Here is groundbreaking, dazzling debut fiction from one of Canada's most exciting and admired writers.

Canisia Lubrin's debut fiction is that rare work of art—a brilliant, startlingly original book that combines immense literary and political force. Its structure is deceptively simple: it departs from the infamous real-life “Code Noir,” a set of historical decrees originally passed in 1685 by King Louis XIV of France defining the conditions of slavery in the French colonial empire. The original Code had fifty-nine articles; Code Noir has fifty-nine linked fictions—vivid, unforgettable, multi-layered fragments filled with globe-wise characters who desire to live beyond the ruins of the past.
Ranging in style from contemporary realism to dystopia, from futuristic fantasy to historical fiction, this inventive, shape-shifting braid of stories exists far beyond the enclosures of official decrees. This is a timely, daring, virtuosic book by a young literary star. The stories are accompanied by black-and-white drawings—one at the start of each fiction—by acclaimed visual artist Torkwase Dyson.

Canisia Lubrin was born in St. Lucia. She has had work published in literary journals including Room, The Puritan, This Magazine, Arc, CV2 and The City Series #3: Toronto Anthology. She has been an arts administrator and community advocate for close to two decades. Lubrin has contributed to the podcast On The Line, hosted by Kate Sutherland for The Rusty Toque. She studied at York University where she won the President's Prize in poetry and the Sylvia Ellen Hirsch Memorial Award in creative writing. Lubrin holds an MFA from the University of Guelph and teaches at Humber College. She lives in Whitby, Ontario.

Canisia Lubrin's profile page

“Brilliant, challenging, and ecstatic. . . . Code Noir refracts hundreds of years of history into a lively book of fictions. . . . The end result is exactly right, obscuring and countering, rewriting and reweaving, the colonial ordering of the world. . . . [A] dazzling achievement.” —The Globe and Mail
“Visceral, disruptive. . . . Astonishing. . . . Canisia Lubrin has turned her attention to fiction in her striking new work, Code Noir . . . play[ing] with form, time, and polyvocality . . . grounded in the making and unmaking of historical narratives of Black diasporic experience.” —Winnipeg Free Press
“An interconnected allegory. . . . Lubrin’s iconoclastic flights subvert hierarchies and cover continents and aeons of pain. . . . Torkwase Dyson’s drawings depict these allegories . . . [adding] a fuller picture to Lubrin’s already fulsome text.” —The Miramichi Reader (starred review)
“Written in language that crackles with life and humour, the stories in Canisia Lubrin’s Code Noir: Metamorphoses usher us into the lives of their narrators, lives that are filled with a kind of wonder and surprise. Such an invitation to enter and imagine their worlds. In its formal inventiveness and sheer audaciousness, Code Noir is unlike anything else that I’ve ever read. Lubrin is a force.” —Christina Sharpe, author of Ordinary Notes and In the Wake
“Code Noir is a revelation. Proof that it is possible for an imagination to outpace the rest of us, and beckon from a future far richer and more brilliant than anything we know. This book sings in searing language, telling stories that bristle and challenge, comfort and question. Canisia Lubrin is one of the finest writers and thinkers of our time, and in Code Noir is a voice that, once heard, can never be forgotten." —Maaza Mengiste, author of The Shadow King, shortlisted for the Booker Prize

“Code Noir is storytelling at its deepest and most intimate. The stories take you into their confidences – confidences that are knowing, but at the same time defamiliarizing. You have to meet their speakers wherever they are in their lives. These speakers know things they shouldn’t know and, uncannily, they know things that you know. Things about lullabies and dogs and elephants. The stories say, loneliness is nostalgia; they listen to Billie Holiday during a war; they know the decrees of Code Noir, that 17th century rulebook for Black life; they know the realm of time, where best friends drown in rivers. Some of these stories are like looking through blue sea glass, some are like drinking strong liquor, some are like a whiff of smoke and then an orange light. These stories are magic and you must enter them as if you, too, are wondrous.” —Dionne Brand, author of Nomenclature, Theory, and Map to the Door of No Return
“A singular achievement.” —Souvankham Thammavongsa, author of How to Pronounce Knife
"A book that radiates life—insistent, unbounded life. . . . A virtuosic assembling of genres, voices and experience . . . with lines gripping the heart and stories suffused with beauty and tenderness." —David Chariandy, author of Brother