Karen Hofmann

In the third and final novel in the Lund sibling series, Where We Live continues the story of four siblings, separated in childhood, reunited and now middle-aged, as they navigate urban Vancouver life, work, relationships, and parenting in the late 2010s. With their familial bond shaped by their divergent adult experiences as well as their shared early childhood in a rural West Coast community, the lives of these siblings cross, separate, and rejoin yet again, in paths informed by nature and by nurture. Subject to the pressures of their environment and remembered or forgotten family history each sibling struggles to realize their aspirations in their search for a true home.

The reunited Lund siblings, separated as children by Social Services, find that family, whether held together by blood or by choice, can be both a curse and a blessing, an obstacle and a point of connection. Set in Vancouver during the economically turbulent year of 2008, A Brief View from the Coastal Suite explores the Lunds' differing values in respect to relationships, money, and environment - all markers for a materialistic society that is becoming increasingly inhospitable. Cleo struggles to find time for her challenging job as an architectural designer and for the demands of her family; Mandalay, an artist and single parent, tries to raise her twin sons uncontaminated by the materialistic values of their lawyer father; and Cliff attempts to run a landscape company with his spoiled younger brother, Ben, and to accommodate the ever-increasing demands of his Estonian mail-order bride. Karen Hofmann's brilliant sequel to her novel What is Going to Happen Next skillfully explores societal attitudes and the instability of personal and public lives in a world that values money above all else.

Food products have always been designed, but usually not consciously. Even when design has been part of the process, it has often been restricted to considerations of packaging, logos, fonts and colors. But now design is impacting more dramatically on the complex web that makes up our food supply, and beginning to make it better. Ways of thinking about design have broad applications and are becoming central to how companies compete. To succeed, food designers need to understand consumers and envision what they want, and to use technology and systems to show they can deliver what has been envisioned. They also need to understand organizations in order to make innovation happen in a corporation. The authors of this book argue that design has been grossly underestimated in the food industry. The role of design in relation to technology of every kind (materials, mechanics, ingredients, conversion, transformation, etc.) is described, discussed, challenged and put into proper perspective. The authors deftly analyze and synthesize complex concepts, inspiring new ideas and practices through real-world examples. The second part of the book emphasizes the role of innovation and how the elements described and discussed in the first parts (design, technology, business) must join forces in order to drive valuable innovation in complex organizations such as large (and not so large) food companies. Ultimately, this groundbreaking book champions the implementation of a design role in defining and executing business strategies and business processes. Not only are designers tremendously important to the present and future successes of food corporations, but they should play an active and decisive role at the executive board level of any food company that strives for greater success.

Having escaped the place in her youth, retired professor Sidonie von Taler returns to her ancestral Okanagan valley orchards still very much in the shadow of her deceased older sister Alice. As she sifts through the detritus of her family history, Sidonie is haunted by memories of trauma and triumph in equal measure, and must reconcile past and present while reconnecting with the people she left behind. Karen Hofmann's debut novel blends a poetic sensibility with issues of land stewardship, social stratification and colonialism. Her eye for period detail and characterization is reminiscent of Margaret Atwood's The Blind Assassin or Margaret Laurence's The Stone Angel, while her lyrical realization of bygone B. C. pastoralia recalls the work of George Bowering.