
Canisia Lubrin and Matthew Walsh among finalists for 2025 Trillium Book Awards
Established in 1987, the prize annually recognizes the best book and best poetry collection from writers in Ontario.
The winners in both the English and French categories of the Trillium Book Award will receive $20,000, while the winner of the poetry category will receive $10,000. This year, the category for best book of children's literature in French will also be awarded.
Lubrin is shortlisted for the Trillium Book Award for Code Noir, which was also shortlisted for the 2024 Atwood Gibson Fiction prize and won the 2025 Carol Shields Prize for Fiction.
The Code Noir, or the Black Code, was a set of 59 articles decreed by Louis XVI in 1685 which regulated ownership of slaves in all French colonies. In Code Noir, Lubrin reflects on these codes to examine the legacy of enslavement and colonization — and the inherent power of Black resistance.
Lubrin is a Canadian writer, editor and academic who was born in St. Lucia and currently based in Whitby, Ont. Her debut poetry collection Voodoo Hypothesis was longlisted for the Gerald Lampert Award, the Pat Lowther Award and was a finalist for the Raymond Souster Award. Her poetry collection The Dyzgraphxst won the 2021 OCM Bocas Prize for Caribbean Literature. It also won the 2021 Griffin Poetry Prize and was a finalist for the 2020 Governor General's Literary Prize for poetry.
Walsh is shortlisted for the Trillium Book Award for poetry for Terrarium.
Terrarium is a poetry collection that explores queer identity and depression using a conversational writing style. Raw, confessional and often messy, the voice has a quality of intimacy and shared secrets.
35 books for Pride month by writers in Canada
Walsh is a poet known for their debut book These are not the potatoes of my youth, which was a finalist for the Trillium and Gerald Lampert Awards. Walsh has previously contributed poetry to publications like The Malahat Review and Arc. They are now based in Toronto.
The 2025 CBC Poetry Prize is accepting submissions!
Other notable writers on the shortlists include Maurice Vellekoop and Faith Arkorful.
Vellekoop's I'm So Glad We Had This Time Together is a finalist for the Trillium Book Award, which was also shortlisted for the 2025 Doug Wright Award for best Canadian comic and won the 2024 Toronto Book Award.
I'm So Glad We Had This Time Together depicts his intense childhood and difficult young adulthood as a young gay person in a strict Christian household. Set in Toronto from the 1970s, Vellekoop begins to see his relationships with his mother and father fracture. As he ventures out on his own, he explores his passion for art and is set on finding romance and is met with violent attacks and the anxiety surrounding the AIDS era.
Maurice Vellekoop wins $10K Toronto Book Award for graphic memoir I'm So Glad We Had This Time Together
Vellekoop is a Toronto-born writer and artist. He has been an illustrator for the past three decades, including for companies like Air Canada and Bush Irish Whiskey. He is also the author of A Nut at the Opera.
Arkorful is nominated for the Trillium Book Award for poetry for their debut collection, The Seventh Town of Ghosts.
The Seventh Town of Ghosts explores these titular towns through songs that help readers grapple with the challenges of existence and independence. The book offers insight into the power of connection, tenderness and the human spirit.
Arkorful has had her work published in Guts, Peach Mag, Prism International, Hobart, Without/pretend, The Puritan and Canthius, among others. She was a semi-finalist in the 2019 92Y Discovery Contest. Faith was born in Toronto, where she still resides. In 2020, she was shortlisted for the CBC Poetry Prize.
The full shortlists for the 2025 Trillium Awards are below.
Trillium Book Award:
Wild Houses by Colin Barrett
My Fighting Family: Borders and Bloodlines and the Battles That Made Us by Morgan Campbell
Code Noir by Canisia Lubrin
Who Will Bury You? And Other Stories by Chido Muchemwa
I'm So Glad We Had This Time Together by Maurice Vellekoop
Trillium Book Award for Poetry:
The Seventh Town of Ghosts by Faith Arkorful
DADDY by Jake Byrne
Terrarium by Matthew Walsh
Prix Trillium:
Céline au Congo by Aristote Kavungu
Toronto jamais bleue by Marie-Hélène Larochelle
Le prince africain, le traducteur et le nazi by Didier Leclair
Un lourd prix à payer by Claire Ménard-Roussy
Nickel City Fifs : Une épopée queer sudburoise sur fond de trous by Alex Tétreault
Prix du livre jeunesse Trillium:
Rose du désert by Michèle Laframboise
Le roi Poubelle by Eudes La Roche-Francoeur
Le bonnet magique by Mireille Messier
The winners will be announced on June 18, 2025.
Last year's winners were Nina Dunic for The Clarion and A. Light Zachary for More Sure.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


CBC
34 minutes ago
- CBC
Abel Tesfaye returns to Toronto to kill The Weeknd
Social Sharing Unlike Taylor Swift's meteorite-like crash landing in the sweaty city of Toronto, there were no friendship bead-wearing police horses at The Weeknd's first showing in the Six. Instead, a more subdued air surrounded Rogers Centre as fans funnelled in: Low-key Starboy tracks warbling into the 30 C drippingly-wet air blanketing the stadium in the heart of The Weeknd's hometown. But that doesn't mean a lack of excitement, despite the weather. "God damn, it's hot," Canadian producer and DJ Kaytranada even exclaimed, towelling himself off onstage during a well-done if not earth-shattering opening. That was as sweltering fans at the first of four sold-out nights in the 50,000-seat venue braved the heat in requisitely dark clothes to match the R&B superstar infamously dark music. Just a day before, Mayor Olivia Chow dubbed the preceding days "The Weeknd weekend." That was because, she said, "Abel (The Weeknd) Tesfaye represents the best of our city." The Scarborough-raised artist also received a key to the city. And it was all just before audience members, eager to experience what is often still described as a once-in-a-lifetime concert experience, were uncharacteristically chatty with journalists — throwing themselves into on-camera interviews instead of waiting for the insistent coaxing of harried producers. "Everyone here, we are The Weeknd," a fan named Perry told CBC News. "He represents Canada." But as Tesfaye took the stage, the seemingly incongruous mix of emotions instantly made sense. Decked in a black robe encrusted with glittering gold rhinestones and a golden half-mask, you could see he embodied that caustic mix of the charismatic and subdued that, for anyone else, would not fit in the same person at the same time. As he has proven since releasing anonymous and unsettling dance-themed mixtapes in the 2010s all the way to this seemingly last tour under The Weeknd moniker, this is the space where Tesfaye thrives. While not retiring from music, he plans to no longer perform under the name he has become famous for. A return home Quickly barrelling through classic tracks The Abyss to Wake Me Up to After Hours, he was flanked by similarly masked, enrobed backup dancers — moving in unison around a slowly spinning golden statue of a giant, nude woman (imagine a female Oscars statuette, but with visible nipples). They stood beneath large gold rings, in front of a mocked up golden skyline of a crumbling city. Even Tesfaye's microphone was gold, a particularly heavy-handed metaphor that, early on, he stumbled chaotically toward. While roughly 30 women walked in sync around the statue and then behind to him, and as jets of fire shot up 20 feet into the air, Tesfaye held his hands up to the mic as if in prayer. None of them had to dance or even move much to earn the deafening applause that came next, as Tesfaye revealed the tiniest bit of his face, slightly peaking over the top of the mask. "Well that's a warm welcome home, isn't it?" he asked to another roar. It wasn't the last call out to his hometown. Later, he remarked the stadium is where he used to come to watch Blue Jays games "as a little baby," let out a long and extended "Toronto" in the middle of his track Sacrifice and managed to sneak both CN Tower and Rogers Centre references into São Paulo. But the focus was the gold, the ceremony and the performative reverence of it. The effect is impressive if eerie. A consummate musical professional with four Grammys under his belt and more Junos than anyone but Anne Murray, Tesfaye knows how to set a scene. He also knows how to sing, and — more than that — perform. He never failed to lead the tens of thousands of cheering attendants in song or just rapturous applause. It all gives the impression of some club-themed religious ceremony: A gigantic and enormously budgeted cultic worship service, except here the god is hedonism, sex and all the more outrageous scenes of Wolf of Wall Street. Of course, this is by design — both why The Weeknd can define himself as a generational sex symbol without gyrating or even revealing a sliver of his body under baggy robes and ostensibly why he's choosing to leave the schtick behind after this tour. In his shows and music, he's playing a club kid, fame-obsessed semi-satirical character invented way back in his debut mixtape House of Balloons days — itself a mask, Tesfaye explained in a 2013 Reddit AMA, he chose in order to hide his name and, by extension, himself. Vanity and nihilism In person, it all comes together like a magic trick. At a Weeknd concert, we're both sick of materialism, and sick of being sick of it. We're letting go of every inhibition, forgetting love, revelling in sex and giving up on self-control. It's all a statement about nihilism, you see. Or maybe, it's not. "It seems exorbitant when it all ends. A pointless, uncomfortable exercise from an artist who believes vanity means no stone of excess can be left unturned," music journalist Hanif Abdurraqib wrote of a 2013 Weeknd show in his book They Can't Kill Us Until They Kill Us. "The Weeknd tells the same tale: It's never about love, but then again, how can it be about anything but love, even if the love is just the love you have for your own ravenous desires." How much the separate entity of The Weeknd exists for Tesfaye to explore and mock his most self-destructive tendencies — instead of just revelling in them — isn't exactly clear. You would've been hard pressed to find any hints of displeasure from the seemingly ecstatic Tesfaye on Sunday. He hit hits old and new out of the park, and was grinning ear-to-ear as he held the microphone to nearly fainting fans, screaming out the ad libs of Out of Time. Still, it's perhaps a strange message to brand, as Chow did, the best of the city — and a strange one to have drawn as many barely five-foot middle-schoolers as Sunday's all-ages show did. At the same time, it's a theme that has offered diminishing returns. There was the 2022 Los Angeles concert in which Tesfaye infamously lost his voice due to stress. Then the ill-fated series The Idol, a Tesfaye-fronted series about the relentless pursuit of fame that was widely panned by critics and even The Weeknd himself. And then there was Hurry Up Tomorrow, the absurdly, incomprehensibly stupid filmic tie-in of his most recent album. Intended to further explore his falling-out-of-love with The Weeknd after the L.A. show, instead it only managed to compete with Megalopolis as the most offensively boring movie to premiere in the last 12 months. But perhaps these failures were because Tesfaye was performing to the wrong crowd, on the wrong stage. His messy, introspective and vague metaphors work better in song lyrics than dialogue; better sung in front of a stunning pyrotechnic flame and fireworks show than on a film screen. If Sunday's show proved anything, it was that. And even if on the inside he's done with The Weeknd, it proved he can certainly still fake it.


CTV News
6 hours ago
- CTV News
Runners get muddy at Mud Girl Run Ottawa
Women and girls ranging from seven to 78-years-old took to Wesley Clover Parks for the Mud Girl Run. CTV's Camille Wilson has a recap.


CTV News
9 hours ago
- CTV News
Troubadour Festival Summer Concert Series shines through the rain
The second edition of this years Troubadour Festival Summer Concert Series was took over Meridian Place Saturday night. The local artist showcase began at 5:00 p.m. featuring Doofus, Sydney Riley, Dorene and The 99s who finished off the night. Halfway through the local showcase, the skies opened with rain, but it did not stop the artists from giving it their all on the stage. the skies opened up during the Troubadour Festival on July 26, 2025 Rain fell on the crowd during the Troubadour Festival Summer Concert Series in Barrie on July 26, 2025 (CTV NEWS/ Luke Simard) 'It was awesome to see everyone stick around until the very end it was amazing so happy we did this,' said Sydney Riley. Dorene kept the crowd together as the rain lightened. It was the groups first time playing as a duo and the pair said their gig was a success. 'This was our first time playing as a duo so that experience definitely solidified our belief in our abilities as a duo, so I think were definitely going to keep going,' said drummer Gray Laine. Dorene took the stage as the skies lightened after a heavy rainfall Dorene rocks the stage at the Troubadour Festival local artist showcase in Barrie (CTV NEWS/Luke Simard) The sun slowly peaked through the clouds as The 99s took the stage to finish the night off. Barrie native and vocalist Carleigh Aikins always appreciative of performing in her hometown. 'Its always amazing to return home and feel that everyone still supports me and supports what were doing and supports the arts here in our community,' said Aikins. With another successful summer concert series, executive director of Barrie Downtown BIA Craig Stevens said the local music scene is alive and well. The 99s headlined Troubadour Festival Summer Concert Series on July 26, 2025 in Barrie The 99s headlined Troubadour Festival Summer Concert Series on July 26, 2025 in Barrie (CTV NEWS/ Luke Simard) 'The local acts are just its amazing to see you don't realize the talent that you've got locally and it provides an opportunity to showcase it and have the community come out and support it,' said Stevens. With the performers inspired to keep going and improving their music careers thanks to the Troubadour Festival Summer Concert Series. 'So many local musicians came out just to see me so there was a lot more talent than anyone even knew so just keep on supporting local,' said Riley. With Aikins praising the Troubadour Festival and the opportunity it offers to artists and the community. 'The troubadour has so many iterations this is a really great version of it because the community gets to participate for free so that's wonderful and I hope it continues for many years to come,' said Aikins. The Troubadour Summer Concert Series will return to downtown Barrie on August 16 with multiple Juno Award winner Hawksley Workman. A local artist showcase will once again open the festival. Open Air Dunlop will feature an 'Eats on the Streets' festival throughout the day before the local opener showcase.