Inger Ash Wolfe Books in Order

Redhill's first poetry collection is alert to awkward grace, emotional risk, and the small instabilities of everyday life. These early poems are controlled and witty, but never too tidy to let feeling in.

This poetry collection turns lake country into a place of memory, longing, and shifting perspective. Redhill mixes lyric intensity with narrative play, so the landscape feels both familiar and slightly haunted.

A poetry collection of night roads, desire, family memory, and ordinary scenes lit from strange angles. Redhill moves easily between intimacy and distance, making the everyday world feel charged and a little unsettled.

This anthology gathers essays from dozens of writers on great books that have slipped from view. It is a lively, affectionate collection about reading, memory, and the strange afterlife of overlooked favorites.

Set in Toronto on New Year's Eve, 1899, this play gathers four public figures for a night of argument and ambition. Redhill uses their meeting to ask what kind of country and century are about to begin.

A recently divorced writer travels through Europe researching Holocaust history and becomes entangled in a story about memory, guilt, and an accused war criminal. This play layers testimony and desire into a searching moral drama.

These poems focus on love, attraction, grief, and the invisible currents between people. Redhill writes with restless intelligence, using small moments to open bigger questions about attachment, loss, and the body's memory.

When the elusive artist Martin Sloane vanishes without warning, Jolene is left to piece together their long, complicated history. The novel tracks love, disappearance, friendship, and the uneasy power art can hold over a life.

This story collection looks at loyalty, betrayal, family silence, and people caught in traps of their own making. The mood shifts from darkly funny to quietly bruising, but the human tension never lets up.

In 1856, an English apothecary in Toronto turns to photography and creates a record that later disappears into Lake Ontario. In the present day, a grieving widow follows her late husband's obsession with that lost past.

Hazel Micallef thought Port Dundas had gone quiet, until a terminally ill woman is found brutally murdered. As more staged killings follow, Hazel has to hunt a killer whose crimes mix ritual, belief, and deliberate terror.

Recovering from back surgery and stuck in her ex-husband's house, Hazel Micallef is drawn into a nightmare that starts with a body in a lake and a story in the local paper. Someone is staging a cruel game, and Hazel is part of it.

What looks like a freak death from a sting does not sit right with Hazel Micallef. As bodies mount and jurisdictions clash, she uncovers a much stranger and uglier crime moving through small-town Ontario.

A standalone short story published on its own after being left out of Fidelity: Stories. Brief, dark, and unsettling, it shows Redhill working in a tighter register, where private unease quickly turns into something stranger.

After a stage trick sends 11-year-old Dashiel Woolf from 2011 back to 1926 Toronto, he teams up with a new friend to get home. Their plan may also change the final days of Harry Houdini.

When murdered children's bones are uncovered beneath a new subdivision, Hazel Micallef is pulled into a case that links old local secrets to fresh killings. The investigation also reopens a childhood wound and pushes Hazel toward a very personal reckoning.

Toronto bookseller Jean Mason becomes obsessed when people insist they have seen her double roaming Kensington Market. Her search for the doppelganger turns into a tense, slippery story about identity, paranoia, and who gets to control the truth.

Redhill's return to poetry brings together science, aging, family history, grief, and flashes of absurd humour. The poems feel curious and alive, mixing hard thought with the messy, repeatable habits of being human.