WRITE

THE MAGAZINE OF THE WRITERS’

UNION OF VOLUME 40 NUMBER 2 FALL 2012 BACK TO SCHOOL Creating the Critic: Lemon Hound’s Sina Queyras on Critical Space for Women Writers 16

How to Succeed at a School Visit 19

An Educational Experiment Pays off for Poetry and Publishing 24 twenty four hours. six lives. Finalist for the 36th annual Amazon.ca First Novel Award! Autobiography of Childhood a novel by Sina Queyras

Five siblings, all haunted by the death of a brother in their youth. One winter day, when another of them will die.

‘Autobiography of Childhood is a sharp, post-millennial family novel with a purpose, a kinetic, shared trauma that investigates the parts and the whole ... The novel is a striking comment on tragedy and its place in the human jigsaw puzzle.’ – Globe and Mail

Available in print and ebook editions.

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 write From the Chair By Merilyn Simonds

I write this from my little study overlooking a stubble cornfield that the raccoons raid each night, rolling cobs gleefully in the buttery dew of our lawn. They’ve adapted to their landscape, letting the farmer harvest for them, becoming

gleaners rather than fishers in the now-sluggish The old model used to be growth, growth, growth. Now the stream. I’m not sure I can find a metaphor buzzword in the cultural industry is change: be adaptable, stay flexible. Not a polar bear; a raccoon. in this, except that our writers’ landscape is Still, the fact remains: the landscape has been razed. Five years changing too, at a speed faster than the whirr of ago, for instance, there were 21 specialists collecting cultural statistics for Statistics Canada. Now there are none. Zero. Cultural a supersonic combine. statistics are simply not being gathered. We won’t know how In mid-September, Kelly Duffin and I travelled to Ottawa to many people work in the arts, what our economic contribution is, meet with officials at the Department of Heritage, the Canada or how many Canadians value culture. Council, Public Lending Rights, and Library and Archives Canada. Similarly, the budget of the Canadian Conference of the Arts has The issues we discussed were all over the map, but underlying been cut to the point that its continued existence is in doubt. The every conversation were questions prompted by the new world we CCA did an annual analysis of the federal budget from a cultural find ourselves in: What is a book? What does it mean to publish? standpoint, providing valuable insights into government policy. This summer, TWUC’s intern Laura Thorne produced a study Not only will it be harder to prove our worth as creators, it will be on how the words “book” and “published” are currently being harder to understand the damage that is being done to us. used in the Canadian literary community. She canvassed festivals, In the end, though, policy changes are more worrying than publishers, grantors, prize-givers, writers, and more. This is not tight purse strings. Purse strings can be loosened, but if programs just an exercise in semantics. How we define ourselves as a Union and services are destroyed, if an organization such as Library and rests on our understanding of “book” and “publish.” Eric Enno Archives Canada changes its philosophy regarding what parts of Tamm, an advocate re-elected to National Council in June, is our literary culture are considered worth preserving, if the passage carrying on an active discussion to forge new membership criteria of a new copyright modernization act successfully erodes the ideal that acknowledges the new ways that writers are “publishing” of collective licensing and compensation for use of creative work, “books.” then the future will look much different — and much bleaker At the same time, Canada Council is re-examining its grants — than the past. to individual artists to take into account new realities. They’ve On the positive side, the cultural workers we met within the added an “Exploratory Writing” category and are looking at ways Department of Heritage, Canada Council, and Public Lending of acknowledging that writers now need support not only to Right were uniformly impressive in their dedication to literature create but also to accomplish the myriad professional tasks that and their sensitivity to writers’ issues. The Canada Council is publishers once did for us. working on a National Forum, possibly for 2013, that will bring At the Public Lending Rights Commission, the message was the together all those with a stake in the Canadian literary landscape: same: review and reassess to see if, in light of the digital universe, educators, librarians, funders, publishers, writers, readers. The the way things were set up 26 years ago remains the best way to prospect of all of us converging in one spot and sharing our do things. concerns offers some hope that together we might find ways to The story was repeated again at Library and Archives Canada, survive an environment that is increasingly harsh for professional where the technological difficulties and sheer deluge of archival creators. material triggered by the digital information age has caused a As you know from TWUC bulletins and my monthly Letters, we wholesale reassessment of their mandate as well as a byzantine are continuing to object strongly to changes at LAC and to assaults round of restructurings. on our right to compensation for use of copyright material. This Review. Reassess. It is the zeitgeist of the century. is what I will be talking about with members across the country At TWUC, too, we are reviewing our organizational structure during my 40th anniversary “Gathering of the Tribe” Chair’s tour. to make ourselves more flexible, more responsive to events, more Dates and cities are listed on the website. More are yet to come. engaged with all our members. The goal is to become agile, even Watch your inbox for an invitation when I come to your region, at the grand old age of 40, so that we can respond adroitly to the and please join me for an evening. Bring your writer friends. We’ll coming changes, jump out of the way of that oncoming combine, talk about what’s concerning us and what we can do together to while hanging onto our corncobs, our babies, all that we love and effect change, and maybe, like that horde of raccoons romping

Ph o t : M arl is F un k believe in. through the darkness, share a few cobs of corn.

FALL 2012 

national council Nominating Chair Susan Crean and Merilyn Simonds Myrna Kostach First Vice-Chair Race Issues Dorris Heffron Wali Alam Shaheen Contents fall 2012 Second Vice-Chair Rights and Freedoms Genni Gunn Ron Brown 3 Chair’s Report Treasurer Status of Women Writers Silver Donald Cameron Betty Jane Wylie 5 Executive Directions BC/Yukon Representative membership committee 6 News Michael Elcock Jillian Dagg (Chair) Alberta/NWT/Nunavut Norma Charles Writer’s Blot Representative Kathryn Kuitenbrouwer 8 Writers Prompt Glenn Dixon John Parr Ann Walsh / 9 Industry Q+A Representative twuc national office Anita Daher Dispatches Executive Director Representative Kelly Duffin, ext. 221 10 A Strange Truth: The Author Reviews Her Own Book Steve Pitt [email protected] By M.A.C. Farrant Representative Associate Director Joyce Laird Scharf Siobhan O’Connor, ext. 222 11 Of Babies and Balance Sheets Atlantic Representative [email protected] By Emily schultz Lee D. Thompson Office Administrator 12 From Jackboots to Pandas: the High Cost of Self-Promotion Advocates Valerie Laws, ext. 224 [email protected] By maria meindl Douglas Arthur Brown Eric Enno Tamm Membership and Fund Katherine Gordon Features Development Coordinator Nancy MacLeod, ext. 226 committee chairs [email protected] 14 A Porous Boundary: Learning to Write in Print and Radio Contracts BY Elaine Kalman Naves Maggie Siggins Projects Coordinator Kristen Gentleman, ext. 223 Curriculum and Libraries 16 Creating the Critic: Lemon Hound’s Sina Queyras on [email protected] Ted Barris Blogging, Reviewing, and Creating Critical Space for Women Pacific Coordinator Electronic Rights/Copyright Raquel Alvaro Bill Freeman Special Section: back to school [email protected] International Affairs Webmaster 19 Writers In the Schools: How to Make a Difference Gale Zoë Garnett Elaine Wong By patricia westerhof Grievance [email protected] 22 Finding Her School: A Writer’s Quest for Healing Leads Her Barbara Killinger Back to the Streets She Grew Up On Editor Hal Niedzviecki [email protected] By emily pohl-weary Deadline for Winter issue November 20, 2012 24 In Windsor, an Educational Experiment Pays Off for Editorial Liasons Anita Daher, Wayne Grady, Kelly Ann Reiss Copy Editor Alison Lang Poetry and Publishing by Sonia Sulaiman Write Magazine Advertising Tara Gordon Flint [email protected] Design soapboxdesign.com Fiction Cover Illustration Matthew Daley Views expressed in Write do not necessarily reflect those of The Writers’ Union 26 Remember As You Go of Canada. Services advertised are not necessarily endorsed by the Union. All by Paulo da costa submissions are welcome. We acknowledge the support of the Canada Council for the Arts, which last year Poetry invested $154 million to bring the arts to Canadians throughout Canada. 27 Symbolism by Crystal Hurdle We acknowledge the support of the Ontario Arts Council (OAC), an agency of the Government of Ontario, which last year funded 1,681 individual artists in 216 business & reports communities across Ontario for a total of $52.8 million. 28 Committee Reports 29 Provincial Reports Write is produced four times yearly by The Writers’ Union of Canada, 200 – 90 Richmond Street East, , Ontario, M5C 1P1, 32 Member Awards and News T 416.703.8982, F 416.504.9090, [email protected], www.writersunion.ca. 33 New Members © The Writers’ Union of Canada, 2012. The text paper used for this issue contains 100 % post-consumer fibre, is accredited EcoLogo and Processed Chlorine Free, and processed in a mill that uses biogas. If you 34 in memoriam would like to help us save on paper, please contact [email protected] or 416-703- 8982 ext. 223 to request future on-line editions of the Newsletter. Thank you.

FSC LOGO to  write Be plce by the printer Executive Directions Saying Goodbye By Kelly Duffin

It is with mixed feelings that I write my last column as the ED of your esteemed organization. While I look forward to my ...writers are gaining new opportunity and am confident that your next ED will be a tremendous asset in all TWUC’s endeavours, I am sad to be clout in the industry leaving the company of writers who have been mentors, advisors, colleagues, and friends during my time at the Union. Having spent the first 15 years of my career in books, then and with government. eight away from books immediately before joining TWUC, I was enticed back in part because of the incredible transformations Part of that is the result now underway in writing and publishing. What an exciting time this is! Clearly, a great and continuing opportunity for the Union and its members lies in harnessing those transformations to the of concerted effort, benefit of writers. So far, I think we’re seeing at least two quite different impacts: but part of it is on the one hand, writers are gaining clout in the industry and with government. Part of that is the result of concerted effort, but part of it is also recognition that publishers are increasingly also recognition service providers to authors in this new world (not the other way around) and that content is king. The other, and opposite impact, that publishers are also exists, however: that, given the almost crushing demands on publishers, their resulting risk aversion has led to fewer books being signed, lower advances, and more editing and marketing increasingly work falling to authors. The explosion of amateur writing, enabled by technology, can also have the effect of undermining service providers to professional writers’ ability to be fairly compensated as free or cheaper options are easy to find, especially if quality is not a concern. authors... This means the key issues that staff and National Council are already focused on will continue for some time. Issues like: how to define, in 2012 and beyond, “professional book author” vis-a-vis I’ve most enjoyed during my time here has been convening our eligibility criteria; whether ebooks should be made available and participating in quarterly conference calls with our sister through libraries and if so, what compensation model(s) should organizations in the US, the UK, and Australia, with agendas be acceptable to writers when their ebooks are loaned; how to covering ebook royalties, rights grabs, copyright, multinationals, secure an even split of net receipts as the royalty for ebooks; e-lending, PLR, collective licensing, and the like. and how to support members in navigating — and maximizing Many of these issues are also industry-wide, and another thing — opportunities in the rapidly changing environment. I’ve enjoyed has been working with sector partners, in writing and Serious threats exist. The passage of the new Copyright Act publishing, to articulate our agreements (and our disagreements!) and the Supreme Court decisions in five copyright cases this in working towards a stronger collective voice and greater summer further weaken the traditional meaning of “copyright” influence. and threaten to harm this underpinning of writers’ income. But of course I’ve most enjoyed working with three Chairs The debate has entrenched the concept of “user’s rights,” a who made the Union proud, the wonderful staff at TWUC, surge of copy-left sentiment (perhaps the result of a glut of indefatigable National Councils, engaged volunteers, and a wise misinformation), and eroding revenues, already seen in the and articulate membership. I’m proud of how much we’ve Write is produced four times yearly by The Writers’ Union of Canada, W N MCP H ER S ON struggles our collective has had to renew licences with some achieved together in my time here and I will watch, with interest, 200 – 90 Richmond Street East, Toronto, Ontario, M5C 1P1, academic institutions. Whether lost ground can be regained is an as the Union forges ahead, ensuring writers have a place at the T 416.703.8982, F 416.504.9090, [email protected], www.writersunion.ca. open question. tables of influence. © The Writers’ Union of Canada, 2012.

p h o t : SH A Many of these issues are borderless and one of the things

FALL 2012  The Latest on Writing and Publishing News in Canada and Beyond

Publishing similar sites into question by exposing Censorship faux reviewer services which offer positive Students Forced to Buy Ebooks reviews for cash. Additionally, authors are Joan Rivers Protests Book Ban at writing reviews for their own books while Costco Students are still reluctant to buy e- creating online personas who praise their textbooks over print textbooks, with only work via social media. When Costco refused to carry Joan Rivers’ nine percent of students in the United Many self-published authors are newest book, I Hate Everyone… Starting States buying digital copies, reports a study spending their time trying to “trigger With Me, Rivers didn’t take the ban lying by U.S.-based college market researcher Amazon algorithms” with purchased or down. In early August, she chained herself Student Monitor. According to a Toronto self-penned reviews, says The Guardian to a shopping cart outside of a Burbank, Star article from August 2012, less than article on the relationship between social California Costco location and charged 10% of Canadian students are opting for networking and self-publishing. through the store with a group of friends e-textbooks despite their lower cost. to hand out autographed copies of her Even though students are generally Ebook Apps Provide Insight Into book. reluctant to go digital, some American Reader Habits Costco reportedly banned the book universities are requiring students to because of a few swear words on the back purchase e-versions of textbooks. Schools Reports are emerging about major ebook cover. such as Indiana University, University retailers, such as Amazon, Barnes & The stunt attracted news cameras and of California-Berkeley, University of Noble, Google, and Apple, acquiring police to the location. While Rivers left Minnesota, University of Wisconsin, information about readers through their without arrest or citation, she did get University of Virginia, and Cornell e-readers. Information such as what users some publicity out of the affair. To one University are adopting pilot programs read, how long they take to read each title, news outlet she likened the ban to “the making students purchase only digital where they are in a book, and what genres beginning of Nazi Germany.” textbooks for certain courses. The Indiana they choose to read, are readily available University program, which was launched through track-back information attached to Libraries three years ago, strong-armed students e-readers including the Nook, iPad, Kobo, into purchasing e-textbooks by charging and Kindle. UK Society of Authors Push to the ebooks automatically through their These analytics, which provide Make School Libraries a Legal bursar accounts. information — including which authors Requirement In Canada, schools and publishers are are gaining popularity and which titles also making the push towards digital readers are consuming with the most The UK-based Society of Authors (a group copies, with ’s CDI College fervour — are not currently being similar to TWUC in Canada) is running going all-digital, giving its business, health systematically shared with publishers or a campaign calling for legislation that care, and technology students iPads pre- authors. will make it mandatory for primary and loaded with textbooks. In fact, according to an article in The secondary schools to have a library. The A UK study released earlier this Wall Street Journal, there is currently no campaign, which is supported by award- year shows that students retain more way for those using the e-readers to opt out winning authors such as Sarah Waters, information from physical texts than of having their reading habits collected. Malorie Blackman and David Almond, through reading information from a This has prompted California to enact the is also calling for every school library to screen. “reader privacy act,” which requires law have a dedicated librarian or, at the very Authors Pay for Good Reviews enforcement agencies to get a court order least, a teacher with special training in before they access information from digital librarianship in smaller schools that may booksellers regarding what books their not be able to afford a librarian. It is also Got a couple of bucks, a new book to customers have browsed, purchased, read, calling for more support for author visits promote, and a loose grasp on ethics? and underlined. in schools and reading for pleasure in the Well, for the right amount of money, there The American Civil Liberties Union classroom. are plenty of companies offering positive and the Electronic Frontier Foundation are The last few years have not been good reviews in exchange for cash. now seeking to enact similar laws in other to libraries in the UK. In September, the Recent articles in The Guardian, The states. UK Children’s Laureate (a position similar New York Times and Salon.com put the to a national poet laureate but aimed at viability of reader reviews on Amazon and

 write children) Julia Donaldson wrote an open the authors involved. Oral argument on a authors. In its defence, Google points letter to the new Secretary of Culture motion for summary judgment without a to the Authors Guild’s advice to writers pleading for support for public libraries trial is scheduled for December. to put chapters of their books online for as “nearly 250 UK libraries are currently The Authors Guild is still seeking promotion, and argues that by giving either under threat of closure or else have damages for authors affected by Google’s consumers the opportunity to read excerpts been closed or left council control since mass book scanning which started in online, Google Books is aiding the sales of April this year.” The Surrey County Council 2004, but now only for authors and their many titles. Whichever way the decision proposed to fire all librarians in its public heirs who are United States residents goes, it is likely to be appealed. libraries and replace them with volunteers, for English-language books that were but that decision was quashed in court this registered with the U.S. Copyright office International April. promptly following publication. Canadian A survey undertaken by the School and other foreign rights holders resident Somaliland Hosts International Book Library Association found that the majority outside the United States are no longer Fest of school library budgets in the UK are covered by the class action. Google scanned under £1000 with 41% of school library millions of books through agreements This past July marked the fifth Hargeisa budgets coming in under £500. The letter with several university libraries without the International Book Fair in Somaliland. from the Society of Authors to the Minister permission of rights holders. (The Authors Organized by Jama Musse Jama and Ayan for State Schools, which makes a case for Guild is also now suing a consortium of Mahamoud, the literary festival — which mandatory school libraries, cites December the research libraries that co-operated with also features theatre, music, and film 2011 numbers from the National Literacy Google and TWUC is a co-plaintiff in that — celebrates local talent and the oral Trust which show that one in three lawsuit.) storytelling tradition. It also strives to give children in the UK do not own a book. Google and the Authors Guild agreed young people something to do. Of the half In its 2011 study on Ontario’s publicly on a settlement in the fall of 2008, which a million people who live in Hargeisa, 70% funded schools, People for Education was amended in November 2009 to are under the ago of 30. found that 56% of elementary schools have address numerous complaints. However, This year’s theme, “visualising the a teacher-librarian, down from 80% in that settlement agreement was thrown future”, looked at building a sustainable 1997/1998 and 66% of secondary schools out in March 2011 by the U.S. Circuit future for Somaliland through literature have a teacher-librarian, down from 78% Judge Denny Chin for several reasons, and the arts. Beyond selling books in 2000/2001. Students in small towns including that it would have given Google and creating a venue for culture in the see even fewer teacher-librarians, with “significant rights to exploit entire books” region, the festival aims to put power Northern Ontario having librarians in only without permission and “a significant into the hands of the people through 10% of its elementary schools. In April, advantage over competitors” through an its programming, which includes a Nova Scotia’s Chignecto Central Regional ongoing business arrangement going “far documentary on activists around the world School Board cut 21 school librarian beyond the dispute before the court.” Last who dedicated their lives to social change, positions after backlash from an initial year’s quashed agreement would have seen a presentation on climate change and proposal to cut all 41 of the librarians in its rights holders receiving 67% of any income how the community can take control of schools. Google made from the scanned books, but the environment, and a discussion on the also at issue was the “opt-out” nature of opportunities for women in Somaliland. Copyright the agreement, which would have allowed Hargeisa has no library, cinema, or millions of works for which rights holders theatre, but the organizers of the festival Google Says Book Scanning Has Not cannot be found (so-called “orphan works”) have been advocating for permanent Hurt Authors’ Sales to be scanned, shared, and sold through libraries through the promotion of reading Google without permission. clubs in the six regions of Somaliland. In a July court filing in New York of a Now the outcome of the litigation will According to a The Guardian article on the lawsuit that has been ongoing since 2005, depend on whether or not Judge Chin rules festival, two regions have recently promised Google argued that scanning millions that the scanning and display of excerpts to dedicate land to build libraries. of library books without the permission was “fair use”. If he finds that the scanning of rights holders falls under “fair use” by Google of entire copyright-protected and making “snippets” from the works works infringes copyright, Google may available online did not hurt book sales for have to pay $750 per book to the affected

FALL 2012  Writer’s Blot

Writer’s Prompt / Your 1000–Word Hour setting the kitchen timer and going it alone can work great, too. Anthony is a YA writer living in BC, and the author of Restoring Harmony and The Right & the Real. She teaches writing workshops Starts Here for both young writers and adults. Visit her at www.joelleanthony.com, or follow her on Twitter @joellewrites. by Joëlle Anthony

Comic by Scot Ritchie After a long writing break due to personal reasons, I was having trouble getting started. And then I saw some tweets by author Heather Brewer which helped. I already knew Brewer wrote at least a thousand words every day, with- out fail, even when she traveled, so I decided she was someone to pay attention to.

Her tweets intrigued me. They usually said something like: “Okay go! #1000WordHour starts now!” I soon discovered when she tweeted that, she was signing off the internet for one hour and writing a thousand words, hell bent for leather. Other authors started joining her, also using the hashtag #1000WordHour, and so did I. Sometimes she’d do several in a day, and I found myself pounding out two or three thousand words along with her. After a few weeks of this, I got back in my own groove, and also realized what I was writing was actually pretty bad because that’s not how I work best. But it didn’t matter because I was writing. Eventually, I switched to my old patterns and the writing quality improved, but I credit #1000WordHour with getting me unstuck. If you’re having trouble getting started, I highly recommend this approach. If you’re on Twitter, you can watch for other writers doing similar prompts, or you can start your own at any time. Just ask if anyone wants to join you, and then check back in when you’re done and share your successes. Or if you’re not into Twitter,

 write campaigns we always notice a significant rise in the circulation of their titles. TPL is also a major partner in the Toronto Book Awards and we also partner with the League of Canadian Poets to present special poetry programming.

What is the face of the library community in Toronto in 2012? More diverse than ever! Just to give you a sense of the breadth, online citizenship practice exams are popular and so is the Toronto Comic Arts Festival, a great annual celebration that saw 17,000 guests this past May. The publishing and writing scene is becoming more fragmented and it’s part of the library’s job Industry Q+A / to bring attention to the creators that might get overlooked or underappreciated. We also continue to place a high priority on encouraging a love of reading through our focus on early literacy The Library in the and on our adult literacy programs.

You have been a part of several book prize juries — what makes Information Age a book stand out from the pack for you? Can you name some by Tina Novotny favourites? Different things can make a book stand out and they don’t all have to be present: an original voice, beautiful writing, a compelling A conversation with Jane Pyper, Head Librarian, narrative, a different perspective. When these all come together, Toronto Public Library you have a masterpiece. For some of my recent favourites, see my list on the TPL website from June of this year: http://tinyurl. The role of libraries has changed significantly in the “Information com/janefaves. Age” — how do you see the role of libraries now? Libraries have always been about the intersection of learning, reading, and community. Today that may take place with books, Letter to the Editor / ebooks, or computers, but the purpose has not changed. Public libraries are vehicles of access and opportunity, they are important Dear Editor, democratic institutions, and they celebrate the joy of reading. re: Architextures etc., volume 40, number one How do you think the balance of bricks and mortar vs. digital has changed? “ ... for some reason we continue to celebrate this long-lived In terms of use we’re seeing a gradual shift to e-content. In monarch ...” For some reason? For the simple reason that she August our circulation of ebooks was over 100,000 for the first is the mother of our country. It was Victoria who signed the time. Still, our monthly circulation is 2,500,000, so e-content documents uniting Upper and Lower Canada into The Dominion is well under 10% overall. We want our online presence to be as of Canada. It was Victoria who chose Ottawa as our capital, to the much of a gathering place as our physical branches are. One of the long-lasting envy of Toronto, , Hamilton, Kingston, and perhaps counterintuitive effects of the digital world is a seeking Quebec. She wouldn’t have Kingston because “it is too close to the of community. In spite of all that is available in the digital world, border with those fractious Americans.” Ottawa was nicely set in TPL branches still had 19 million customer visits in 2011 — a 4% the centre between the two halves, and besides, “If the Americans increase from the previous year. tried to invade and capture Ottawa, they would become lost in the woods.” How does the TPL promote Canadian authors? I don’t musch care what people think of the royal old fuddy- TPL has always been a champion of our literary culture. The “eh duddy, but let’s not render too much reverence to those political List” shines a spotlight on Canadian authors who are also featured sharpies we’ve come to call “The Fathers of Confederation.” They in our many heritage programs — Asian Heritage, Black History, just wanted to have themselves painted in a formality that would and Aboriginal Celebrations. Local branches routinely host writers compete by copying the pomposity of the American gentlemen. who live in the neighbourhood. TPL is very active in promoting awards and nominees through our booklists, book clubs (both in- Peace, branch and online), displays, blogs, and social media. During these Paul Mackan

FALL 2012  Dispatches notes on the writing life

marketing / A Strange Truth: The Author Reviews Her Own Book

By M.A.C. Farrant

become even more imaginative in our bids to garner attention. It wasn’t that long ago when book writers, Who can argue with writer Eduardo Galeano’s comment that desperate for an author profile or a scant review, culture has been reduced to a “brilliant global entertainment enterprise”? One day we’ll turn to the back pages of our favou- or for any kind of media attention whatsoever, rite tabloid and there, beside the ads for steroids and massage resorted to a series of bizarre tactics to achieve parlours, we’ll find ads for our poetry and experimental fiction ­— books as clandestine traffickers of thought; books as containers their ends. Who could forget the Slasher Poets? of exquisite language; books as seedy pleasures. I may be making this up, but don’t you remem- And book reviews? They’ve gone the way of the typewriter; there aren’t many of them around any more. Review pages in ber them? They razor-bladed haikus onto their newspapers and magazines have been steadily shrinking. Any way chests and thighs. you slice it, the formerly fat book review pie has got way small. It’s pretty much crumbs now. During that era of flagrant self-promotion many writers costumed Which is why a woman who basically spends her life thinking, themselves for book launches. Liturgical robes appeared, and looking, writing, and reading, and is not currently dressed as a pirate boots. One woman wore a bear costume, lunging at the au- pumpkin or a nun is about to give her own book one long men- dience when the reading was over, signing her novel with a giant tion. crayon stuck in her furry fist. That got attention. Times, as they often do, change and this is why I wrote my After that a romance writer ripped open the bodice of her eigh- book. The title is The Strange Truth About Us – A Novel of Absence teenth-century gown on national TV and sold, as a result, seven and it’s a three-part work of prose fragments, snippets, questions, copies of her book. A historical novelist topped that by having a speculations, meditations, and mini-stories about the changing beard implant — thus becoming the Bearded Lady Novelist — times we are all living through — you, me, and the old guy work- renowned, she claimed, on three continents. ing at the local café to supplement his pension. Some of us were more modest. We loaded boxes of our books Some of the book is funny, some of it not so much. A good deal into car trunks and headed off on a Jack Kerouac fantasy. Next of the book is about the future which we all know does not exist stop: the abandoned Zen Motel in Mesa, Arizona where we filmed but still can’t help fearing. ourselves reciting by the light of an emptied wine bottle. In any case, I hope you love the cover. It’s a painting of an Would I make this stuff up? empty freeway on a sunny day, surely a most beautiful image. The It’s true that some of us, readers and writers alike, may have artist is Gertrude Pacific of Sechelt, BC. The book was published wondered where all this attention-seeking was heading. How in October, 2011 by Talonbooks of Vancouver and was edited by much more inventive could self-promotion become? Karl Siegler, a literary hero, a keeper of the flame. Well, guess what? I am about to review my own book. It’s a matter of necessity. Because the book culture as we’ve M.A.C. Farrant lives on Vancouver Island. She’s the author of ten known it seems to be decaying beneath our busy fingertips. collections of satirical and humorous short fiction, and two works of Because books have become a business, a product, a winning non-fiction. Her play,My Turquoise Years premieres with the Arts horse, a magic carpet ride to stardom for a few lucky writers and Club Theatre of Vancouver, April 4­–May4­ , 2013. their publishers, and, as a consequence, many of us have had to

10 write writing /

Of Babies and Balance Sheets

By Emily Schultz

feeling to be undergoing the excitement of first and second My infant son Henry is very punctual. That’s ultrasounds while also imagining the scenes from the reverse: how you know he’s the child of two writers: how a character might react in other circumstances, what seeing that swimming starry shape might seem like if, instead of being even before he was born he knew how to make late-30s and in a downtown Toronto clinic with my husband at my deadlines. side, I were 20-something and in a remote army-run quarantine in the middle of a pandemic far from everyone I knew. It may not be romantic to admit but Henry was conceived on a By the fall, the first edit was complete. Some of what I had spreadsheet. I knew other writers with children, but most of them learned had even wended its way into the manuscript. A second had partners in more lucrative fields — so when we talked about edit was waiting. But Henry had thrown a few challenges at trying to have a baby, we looked at where the money was coming me, as if to stop me from working — gestational diabetes, a in, and when the books were launching. My husband — writer severe case of carpal tunnel syndrome, and serious eye irritation and artist Brian Joseph Davis and my co-publisher at Joyland — all reactions to the pregnancy. And apparently Henry had no Magazine — wasn’t sure of any of it. When I showed him black intention of allowing me to get through the edit by being one of and white columns, it was an easier scenario to picture. The truth those late first-babies either. On the eve of his due date he gave a was plain: if we waited until after my novel The Blondes released, major kick, busting the amniotic fluid in a movie-worthy comedy I risked becoming too old. If we attempted to have a child before scene as we stumbled around grabbing suitcase and towels. We the book launched we could count on several vital cheques on were back in my Ontario hometown by then, so I phoned my either side of the birth. parents to drive us a few miles down the road to the nearest That was how we penciled Henry in — and surprisingly even as hospital. Henry arrived by Caesarian section on his due date an embryo he cooperated. He was conceived on the first try. Like a — one of the rare 4% of babies who show up exactly on time. first draft, the idea was there, and then he grew for nine months. Henry learned to breastfeed with my novel pages spread around Henry was more on track than either me or my book. I had hoped us — a coloured pen and sticky notes placed within reach before to do some writing during the pregnancy. Well, actually, I had he latched. Henry napped a lot at the beginning though, which hoped to do lots of writing during the pregnancy. But I did very freed me up for rewrites. In his sixth week of life he made his little. first trip to Toronto to attend a publishing meeting at a sushi The character in The Blondes, Hazel Hayes, has just arrived in restaurant. New York when she discovers she is pregnant by her married By the time the final pages arrived five months later, Henry was thesis advisor. I had already written Hazel as being so paralyzed hitting all his developmental markers. He had learned to turn by her pregnancy she cannot manage to make the decision of over, and two teeth were attempting to poke their way through continuing the pregnancy or terminating it — simply navigating his smooth pink gums. He was on track; I felt much less so as I the streets of New York takes almost all of her energy. I would realized I’d put a major reveal far too early in the novel and now soon discover the truth in that. I, too, had just arrived in New York needed to correct it. I worked in fits and starts (naps were much to do research for the novel, to get the feel of the place, the voices, shorter) and redirected our stroller walks to the FedEx counter and find a way to put that onto the page. But getting around instead of the park. Manhattan was like a full contact sport for me: I went to a handful When the printed book arrives on my desk, Henry will be 10 of book events, ate twice my weight at restaurants, made a few months old — and my character of Hazel Hayes still won’t have friends and contacts while gazing about longingly for a chair, but given birth. She’ll be stuck at the seven-month mark, forever more often stayed home and fell asleep before nine at night. wondering what will become of her and her strange offspring. Everything I went through in the pregnancy, I measured against the way I had written my character, Hazel. My experiences were Emily Schultz’s third novel The Blondes was published in August by vastly different because my son was wanted. It was a strange Doubleday Canada. Her website is www.emilyschultz.com.

FALL 2012 11 Dispatches

Social media / From Jackboots to Pandas: the High Cost of Self-Promotion By Maria meindl

Beasts by Erik Larson. This book chronicles the adventures of an Back in February, we went with friends to see American diplomatic family stationed in Berlin through the rise of Ronnie Burkett in his virtuosic and terrifying the Third Reich. They arrived feeling open-minded about the new regime, and made no secret of sharing its anti-Semitic attitudes. marionette production, Penny Plain. Set in the Gradually, they came to see that that they were among — well near future, in a plague-ridden city shipping its — beasts. The warnings they sent back were downplayed. The book is chilling because it takes place just before evil women to China to pay off debt, it tells the story showed its true colours. Back then it was only too easy to justify, of an old woman who adopts a dog as a com- normalize, or mock what we later learned to fear and deplore. I got the creeps, thinking about what all that surveillance could panion. She teaches it to walk on two legs, sit become, in the hands of a less-than-scrupulous government — or upright in a chair, and drink afternoon tea. indeed anyone with unfriendly intentions who wanted to track our whereabouts. And I thought, we could be destroyed by what we This distorted projection of her own species develops a will of its dismiss as harmless…or indeed embrace. own. It escapes her control and ultimately returns to devour her. But maybe it was easier to focus on political anxieties than on Our friends loved the show. They posted their whereabouts on my own state of mind. Since the launch of my first book, Outside Facebook, which promptly sent an invitation to my husband to the Box, last September, I have been feeling my personal need for post the information on his Facebook page. He laughingly showed privacy more keenly than ever. It’s not just a matter of keeping them the request on his Android, deleted it, and we all went on to my theatre-going habits to myself; I need to be left alone. To be enjoy our evening. unseen. This need is part of the creative process for me, and it But as I sipped wine, chatted about TTC delays and house truly is a need. It’s complicated because being alone is not always prices, and laughed at my companions’ jokes, I felt haunted by a pleasant. It’s scary — it’s, well, lonely. It’s boring, even a little sense of dread. This was a good thing, I guess; Burkett’s dystopian crazy-making. Yet out of that craziness comes the impulse to cre- fantasy had done its work. I was anxious about something else, ate. There are times when I need to be an adolescent who slams though, something more immediate and real. We were — albeit the door, covers her page with a protective forearm, flips her hair mechanically — being tracked. What preserved our privacy was down in front of her face, and promptly begins to mope about that lots of people, all over the place, were doing the same thing at being misunderstood. I need to protect my space, even though I the same time. don’t always like being in it. I’m not saying anything against our friends or anyone else who Yet making myself seen and heard is part of having the career posts a location on Facebook. It’s really just a way of reinforcing that will let me have the process. Publicity is something that in ties with friends, the cyber-equivalent of a refrigerator note saying, our brave new world of self-promotion-tinged-with-feminism⎯I’m “Gone to a virtuosic and terrifying marionette production.” It says supposed to admit to wanting. Don’t get me wrong. My book has you want to make your schedule accessible to the people you feel been doing pretty well. What I mean is, I’ve been doing pretty well connected with, and allows you to enjoy having people who care with the job of letting people know about it. I have no complaints about where you are on a Saturday night. It’s also a way of promot- about my publisher; in fact, from what I hear it’s been better than ing the show. most. Friends and community have been amazing. And it brings Except that I also happened to be reading In the Garden of a lot of satisfaction, a roll-up-my-sleeves, self-reliant, resilient kind

12 write of feeling that I’ve never before experienced. Still, I’ve been the them? My own fatigue speaks of deep inner conflict, as if all my engine driving it all and whenever possible, making the attention muscles were working against each other every time I pick up the look like it was coming from the outside. A complicated dance. phone to set up a reading. What I mean is, I still don’t think we It’s all-consuming. And I’m tired. have it right. As it happens, Outside the Box is about self-promotion. It’s a After weeks of watching me drag myself exhausted from the biography of my grandmother, the poet and broadcaster Mona computer at midnight, my husband declared a stay-cation. We Gould. When I was born in 1959, her accessible style of poetry unplugged the internet for a few days and hunkered down for a had fallen out of literary fashion. Television was edging out her marathon of cartoon watching. In Kung Fu Panda II, the main popular lunchtime radio shows. Her career was on the wane, character experiences flashbacks to being abandoned by his yet my earliest memories are of listening to her stories of past parents. Needless to say this cramps his style as a martial artist. triumphs. She portrayed herself as special, with a heightened Whenever he goes to fight, an inner voice tells him he’s worthless. sensitivity and a rare, God-given talent for expressing herself in I cried. And I finally got hold of the deeper issue I had been trying words. In story after story, she is discovered by a powerful man, to grasp for months: there’s a vulnerable, abandoned or at least who makes all the arrangements to share her work with the abandon-able self underneath the surface in all of us. Our very world. Sometimes she is reluctant, sometimes indifferent. Always public life can take us even farther from integrating it, unless we she is surprised. In her own words: “I never asked for any of this. make a point of unplugging once in a while. Even if it makes us It all came to me.” feel like helpless babies, sullen adolescents or forgotten old ladies, When Mona died in 1999 I offered to sort through the 38 boxes we need our solitude more than ever. of papers she had left to the . Here I discov- ered she had diligently built a career from the age of 11, received Maria Meindl is a writer and teacher from Toronto. Her first book her share of rejections, endured her share of disappointments. Outside the Box: The Life and Legacy of Writer Mona Gould, the She queried and was ignored. Queried again. Was, again, ignored. Grandmother I Thought I Knew was published in 2011. This piece is I respected the grandmother I found in those papers more than adapted from her blog http://bodylanguagejournal.wordpress.com/. the one I thought I knew, and I shivered to think of what she must have gone through when all her work dried up at the same time as my grandfather died. As a freelancer all her life, she had been forced to promote herself constantly and relentlessly. Now, at the age of 50, she felt abandoned. She was abandoned. She had me, though. I became the audience she broadcast to, the recipient of her pitch. The product: herself. Back in February I also took part in a Writers’ Union seminar by Elizabeth Ruth on how to be your own publicist. Among other smart things, she told us that she consciously separates her “self” from the person she’s promoting. In preparing for the seminar, she had informally polled a group of authors about promoting their own work. Many felt resistance. Either they lacked confidence or believed a writer should be above self-promo- tion; sometimes they felt they were admitting defeat to promote themselves. It was great to hear all this articulated at the very start of the session. I found myself better able to listen to practicalities when the big, subterranean issues had been brought to light. I started to wonder what it would have been like if my grandmother had been able to take Elizabeth’s seminar. (Well, she could have taught it.) But what if she’d lived in a time when it was socially acceptable for a writer, particularly a woman writer, to admit to promoting herself? To wanting attention? I wonder if she would have been able to speak to me more frankly about what she went through, building her career. And how I would, I — the writer-in- training — have lived, if those issues had been on the table from the beginning? Yet it was sobering to hear Elizabeth read those quotes. I wondered, are we any further ahead when it comes to hang-ups — or I dare say, shame — about making ourselves seen and heard? It’s not just a women’s issue. What kind of a society creates Facebook? What does that say about our need for atten- tion, and in what form? Are we really that far removed from a world where soldiers in jackboots beat people up for not saluting

Fall 2012 13

A Porous Boundary: Learning to Write in Print and Radio

By Elaine Kalman Naves

In the spring of 2004, the CBC commissioned me to do a series of interviews with Robert Weaver, the renowned literary impresario, editor, talent scout, producer, and anthologist. Initially it was to record Bob’s memories of his long and distinguished career mentoring and sustaining three generations of Canadian writers.

t would turn into the sweetest assignment a literary jour- easy on us, because she knows she runs the house, and she’s a nalist could dream of, but that wasn’t readily apparent at great sleeper. She goes wherever she likes and she climbs on the the time. No one at the CBC had heard from Bob since bookshelves and sits on the table and smells the roses, when there his retirement a few years earlier. He was reported to be are roses to smell.” in frail health. And while he had a reputation for being This quote not only made it into the two-hour documentary a loquacious raconteur, he was equally famous for being about Bob I eventually fashioned for CBC’s Ideas, but also into my Itight-lipped about himself. subsequent book, Robert Weaver: Godfather of . I knew Bob a little. We had met on two earlier — for me remark- It had the hallmarks of his droll wit and showed how gracefully able — occasions, both of them at the Glenn Gould studio. At the he could evade the personal. It also demonstrates that writing for first, my sister, Judith Kalman, received the prize for personal radio and for books is not all that different. You do your research essay in a competition coined and administered by Bob. Some thoroughly and then get out of the way, so audience or reader can three years later, I took the same award. experience the subject of your story as directly as possible. When I visited Bob at the Avenue Road apartment he shared It took Bob until the mid-point of our second session before he with his wife, Audrey, for our first session, it was obvious he was relaxed enough to lapse into his natural anecdotal style. I think acutely uncomfortable about my mission. My efforts to draw him he decided that I wasn’t going away until I more or less got what out failed miserably. He waved off the slightest allusion to his I wanted from him, and what I wanted wasn’t necessarily intru- exceptional achievements. What he wanted to talk about — at sive or unpleasant. And when he later discovered that there was length — was Abby, his cat. “She is 12 or 13,” he said. “She is very going to be a “Bob book” as well, he seemed really happy about

14 write it. Though he passed away in January 2008, just days before the tions in the process), a dear friend kept bugging me to adapt it book was to be launched, he did get a chance to read an advance for Ideas. Eventually I sent away to the CBC for their submissions copy. I consider it one of the great accolades of my career that he guidelines — this was before the days of websites — and I studied told Audrey, “She did a good job.” them like the Bible. I remember they emphasized the use of story- Here’s another commonality between writing for radio and telling techniques to convey ideas. They also said that Ideas liked for publication. Bob was 83 in 2004, and I knew I needed to proposals that had universal resonance. If you check the website move fast. When I teach writing, I emphasize a cardinal rule of today, those requirements haven’t changed much. One thing that research: whatever the project, consult your oldest sources first. particularly struck me in the directions was the importance of With the elderly you don’t have the luxury of unlimited time. how to create drama for an aural medium. An example: letters or This came home to me when I moved to phase two of the Bob diaries were perfect fodder for radio. project: interviewing people he had worked with over the years. Journey to Vaja is a triple-generation family saga, difficult to By Elaine Kalman Naves By the time I reached this stage it was too late to speak to Nor- compress into a one-hour documentary. But part of my family man Levine, or Joyce Marshall, or , or Al Purdy, legacy was an exceptional correspondence in Hungarian, a kind of or Margaret Laurence, or , all of whom owed him day-by-day account in letters sent to and kept by my father of the much. That said, Bob’s name was my passport to , climax of the Holocaust in Hungary. When I called Jane Lewis, the , Alistair MacLeod, Robert Fulford, Kildare CBC Ideas producer in Montreal, and tentatively sketched out my Dobbs, William Toye, and Janice Kulyk Keefer, to drop only a few idea, she said I was giving her goose bumps. She encouraged me names. to submit a formal proposal. When I started to write some 30 years ago, I didn’t dream of It was accepted. And that’s how I got into radio work by the back even breathing the same air as these authors, let alone conversing door. I already knew how to conduct a decent interview for print, — having lunch! — with them. My entire career, as writer, journal- but Jane trained me how to do it for radio. I learned about sound ist, and broadcaster came about by happenstance and back doors. levels. I learned how to mic close, but not too close. I also learned While I was naturally bookish, I was always conscious of the that writing for radio is much more collaborative than writing for fact that my family already had its writer. My sister began scrib- print. Certainly there’s nothing in print journalism or the writing bling poetry in grade school and winning literary competitions of books akin to the final studio session, when the producer won’t in university. To be a writer I believed you didn’t just have to love let you leave the building until your narration is pitch perfect. reading, you had to be born with a vocation, a sort of sacred call, Pitch as she hears it in her head. the kind Judy clearly had and I clearly didn’t. Jane and I have collaborated on four documentaries and each I studied history at university, not literature, because I was either began life as a book or became one. The most recent, which interested in the past. Then in my mid-30s I became obsessed aired in February and is now available on podcast, was a two-hour — it’s not too strong a word — with the story of our own family’s program called William Notman of Montreal. (Alison Cook was past. That single-minded fixation would eventually lead to my co-producer on this project.) It presented a unique challenge: book Journey to Vaja. “Eventually” being shorthand for 15 years. how to bring to life without recourse to visuals the work of a great That was my first back door: a private apprenticeship feeling my photographer. And it led to my next book project — the one I’m own way to mastering a subject, finding and getting to know my working like crazy to finish by its September deadline. characters, and learning how to structure a new entity out of the I came to it by asking an idle question of Nora Hague, my prime matrix of my research. source at the McCord Museum of McGill University which holds The second back door was book reviewing. It took me five the massive Notman Photographic Archives. “Were there any years to produce a first draft of Journey to Vaja and until I had black sheep in the Notman family?” that experience under my belt, I didn’t feel that I had credentials There was a humdinger of a one. His story, a juicy 19th-century to pitch ideas to editors. But then in very short order I became drama with surprising modern-day echoes, will be my next book, a literary columnist at the . As a result, a set of Portrait of a Scandal: The Abortion Trial of Robert Notman. articles originally published in the paper about Montreal writers became my first published book. The interviews on which it was Elaine Kalman Naves is a Montreal writer, journalist, and broadcaster. based would have made for great radio, but my horizons didn’t yet Portrait of a Scandal is forthcoming from Véhicule Press. Follow her at extend to broadcasting. ElaineKalmanNaves.com. As I persisted in rewriting Journey to Vaja (collecting 56 rejec-

FALL 2012 15 Creating the Critic: Lemon Hound’s Sina Queyras on Blogging, Reviewing, and Creating Critical Space for Women

You’ve said that your experience in running Lemon Hound defensive about it. has been that women are far less independently active in writing Perhaps it’s this sense of having a posse, and now — for the reviews. Why do you think women are less inclined to speak most part — institutional support, that allows these guys to also up critically? be such generous supporters of others, myself included. If you Women generally don’t come to me, and women don’t follow ever get a chance to walk through a book fair with Bök, do it: he up after I give them feedback. This has been consistent. Why? will recommend a dozen books, all very different, and across Difficult to say. It has to do with, among other things, education, gender and genre, and you will find them intriguing. socialization, and mentorship, as much as who holds editorial Who is doing this for women in Canada? Who is promoting power and how they wield it: for example, how many women women’s work — not “as” women’s work, just as women who are are given the opportunity to have a critical platform? How many doing great literary work? Erin Mouré does a lot for young poets, women take that opportunity? And how many people in general as does Margaret Christakos: both without direct institutional are offered and take it? To be fair, I would guess a lot of women support. Lisa Robertson is always mentioning her posse of turn down opportunities. That’s a huge issue for me. Why are influences and collaborations, many of them women, but again, women shying away from taking public positions? largely without institutional support. Who are the female poet practitioners who have had How do you see men working to create critical communities institutional support and what have they done with it? A good so that their voices are big and institutionalized? question: someone should write an essay… My good friends Darren Wershler, Christian Bök and Kenny Goldsmith are constantly promoting each other, discussing and Is the critical work women are doing (outside of scholarship) reviewing each other’s work — I respect them for the openness, paying off? the publicness of their feelings for each other, for their coterie. I wonder what critical work you are speaking of, first. The great Bök has said he can’t imagine working without Goldsmith and saviour poet models of our day — take Ken Babstock and Karen Wershler, for example. They are very, very open about the notion Solie for obvious reasons — for the most part, these poets take of the coterie and its central place in their practice. Not many no critical space. In fact they are almost resolutely silent. This is people are so open. They promote their friends and are very a model of poet who sees the critical gesture as almost inevitably

16 write negative. There are other poets such as Erin Mouré and Lisa I am done with women’s only issues and women’s listservs and Robertson who put their critical minds into their work. So, what women’s whatever. It doesn’t work. We need resilient female critical work do you mean? public intellectuals in a broad range of venues and from a great I would applaud such texts as the recent anthology Prismatic variety of perspectives. We also need women with institutional Publics: Innovative Canadian Women’s Poetry, edited by Heather power to review, assign, and direct discourse. Until women are Milne and Kate Eichhorn. This is an amazing text and under- assigning reviews, until they have equal critical space, and until discussed outside of women’s circles — as usual. men are actually reading women, nothing will change. Surface So, is this work paying off? It’s hard to say. One clumsy test changes wash away by the end of the day. might be this: if I ask you to think of a female public intellectual, I do a lot of work with my students: very directly challenging what woman comes to mind? What Canadian poet in particular? I them all, particularly women, but not only women, to take up could say Lynn Crosbie — she puts her opinion on the line weekly critical space, often and variously. Women need to take more in her Globe and Mail column and takes a lot of flack for it too. public risks. End of story. They need to make their opinions Who else? And I mean speaking of poetry here. known. You can’t hide and be angry that no one is listening A few years back when Carmine Starnino and Christian to you. Well — you can, but it’s a waste of energy. We need to Bök went toe-to-toe in a Literary Cage Match [at Mount Royal break that model of poet. And it is a model. It’s one that sees the University, , 2009] they were both unable to refer to a critical gesture as dirtying the poetry. Not a useful model at all. female poet as a critical model. I think that would be the same Particularly for women. The poetry I love is barely able to keep up today. Lots of anger on Facebook, but no translation into public with its own thinking. thinking. For the record, liking someone’s point on Facebook is As Mary Wells, pioneer in the advertising world, and apparent not having a public opinion. model for Mad Men’s Peggy Olson said in the New York Times recently, “You have to double yourself. You have to read books on What are your thoughts on the situation of the independent subjects you know nothing about. You have to travel to places you literary blog in Canada? Is it a sustainable alternative to the never thought of traveling. You have to meet every kind of person dwindling critical space in bigger publications? There are so many and endlessly stretch what you know.” In other words, you have to more book blogs in the US; a few of ours (Bookninja, Vox Populist) move outside of your comfort zones. have folded for various reasons. I’d be curious to hear about how But also, we need to call bullshit on homogeneous editors. you’ve managed to run Lemon Hound with a clear feminist voice It’s one thing to call your journal Ghazal and then only publish (and not burn out completely)? ghazals, or to be a journal of women’s poetry, and only review The literary blog in Canada has largely been a place for people women’s poetry; but to be a national journal, or to review for a to vent in the comment boxes. In terms of content, few have national paper, or a publication with the weight of the LRC, and produced lasting work. So, is this a sustainable alternative? Maybe, only review one kind of poetry, never mind issues of gender, or but is it of value? And what is it an alternative to? I was hoping, race — this is unacceptable. with Lemon Hound, to create an alternative venue, a place where I don’t care if a poetry reviewer wants to review primarily lyric people could engage about poetry on a much different level poetry written by white men for the rest of his life. Go for it. It’s — largely, I am not a fan of the national newspaper review, nor do his choice, free world and so on. I would just like him to be up I particularly think that the Quill & Quire length and perspective front about it and not call me a bitch when I point out the obvious. is useful outside of a small circle of booksellers, so it seems to me We need a basic level of consciousness about our privilege — that the blog, or some form of the blog, has enormous potential. those few of us who have these platforms. We need to understand What are your thoughts on creating and supporting critical that we are choosing who and what we read and how we see the communities for/among women so that numbers like the VIDA: world. We need to stop couching our tastes and our career moves Women in Literary Arts numbers change? as inflated ideas about what the best and most important is, and

Fall 2012 17 our ability to be the gatekeepers of that best. It’s tired. Worn out. Of fun by now. Don’t invite me to your bitch session, invite me to little value to anyone really. the launch. It’s actually such a small-minded move that it would be pathetic Read women’s work. Write about it. Celebrate it when it’s and comedic if we in Canada didn’t inhabit such a small pond. But worth celebrating. Point out the flaws. Point out the weaknesses. listen, we aren’t going to produce a six-pack of Susan Sontags or Challenge women to do better. To bring more thinking into their Anne Carsons if we circle around this issue of representation so work. Enlarge your discussions into the public sphere. Say thank much. We need to move on and do our work. No one can argue you to the women who have cleared a little path for you, but don’t with a kick-ass body of work. make sacred cows either. Throw your hooks back through time and dig up a woman’s texts. Respond to them in your own. Bring Finally, and this may sound like a crazy question, but I’ll ask it these voices forward. Jam the networks with women’s voices. Don’t anyway. You’ve been such a strong critical voice for women writers apologize. Just take up space. And do it well. Do it very, in Canada, and created a remarkable public presence. You’ve said very well. that talking about representation feels like banging your head against a wall. Why and how do you persist in fighting the good Sina Queyras is the author most recently of Autobiography of fight when it’s far easier to turn exclusively to your own work and Childhood (Coach House 2011). Her collection of poetry, Expressway family? (Coach House 2009) was nominated for a Governor General’s Literary Why do I continue? What’s the option? Quitting? Not in my Award. Lemon Hound (Coach House 2006) won a Lambda Award vocabulary. On the other hand, I am more comfortable producing and the Pat Lowther Award. Queyras lives in Montreal and can be a body of work than arguing this point. I am quite done with being found at sinaqueyras.com. the go-to-girl for defending women’s voices, or lack thereof. Hence my essay for the Matrix feminisms issue: “Do not argue; do.” This piece is adapted from the website of the Canadian Women in Here’s a tip: stop asking women who have already stood up Literary Arts (http://cwila.com) a new organization founded to calling for women again and again to do it again and again. If you invite for a discursive space to address the politics of representation, the critical a feminist to read, let her read. Don’t make her do your public reception of women’s writing in the literary press, and fostering stronger service for you. Let the public service happen through her work. critical communities of women. Celebrate, celebrate, and celebrate: seriously, we’ve earned some

Canadian Women in the Literary Arts

An inclusive national literary organization for people who share feminist values and see the importance of strong and active female perspectives and presences within the Canadian literary landscape. ciwla.com

18 write Special Section: back to school

Writers In the Schools: How to Make a Difference

by Patricia Westerhof

hy Visit? probably have no intention of doing so. Some writers might visit So you’ve been invited to speak to high for the sheer pleasure of the interaction with a high school class. school students. Or maybe you’re sending I think many authors find their discussions with young people around your calling card offering to give invigorating; however, my observations and experience suggest it’s workshops or readings in schools. still strenuous, draining work for a visitor to keep a group of teens As an author, I have visited high engaged for the 60-to-80-minute class period. Wschool classes, and, as a teacher, I regularly host writers in my In summary, the writer gains neither fame nor fortune from senior level English and creative writing classes. Last year, I had visiting a school. He or she is not even guaranteed a good time. ten visitors, including a freelance journalist, a children’s author, Visiting a school is an act of generosity. Writers do it because a poet, a screen writer, a memoirist, and several literary fiction it’s good for all of us to promote the acts of reading and writing writers. Though I am convinced that interaction with writers to the next generation. They do it out of respect, courtesy, and enriches students’ learning, some visits go better than others. By big-heartedness for the students and teachers in their community. this I mean that some visits are more comfortable and enjoyable They do it because their role as writer gives them a significant for the writer and/or more engaging and useful for the students. platform from which they can foster a lifelong love of reading Before I tease out what differentiates great visits from mediocre in the students. And they do it because there’s quite likely to be ones, it’s worth considering what writers gain from these visits. at least one student in each audience who is a lot like they were In previous years, we teachers had to hunt for writers willing to at that age — someone with good instincts and an unstoppable speak to teens. In the last few years, however, my school has been imagination, someone ravenous for interaction with experienced receiving pamphlets, emails, and phone calls from both writers’ writers. organizations and individual writers offering workshops, Q & A This type of generosity is not for everybody. One can find a way sessions, and readings. I’m not sure why this is — perhaps it’s to give back to one’s community that doesn’t involve interacting one of the results of the intense pressure on writers to market with teens. But for the writers who plan to step boldly into high their own work. Some writers come hoping to make new fans. schools, I offer some suggestions about how to make the most of But a typical high school classroom is not rife with avid readers, the time with the students. especially not book-buying readers. Unless you’re the author of The Hunger Games, or whatever has replaced it as the current Preparing for the Visit mania, the students are unlikely to purchase books during a As with so many activities, preparation is the foundation for visit, and some schools even have policies that bar visitors from a good outcome. Planning the visit allows the writer to find out selling in the classroom. Honorariums may beckon some authors, essential information such as what the teacher’s and students’ but payments from schools, if there are any, tend to be modest, expectations are for the visit, how long the visit will last, whether rarely generous enough to be the sole reason for appearing in students have read the writer’s work, and at what level the front of a crowd of teenagers who haven’t read one’s book and students are working. In addition to that basic information,

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writers may also want to know whether their visit is part of a particular unit of study (Canadian authors? contemporary I asked my students poets? creative writing?). What does the teacher want the class to gain or to learn from the visit? Is the writer giving a reading, leading a Q & A, facilitating a writing workshop? A phone call what advice they had or email exchange with the teacher or administrator who set up the visit will yield this information, and will also provide an for visiting writers, opportunity for the writer to say what he or she is (and isn’t) willing to offer during the class period. Writers should feel free to state their preferences and to say no to a set up with which advice that would help they’re uncomfortable or for which the preparation is too time- consuming. the class go well. One If possible, the writer should talk directly with the classroom teacher to get information and make arrangements. Especially if the visit has been set up by someone else — such as a festival of them said, “I or an organization — writers can’t assume that the classroom teacher has been fully informed about the visit, or that he or she like it when writers talk has done anything to prepare the students. As a teacher, I have occasionally had writers thrust into my classes. My principal or department head has caught me on my way in to school and said, to us and not at us.” “We have ______visiting today — can she come to your grade 12 English class this morning?” This is an unsatisfactory situation Enjoying the Visit for both the writer and the students. The teacher, whether he or I’ve observed that the writer’s enjoyment of a classroom visit she welcomes the break in teaching or resents the interruption is usually proportional to his or her perception of the students’ that the visit causes, is not the writer’s ally. The students will engagement. If the audience seems receptive, writers relax and have no sense of anticipation, nor much sense of responsibility enjoy themselves; if the students seem bored or miserable, the to learn during the period. The writer will feel a limited sense of writer experiences the class period as an endurance test. purpose, and may even feel unwelcome. Even a writer who is also I asked my students what advice they had for visiting writers, an experienced and talented teacher may not be able to rescue advice that would help the classes go well. One of them said, “I this situation. In my opinion, writers aren’t paid enough for these like it when writers talk to us and not at us,” and there were nods visits to go through that kind of stress. For this reason, it’s worth and murmurs of agreement all over the room. the time and effort it takes to glean some information from the Although they’re a captive audience, teenagers in the classroom teacher in advance and to clarify the purpose of the visit. don’t have any longer an attention span than the average audience A writer can also ask the teacher to prepare the class for the sipping second-rate wine at a poetry launch. Therefore, the best visit. While one can’t expect teachers to buy a class set of one’s practices for literary events at bookstores, bars, and festivals complete works, a writer can request that teachers familiarize pertain to the classroom too. It helps if the writer is enthusiastic the students with his or her work before the visit. Along with and confident. If the visit involves a reading, the writer should making it a condition of the visit that the school library purchases choose the passage beforehand and rehearse how he or she will the visiting writer’s book, the writer can ask that students view a set it up. The introduction should be short and snappy. The YouTube video that features the writer reading his or her work. reading should be short and snappy. It works best to pick sections Or students could look at the writer’s website and read the excerpt of the work that don’t require enormous amounts of explanation of his or her latest book. Or they could be asked to do a little or exposition. In my readings for teens, I usually pick a few short background research on the main subject of the writer’s work. passages rather than a long excerpt or full story. For example, one of Douglas Burnet Smith’s recent collections of Some writers are skilled at interacting with the class. Seemingly poems, Sister Prometheus, focuses on Marie Curie. When I spoke comfortable from the get-go, they ask the students what they’ve to him before his visit to my creative writing class, he said, “Make been reading, what genres they like to write, what their post-high- sure they all know who Marie Curie is before I come.” Easy. The school plans are, what writing they think they’ll do as adults. But ten minutes of research piqued curiosity, as students wondered other writers lack dexterity with this open-ended small talk. A why a poet wanted them to familiarize themselves with the life less outgoing writer may be more comfortable getting students and work of a scientist. Before James FitzGerald came to my class, to interact with his or her writing than with himself/herself. A he gave me the link to his Toronto Life article that sparked his fiction writer can give students the opening line of one of his or memoir What Disturbs Our Blood. The students and I read the her stories and have the students write the rest of the paragraph. article together, and then students generated a list of questions for A poet can hand out copies of one of his or her poems with the James. This groundwork meant that when James paused after his title missing. He or she can instruct students to read the poem reading and asked if anyone had a question, hands shot up in the in groups, decide on a possible title, and defend it. At the end of room. the exercise, the poet can defend his or her own choice of title. By insisting that students are in some way prepared for the visit, (A brave poet could hand out a new poem without a title, and the writer not only avoids awkward silences but sets things up for tell students that he or she will choose the best one they come engaging and productive dialogue with the students. up with.) A poet who visited my class several years ago brought in a rough draft and a final copy of a page of his work. He asked

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students to comment about what they noticed and why they writing? We all need mentors. When a published author says kind thought he made the changes he did. Soon the class was deep and encouraging words to a student writer, it can be life-changing. in conversation with the poet about the poem. Another sort I will end by repeating that visiting classrooms is an act of of interactive visit involves a short writing activity followed by generosity. Hopefully there is an honorarium, hopefully the sharing the writing that was produced. This doesn’t need to be a writer will gain a few fans who come to the next reading or buy sophisticated or complex activity; in fact, the activity will probably the writer’s next book. Hopefully the experience is enjoyable and work better if there is an element of fun to it. Including a writing even energizing for the writer. One can’t count on these outcomes. activity benefits the whole class, as the writer leaves each student What the visiting writers can be sure of is that they are making a with a new idea and a (albeit very rough) draft of a new piece. significant contribution — even more significant if they ensure It would be the topic of another article to cover the best they and the students are prepared for the visit, and that the visit is practices for responding to student work. It dismays me that interactive and engaging. few writers these days seem willing to read student work at all. To some extent, I understand the reluctance: the writers are Patricia Westerhof teaches English and creative writing. She is the inexperienced, and even if their writing shows promise, it lacks author of the story collection Catch Me When I Fall (Brindle & Glass polish. I read it because the authors are my students and I come 2011). to care about them during the course of the year, not to mention that I get paid to read their work. Nonetheless, I’d like to make With funding from the Ontario Arts Council, The Writers’ Union one suggestion for all writers who visit a classroom — if the of Canada funds author visits to Ontario elementary and secondary interaction with the class doesn’t involve reading or listening to schools, subsidizing a portion of an author’s fee and travel expenses. any student work, perhaps the writer can ask the teacher whether Each school is eligible for one subsidy per fiscal year (April – March), there is a student whose work the writer should see for a few and each author is eligible for either 6 full-day or 12 half-day visits. minutes after class. So often in a class there is a student who Funding is awarded on a first come, first served basis. This program is stands out because of his or her ambition and talent for writing. open to all members, but requests must be made by the host school. Full Maybe it’s idealistic of me to hope that visiting writers will take information and guidelines can be found at writersunion.ca/node/122. the time to glance at a student’s work and provide some brief Although this program is only available to schools located in Ontario, encouragement to the student writer. But which of us writers has several provinces offer similar programs through other organizations. not benefitted from another writer taking interest in us and our

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Special Section: back to school

Finding Her School: A Writer’s Quest for Healing Leads Her Back to the Streets She Grew Up On

by emily pohl-weary

Five years ago, I founded the Toronto Street Writers, a free weekly creative writing group for young adults who love words and stories, but have their reasons for not feeling accepted or safe in mainstream learning institutions.

very Tuesday, from October to July, about 25 youth winning short story writers — parade through the doors to cover from diverse cultural, social, intellectual, and aspects of writing I can’t. religious backgrounds show up at the Academy of Don’t worry, I’m not some character from a Saturday Night the Impossible (an alternative learning space in the Live skit about stereotypical “nice white ladies.” And I know too city’s west end that evolved from the Toronto Street many committed, generous-spirited, brave teachers to diss the Writers). profession. It’s just that when I was younger, they looked right E Mostly, we sit quietly together and scribble in notebooks. We through me. I smiled sweetly and didn’t disrupt, and can’t think of read aloud, talk about creative writing and the publishing industry, a single teacher who seriously engaged with or knew me. The best and how hard it is to break from tradition and do something ones I had were in my own family — whether blood–or love– artistic when your parents desperately want you to be an engineer. related. It would have astounded teenage me to think of becoming I blab about aspects of life as a writer and let them pick my brain, one. I’m still a writer first, an editor second, and an arts educator answering as frankly and honestly as I can. An incredible range of third. guest authors — from dub poets to graphic novelists to award- I grew up in Parkdale, a colourful, ragged Toronto

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I looked around our neighbourhood and found arts and literacy programs for kids, and literacy programs for adults, but nothing that would appeal to young people struggling through that in-between age when they’re shoved out of school...

neighbourhood that’s been described as a scribble on the edge of of anger, numbness and grief. I looked around at the youth he the city’s downtown core. Until my early 20s, I mostly remained spent time with, making an effort not to see them as the gang within my 20-block radius. While I wasn’t a happy child, I had members and criminals they’d been depicted as in the media in imagination and a fertile playground. My four-plus activist the aftermath of the murder. hippie freak parents raised me with a healthy dose of anti- Some of these boys had grown up in the same neighbourhood authoritarianism, and my writer grandmother seemed to get more as me, spent hours at our house, and yet couldn’t read. I had radical as the decades passed. I plunged into stories, spent hours no clue how they hoped to get decent jobs, let alone defend at the library, and made up plays I cajoled the scruffy kids on my themselves when they were arrested or harassed. I looked around block to act in. our neighbourhood and found arts and literacy programs for kids, My life was a little strange, but it was heady. I rebelled for a and literacy programs for adults, but nothing that would appeal to while by being as normal as possible and dating the football young people struggling through that in-between age when they’re quarterback. Eventually, I fell back in line with the rest of my shoved out of school (frequently, in my brother’s group, for acting highly literary family, founding a small literary magazine called up one too many times). Kiss Machine and publishing books of poetry with Toronto small We put posters up in youth shelters, back alleys, outside the presses. I conceived of and embarked on an ongoing series of YA area’s grungy bars, and in high school corridors. For the first by emily pohl-weary mystery novels that incorporated themes of counter-culture, zines session of the Street Writers, in early 2008, I hoped to register and gritty urban life into their plotlines. 20 youth, and ended up with 38. We met in Parkdale Library’s Then, in the last half of 2006, everything changed. My athletic windowless cement box of a basement auditorium. Local hip father, who almost never took a sick day, had a serious stroke. hop artist Mindbender and authors Kristyn Dunnion and Mariko I found myself riding the bus out to Mississauga three times a Tamaki were my guests. I provided notebooks and pens, TTC fare week to spend half-days at the hospital, supporting his rehab. And for low-income participants, and served decent meals. My only four months into that, on Christmas Eve, my 18-year-old brother mantra was: “I promise not to bore you.” At the end of the pilot, was shot five blocks from our childhood home. His best friend participants overwhelmingly asked for the program to run all year was killed. It seemed as if all the men in my family were cracking round. Now, in 2012, we have our bright, above-ground home apart. filled with books and art at the Academy of the Impossible. At the time, I’d been working on the second installment of my At some point along the way, I started writing again. I began YA mystery series. Suddenly, I found the book taking a dramatic by forcing myself to actually do every exercise I invented for the turn away from a light whodunit into a psychological thriller about Street Writers — in this way, I filled up half-a-dozen notebooks. a mentally ill teenage boy. Part of me wasn’t surprised, given What came out was different then what came before. I was writing the state of my nerves after so many late-night phone calls from poetry about the murder and my community, and after the trial hospitals and police stations in the previous years. But, needless to that sentenced the young man who shot my brother, I felt free say, my publisher wasn’t too happy. to craft those poems into a manuscript. Still working on that. Shock took hold of me — or, as a psychiatrist later called it, I explored the external manifestation of teen girl rage through secondary trauma. I buried my novel-in-progress in the dustiest a werewolf. That novel, called Not Your Ordinary Wolf Girl, is regions of my hard drive and stopped writing altogether. I fell coming out next year. asleep every night dreaming about chasing my brother around the The panic still occasionally rises up, but much less frequently. city, only to catch him at the exact instant he was about to be killed Engaging with the Street Writers each week, knowing that many in some horrific way. of them have been through the same things I have — or worse Eventually, I realized I needed to do something new. I needed — is one of the ways I convince myself it’s possible to bounce a project that would help me and my brother’s circle of friends back from extremes and keep growing. make it through nonsensical tragedies (this murder was only the last in a string of them). My brother had once been a bright- Emily Pohl-Weary is an award-winning Toronto author, editor, and eyed, smart, beautiful boy. I always focused on that, even though arts educator. Visit her at emilypohlweary.com. Visit the Toronto Street at times it was difficult to recognize that boy through his haze Writers at torontostreetwriters.ca.

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In Windsor, an Educational Experiment Pays Off for Poetry and Publishing

by Sonia Sulaiman

This past April, 400 people came to a poetry reading in Windsor, Ontario. The event was the launch of two books: Brides in Black by Mary Ann Mulhern and Day Moon Rising by Terry Ann Carter. The books were produced by teams of University of Windsor English students participat- ing in an informal internship with Black Moss Press through two courses taught by Black Moss publisher and writer Marty Gervais.

According to Gervais, it was the social media Over two terms, students work in teams to edit, lay out, and savvy students who secured the huge turnout. prepare two books a year for publication. Gervais tries to pair “The students learn how to ‘sell’ an event,” he authors with the teams to ensure a good working relationship. says. “We work on the staging of it from publicity, Gervais explains that some writers are not comfortable with drawing upon everything from the standard-issue students editing their manuscripts while others enjoy the process. poster to all the social media connections we can Mary Ann Mulhern has had three books published with Black Afind and drawing in the community at large. And then we work on Moss and the University of Windsor editing students. She speaks choreographing the actual event, regarding it as ‘entertainment’ warmly about the experience of building co-creative relationships, and selling that aspect of it to the public. This means sitting down praising the students dedication. “For a writer, the experience of with the authors and talking to them about how much they should working with third- and fourth-year English students was both read, and what they should read.” a challenge and an honour,” she says. “For my part, it required The result, based on the numbers, was a total success. The a considerable amount of time, flexibility, compromise, and a public turned out for the formal and funny event where university willingness to ‘let go’ of several poems. I was more than willing administrators praised and students joked and reminisced about to enter into a relationship that would be both demanding and the experiences culminating in the launch. rewarding. The students took a very ‘raw’ collection of narrative Since 2005, when the practicum course on editing and poems and transformed them into an amazing manuscript!” publishing was launched, approximately 30 books have been Gervais emphasizes the holistic nature of the editing process the published. Initially, the courses were taught by Gervais and students engage in: “The editing is collaborative, but we examine Dr. Suzanne Matheson from the Department of English. Dr. the work not entirely from the aesthetic point of view — we also Matheson covered scholarly aspects of publishing, but the look at budgets (how much we can afford for this book) and also program has since shifted its focus to commercial publishing. the marketing. If we think a particular spin might give the book

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“I just didn’t see the benefit in my lecturing about my experiences publishing with Black Moss. So, I said when we started this: ‘can’t we do this for real?’ I wanted them to engage in the real process of publishing.”

Marty Gervais

a greater voice in the community, then we press the author into and publishing practica. Gervais observes that the students from moving in that direction.” the literature and creative writing streams often bring particular The partnership between Black Moss Press and the university strengths to the projects, complementing each other. is synergistic in several respects. The two practicum courses, run “More and more the students going into this are not creative by the Department of English, are connected to the university’s writing students,” he says. “I actually prefer that because creative acclaimed law program and the Odette School of Business. writing students, some of them come with a bias. For example, if Graduate students in these programs are involved in collaborating I hand them a book of poetry, some creative writing students will with the literature students to enhance their informal internship sneer at it and say ‘I don’t like poetry.’ I always tell the people in with the small press. The results can be surprising, as Gervais the class: ‘I don’t care if you like poetry. That is not my concern. illustrates: This is a job. You have to do this as your job. It’s like going to “In one of our classes we had an accountant come in. And the McDonalds and saying ‘I only want to do fries, and I’m really accountant said ‘Okay, how much is this book?’ At this point we hoping it’s vegetable oil.’” were in the publishing side. A student comes up and said ‘It’s The model at Windsor is benefiting writers, students, and the $17.’ He writes down ‘$17.’ ‘Alright, so how much does Marty community while nurturing the next generation of editors and make?’ And the student looked at him like ‘Is this guy real?’ and publishers. University of Windsor student Jackie Klapowich said ‘$17.’ And he said ‘Oh! So, Marty, you print this for nothing?’ completed the program this year. “It wasn’t always easy,” she So they put down the estimated costs and the $17 turns into a said. “The group became our own little (slightly dysfunctional) minus that I’m getting. So, we’re in a deficit now. What are we family, but in the end everyone pulled together to produce the going to do? A student puts up his hand: ‘We’ll sell it for $18!” best product that we could. Essentially, we were given a raw Considering how to mentor students interested in the manuscript and some rough guidelines, and had to run with it. publishing industry, Gervais decided to use an active learning Both groups worked very hard on their respective projects — from model. Instead of listening to him lecture about how he runs big tasks, like early morning and late night editing sessions, Black Moss, students would learn by being given the tasks advertising, market research, and launching the book, to the small necessary to prepare a book for the market. details that really get you the finished product you want, like the “I just didn’t see the benefit in my lecturing about my font and paper type. experiences publishing with Black Moss. So, I said when we “As students, we were given a lot of real-world responsibility started this: ‘Can’t we do this for real?’ I wanted them to engage in and all of our stress, hard work, late nights, early mornings, the real process of publishing.” arguments, and meltdowns were well worth it in the end when we The University of Windsor offers concentrations in creative held that book that we worked so hard to create.” writing, digital journalism, and language and literature. Students from any of these streams are eligible to apply for the editing Sonia Sulaiman is a Windsor-based arts and culture reporter.

FALLFall 2012 2012 2525 Fiction Remember As You Go

by Paulo da costa

Then, in a magical spell, the house falls silent and the father “It’s bed time, children.” hears his wife’s soothing murmur. He walks to the staircase and sits on the last step listening. “Nooo, not just yet,” they “The gigantic sunflower, with the gentle nudge of the wind, bent down to better hear little Narciso. complain with the usual theatrics. “Hello, beautiful flower. I’m Narciso Esquecido from the desert city of Leyte. I’ve walked this far in search of the sacred waters of remem- Heads hide under the living room brance.” The sunflower smiled and shook its wide leaves. A sweet shower of pol- cushions, arms flail with compel- len sprinkled Narciso. “Hum... I see,” said the sunflower. “You must ask the admiral butter- ling distress. flies. They dance and twirl, kiss and hop, from flower to flower. They see everything. If you ride on the back of their wings you’ll see the world from “Five minutes, then.” side to side.”

Her lilting voice lulls even the grouchy refrigerator motor to quiet. “Only if you tell us a story.” The children scream in unison and beg, For a moment, they seem to hold their breath, listening to Narciso pulling on her sleeve. Esquecido’s first flight on the back of a butterfly. The father, focused on the computer screen, emerges from his At the end of the story the children clap, begging for one more. work. He notices the dark shadows around his wife’s eyes. The mother explains that stories flow like honey and honey should “Give Mum a break, kids. How about I put you to bed and tell you never be harvested all at once. A beehive stores sweetness to nour- a story?” ish in the bitter cold of winter; so should the words of stories. The The room falls silent. The father hearing no, muffled under the children do not argue with her. cushions, looks helpless. His eyes plead to his wife. The father returns to his computer. The screensaver travels “I’m fine, dear. Finish your assignment. I’ll put them to bed.” She through space and into a black hole. The night ahead promises to walks over to him and runs her hand through his hair. He shrugs, be long. After his meteoric success, winning a national prize, a pres- as if saying, I tried. She smiles and with a hand-clap sets the room tigious literary magazine awaits delivery of another of his inspired in motion. “Let’s go, children. Come say goodnight to your dad.” stories by morning. He begins anew. She kisses her husband on the forehead and whispers, “I’ll be down “The gigantic sunflower...” soon.” He can tell her a story then. She waits for the children to em- brace their father good-night and with a hand on the tiny shoulders Paulo da Costa was born in Angola and raised in Portugal. He is a she leads them upstairs. writer, editor, and translator living on the west coast of Canada. Paulo’s The father returns to his work but his attention follows the first book of fictionThe Scent of a Lie received the 2003 Commonwealth upstairs commotion. Which pyjamas to sleep in, repeated instruc- First Book Prize for the Canada-Caribbean Region and the W. O. Mitch- tions to brush teeth in slow, circular motions, no, not to flush this ell City of Calgary Book Prize. The Green and Purple Skin of the time: “If it’s yellow let it mellow,” the mother sings. World, a collection of short-stories is forthcoming from Freehand Books “Is it Sleeping Beauty or Pinocchio, tonight?” in 2013. “Nooo... We want you to tell us one of your remember-as-you-go stories, Mum. Those are best.”

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Symbolism

by Crystal Hurdle

I) the recipient’s name and address on which William Carlos Williams sick mine, mine wrote his tender bountiful poems no longer a Literature Teacher self-addressed stamped envelope I fear for the golden coleus in my office my own handwriting so much depends on hit-and-miss care double slap in the face in my absence but hardly as health-promoting too self-referential at home, the cocky Witch overwaters more display than story Her nose or is it the spout tumults, torrents qualities lauded in the class room grazes my cheek with slime hip waders astride the pool Her breath is rankly humid, above me hisses, Say When vengeful literary editor Well? Say it, (blunt cut/trifocals/heavily downed) I’m waiting will I return to makes paper aeroplanes of my work root rot cackles (When) spider mites too graphic fungal disease too grim Crystal Hurdle teaches at Capilano University a compost fug? as they float in an updraft in North Vancouver. Her book Teacher Pets, a and disappear novel in verse for young adults, is forthcoming or fresh lime shoots from . leaves like brimming hearts doesn’t fit our current a wall of climbing green publishing needs though it is far from spring then When? rebirth the odour of fecundity? the Witch cackles, surely “too grim”! my health depends on its I’ll show you grim! She lifts the watering can II) when sick why is rejection so big I take more to heart when it comes on so small the rejection of my writing as if tiny literary presses can’t afford 8½ by 11 if I’m not “teacher,” but divide a sheet into sixths then “writer” parcel it out pride and self worth teeny as the prescription pads in that

FALL 2012 27 Business & Reports

states that if educators follow this line of thinking they may find Access Copyright Liaison Report themselves mired in legal proceedings they’d rather not experience. Instead, the SCC decision on “fair dealing” applied to only 7% of Ron Brown copied material and stated that the Copyright Board of Canada must reconsider some of its earlier interpretations. Earlier this fall the Copyright Board announced its decision agreeing with the SCC that Most of the news surrounding Access Copyright these days emanates the 7% of copied material under consideration did constitute fair from the passing of Bill C-11, and a Supreme Court of Canada ruling dealing. AC finalized a new licence with the Association of Univer- on “fair dealing.” sities and Colleges of Canada (AUCC) after which that organization C-11 will likely mean over the long haul that AC’s ability to collect withdrew its objection to the tariff. The Association of Canadian revenue through licencing will decrease. As a result, AC is consider- Community Colleges, however, has continued to object to the tariff. ing new ways to provide service to its users. Internationally, RROs in Payback amounts will be higher overall this year due to faster other countries are dismayed at the passing of C-11, as they feel it will clearing of royalty payments. As well, all creators can expect an extra set a precedent for lawmakers in those jurisdictions as well. dividend payment related to the payout of retroactive royalties The SCC’s 5-4 decision is being widely misinterpreted by many in collected under the K-12 Tariff during the years 2005-2009. This what is being called the “freecult” community, which believes that extra payment (individual amounts will vary dependent on your Pay- copying for educational uses should not require compensation to back status) will be distributed along with your Payback distribution. rightsholders. I think we call that “piracy.” In at least two cases, that And finally after eight years, AC’s executive director, Maureen decision is being touted to mean all educational copying is “fair Cavan, has announced her retirement effective December 31, 2012. dealing.” They include a prominent post-secondary organization and Not only has she guided the organization through tricky waters here at least one newspaper columnist/law professor. at home, but she has also given AC a most enviable reputation in Those “freecult” interpretations are wrong. The opposite opinion the international community as well.

Danish Publication Opportunity. Danish educator Eva Pors fell in International Affairs love with And Also Sharks, creating an interactive project with author Jessica Westhead and her gymnasiet (13–19) students. This went so Committee Report well that Eva, a published academic writer on a two-year parental leave, decided to produce an anthology of Canadian writing (recent Gale Zoë Garnett, Chair fiction, non-fiction, and poetry) for gymnasiet students. For further information, deadlines, word-count, etc., please contact her at [email protected]. On behalf of the International Affairs Committee, I attended the FIA. The FIA (International Federation of Actors’) holds its World BC-based AGM, having previously seen Brita Osafo, International Conference in September in Toronto. I attended these sessions. FIA Secretary for the Swedish Writers’ Union, and met/spoke with in- has dealt for a long while with issues and organisations with which ternational writers and translators, Canadian Consulate arts officers we now wrestle (e.g. copyright, translations, WIPO, SCAPR). They Caroline Ribers (Sweden), Mai Valentin Neilsen (Denmark), and have templates, which can be of use to us. Will report further. Brendan Griggs (retiring arts officer, British Consulate). Of particular TWUC Restructuring. TWUC is now in process of redesigning interest are the following items. our committee structures. Believing we need to have the broadest Save ICCS. Our government has given the International Council platforms possible to promote our work, I hope IAC will continue as for Canadian Studies a year to ‘close up shop’. The ICCS has been a a standing committee. If you agree, please email National Council. I superb resource for Canadian writing. They’ve promoted our work in hope all final decisions will be taken by the membership as a whole, universities, bought and translated our books for study, and invited rather than by a small group. our authors and poets to events. Some ICCS chapters produce jour- Viveca Elizabeth Abrahams: 29 April, 1955–26 September, 2011. nals of Canadian writing. There is a relevant petition on our website. Viveca Abrahams, who worked creatively and dedicatedly in behalf I’ve created another to send to national and international allies and of Canadian writers at Canada House in the UK, has died, far too others. As a large country with a small population, we need interna- young, of an aggressive brain cancer. We first met at an ICCS AGM tional support. And we need the committed engagement ICCS has in Ottawa, and always connected when I was in London, hatching with our work — frequently more diverse than in our own country. plots to get CanLit to British audiences. She was a force of nature. Please sign and circulate the TWUC website doc. It originated with Her intelligence, creativity, guts, ribald humour, and anarchic hair Jennifer Andrews, Canadian writer-member of BACS (British As- will be missed. Is missed. sociation for Canadian Studies).

28 write at Genni Gunn’s house. Details will be sent to all BC/Yukon mem- BC/Yukon bers in early October. January/February—Islands: We usually have a National Council Regional Report meeting in early February, so it would be a good to hold a prior regional meeting so that any concerns we have can be taken to By Michael Elcock, HQ. That would mean holding a BC/Yukon meeting in January, Regional Representative preferably somewhere on the islands. For that we’d be looking for a host. . .

Kootenays Summer Meeting Website The excellent Elephant Mountain Festival in Nelson gave us an Don’t forget to take a regular look at the new TWUC website at excuse to hold a regional meeting in BC’s beautiful Kootenays. www.writersunion.ca. It is full of news articles, links to stories in The meeting (followed by a sumptuous potluck supper) was held periodicals like Quill & Quire, our own Bill of Rights for the Digital at the mountainside house of Anne De Grace and her partner Age, and the content changes frequently. In fact the new website is Phillip. The most important element for an organisation like so good that it makes a fine browser homepage. TWUC is its ability to communicate with a far-flung membership. You sign in with your member username and password. When So this meeting — the first TWUC meeting in the Nelson area for you do that more useful information comes up—information a long time — was designed to simply give local writers up-to-date that’s available only to TWUC members. If you want your location information about TWUC activities and an opportunity to present to be known (good for promotional opportunities), then fill in that views and ask lots of questions. part of your members’ page from the drop-down menu. Katherine Gordon has worked hard on behalf of BC/Yukon members to get BC/Yukon Representative this feature included. It means that we can search for BC mem- My two-year term as BC/Yukon Rep. will end at the 2013 AGM bers by location—if the information is there. in Ottawa. Nominations for this rewarding and enlightening role should be in to the TWUC office by October 1st, so that the names ‘Free’ Culture — A Parting Shot from the West Coast can be circulated to the membership. You can find a form for this The $1 billion award to Apple in August for patent infringement in the summer edition of Write Magazine. However there is a by Samsung, has implications for writers. It may take a while for provision for nominees to be added to the mail-in ballot right up these implications to filter through, but this case may have set im- until March 3, 2013. portant precedents. The award was given by a jury. What is encour- aging about it is that 12 persons (ordinary people — passengers on Upcoming Regional Meetings the legendary ‘Clapham Omnibus’) when given the facts did not October—Vancouver: This issue of Write may not be out in find it difficult to attach concepts of ownership and value to intel- time for this, but we will hold a Vancouver meeting on October lectual property. The jury found in other words—even though the 21st to coincide with TWUC Chair Merilyn Simonds’ visit to the Apple v. Samsung case was about patents and not copyright—that west coast. This is an opportunity for TWUC members to get the copying without permission is stealing. latest information about their union’s work. The meeting will be

With another year to go as Quebec rep, I will continue to represent Quebec members in our province starting with the Fall National Council meeting in Ottawa in September. Please look for a Letter from the Report Chair for an update of our meeting. In other news, ELAN held its AGM in August and has elected By Joyce Scharf, new members to its on-going board. For information on commu- Regional Representative nity events, submissions, workshops, jobs, deadlines and more, the ELAN newsletter reaches over 2,400 people. If you would like to submit your news, login to www.quebec-elan.or, and add your news item to the Community News Section where your news will As of September, Quebec has a newly elected minority PQ govern- be automatically promoted via their website, Twitter feed, and ment. The numbers were very close between the Liberal and PQ Facebook page. seats and it will be an interesting future as the political players The QWF Fall 2012 Workshop Series has been posted (www. from both parties settle into their new roles. qwf.org) and carte blanche is now accepting poetry, fiction, nonfic- Speaking of elections, the time has come to elect a regional rep. tion, and translation for upcoming issues. Submission guidlines Since replacing Peter Dube last year, I have been impressed by the are at http://carte-blanche.org/submissions. hard work and devotion made by National Council as well as the We welcome two new members to the TWUC tribe: Mark TWUC staff in the Toronto office. I have had the priviledge to view Lavorato, Montreal — his poetry book, Wayworn Wooden Floors was the inner workings of the Union with great interest and participa- published by Porcupine’s Quill last fall — and Bernadette Grif- tion. At first, it was a lot to take in and it took some time to adjust fin-Donovan, Montreal, Scenes of Childhood, fictionalized memoir, to my new position and the duties involved. With everything we Shoreline, 2007. have examined and have acted upon, I am grateful that our chair(s) I’ll see you sometime in the fall. Watch for a TWUC email for have kept members abreast of all of NC’s activities and by doing details.

A ll Ph o t s: M arl is F un k so, have relieved me of having to repeat the news a second time.

FALL 2012 29 Business & Reports

Manitoba/ Ontario Saskatchewan Report Report By Anita Daher, By Steve Pitt, Regional Representative Regional Representative

Greetings from Canada’s great central plain! In my last report I stated the challenge of establishing an effective channel of communication between myself and my Festivals fellow Ontario TWUCers. This chapter boasts more than 1,000 In September writers gathered for ’s International TWUC members spread over a million square kilometres. Writers’ Festival and Saskatoon’s The Word On The Street. Ontario is also the one province in Canada that does not have a Brandon’s Words Alive and Ogamas Aboriginal literary festivals writers’ guild or writing association. The result is that Ontario did not make their anticipated fall comebacks. However, Ogamas TWUC members have been forced to depend on TWUC, an orga- has been rebirthed with a new name and organizing body and the nization designed for national purpose, for their provincial needs. first Manitoba Indigenous Literary Festival (working title) will take The two are not always identical. place in Winnipeg, October 11–13 with a school program, evening To remedy this I am attempting to establish TWUC subgroups events, and a full day of workshops. A larger festival is planned for across Ontario based on geographic regions. Within each sub- 2014. group TWUCers will now have the opportunity to communicate and even meet with other TWUC members in their region. Regional Gathering TWUC members can choose to belong to two or more sub- Once again, TWUC members are invited to participate in the groups or none if they just want to be left alone. The subgroups Saskatchewan Writers’ Guild AGM and Conference at Guild vary in size from seven potential members in the near North area member prices. Speaking in Tongues: Writing Voice and Genre will to more than 500 in the Greater Toronto Area. The larger urban take place in Saskatoon, October 26–28 at the Hilton Garden Inn areas may want to further subdivide into smaller regional groups and TCU Place. Sylvia Tyson will give the Friday Caroline Heath and that is entirely up to them. This is a work in progress. Sub- Lecture. Featured presenters include TWUC members David Car- groups may choose to amalgamate with others. They may want penter, Daniel David Moses, and Candace Savage. Agent Carolyn to meet every month, every year, or just stay in contact by email; Swayze will also present and meet with participants. Our TWUC whatever works for them. regional meeting will take place on Friday over dinner, and on What I am hoping for is that each subgroup will become Saturday TWUC will sponsor the cocktail reception prior to the vibrant writers’ communities that will support their fellow mem- John Hicks dinner. For more information and to register visit bers and share information with other TWUC subgroups. As the http://www.skwriter.com or call 306-569-1666. Ontario Representative, I am hoping that I will be kept in the In Manitoba, TWUC and Manitoba Writers Guild members will loop by someone from each subgroup so I can bring whatever gather for a holiday event and open mic in the Artspace Building. national resources we have to offer. Details to come. Arrangements are being made for a group book I am hoping that by now all Ontario TWUC members have signing and meeting at McNally Robinson Grant Park, as has received an e-mail from me about the subgroups. If you were become our habit. somehow missed, please contact me at [email protected]. Speaking of Ontario-specific news, recently I had the pleasure In Residence of attending a presentation by John Degen and Gouled Hassan of We’ve had disappointing news regarding two anticipated writ- the Ontario Arts Council. The good news is that there is writing ers-in-residence programs. Winnipeg’s Red River College attempt- grant money to be awarded. The bad news is that statistically, ed to establish a program, but was unable to secure funding. Also, your application, no matter how excellent, is liable to be rejected the Regina Public Library has not yet decided whether to continue on its first try simply because there are always so many equally with its program. A decision is expected by November. excellent applications. The key to success, Mr. Degen stressed, In happier news, Alberta children’s book author David Poulsen is persistence. If your application is rejected do not take it as a began his residence at the Saskatoon Public Library in Septem- personal judgement of your talents as a writer or the merits of ber and will continue through May 2013. At the University of your proposal. I know of one writer who did receive a grant after Manitoba’s Centre for Creative Writing and Oral Culture, Winni- resubmitting exactly the same application after an initial rejection. peg-based author Sally Ito began her residence in September and Try, try again. For more information about Ontario Arts Council will continue through December. BC poet will grants go to www.arts.on.ca. be writer-in-residence at the University of Winnipeg from January Finally, congrats to Barry Grills of North Bay whose book Every through March 2013. At the Winnipeg Public Library, Winnipeg Wolf’s Howl is being released October 1st by Freehand Books. author will be ensconced as writer-in-residence Congratulations also to Elizabeth Sellers in Ottawa whose second from October through April 2013. novel Trouble Rides a Fast Horse will be published by Sunberry Books this October.

30 write The Banff CenTre | Literary arts Atlantic Steven Ross Smith, Director Report By Lee D. Thompson, Regional Representative WRITE IN BANFF,

It’s a challenge being Atlantic Rep — the only rep to deal with four provinces, two of which prefer to put water between sHare WitH themselves and the continent. And though I have strong contacts in each province and communication with the executive directors of each province’s writers’ organization, that doesn’t cover all tHe WOrLD. TWUC members. During my term as rep, I do intend to get Apply by November 15, 2012 around and have created schedule of visitation plans, which looks like this: In October 2012 I will visit Prince Edward Island. In summer, likely July 2013, I will travel to Newfoundland. In spring 2014, ahead of the AGM, I will travel to Nova Scotia. In(ter)ventIons: LIterary Through the next two years I will be readily available to PractIce at the edge members in New Brunswick or those travelling through the February 11 – 23, 2013 province, unless I’m off visiting another province. It’s also possible I will be in Nova Scotia on earlier occasions. Faculty: Steven Ross Smith (program director), These plans work around my own schedule at the Writers’ Joe Amato, J.R. Carpenter, Fred Wah Federation of New Brunswick, and TWUC members in the Guests: Johanna Drucker, Lori Emerson, Gail Scott region, along those interested in joining, will be notified well in advance. TWUC membership across the Atlantic provinces is approximately 150, which, when population is taken into sPoken Word account, puts us in line with other regions of the country. Atlantic April 3 – 12, 2013 Canadian membership in their provincial writers’ organisations, Faculty: Tanya Evanson (program director), however, is closer to 2000. Surely we can pull in a few more TWUC members. Jean-Pierre Makosso, D’Bi Young Perhaps it’s the influx of social media, or the ease of Guests: Christian Bök, Alexis O’Hara communication, but the amount of literary events and author- related activities in the region seem to have exploded. The enormous success of the Frye Festival in Moncton (held every WrItIng studIo April) and the crowds that gather for The Word On The Street April 29 – June 1, 2013 in Halifax are testament to long-lasting interest, while recent Faculty: Greg Hollingshead (program director), festivals such as Read by the Sea in River John, Nova Scotia, the Dionne Brand, , Stan Dragland, Pen & Inkling and Victoria Literary Festivals in Prince Edward Steven Galloway, Madeleine Thien, , Island, and WFNB’s duo of WordsFall and WordsSpring show growing interest. There are also long-running reading series, Jen Hadfield, Daljit Nagra, Colin Bernhardt such at the Lorenzo Society Readings at University of New Brunswich School of Journalism, UNB’s Poetry Weekend, and newer ones, such as the Writer’s Alliance of Newfoundland and For more information: Labrador’s Come From Away series in St. John’s. banffcentre.ca/writing In fall and winter regional news, The Writers’ Federation of 1.800.565.9989 Nova Scotia launches its Fall Seminar Series, while their Atlantic Writing Competition, in its 36th year, runs until November 9. BanffCentreLit Many an Atlantic Canadian writer’s career has been assisted BanffCentreLit through success at the AWC. In PEI, the Island Literary Awards were handed out on September 30. In Newfoundland, the Come From Away reading series will run through the fall and winter, and in New Brunswick, WordsFall will take place on October 20 in Woodstock, while the WFNB literary competition opens in

A ll p h o t s: M arl is F un k December.

FALL 2012 31 Business & Reports Member Awards and News

Author Andreas Schroeder was presented with the Graeme Wager (Doubleday Canada), Carrie Snyder, The Juliet Stories Gibson Award by The Writers’ Union of Canada at its Annual (House of Anansi Press), Linda Spalding, The Purchase General Meeting on May 26, 2012. Established by the Union in (McClelland & Stewart). Poetry: A. F. Moritz, The New Measures 1991 for “varied and remarkable contributions to improve the (House of Anansi Press). Non-fiction: Carol Bishop-Gwyn, The circumstances of writers in Canada,” the award was first given to Pursuit of Perfection: A Life of Celia Franca (Cormorant Books). Graeme Gibson. In 1992 it was given to Pierre Berton and in Children’s Literature: Deborah Kerbel, Under the Moon (Dancing 2011 to Heather Robertson. Andreas Schroeder is its fourth Cat Books), Susin Nielsen, The Reluctant Journal of Henry K. Larsen recipient. (Tundra Books), Allan Stratton, The Grave Robber’s Apprentice (HarperCollins Canada). Charlotte Fielden’s son and editor, Jerry Fielden, is a recipient of the Queen Elizabeth II Diamond Jubilee Medal for his book on Heather Harbord’s Texada Tapestry, A History published in the Wildcat 438th helicopter squadron that has been doing rescue November 2011 by Harbour Publishing, has received Honourable work around the world since 1934. Charlotte’s 11th book, The Story Mentions from both the B.C. Historical Federation and the B.C. of Marly Mansion, sequel to her first mystery novel The Wolves of Genealogical Society. Positano will have a late summer release. The ReLit Award — founded to acknowledge the best new work TWUC members , Carnival (House of Anansi Press) released by independent publishers — released its shortlist at the and Linda Spalding, The Purchase (McClelland & Stewart) were end of September, which included the following members: Poetry: both finalists for this year’s Rogers Writers’ Trust Fiction Prize, Sandra Ridley Post-apothecary, (Pedlar), and Cornelia Hoogland, hosted by The Writers’ Trust of Canada. This award recognizes Woods Wolf Girl, (Wolsak & Wynn). Novel: Suzette Mayr, Monoceros writers of the year’s best novel or short story collection. (Coach House), and Tom Reynolds, Break Me (Quattro).

The Scotiabank longlist, announced in early September, included TWUC members Lauren Davis, Our Daily Bread, Cary Fagan, My Life Among the Apes, , The Sweet Girl, and Nancy Richler, The Imposter Bride. Nancy Richler’s novel was also shortlisted for this year’s Prize.

Gwen Molnar announces her publication from Dempster and The Canadian Freelance Union (CEP Craig Books, Edmonton: Just Because: a Collection of Light Verse 2040) is pleased to partner with The and Nonsense. Writers’ Union of Canada in our collective TWUC members Farzana Doctor, Andrew J. Borkowski, and effort to improve working conditions for Michele Landsberg were all finalists for the 2012 Toronto Book Awards. Congratulations to Andrew J. Borkowski who won this independent authors. year’s award. Joint members will now receive 10% off This year’s finalists for the Ottawa Book Awards included TWUC members Frances Itani, Requiem (HarperCollins Canada); their annual CFU membership fees. Alan Cumyn, Tilt (Groundwood Books); Jamieson Findlay, The Summer of Permanent Wants (Doubleday Canada); and Elizabeth The CFU is a union for all independent media workers. Hay, Alone in the Classroom (McClelland & Stewart) in the fiction As a Local of the Communications, Energy and Paper- category, and Murray Brewster, The Savage War: The Untold Battles workers Union of Canada (CEP), one of Caanada’s larg- of Afghanistan (John Wiley & Sons Canada) in the non-fiction est private-sector unions, we bring a labour focus to the category. business challenges that face all self-employed media workers. Shelley A. Leedahl has published her 10th book, Listen, Honey (DC Books, Montreal, 2012) a short story collection which exposes emotionally electric lives with grit, humour, and tenderness. Familial and romantic relationships turn strange or go altogether awry, wild idiosyncrasies develop, and characters navigate their personal joys, ironies, and crashing disasters with courage and grace. Please check out our website: The following members were all finalists for the 2012 Governor www.canadianfreelanceunion.ca, General’s Literary Awards. Fiction: Vincent Lam, The Headmaster’s and join us in changing our working world.

32 write New Members

Bob Armstrong, Deb Elkink, The Sara Malton, Forgery Brian Wright- NeWest Press, due Oct 2012 Dadolescence, Turn- Third Grace, Green- in Nineteenth McLeod, Red Power, Sept 2012 James Ross, Cottage stone Press, 2011 brier Book Com- Century Literature Fifth House, 2011 Bonnie Lendrum, Daze, Dundurn pany, 2011 and Culture: Fictions Catherine Astolfo, Cybele Young, A Few Autumn’s Grace, Press, 2012 of Finance From The Bridgeman (An Sandra Foster, You Bites, Groundwood Inanna Publications, Dickens to Wilde , Vivien Shotwell, Emily Taylor Mys- Can’t Take it With Books, 2011 Due Spring 2013 Palgrave MacMillan, Amato Bene, tery), Imajin Books, You: Common-Sense 2009 PROVISIONAL Michael Laverty, Doubleday Canada Edmonton, 2012 Estate Planning for Hands of the Tyrants, due Spring 2012 Canadians, John Carol McDougall, Claire Battershill, B. J. Bayle, Red Now or Never Wiley & Sons Baby Play, Nimbus Circus, McClelland & Urve Tamberg, Amid River Rising, Dun- Publishing, due Fall Canada, Ltd, 2007 Publishing, 2012 Stewart, due Spring Two Evils, Cormo- durn, 2012 2012 2012 rant/Dancing Cat, Scott Fothering- Barbara Pono- Sabrina Bernardo, Lisa Lucas Alfred, due Fall 2012 ham, The Rest is mareff, In the Mind’s E. R. Brown, Almost Innercity Girl Like Children’s book Silence, Goose Lane Eye, Quattro Books, Criminal, Dundurn, Ayelet Tsabari, The Me, HarperTrophy coming fromTun- Editions, 2012 2011 due 2013 Best Place on Earth, Canada, 2008 dra, forthcoming HarperCollins, due Bernadette Griffin- Melanie Schnell, Lisa Dalrymple, Fall 2012 winter 2013 Donovan, Scenes of While the Sun is If It’s No Trouble Dr. Gretchen Childhood, Shore- Above Us, Freehand - A Big Polar Bear, Glynis Whiting, Roedde, Strange line, 2007 Books, 2012 Tuckamore Books A Nose for Death, Calling: A Doctor’s (Creative Publish- Thistledown Press, Raminder Sidhu, Journeys in Mother ing), due Oct 12 due 2013 Tears of Mehndi, and Child Health, Caitlin Press, 2012 Jan DeGrass, Jazz Dundurn Press, due with Ella, Libros Lib- Maureen Webb, ertad, due October Illusions of Security: 2012 Global Surveillance Thank you Catherine Black, A and Democracy in Stella Leventoyan- for your donation. The Writers’ Union Hard Gold Thread, the Post 9-11 World, nis Harvey, Nicolai’s would like to thank the following indi- Guernica Editions, City Lights, 2007 Daughters, Signa- viduals for their donations to the union. 2011 ture Editions, Sept Mark Lavorato, Virginia Winters, 12 Johanna Bertin Gloria Montero Kathleen Cherry, Wayworn Wooden Murderous Roots, Diane Buchanan Steve Pitt Blowing Bubbles, Floors, The Porcu- Cambridge Books, Fran Kimmel, The John Melady Aaspirations, 2012 pine’s Quill, 2011 2012 Shore Girl,

Classifieds — or start — the book of your dreams? No D/W, laundry, garden. Discount rate for worries. It exists. Check the website www. TWUC members. Contact Peter Such toll isabelhuggan.com to learn about LE MAS free at 866-595-0941. wesite: REMOTE CAPE BRETON RETREAT BLANC WRITER’S RETREAT, a private, www.earleclarkehouse.com If you need a wild and tremendous place to perfect haven in the south of France, with do your writing thing, please have a look at the possibility of editorial services. COUNTRY STUDIO RETREAT www.surfscoter.org. Available for weekly/ in Claremont, Ontario (North Pickering) monthly rentals next year, July-October. EDDITING Fully equipped live/studio space for Discount for fellow members! More than just checking for extra Ds. We ARTISTS AND WRITERS and/or make your text and ideas shine, combining Retreatants. (Meditation Master available Words To go technical knowledge and experience with for consultation.) Go to AIRBNB for Podcast offers you a unique way deep appreciation of well-written words. viewing and reservations or, contact to promote your writing. I’m an From a rich history in business and [email protected] for further information. experienced broadcaster who reads academics, we offer not only editing and One hour N/E of Toronto: quiet, published prose and poetry to our writing, but also deft infusion of creativity countryside contains creek, small forest, listeners. Our show averages 500 and confidence. www.marrocco-writing. meadows–York Durham 30 Townline at downloads a month in 22 countries. For com 8th Conc. Short-term basis — minimum guidelines and a podcast link, go to www. two days, maximum one month. RATES: carolegiangrande.com. vacation rental 2 DAYS: $180.00, 1 WEEK: $450.00, 1 Quiet ground floor vacation rental MONTH: $1200.00. Need a place apartment in heritage mansion walking Where you can work undisturbed to finish distance to downtown Victoria, BC.

FALL 2012 33 In Memoriam

Marjory Gordon BY Frances Itani 1941–2012

Marjory Elizabeth (Jones) Gordon was born in Johnstown, community in the Ottawa area. Marjory was a positive, practical, Pennsylvania and grew up there with her siblings Quay, Ruth, resourceful woman. She contained so much inner strength, it was and Morgan. She graduated in physiotherapy from the University almost visible. of Michigan and from there went to Seattle. She met her future Marjory died of cancer on July 20, 2012. She is missed, not only husband, Bryan, at the Uniersity of Washington. They were both by her immediate and extended families, but by her many, many mountain climbers and climbed in the Pacific Northwest, as well friends. as many other locations. They married in 1965 in Inuvik, and had two children, Charlotte and Bruce. During the summer months over a period of two decades, Daughter of Strangers Marjory (with her children in tow) worked alongside her husband by Marjory Gordon (Oberon Press 2001) in Northern Canada, doing archaeological surveys. This included excavating a fur trade post, the Northwest Company’s Fort Excerpt from Chapter 1 Alexander, used from 1817 to 1821. Her experiences in places like the Mackenzie Valley and the Barrens helped to shape the A cool wind rushed in her ears and swept her along. The rushing writing that followed. After studying at grad school in Calgary, the in her ears changed to clicks and snorts and a musty animal Gordon family moved to Ottawa in 1972. In 1975, Marjory became smell was everywhere. Her head spun. She struggled for bearings a naturalized Canadian citizen. In the late 1980s, she enrolled in through her dizziness. She no longer stood high on the knob, but a University of Ottawa writing class that I was teaching, and to ran outside of her own control, panting as she raced up a shaded that class and others she brought her scientific mind and science ravine. A herd of caribou crowded up the gully with her, separated background. She expressed a desire to write fiction and wanted to around her and massed together after they had gone by. A boy cut give free reign to her imagination. across her path. He yelled to her, but she couldn’t understand. The In 1994, Marjory and Bryan’s daughter, Charlotte, was killed in words were odd or distorted by the sounds of the caribou. He wore a motor vehicle accident in Calgary. This tragic event, more than fitted skin pants and a skin shirt with a tail in the back. His black any other, compelled Marjory to return to a manuscript she’d hair was long and his skin was dark, like hers. been trying to write for several years. Her one novel, Daughter of She stopped, but the caribou kept running. Behind her, people Strangers (2001), was completed after a long struggle. I loved this shouted. At the top of the ravine, men speared the animals. novel then and I still do now. It is set on the Thelon River and is Three. Four. A dozen caribou dropped and still the men killed about a young girl living among the Dene. Marjory had a story more. A caribou drive! Almost as soon as she realized what was inside her and she did not give up. She found the structure for her happening, the drive was over and she was circled by women and novel and wrote her story with love. children dressed in skins. Each woman had three long black lines There were many other sides to Marjory; she participated in tattooed across each cheek and a single line up the centre of the Scottish country dancing for 34 years; she continued to love forehead. So did the men who came with their spears. The first adventure, to climb, hike, and ski; she practised tai chi, supported man to reach her, raised his spear. He pointed the pink quartzite her church community, adored and indulged her 3 young tip directly at Amy. He pulled back his throwing arm, tensed granddaughters who live in Europe. She encouraged other writers, to hurl it. She bolted like a rabbit trying to get out of a corner. and volunteered as a reader for TWUC’s writing contests. She Another man grabbed her arm. His fingers dug in. served on literary juries and took part in workshops. She always “In-lae!” a woman’s voice yelled. The man paused, held back by turned up at the book launches of her friends in the larger writing her words. He poked the butt of his weapon into the sand.

34 write NEWEST IS PROUD TO PUBLISH THESE GREAT NEW TITLES BY WRITERS’ UNION MEMBERS

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