Find out how writers think
An Interview with Angeline Schellenberg
Sharon Caseburg: Congratulations on your most recent award nomination. You’ve had such a wonderful reception to Tell Them It Was Mozart, having won both the Lansdowne Prize for Poetry and the Eileen McTavish Sykes Award for best first book. Now you’ve been nominated for the ReLit Award for Poetry. How does it feel to have so much attention placed on such a personal body of work?
An Interview with Richard Osler
Clarise Foster: In Hyaena Season the poems reflect a range of personal revelation and experience — your youth, relationships, family, your journeys to Africa, your work with addictions. But to start at the beginning—the first poem in the book is “Baptism.” I am always curious about the piece a poet chooses to begin a collection, especially a first full-length collection. Why did you choose this poem and ...
A Conversation with Ben Ladouceur
In fall 2016, Ben Ladouceur, who is prose editor at Arc, interviewed Jan Zwicky as part of a feature on her work. Zwicky wanted to know what Ladouceur thought about some of the issues that came up — millennials shrugging over climate change, self-promotion through social media — and they began a conversation in the margins of the interview. That discussion got interesting enough that they decided to pursue ...
An Interview with Ós Pressan
Clarise Foster: Starting a publishing venture in Canada these days is a pretty ambitious venture — but it seems that the publishing industry for books in Iceland is quite robust, so I am wondering at what point during the workshop did the discussion of writing turn to one of publishing and how did that discussion turn into plans to create your own publishing house?
Ós Pressan: You’ve caught us at a great ...
Clarise Foster: How does a piece of poetry/art take root for you creatively? And how might you begin to work on a piece, does it most often begin as/with text?
a rawlings: Relationship. With land, self, friend, language. I’ve been running in counter-clockwise circles on North Atlantic foreshores. To make contact with. To land as in to arrive as in to touch. Down. Deeper, farther, under. To under-stand. ...
An Interview with Michael Prior
Hannah Green: Jen Sookfong Lee recently wrote a powerful essay* about the state of CanLit. She writes that “CanLit has always been heavily weighted to a certain kind of author writing a certain kind of narrative” and “CanLit has never been about the diversity of voices.” Your work doesn’t fit into the “certain type of narrative” Sookfong Lee describes as being popular in CanLit, and your voice is a diverse ...
From the North of a Small Town to the North of Toronto
Sarah Pinder, author of Cutting Room (Coach House, 2012) and Common Place (Coach House, 2017) was born in 1983 in Sault Ste. Marie and grew up in Wawa and Sault Ste. Marie. Mat Laporte, author of RATS NEST (BookThug, 2016), was born in 1984 and grew up in Sault Ste. Marie. They didn’t meet and become friends until 2012 when they both lived in Toronto. There they collaborated on various projects and events ...
Poetry, Politics and Poor Choices: An Interview with George Murray
Hannah Green: What are you working on right now? Do you have another poetry collection slow-cooking in your head?
George Murray: I have a second book of aphorisms called QUICK coming in spring 2017. Other than that, I’m working on poems and a lingering, sickly novel.
HG: Oooh, a novel! What’s it like for you moving from poetry to prose?
GM: I started my writing life as a prose writer and published a ...
An Interview with Sue Goyette
Hannah Green: It sounds like myth and poetry are perhaps more closely related than I had thought. They certainly do perform in the same way—as a means of understanding. You mention you are inspired to create new myths. I find that so interesting! Would you like to share what myths you have created and what the impact has been?
Sue Goyette: I think one of the ways poetry is so vital and, by proximity or ...
In Conversation with Ray Hsu: A Collaborative discourse
Clarise Foster: Do you think that part of the problem with publishing a collaboration like the Nepotists might be that within writing and publishing circles, there seems to be an understanding of collaboration as two or more people who bring their talents and skills together to create a project. Whereas with a collaborative work like yours, there is an understanding of project as the constraint rather than ...