à la carte blog

A note from our new publicist: Eli Tareq Lynch

What does it mean to be a publicist? I’ll be thinking about this question a lot as I start in this position, filling the shoes of a dear friend, and collaborating with so many great editors and authors in my future at carte blanche! I’m so excited that I get to help people discover this journal daily, and see the progress we make as we grow, as we highlight important literature and art, and as we continue to work towards something we can be proud of.

3Macs carte blanche Prize Finalists! Oana Avasilichioaei, Alisha Dukelow, Kaie Kellough

Clockwise from top left: Oana Avasilichioaei, Madeleine Thien, Alisha Dukelow, Kaie Kellough

An exciting announcement for a crisp, fall morning: the finalists for the 2017 3Macs carte blanche Prize, as selected by juror and Scotiabank Giller Prize-winning author Madeleine Thien, are Oana Avasilichioaei (poetry), Alisha Dukelow (fiction), and Kaie Kellough (poetry)!

Híyoge owísisi tánga itá (Cricket egg stories)

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Five-hundred-and-twenty-five years ago, confused Europeans “discovered” the “New World”. Heaps of broken brown bodies marked this great achievement as the Europeans congratulated one another. Brave explorers, selfless men of God, and devout Pilgrims soon began pillaging, raping, and slaughtering their way from sea to sea. They rename our homelands “North America.” Their descendants tell us that those men were seeking their fortunes, trying to save souls, hoping to find simple freedom for themselves.

Announcing Madeleine Thien as the Judge of the 2018 3Macs carte blanche Prize

Madeleine Thien, photo credit Rawi Hage

We’re delighted to announce that the finalists of this year’s 3Macs Prize will be selected by novelist Madeleine Thien. The winner will be announced at the Quebec Writers’ Federation Gala in November 2018.

“I don’t see us transforming into robots”: Kevin Chong in conversation with Sarah Richards

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I have wanted to reboot a classic story for a while now. The appeal is that there’s a built-in story and the gravitas of an enduring work. The downside is that you might not get the same credit, or that your version of the classic is only superficially reimagined. I liked that the original gave me a basic structure that freed me up to think about the characters in the story.

The Spark and Echo Prizes, Or How Funding and Amplification Can [Maybe?] Fix #CanLit: Rahim Ladha In Conversation with Jenny Ferguson

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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.

QWF Writes: Copyright, What’s the Big Deal?

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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.

On Covered Mouths

by Brandon Lopez

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.

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