DOCSLIB.ORG

Mavis Gallant F Ancine P Ose Damon Galgut Aleksanda

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Brick celebrates Mavis Gallant, with contributions from Michael Helm, Francine Prose, Alison Harris, Michael Ondaatje, and Nadia Szilvassy & Tara Quinn. A LITERARY JOURNAL Aleksandar Hemon talks to Eleanor Wachtel Obi Nwakanma in conversation with Madeleine Thien Grant Buday on Thomas De Quincey Damon Galgut on E. M. Forster Andrew H. Miller watches The Clock The watch continues to tick where the story stops. — stops. story the where tick continues to The watch permanence. grief without are the look, The lie, the David L. Ulin traces our expressions Myrna Kostash searches for Eliza McLean William Everson meets Theodore Dreiser ichard Sanger says goodbye to Seamus Heaney Tara Quinn follows Leonard Woolf to Sri Lanka Jim Harrison misses Paris A dispatch from Siberia by Sean Michaels A ri on Tolstoy by Jessica Michalofsky Amitava Kumar’s train stories Mark Marczyk’s notes from Ukraine Mavis Gallant Mavis Poems by Jan Zwicky and Sharon Olds Photograph of Mavis Gallant by Alison Harris. eviews by Laurie D Graham, John McIntyre, $. and ebecca Silver Slayter MAVIS GALLANT FANCINE POSE DAMON GALGUT And Zachary Lazar on Angola Prison’s Passion Play, ALEKSANDA HEMON SHAON OLDS ZACHAY LAZA with photographs by Deborah Luster £. DEBOAH LUSTE MICHAEL HELM OBI NWAKANMA JIM HAISON MADELEINE THIEN JAN ZWICKY The New Brick Reader Summer Special A Brick subscription plus The New Brick Reader — only $55* Subscribe, Renew, or Give! Visit BrickMag.com and click on “The New Brick Reader Summer Deal.” *plus shipping for the Reader Offer expires August 31, 2014 The New Brick Reader Summer Special A Brick subscription plus The New Brick Reader — only $55* Subscribe, Renew, or Give! Visit BrickMag.com and click on “The New Brick Reader Summer Deal.” *plus shipping for the Reader Offer expires August 31, 2014 Mavis Gallant, 1960, Île Saint-Louis number 93 summer 2014 © brick, a literary journal, issue 93, summer 2014 publisher & managing editor: Nadia Szilvassy all rights reserved editors: Michael Helm, Michael Redhill, issn 0382-8565, isbn 978-1-928166-00-9 Linda Spalding, Rebecca Silver Slayter, Laurie D Graham Publications Mail Agreement No. 40042720 assistant editor & circulation manager: Liz Johnston Return undeliverable Canadian addresses to contributing editors: Robert Hass, Anne McLean, circulation department: Tara Quinn, Colm TÓibín design: Mark Byk brick intern: Anna Gallagher-Ross Box 609, Stn P original design: Gordon Robertson, Rick/Simon Toronto, Ontario m5s 2y4 logos: David Bolduc Canada copy editor: Heather Sangster We gratefully acknowledge the support website design: Mark Byk with Mike Stringer of the Canada Council for the Arts and founders: Stan Dragland & Jean McKay the Ontario Arts Council. brick accepts unsolicited manuscripts of non-fiction only. Works of art are of an infinite loneliness and with Please send submissions with appropriate return postage to: nothing to be so little appreciated as with criticism. brick Only love can grasp and hold and fairly judge them. Box 609, Stn P Toronto, Ontario m5s 2y4 — Rainer Maria Rilke Canada Subscribe online! www.brickmag.com From time to time we may make our subscriber list available to similar-minded magazines or arts organizations. To be excluded from these mailings, please email us at [email protected] or write to us. brick is published twice yearly by Cypress Avenue Inc. and is printed and bound in Canada by Marquis Book Printing Inc. Distributed in Canada by Magazines Canada, in the United States by Ingram Periodicals and Ubiquity Distributors, and overseas by Central Books. an Ontario government agency un organisme du gouvernement de l’Ontario In This Issue working with mavis gallant 8 mark marcZyk Euromaidan 74 michael helm, francine prose, alison harris, michael ondaatje tara Quinn For Mavis Gallant 11 Woolf in Ceylon 80 eleanor wachtel damon galgut An Interview with Aleksandar Hemon 20 Dear Masood 92 william everson the review An Encounter with Theodore Dreiser 36 with contributions from Laurie D Graham, John McIntyre, & Rebecca Silver Slayter. 102 sharon olds Two Poems 38 madeleine thien A Conversation with Obi Nwakanma 110 andrew h. miller Timepiece 42 david l. ulin God Willing 122 mavis gallant Prose 50, 91, 121, 141, 162 jan Zwicky A Poem 128 Zachary laZar photographs by deborah luster sean michaels We forgive those who trespass against us 52 Note from Magadan 130 BRICK 6 jessica michalofsky jim harrison Fidelity 133 Eat or Die 158 grant buday Contributors 165 The Pope of Opium 136 Credits 168 amitava kumar The image of Mavis Gallant’s passport is reproduced on the Mofussil Junction 142 front cover by kind permission of Mary Kae McLeod. The photograph of Mavis Gallant at the Dome, Paris, 1996, is myrna kostash by Alison Harris and reproduced on the back cover with her Who Was Eliza McLean? 145 kind permission. richard sanger Goodbye, Seamus 153 I have lived in writing, like a spoonful of water in a river. — Mavis Gallant Working with Mavis Gallant Brick published an interview with Mavis Gallant in best to guide us, was given to fits of glee. Mavis Gallant issue 80 (Winter 2007/8) that was as endlessly layered was the caller, and she had some things to say about the as any of her stories. It was conducted in French by interview, which we had sent to her for approval. Contact presenter Stéphan Bureau and translated And so began, also, a treasured exchange. To by Wyley Powell, and we weren’t sure what direc- shape the interview, we took the steer from Mavis tion, precisely, to take it—there was so much good herself. She sent in photographs with personal anec- material, so many stories, and they fanned out across dotes written on the reverse and edited the pages pages and pages of dialogue that could have filled the of the interview in a firm, flawless script. When we entire magazine. had questions, Nadia called her on the phone, and In the interview, Gallant compares the way she sometimes Mavis called us with stern queries and sees the beginning of one of her stories “to a play corrections. One day Nadia announced she was going when the curtain rises and you see the stage. You to New York City and told Mavis that she would be don’t know what’s going to happen, but you know leaving the interview in the care of Tara Quinn. somebody is going to come on stage. If it’s a light “Tara Quinn, Tara Quinn,” mused Mavis. “I see comedy, somebody will walk on and answer a white a girl leading a horse out of a barn that’s caught fire.” telephone. But that’s only the beginning, and you There could be no more auspicious a start to life know nothing yet about these characters.” at Brick than to be shown by Mavis Gallant how to Well, we have a white telephone at the Brick edit an interview. The experience informed how office, and one day in July 2007 it rang, and so began a we edited all interviews in issues to come. The voice light comedy—comic mostly because we, the newly had to come through with a force equal to that of arrived managing editor and assistant editor, were so Mavis on that first phone call. We’d all do well to green, while our production manager, who did her keep listening. — Nadia Szilvassy & Tara Quinn © Alison Harris Mavis Gallant, August 11, 1922–February 18, 2014 For Mavis Gallant Michael Helm Mavis Gallant had no natural constituency. Her childhood transplantings left her without early allegiances to population or place. At the time of her emergence as a writer, Canada had a small serious readership and a low regard for women artists, which is partly why the ones it produced, among them Gallant and Alice Munro, were impractical and single-minded. For having claim to two continents, Gallant was for a time, at least, unclaimed by either, viewed from both perspectives to be allied with foreigners. Though there came to be Gallantian characters, absurdities, turns of thought and phrase that made even the rabbit holes in a story her rabbit holes, her subjects and set- tings could not be fit onto a postage stamp. She wrote about Quebec lumber camps and French tax offices, about men, women, and children of disparate origins, never to gather except in her pages. It’s hard to find a mass-reproducible adjective to describe her fiction even falsely. She was never one of those good or great writers who become popular for the wrong reasons, the kind who are well read narrowly and badly read widely. Decade to decade she wasn’t the subject of much serious scholarly focus amid the myopias of academic criticism, though her work was anthologized in Canada and so half-lost upon many dozen nineteen-year-olds every year, including, one year, me. Those who read her collections and any of the more than a hundred stories she published in The New Yorker tended to want to talk about them. A friend now long gone once said he’d found an obscure but certain pattern of Proust allusions in one of the stories, and he just had to walk me through them, and we walked, and I was convinced. (In one amber drop in the mind from the mid-1990s I see a group of Toronto friends in their twenties and thirties, professionals and students, whose tastes in fiction ranged from the realist-traditional, if not conservative, to the somewhat studied avant-garde, to the outright anarchic, all of us conducting a years-long conversation about Gallant. We’d drop by or phone one another—as I recall it we wore topcoats, wooden shoes—upon BRICK 12 At Les Deux Magots with Doyle Klyn, 1953 discovering newly published stories or books.) Like historical setting, feel of the present, except for con- the used bookstore I found it in, lost now too is an old taining a worldliness lacking in most current short Best American Short Stories anthology from 1980, in fiction.
Recommended publications

  • The Cambridge Companion to Canadian Literature Edited by Eva-Marie Kröller Frontmatter More Information

    Cambridge University Press 978-1-107-15962-4 — The Cambridge Companion to Canadian Literature Edited by Eva-Marie Kröller Frontmatter More Information The Cambridge Companion to Canadian Literature This fully revised second edition of The Cambridge Companion to Canadian Literature offers a comprehensive introduction to major writers, genres, and topics. For this edition several chapters have been completely re-written to relect major developments in Canadian literature since 2004. Surveys of ic- tion, drama, and poetry are complemented by chapters on Aboriginal writ- ing, autobiography, literary criticism, writing by women, and the emergence of urban writing. Areas of research that have expanded since the irst edition include environmental concerns and questions of sexuality which are freshly explored across several different chapters. A substantial chapter on franco- phone writing is included. Authors such as Margaret Atwood, noted for her experiments in multiple literary genres, are given full consideration, as is the work of authors who have achieved major recognition, such as Alice Munro, recipient of the Nobel Prize for literature. Eva-Marie Kröller edited the Cambridge Companion to Canadian Literature (irst edn., 2004) and, with Coral Ann Howells, the Cambridge History of Canadian Literature (2009). She has published widely on travel writing and cultural semiotics, and won a Killam Research Prize as well as the Distin- guished Editor Award of the Council of Editors of Learned Journals for her work as editor of the journal Canadian
  • Borderline Research

    Borderline Research

    Borderline Research Histories of Art between Canada and the United States, c. 1965–1975 Adam Douglas Swinton Welch A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Art University of Toronto © Copyright by Adam Douglas Swinton Welch 2019 Borderline Research Histories of Art between Canada and the United States, c. 1965–1975 Adam Douglas Swinton Welch Doctor of Philosophy Department of Art University of Toronto 2019 Abstract Taking General Idea’s “Borderline Research” request, which appeared in the first issue of FILE Megazine (1972), as a model, this dissertation presents a composite set of histories. Through a comparative case approach, I present eight scenes which register and enact larger political, social, and aesthetic tendencies in art between Canada and the United States from 1965 to 1975. These cases include Jack Bush’s relationship with the critic Clement Greenberg; Brydon Smith’s first decade as curator at the National Gallery of Canada (1967–1975); the exhibition New York 13 (1969) at the Vancouver Art Gallery; Greg Curnoe’s debt to New York Neo-dada; Joyce Wieland living in New York and making work for exhibition in Toronto (1962–1972); Barry Lord and Gail Dexter’s involvement with the Canadian Liberation Movement (1970–1975); the use of surrogates and copies at the Nova Scotia College of Art and Design (1967–1972); and the Eternal Network performance event, Decca Dance, in Los Angeles (1974). Relying heavily on my work in institutional archives, artists’ fonds, and research interviews, I establish chronologies and describe events. By the close of my study, in the mid-1970s, the movement of art and ideas was eased between Canada and the United States, anticipating the advent of a globalized art world.
  • Writing Here1

    Writing Here1

    WRITING HERE1 W.H. NEW n 2003, for the BC Federation of Writers, Susan Musgrave assembled a collection of new fiction and poetry from some fifty-two IBC writers, called The FED Anthology.2 Included in this anthology is a story by Carol Matthews called “Living in ascii,” which begins with a woman recording her husband’s annoyance at whatever he sees as stupidity (noisy traffic and inaccurate grammar, for instance, and the loss of his own words when his computer apparently swallows them). This woman then tells of going to a party, of the shifting (and sometimes divisive) relationships among all the women who were attending, and of the subjects they discussed. These included a rape trial, national survival, men, cliffs, courage, cormorant nests, and endangered species. After reflecting on the etymology of the word “egg” (and its connection with the word “edge”), she then declares her impatience with schisms and losses, and her wish to recover something whole. The story closes this way: “If I were to tell the true story, I would write it not in words but in symbols, [like an] ... ascii printout. It would be very short and very true. It would go like this: moon, woman, woman; man, bird, sun; heart, heart, heart, heart, heart; rock, scissors, paper. The title would be egg. That would be the whole story.”3 This egg is the prologue to my comments here. So is the list of disparate nouns – or only seemingly disparate, in that (by collecting them as she does) the narrator connects them into story.
  • Ureceived Their Segregated Work

    Ureceived Their Segregated Work

    Larry "has flown the coop," leaving a to his bed" the day that she was born ­ a growing number of fictional daughters black rabbit ("Satan") and "one measly "November 7, the anniversary of the who is - now that women are writing shirt" to remind Lureen of him. Lureen Bolshevik Revolution." Harris' "The more of the scripts - mis-fathered or has no interest in acting on anything she Soma Building" is the most philosophical, fatherless. It is not an entirely satisfying has learned; she wants her Larry back, polysemous of the realistic stories. In the ending because Lannie leaves too many and she dreams about him, waits for him, end the narrator becomes the creative stones unturned: we wonder what ever and reconstructs conversations with him writer about whom Hams writes, and the came of her university lover, the ''boy'' until Larry finally reappears in the middle father's wisdom initiates her own Tim, or herchildhood friend, Angela- the of the night, and they go off and make revelation, her unfinished fiction, in her only person in whom she confides. And love in the park. office in the Soma Building. Hams' narra­ we also expect there to be a more pro­ This is the only story of its kind in tive voice is complex, butnowhere is voice found reason for getting to know Barney Double Bond, but it is one of the stories as self-consciously intricate as it is in and Iris from the inside, but none which depends very much on its prairie Sharon Butala's first novel, Country of comes.
  • Annual Report 2005-2006

    Annual Report 2005-2006

    OFFICE OF THE OMBUDSMAN ENGLISH SERVICES ANNUAL REPORT 2005-2006 TABLE OF CONTENTS The Ombudsman’s Report 2 Le Rapport de l’ombudsman des services anglais 5 (French translation of the Ombudsman’s Report) Complaints reviewed by the Ombudsman 8 APPENDICES I Review of complaints about the party leaders’ debates 26 during the federal election II Independent Advice Panels 32 III Charts: Number of communications received; 37 Average response times IV Mandate of the Office of the Ombudsman 39 THE OMBUDSMAN’S REPORT 2005-06 It has been a very eventful half a year since I took over the position of Ombudsman. In fact, my tenure began slightly before time in the wake of the tragic death of my friend and predecessor, David Bazay. David exemplified the best traits of ombudsmanship: thoughtfulness, intelligence, even-handedness. I was lucky to have been able to spend some time with David, discussing the position, before his death. The Corporation truly benefited from his wisdom. I should also note the wonderful work done by Laura Marshall, the assistant to the Ombudsman. Laura kept the office functioning in the wake of David’s death and ensured that my entrance into the job was as seamless as possible. She has demonstrated the best traits of professionalism under very trying circumstances. I began my work in the middle of the recent federal election, always a time of high tension and scrutiny. While there were the expected complaints from partisans, I benefited from the work of our Election Panels in providing insight into the CBC’s coverage. As you will have seen from the separate reports, the panels, overall, found the CBC’s election coverage to be within our Journalistic Standards and Practices.
  • Cross-Country Funding Opportunities Tomson Highway Talks Language

    Cross-Country Funding Opportunities Tomson Highway Talks Language

    WRITE THE MAGAZINE OF THE WRITERS’ UNION OF VOLUME 46 NUMBER 2 CANADA SUMMER 2018 Cross-country Funding Opportunities 14 Tomson Highway Talks Language 18 On Poetry & Carpentry 28 From the Chair By Eric Enno Tamm If economics is the “dismal science,” as one Victorian historian once wrote, then bookonomics is surely its even uglier offshoot. The mechanics of this market — the push of supply and pull of why we, as writers, are so consumed by copyright battles. demand for books — has faced some unprecedented upheavals At its heart, copyright infringement is really about suppressing of late. Schools and universities wantonly copy our works without demand for our commercial creations. If you can freely copy part recompense. Big-box bookstores are closing across the continent. of a book in a university course pack, then you don’t need to buy Publishers are merging or dissolving in bankruptcy. While self- it, reducing its sales and ultimately royalties to us, the authors. So, publishing has created welcomed opportunities for professional while strong copyright protection may not increase demand for writers, it has also flooded the market with cheap, amateurish our books, at least it stops it from sliding. supply. Apple, Amazon, and Alphabet (Google) appear to be the Yet even if we win all of our copyright battles, we may not be able new publishing oligarchs. The traditional book industry, at times, to stop the decline in writers’ income. Why? Because bookonomics feels like it’s in the remainder bin of history. and the business model behind it are broken — at least for writers.
  • Cahiers-Papers 53-1

    Cahiers-Papers 53-1

    The Giller Prize (1994–2004) and Scotiabank Giller Prize (2005–2014): A Bibliography Andrew David Irvine* For the price of a meal in this town you can buy all the books. Eat at home and buy the books. Jack Rabinovitch1 Founded in 1994 by Jack Rabinovitch, the Giller Prize was established to honour Rabinovitch’s late wife, the journalist Doris Giller, who had died from cancer a year earlier.2 Since its inception, the prize has served to recognize excellence in Canadian English-language fiction, including both novels and short stories. Initially the award was endowed to provide an annual cash prize of $25,000.3 In 2005, the Giller Prize partnered with Scotiabank to create the Scotiabank Giller Prize. Under the new arrangement, the annual purse doubled in size to $50,000, with $40,000 going to the winner and $2,500 going to each of four additional finalists.4 Beginning in 2008, $50,000 was given to the winner and $5,000 * Andrew Irvine holds the position of Professor and Head of Economics, Philosophy and Political Science at the University of British Columbia, Okanagan. Errata may be sent to the author at [email protected]. 1 Quoted in Deborah Dundas, “Giller Prize shortlist ‘so good,’ it expands to six,” 6 October 2014, accessed 17 September 2015, www.thestar.com/entertainment/ books/2014/10/06/giller_prize_2014_shortlist_announced.html. 2 “The Giller Prize Story: An Oral History: Part One,” 8 October 2013, accessed 11 November 2014, www.quillandquire.com/awards/2013/10/08/the-giller- prize-story-an-oral-history-part-one; cf.
  • 26727 Consignor Auction Catalogue Template

    26727 Consignor Auction Catalogue Template

    Auction of Important Canadian & International Art September 24, 2020 AUCTION OF IMPORTANT CANADIAN & INTERNATIONAL ART LIVE AUCTION THURSDAY, SEPTEMBER 24TH AT 7:00 PM ROYAL ONTARIO MUSEUM 100 Queen’s Park (Queen’s Park at Bloor Street) Toronto, Ontario ON VIEW Please note: Viewings will be by appointment. Please contact our team or visit our website to arrange a viewing. COWLEY ABBOTT GALLERY 326 Dundas Street West, Toronto, Ontario JULY 8TH - SEPTEMBER 4TH Monday to Friday: 9:00 am to 5:00 pm SEPTEMBER 8TH - 24TH Monday to Friday: 9:00 am to 5:00 pm Saturdays: 11:00 am to 5:00 pm Sunday, September 20th: 11:00 am to 5:00 pm 326 Dundas Street West (across the street from the Art Gallery of Ontario) Toronto, Ontario M5T 1G5 416-479-9703 | 1-866-931-8415 (toll free) | [email protected] 2 COWLEY ABBOTT | September Auction 2020 Cowley Abbott Fine Art was founded as Consignor Canadian Fine Art in August 2013 as an innovative partnership within the Canadian Art industry between Rob Cowley, Lydia Abbott and Ryan Mayberry. In response to the changing landscape of the Canadian art market and art collecting practices, the frm acts to bridge the services of a retail gallery and auction business, specializing in consultation, valuation and professional presentation of Canadian art. Cowley Abbott has rapidly grown to be a leader in today’s competitive Canadian auction industry, holding semi-annual live auctions, as well as monthly online Canadian and International art auctions. Our frm also ofers services for private sales, charity auctions and formal appraisal services, including insurance, probate and donation.
  • UC Riverside UC Riverside Previously Published Works

    UC Riverside UC Riverside Previously Published Works

    UC Riverside UC Riverside Previously Published Works Title “Short Story Collections and Crowded Selves: Madeleine Thien’s Simple Recipes and Jeremy Tiang’s It Never Rains On National Day” Permalink https://escholarship.org/uc/item/7w141141 Author Gui, W Publication Date 2017-05-18 Peer reviewed eScholarship.org Powered by the California Digital Library University of California Crowded Selves — Singapore Unbound https://singaporeunbound.org/blog/2017/5/16/rsa... HOME ABOUT LITERARY FESTIVAL READING SERIES G AU DY BOY SP BLO G OPPORTUNITIES PRESS JO IN US Crowded Selves MAY 18, 2017 IN FICTION, CRITICIM “Short Story Collections and Crowded Selves: Madeleine Thien’s Simple Recipes and Jeremy Tiang’s It Never Rains On National Day” by Weihsin Gui Introduction How does a short story collection create connections between the different stories contained between its covers? And how do these connections represent the knotted relationships between North American and Asian cultures and the people who live and move between them? This essay examines two short story collections, Simple Recipes by Madeleine Thien and It Never Rains On National Day by Jeremy Tiang. Thien, whose parents came from Malaysia and Hong Kong, is a Canadian writer whose latest novel Do Not Say We We Have Nothing was shortlisted for the 2016 1 of 18 1/2/18, 9:31 AM Crowded Selves — Singapore Unbound https://singaporeunbound.org/blog/2017/5/16/rsa... Man Booker Prize. Tiang is a Singaporean currently living in both the USA and UK who has translated several works of fiction from Chinese into English and whose debut short story collection was a finalist for the 2016 Singapore Literature Prize.
  • CBC IDEAS Sales Catalog (AZ Listing by Episode Title. Prices Include

    CBC IDEAS Sales Catalog (AZ Listing by Episode Title. Prices Include

    CBC IDEAS Sales Catalog (A-Z listing by episode title. Prices include taxes and shipping within Canada) Catalog is updated at the end of each month. For current month’s listings, please visit: http://www.cbc.ca/ideas/schedule/ Transcript = readable, printed transcript CD = titles are available on CD, with some exceptions due to copyright = book 104 Pall Mall (2011) CD $18 foremost public intellectuals, Jean The Academic-Industrial Ever since it was founded in 1836, Bethke Elshtain is the Laura Complex London's exclusive Reform Club Spelman Rockefeller Professor of (1982) Transcript $14.00, 2 has been a place where Social and Political Ethics, Divinity hours progressive people meet to School, The University of Chicago. Industries fund academic research discuss radical politics. There's In addition to her many award- and professors develop sideline also a considerable Canadian winning books, Professor Elshtain businesses. This blurring of the connection. IDEAS host Paul writes and lectures widely on dividing line between universities Kennedy takes a guided tour. themes of democracy, ethical and the real world has important dilemmas, religion and politics and implications. Jill Eisen, producer. 1893 and the Idea of Frontier international relations. The 2013 (1993) $14.00, 2 hours Milton K. Wong Lecture is Acadian Women One hundred years ago, the presented by the Laurier (1988) Transcript $14.00, 2 historian Frederick Jackson Turner Institution, UBC Continuing hours declared that the closing of the Studies and the Iona Pacific Inter- Acadians are among the least- frontier meant the end of an era for religious Centre in partnership with known of Canadians.
  • Fall 2013 / Winter 2014 Titles

    Fall 2013 / Winter 2014 Titles

    INFLUENTIAL THINKERS INNOVATIVE IDEAS GRANTA PAYBACK THE WAYFINDERS RACE AGAINST TIME BECOMING HUMAN Margaret Atwood Wade Davis Stephen Lewis Jean Vanier Trade paperback / $18.95 Trade paperback / $19.95 Trade paperback / $19.95 Trade paperback / $19.95 ANANSIANANSIANANSI 978-0-88784-810-0 978-0-88784-842-1 978-0-88784-753-0 978-0-88784-809-4 PORTOBELLO e-book / $16.95 e-book / $16.95 e-book / $16.95 e-book / $16.95 978-0-88784-872-8 978-0-88784-969-5 978-0-88784-875-9 978-0-88784-845-2 A SHORT HISTORY THE TRUTH ABOUT THE UNIVERSE THE EDUCATED OF PROGRESS STORIES WITHIN IMAGINATION FALL 2013 / Ronald Wright Thomas King Neil Turok Northrop Frye Trade paperback / $19.95 Trade paperback / $19.95 Trade paperback / $19.95 Trade paperback / $14.95 978-0-88784-706-6 978-0-88784-696-0 978-1-77089-015-2 978-0-88784-598-7 e-book / $16.95 e-book / $16.95 e-book / $16.95 e-book / $14.95 WINTER 2014 978-0-88784-843-8 978-0-88784-895-7 978-1-77089-225-5 978-0-88784-881-0 ANANSI PUBLISHES VERY GOOD BOOKS WWW.HOUSEOFANANSI.COM Anansi_F13_cover.indd 1-2 13-05-15 11:51 AM HOUSE OF ANANSI FALL 2013 / WINTER 2014 TITLES SCOTT GRIFFIN Chair NONFICTION ... 1 SARAH MACLACHLAN President & Publisher FICTION ... 17 ALLAN IBARRA VP Finance ASTORIA (SHORT FICTION) ... 23 MATT WILLIAMS VP Publishing Operations ARACHNIDE (FRENCH TRANSLATION) ... 29 JANIE YOON Senior Editor, Nonfiction ANANSI INTERNATIONAL ... 35 JANICE ZAWERBNY Senior Editor, Canadian Fiction SPIDERLINE ..
  • Adderson, Caroline

    Adderson, Caroline

    Caroline Adderson Fonds In Special Collections, Simon Fraser University Library Finding aid with file descriptions prepared by: Wendy Sokolon, November 2006 40. Caroline Adderson fonds 1986-2004 2.58 m of textual records and other material Biographical Sketch: Caroline Adderson was born in Edmonton, Alberta in 1963. After finishing high school, she entered Katimavik, a Canadian youth volunteer-service program, and travelled across Canada, partaking in such activities as working on a sheep farm and building log cabins on a reservation. Adderson completed an education degree at UBC in 1986, and a year later she settled in Vancouver and started teaching ESL. She has spent most of her adult life in Vancouver, B.C., but has also lived for brief periods in New Orleans and Toronto. Her first book of short fiction, Bad Imaginings (1993) won the 1994 Ethel Wilson Fiction Prize, was shortlisted for the 1993 Governor General’s Award and Commonwealth Book Prize, and in audio format the CNIB (Canadian National Institute for the Blind) Talking Book of the Year. These stories have since appeared in many anthologies and have been broadcast and adapted for radio. Her first novel, A History of Forgetting (1999) was nominated for the 2000 Ethel Wilson Fiction Prize and the 2000 Rogers’ Writer’s Trust Fiction Prize. Her second novel, Sitting Practice (2003) was shortlisted for the VanCity Book Prize for best book pertaining to women’s issues by a B.C. author as well as the City of Vancouver Book Award. It won the 2004 Ethel Wilson Fiction Prize. Her works of fiction and non-fiction have been widely published in literary magazines and newspapers.