We can achieve so many positive & progressive actions, if the people who have the means to do something were at the very least, sympathetic to some of the things we’re discussing here. I don’t want to be one of those people who talks a lot about change but it’s never reflected in their actions. That’s one of the reasons these awards exist—it’s a conscious decision to try and set some kind of example.
I’m always surprised to see blank stares on writers’ faces when I launch into a speech about copyright. Some of them aren’t clear why copyright really matters. Others aren’t sure what copyright even is. Fair enough—it’s not the sexiest topic in the writing world. But even if you don’t notice it, it’s fundamental to our business.
I told someone a story because I knew they would spread it. Stories were told to me with the same intent. Between women in Canlit, these circulated narratives are often about men in the community. Charming abusers. Tenured predators. Shitty men with track records of repeated shittiness. Let’s be explicit: women don’t take joy from these stories, in being the orator or the audience.Read more →
I’m joining the team as the new CNF Editor. I’m ready to read all your nonfiction—but I have a particular fondness for the lyric essay, the flash essay, striking memoir, non-consumptive travel writing, interviews with surprising people, critical essays that teach us something, care about language and can be appreciated by a general audience, and mixed-or-hybrid prose pieces that actively redefine what creative non-fiction can be and do.
Paige Cooper’s stories have appeared in a number of excellent journals and have been anthologized in The Journey Prize Stories and Best Canadian Stories. Her debut collection Zolitude was published by Biblioasis this past February. Hailing from Canmore, based in Montreal, and traveling widely in person and on the page, Paige creates fictional worlds that resist easy categorization or resolution. Brad de Roo spoke with her about narrative corruption, artistic tourism, short story form, and ‘the splashy chaos of reality.’
Read more →
THE CNFC AND CARTE BLANCHE ARE PLEASED TO ANNOUNCE THEIR 2017–2018 CREATIVE NONFICTION CONTEST SHORTLIST.
The winner will be announced on May 5 in Toronto, ON at the 14th annual CNFC conference.Read more →
Antigone Undone, the latest book by Montreal writer Will Aitken (University of Regina Press), is a fascinating and emotionally driven look at Aitken’s behind-the-scenes experience of a production of Antigone directed by Ivo Van Hove, starring Juliette Binoche, with a translation by Anne Carson. From strolling around Luxembourg where the play débuted, to a tense few days in Amsterdam, and back to Montreal, Aitken gives the reader a deeply personal glimpse at an episode of depression that was sparked by encountering Antigone, both the play and the character. Using his own experience as a starting point, Aitken then explores various interpretations of Antigone, through scholarly texts and through interviews with Binoche, Carson and Van Hove about the play. By blending genres and exploring the stylistic elements of memoir, travelogue, essay, and academic writing, it’s a beautiful book that examines the vast power art has over us, in both its creative and destructive capacities.