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Winnipeg Free Press
4 days ago
- Entertainment
- Winnipeg Free Press
Enchanting interludes
Somehow, Heather O'Neill has crafted a delightfully fleeting, 200-plus page epic. Valentine in Montreal has the principal features of the daunting form, but all in charming miniature. O'Neill, much and justly celebrated as a resoundingly successful Canadian poet, short-story writer, screenwriter, novelist and journalist, was able to fashion this riff on the traditional literary genre by adapting another conventional publication form: Valentine is not so much a modern novel as it is a compendium of a traditional serial. In 2023, a Montreal Gazette editor asked O'Neill to compose a serialized novel, very much in the Victorian mode. Suspecting failure would accompany the unusual effort, O'Neill nonetheless dove in, hoping it would not just challenge her chops but connect her with writing and writers past, especially Charles Dickens. More, it could help her realize her belief that good fiction ought to be democratized, something the archaic serial form had done — and perhaps could still do — so expediently. Elisa Harb photo Heather O'Neill (right) has enlisted her daughter Arizona (left) to illustrate her two most recent books. O'Neill is probably most famous as the unicorn double winner of CBC's Canada Reads: her own extraordinarily beautiful and moving novel, Lullabies for Little Criminals (2006), won the 2007 competition, and she last year was victorious in championing Catherine Leroux's 2020 L'Avenir (in English as The Future, 2023 translation by Susan Ouriou). O'Neill's credentials roster is long, wondrous and vigorous, including cherished novels in 2014, 2017, 2022 and 2024 (the most recent The Capital of Dreams), as well as collections of poems (1999) and short stories (2015). Throw in the scripts for a difficult-to-find but lovely-to-behold feature film, Saint Jude (2000), and the eight-minute short End of Pinky (which can be found on YouTube), and you have here an artist bursting with talent and skill at the absolute and sustained top of her astounding game. Our micro-epic voyageur here is Valentine Bennet, a young, shy, lone-but-not-lonely and humble heroine who is utterly content with her modest work at a dépanneur at the Berri-UQAM métro stop. Valentine lives to dwell in her métro beneath and amidst the city, and is therefore deeply disturbed when her entrenched patterns are upset. She is quickly thrown much outside her world — or at least much further into it. Valentine, orphan (Dickens!) and amateur poet, learns that she has a doppelganger, Yelena, a ballerina, an artist of a different stripe. Valentine must quest out into the urban world, more Yelena's than her own, using her métro as her steed. She must acquaint with eccentric strangers, she must dodge the dodgy and she must figure out who she really is. All this in 30 quite steadfastly short, serial chapters. These instalments are all discrete and intended to be read, as O'Neill herself announces, in a single, Saturday-morning-with-coffee-and-eggs sitting. To be sure, there are recaps of whence we've been and dangles of whither we go, but it is all done without inelegant intrusion. En route, there are cases of mistaken identity, there in an unearthing of an aged common ancestor who herself used to galivant across Europe in full bohemian but somehow lucrative mode. And there is a forbidding Montreal underbelly, something literally called 'the Mafia,' but barking more than biting. And there is also a very dear romance in this little Romance. The dalliance cannot and does not fully fruit, but it is there, and it brings with it, too, the requisite wisdom and sadness. Valentine in Montreal just abounds in interlude. There are moments in each of the 30 little pieces to make you grin, to make you chortle aloud; all gracefully connect and carefully construct. Weekly A weekly look at what's happening in Winnipeg's arts and entertainment scene. More, the book is accompanied by delightful, childlike illustrations — a least one, and often several, per chapter. The artist, Arizona O'Neill (the author's daughter), typically poaches a moment of the text, usually a figurative one, and runs with it in an absolutely frolicsome way. Because one has to pause over the images to realize what is going on, the artwork is able, most delicately, to enhance the text. Throughout, Heather O'Neill's habitual mastery loiters. She is marvelously writes in a manner that briskly moves all things well along while peppering in, again and aptly again, turns of phrase that catch your breath and even command an immediate re-reading. Oddly, it is not so much the subtle, lurking metaphors as the more direct, almost-preening similes that achieve this: O'Neill is writing about and revelling in writing as she writes. 'Think about how I am telling this story as I tell it,' she seems to whisper. It could not be more enchanting. Laurence Broadhurst teaches English and religion at St. Paul's High School in Winnipeg.
CBC
02-06-2025
- Entertainment
- CBC
Guy Vanderhaeghe wins book of the year at 2025 Saskatchewan Book Awards
Social Sharing Saskatchewan author Guy Vanderhaeghe won both the Non-Fiction and Book of the Year Award at the 2025 Saskatchewan Book Awards. Since 1993, the awards are presented annually in recognition of the best books in the province across 14 categories. The Esterhazy, Sask.-born Vanderhaeghe is recognized for his memoir Because Somebody Asked Me To. Because Somebody Asked Me To is celebrated writer Guy Vanderhaeghe's response to all the editors and publishers who have asked him for his insights on books, history and literature spanning his prolific career. It examines the state of Canadian literature when he first appeared on the scene in 1982, what's happened since and where it can go from here. Vanderhaeghe is a novelist, short story writer and playwright. Except for a brief stint in Ottawa, Vanderhaeghe has always lived in his home province and was part of a new generation of writers forging Saskatchewan's contemporary literary scene. His first published short story was in the second-ever issue of the long-running Grain literary magazine based in Saskatoon. Vanderhaeghe's debut short story collection Man Descending, published in 1982, earned him the Governor General's Literary Award and later the Faber Prize in Britain. He would go on to win two more Governor General's Literary Awards: in 1996 for The Englishman's Boy and in 2015 for the short story collection Daddy Lenin and Other Stories. His book The Last Crossing won Canada Reads 2004. He won the Timothy Findley Prize, the Harbourfront Literary Prize and the Cheryl and Henry Kloppenburg Prize for his complete body of work. Other notable winners include Victoria Koops, Dave Margoshes, Jarol Boan and Sylvia Legris. Koops won the Young Adult Literature award for Who We Are in Real Life, a book about two young star-crossed lovers who meet in a game of Dungeons & Dragons. Koops is a Saskatchewan-based author and practicing counsellor. Who We Are in Real Life is her debut novel. Margoshes won the Fiction Book Award for his novel A Simple Carpenter, which is a blend of thriller, magical realism and biblical fable. Margoshes is a poet and fiction writer and former journalist known for blending genres and is a former finalist in the 2016 CBC Short Story Prize and the 2012 Poetry Prize. Afternoon Edition: Boan won the First Book Award for The Medicine Chest, a nonfiction book about Boan's experiences as a physician returning to her childhood home in Saskatchewan and coming to terms with the ways the healthcare system fails Indigenous communities across Canada. Boan is a physician and Associate Professor at the University of Saskatchewan. Sylvia Legris won the City of Saskatoon Book Award for The Principle of Rapid Peering. Legris is a Saskatoon poet and author originally from Winnipeg. She has published several volumes of poetry, including The Hideous Hidden and Nerve Squall, which won the 2006 Griffin Poetry Prize and the Pat Lowther Award. "It's another year to celebrate the amazing diversity of our Saskatchewan literary community," said SBA Chair, Jack Walton," said Saskatchewan Book Award chairperson, Jack Walton in a press statement. "Except for double winner, Guy Vanderhaeghe, the book prizes were evenly distributed amongst authors and publishers. This is especially encouraging for emerging Saskatchewan authors because they see an opportunity for their books to be promoted and celebrated." The awards were presented at a gala event at Saskatoon's TCU Place and each award comes with a $2,000 prize, except for the Book of the Year Award which is $3,000. The full list of winners includes:
CBC
25-04-2025
- Entertainment
- CBC
How Chimamanda Ngozi Adichie subverts expectations of traditional Nigerian women
WARNING: This article and audio interview may affect those who have experienced sexual violence or know someone affected by it. The wait is over for Chimamanda Ngozi Adichie's hugely anticipated return to fiction. Known for her detailed representation of Nigerian women and culture, Dream Count follows four women who live large on the page and resonated deeply with two Canada Reads alumni, Kudakwashe Rutendo and Mirian Njoh. Adichie is the bestselling author of novels Purple Hibiscus, Half of A Yellow Sun and Americanah, which won the National Book Critics Circle Award for fiction in 2013. Since then, Adichie has turned to nonfiction, writing powerful essays that became Ted Talks and short books, including We Should All Be Feminists, which was sampled in Beyoncé's song Flawless and inspired a T-shirt from Dior. Dream Count is Adichie's return to fiction after 12 years and it weaves the perspectives of four women, moving between Nigeria, Guinea and the United States. Rutendo and Njoh reunited on The Next Chapter with Antonio Michael Downing to discuss the complex feelings and reflections the women of Adichie's fiction brought up. For those that have been living under a literary rock, what can you tell us about Chimamanda Ngozi Adichie? Kudakwashe Rutendo: Chimamanda Ngozi Adichie is a polarizing Nigerian American writer. Her breakout Americanah made huge waves in the literary world and then it was felt like Americanah, Half of the Yellow Sun, her prose is singular and she manages to invoke so much of being Nigerian American, or just being Nigerian into her writing and showing the culture and viewing it in an honest way where you're not coddling it — you're showing its best parts, you're critiquing it. I think that's the honest way to love if you're showing the deficits and the whole parts all in one and she manages to illuminate that in her prose and in her work. And in a subtle way as well where the culture is the writing. She's been on the scene forever and we've been waiting for this book forever. She manages to invoke so much of being Nigerian American into her writing ... in an honest way. Mirian, there are four women in this book. I've heard it described as four interlocking novellas. Each section is about one of these women. First up, we meet Chiamaka and as the title suggests, she's tallying up her dream count, the men that she's loved and lost. What kind of entry did she give you into this novel? Mirian Njoh: I think she was a great opener because I think was the strongest voice to me. Her story stuck with me the greatest and it's interesting 'cause each of them has different themes that stood out very strongly and hers always seemed to me to be the idea of pursuit. On a superficial level, she's a travel writer, so there's just a level of pursuit and going to different places and exploring and capturing and documenting. But she also has that same fervor for seeking and pursuit in her personal life and in the loves that she's seeking. And it's interesting how she flips the notion of a body count, which is something that's often weaponized against women, particularly, and she turns it into a dream count when she recalls the past loves of her life and the love that she's been seeking in these people. Three of the main characters move between Nigeria and America as Chimamanda Adichie does herself. The three women are connected by friendship and family and they're all struggling to some extent with this same stuff. They're all trying to find something, some degree of being seen and almost always by men because they see each other really well. What brings those three characters together in terms of what they're seeking? MN: What you're saying is they're seeking to be, to love, to be loved and to be seen. And I think that is kind of the beauty of the way that their stories are interwoven and I think that their stories are truly dependent on each other, they each sustain each other. Because when you look outside of the bubble of these three women and the safety, the love, the vulnerability and just the rawness that exists between them, they are truly themselves with each other. But then you look at their chosen family dynamic and then you look at their biological family dynamics or even their cultural dynamics and you see how they can't fit. Some of them are actively avoiding their parents and siblings, actively avoiding their aunts. Even with one of the characters who leaves Nigeria and she seeks respite in the U.S., ironically enough, she doesn't find it. They're seeking to be, to love, to be loved and to be seen. - Mirian Njoh There's a clash here because they are essentially very non-traditional women who are trying to do a very traditional thing, which is fall in love, get married, have a baby, things like things around that. KR: I also wonder if this might be a new traditional way to be a woman because I'd also say that a lot of their values were distinct from just clear cut Western values. It was interesting. One of my cousins got traditionally married so it was funny for me weighing the values of that. There is a difference. I feel like these women go against the traditional grain in many ways and I think they also subvert the Western grain as well because they're Nigerian. There's a class thing happening here … but there's also a gender thing going on here, right? KR: I don't think we can talk about being a traditional Igbo culture, but also any African culture without getting into gender politics because they're so ingrained in gendered roles and gendered expectations and even in this book, it's a huge aspect. And I think it's often what the women are rebelling against or sometimes falling into because it's their safety. It's what you understand. I think it's often what the women are rebelling against or sometimes falling into because it's their safety. MN: It's interesting if we look at our outlier Kadiatou and we think about gender because on one hand, I would say she is, in the most extreme sense, subject to gender practices because she undergoes female genital mutilation. But then that also ends up being part of the key that gets her to this next phase of her life, this thing that in a way is like her American Dream. But then the ironic thing is that once again, that whole dynamic of her gender comes into play when she ends up embroiled in a sexual assault scandal. Her identity and character is assassinated and she is called so many things, a con artist, a prostitute. And we see the system really ring her out. Do you also seek a "merging of souls", as Chiamaka says? KR: I think that everyone should seek fulfillment and I say this knowing that I don't believe that… Also, I don't think it was the message of the book. What really got to me is this idea of a dream count. I was like, it's just not disqualifying the affections that we felt. I think oftentimes you're focused on ends like it had to have been a relationship or it had to have been fulfilling, or we have to have dated or just all these things that are so inconsequential. For me, it was like all the things that make you tender, you should honour them. All the people who have given you any tenderness. WATCH | Chimamanda Ngozi Adichie on Bookends with Mattea Roach: This interview has been edited for length and clarity.
Calgary Herald
25-04-2025
- Entertainment
- Calgary Herald
Rotary Club of Calgary hosting 10-day book sale to support children
The Rotary Club of Calgary is hosting a donation drive of books mainly authored by Canadian writers between Friday and May 4 for a 10-day sale that will begin less than a week later. Article content Article content The event, called the Calgary Reads Big Book Sale, lasts from May 9 to 19. Article content The sale will dedicate an entire aisle to hundreds and perhaps thousands of books written by Canadian novelists, said Shirley McIntyre, lead of the fiction section. Article content Article content 'We always have a lot of the new Canadian novels that are popular because they were featured in Canada Reads or the Giller Prize, but we also have so many of those classics that maybe you always meant to read and just never got around to it,' McIntyre said, citing classic Canadian authors such as Carol Shields, Robertson Davies, Stuart McLean and Margaret Atwood. Article content Article content The sale will also give readers an opportunity to explore Canadian history, politics, cooking and travel. Calgarian writers, meanwhile, will fill an entire table. Article content 'You don't have to look to other countries for great writing. We have so many books that tell our story—and many can be hard to find otherwise if they're vintage.' Article content However, the array of books wouldn't be possible without donations. 'If we all fill up a box or two with books we've read—what a difference we can make in ensuring more children can read by Grade 3 and experience the joy of having their very own books,' says Steacy Pinney, chair of Rotary Club of Calgary's Early Childhood Literacy Committee, which leads the sale and distributes the proceeds to early childhood education programs across Calgary. Article content Article content Last year, the event raised $570,000, which was distributed among various initiatives, including bolstering speaking skills among children, literacy among fathers and providing thousands of books to families with low incomes. Article content 'The more quality books we have, the more children we can support so they can reach their potential in school and in life—and getting that extra reading help is more important than ever,' Pinney said. Article content Interested donors could donate during the following hours.
CBC
24-04-2025
- Entertainment
- CBC
Panel hosted by Mattea Roach among the events featured at 2025 Festival of Literary Diversity
A panel hosted by Mattea Roach is among the events featured at 2025 Festival of Literary Diversity (FOLD). Running from April 27 to May 4, the FOLD spotlights work by diverse authors from communities that are typically underrepresented in Canadian publishing. The Brampton, Ont.-based festival features both live online and in-person events with authors from Canada and around the world taking part. The panel hosted by Roach, with writers Tanya Talaga, Amal Elsana Alh'jooj and Morgan Campbell, breaks down how to have difficult conversations in a constructive way. It will take place on May 3 at 11 a.m. at The Rose and will be featured in a future episode of Bookends. Talaga is a writer and journalist of Anishinaabe and Polish descent. She is a member of Fort William First Nation. Her book Seven Fallen Feathers: Racism, Death and Hard Truths in a Northern City won the RBC Taylor Prize, the Shaughnessy Cohen Prize for Political Writing and the First Nation Communities Read: Young Adult/Adult Award. All Our Relations: Finding the Path Forward was the basis for the 2018 CBC Massey Lectures. Her most recent work is the book and four-part documentary called The Knowing, which is nominated for the 2025 Shaughnessy Cohen Prize for Political Writing. Alh'jooj is a professor at McGill University and a founder of several NGOs including Arab-Jewish Centre for Equality and Economic Empowerment and Cooperation. She was nominated for the Nobel Peace Prize in 2006 and won the New Israel Fund's Human Rights Award in 2013. She is the founder and executive director of the organization PLEDJ (Promoting Leadership, Empowerment, Development and Justice). A Bedouin Palestinian activist born in Israel, she wrote the memoir Hope is a Woman's Name. Campbell is an Ontario-based journalist and a senior contributor at CBC Sports. He was a sports writer at the Toronto Star for over 18 years. His work highlights where sports intersect with off-the-field issues like race, culture, politics and business. His memoir My Fighting Family is his first book. Other events include writing workshops and a panel featuring Canada Reads all-stars Kamal Al-Solaylee, David Chariandy and katherena vermette. Al-Solaylee's memoir Intolerable was a contender on Canada Reads 2015, when it was defended by Kristin Kreuk. Chariandy's novel Brother was shortlisted for Canada Reads in 2019 and was defended by actor and model Lisa Ray. vermette's novel The Break was defended by Candy Palmater in 2017. This year, FOLD is celebrating its 10th anniversary. "This is a big milestone," said Jael Richardson, a Canadian author and executive director of FOLD, in a press statement. "We've been through a lot over these last 10 years and we've learned a lot too." Richardson is a writer, editor, activist and the former books columnist for Q on CBC Radio. Her books include the picture book Because You Are and the nonfiction book The Stone Thrower, which was adapted into a picture book of the same name. Richardson's debut novel, Gutter Child, was published in 2021 and was a finalist for the 2021 Amazon Canada First Novel Award. "The theme, a Decade of Change, invites us to look at what we've accomplished with the FOLD and where we want to go next. It will also allow us to examine what's happening — and not happening — in publishing right now," she said.
