intertwined in this hauntingly beautiful story as it moves from Toronto to the English moors and to Venice, Italy. The time frame shifts between present and past, linking the lives of a young Brontë scholar (a woman in the throes of a troubled love affair), a turn-of-the-century female balloonist, and an elusive explorer with the ghost – or the memory – of Emily Brontë. Urquhart reveals something about the act of artistic creation, the ways in which stories enter our lives, and about the cyclical nature of love throughout time. This is a novel of darkness and light, of intense weather and inner calm.

Catching the Torch examines contemporary novels and plays written about Canada’s participation in World War I. Exploring such works as Jane Urquhart’s The Underpainter and The Stone Carvers, Jack Hodgins’s Broken Ground, Kevin Kerr’s Unity (1918), Stephen Massicotte’s Mary’s Wedding, and Frances Itani’s Deafening, the book considers how writers have dealt with the compelling myth that the Canadian nation was born in the trenches of the Great War. In contrast to British and European remembrances of WWI, which tend to regard it as a cataclysmic destroyer of innocence, or Australian myths that promote an ideal of outsize masculinity, physical bravery, and white superiority, contemporary Canadian texts conjure up notions of distinctively Canadian values: tolerance of ethnic difference, the ability to do one’s duty without complaint or arrogance, and the inclination to show moral as well as physical courage. Paradoxically, Canadians are shown to decry the horrors of war while making use of its productive cultural effects. Through a close analysis of the way sacrifice, service, and the commemoration of war are represented in these literary works, Catching the Torch argues that iterations of a secure mythic notion of national identity, one that is articulated via the representation of straightforward civic and military participation, work to counter current anxieties about the stability of the nation-state, in particular anxieties about the failure of the ideal of a national “character.”