Resilience, Empathy, Elegy, and Eco-Awareness in Meg Eden’s Drowning in the Floating World: A Book Review by Zoe Shaw Book Review: Meg Eden’s Drowning in the Floating World Meg Eden’s [More…]
Jenny Ferguson: Welcome, Ava! You and I have a long history with each other. We first met at the University of Windsor in 2008 where we were both students [More…]
“We’re thinking of moving to the country,” I told mystery writer Louise Penny when I bumped into her at the Knowlton Literary Festival in 2010, adding that my husband and I weren’t sure if it was the right thing for our writing careers. Penny was enthusiastic: “Do it,” she said, “while you can!” A few months later, we bought a 200-year-old farmhouse in the tiny hamlet of Hatley.
For Penny, living in the country proved no hindrance to her career. Her depiction of the fictional village of Three Pines and the eccentric characters who inhabit it launched her to international success. Now on the sixteenth volume of her Inspector Gamache series, she has sold over six million books worldwide.
The first year after I had a concussion was a blur. I was dead to the world for three months, going in and out of sleep, exhausted. I had vertigo and difficulties with light, sound, and language. No reading. No computers. No writing. Definitely no multitasking. I had to rest for far more hours than seemed viable and consequently had to suddenly quit a few organizations I led, with no succession plan in place. I closed my small press, or as it turned out, put it on hiatus. I simply had no choice.
As with a stroke or cancer, a traumatic brain injury can be an opportunity to reexamine one’s life and priorities.
“We are thrilled to introduce our new Blog Editor/Communication Manager, Erin Lindsay!”
There’s more than one way to tell a story.
I responded immediately to carte blanche’s philosophy.
I see this statement as an invitation for hybridity and experimentation. I see this statement as one that is inclusive and open. In this statement, I see the call for a vibrant literary and arts ecology- a community enriched by a diversity of forms, genres, and perspectives. I deeply understand this call. I want to be a part of this vision.
We, at carte blanche, are thrilled to announce that The Contributing Board of Editors of the Pushcart Prize have nominated “Sugartown” by Anna Leventhal for inclusion in the 45th Edition [More…]
“What do we call you?” is a question I’ve gotten used to hearing, especially in the writing world. I write now as K.B. Thors, but up until the end of 2017 I was publishing poetry, translations, and essays under the name K.T. Billey. My legal name is Kara Billey Thordarson. If I meet you, I’ll introduce myself as Kara.
That might seem all over the place, but the evolution of my nom de plume mirrors the development not just of my writing but of my self. I’d encourage any writer to experiment with their own creative license, no matter what a brand expert might say.
In November of 2019 I spoke to Nyla Matuk about colonialism, activism, and resistance poetry for the Fall issue of the Montreal Review of Books. Matuk’s book, Resisting Canada, was just about to come out from Véhicule Press, and I for one was excited to see such a revolutionary book in the Canadian literary milieu.
The book is beautiful and searing, an anthology of voices championing defiance against a settler state that silences and abuses its population while simultaneously praising itself for its image as a progressive and liberal melting pot.
There is never a bad time to honestly discuss Canada’s oppressive tactics and colonialist heritage. But right now, as the federal and provincial governments, RCMP, and Coastal GasLink/Transcanada flagrantly violate Wet’suwet’en, Canadian law, and international law, it feels particularly relevant. To quote Erica Violet Lee, the land defense currently being carried out is “an enactment of Indigenous law and an affirmation of Indigenous life.” As we witness Canada’s assault on Indigenous rights, we must take action.