Writing my book, Policing Black Lives: State Violence in Canada from Slavery to the Present, felt to me like an urgent matter. That feeling only intensified due to events that unfolded during the time I worked on the volume.
When guest editors Madeleine Thien and Catherine Leroux finalized the lineup for Granta 141, a special issue of the renowned literary quarterly dedicated to new writing out of Canada, they included an essay by Acadian writer France Daigle called “What Is It that Hurts?”
Nonagenarians and other older authors are publishing meaningful work despite obstacles posed by health, technology, and a culture that can sometimes feel indifferent to the insights of the elderly.
When William Weintraub’s debut novel, Why Rock the Boat?, was released in 1961, the author’s former colleagues at the Montreal Gazette might have been forgiven for feeling that the title was just a tad ironic.
The author of The Marrow Thieves found out she won the $50,000 Kirkus Prize as she was searching her desk for loose change for transit.
Allison Hirst is Dundurn’s resident woman of mystery. The developmental editor is responsible for a variety of non-fiction titles and crime mysteries, including Steve Burrows’ popular Birder Murder books, Nick Wilkshire’s new Foreign Affairs series, and Janet Kellough’s “brilliant historical series,” the Thaddeus Lewis Mysteries.
While Melanie Florence has written multiple works of fiction and non-fiction for children, the picture book genre is still new to her. It’s also where she’s having the greatest success.
Canadian women crime and mystery writers Ausma Zehanat Khan, Janet Kellough, Anne Emery, R.M. Greenaway, Alice Walsh, and Maureen Jennings.
You don’t need to be a sleuth to see that the female takeover of crime fiction is almost complete.
Toronto author Kevin Sands had earned two degrees in theoretical physics and was toiling away as a researcher and teacher before writing his first middle-grade novel, The Blackthorn Key (Simon & Schuster Canada).