>>From the Writer’s Union of Canada
Short List Announced for the 2015 Danuta Gleed Literary Award
The Writers’ Union of Canada is pleased to announce the short list of nominees for the nineteenth annual DANUTA GLEED LITERARY AWARD. The Award recognizes the best first collection of short fiction by a Canadian author published in 2015 in the English language. The Award consists of cash prizes for the three best first collections, with a first prize of $10,000 and two additional prizes of $500.
The jury this year comprised authors Shauna Singh Baldwin, Barry Dempster, and Dora Dueck, who determined the short list from 25 collections submitted, some by seasoned writers, others by authors being published for the first time. Those finalists are:
Gerard Beirne, In a Time of Drought and Hunger, Oberon Press
Andrew Forbes, What You Need, Invisible Publishing
Hugh Graham, Last Words, Exile Editions
Kevin Hardcastle, Debris, Biblioasis
Heather O’Neill, Daydreams of Angels, HarperCollins Publisher
The winners will be announced at the Canadian Writers’ Summit (June 15–19) at Harbourfront.
The Award was created as a celebration of the life of Danuta Gleed, a writer whose short fiction won several awards before her death in December 1996. Danuta Gleed’s first collection of short fiction, One of the Chosen, was posthumously published by BuschekBooks. The Award is made possible through a generous donation from John Gleed, in memory of his late wife, and is administered by The Writers’ Union of Canada.
Jury Comments on the Finalists for the
2015 DANUTA GLEED LITERARY AWARD
Gerard Beirne, In a Time of Drought and Hunger, (Oberon Press)
Place has a starring role in Gerard Beirne’s In a Time of Drought and Hunger, specifically a Cree community in northern Manitoba. A typical Beirne story feels like it’s been underway for ages and that you’re just catching up with it now. One character is obsessed with what kind of fur coat to buy; another meets a young woman who might be Charles Manson’s daughter. Fates collide with often unpredictable results: fools and wise men, hunters and those who are just plain doomed. What all these people have in common is that they’re so richly drawn that any one of them could fill a novel. Beirne writes with a curiosity throbbing with energy, bordering on obsession.
Andrew Forbes, What You Need (Invisible Publishing)
Andrew Forbes’ stories in What You Need are plainly spoken, his characters ending up in bar fights, playing high school sports and building thermonuclear devices in their garages. He has a gift for balancing good old-fashioned narratives with surprising implosions of fate. Voice and details are his strong point. Whether they’re digging up a dead friend or puzzling over their daughter’s ability to walk through walls, his characters are easy to relate to, they are true to themselves and they engage the reader, who can’t wait to turn the page. What You Need is insightful and intelligent, sharp and deep as bone.
Hugh Graham, Last Words (Exile Editions)
In his opening story “Next to Last,” about a Canadian in Paris who ends up doing some work for the CIA, Hugh Graham’s writing is reminiscent of Graham Greene’s. But further intoLast Words, there’s a story about a woman’s passion, “Elmira Rawlinson,” that’s almost Thomas Hardy-ish with its richly descriptive tones. Graham is a chameleon of sorts, trying on different voices, shadings and special effects. But what you can count on from tale to tale is the complexity of his approach and the lusciousness of his prose. His blend of lyricism and deeply articulated empathy for the human condition resonates long after you’ve turned the last page.
Kevin Hardcastle, Debris (Biblioasis)
Debris is a spare and shadow-drenched book, the sentences well-wrought, the voice never less than distinctive. His characters include a cage fighter being tracked down by the Hell’s Angels, a night clerk at a seedy hotel who makes moonshine whiskey and a gas contract salesman wearing out his shoes in a number of Alberta towns. These are tough-talking men who advertise their misery like a kind of nakedness. Strangely, the result of all this suffering and violence is a beauty that at times almost takes your breath away.
Heather O’Neill, Daydreams of Angels, (HarperCollins Publisher)
Gypsies, cherubs, androids, wolf boys and the Marquis de Sade are just a few of the characters who populate Heather O’Neill’s Daydreams of Angels, a fanciful, fantastical collection of post-modern fairy tales. Despite the sweetness at the core of almost every story, the book is filled with dark, often sticky surprises. You’re guaranteed to come away from an O’Neill story both delighted and disturbed; she can go from the heights of glee to devilish anxiety in the space of a paragraph. Hers is a world of great imaginative alchemy. Whether she’s writing about shipwrecks, babies washed up on the beach or Rudolf Nureyev clones, she’s dead serious about her shape-shifting themes, fearless in the face of the wild and the absurd.
The Writers’ Union of Canada is our country’s national organization representing professional authors of books. Founded in 1973, the Union is dedicated to fostering writing in Canada, and promoting the rights, freedoms, and economic well-being of all writers.
For more information, visit the press release on the Writer’s Union of Canada website.
>>From the League of Canadian Poets
The League of Canadian Poets and the Academy of American Poets Team Up to Celebrate Poem In Your Pocket Day Across North America
As a special collaboration for this year’s National Poetry Month in April, the leading membership-based poetry organizations that sponsor the month in Canada and the United States—the League of Canadian Poets and the Academy of American Poets—have created a guide for families, schools, and businesses to inspire and assist with local Poem in Your Pocket Day celebrations. The guide features poems by contemporary Canadian and U.S. poets.
Poem in Your Pocket Day, a special day during National Poetry Month, will be held on April 21, 2016. On this day each year, people celebrate by selecting a poem, carrying it with them, and sharing it with others. Poem in Your Pocket Day was initiated in 2002 by the Office of the Mayor in New York City, in partnership with that city’s Departments of Cultural Affairs and Education. In 2008, the Academy of American Poets took the initiative to all fifty United States, encouraging individuals around the country to join in and channel their inner bard. In 2016, the League of Canadian Poets will extend Poem in Your Pocket Day to Canada.
“We’re thrilled to be working with the League of Canadian Poets this April to promote contemporary poets and poetry in both our countries and across borders. Seeing as we both introduced and organize National Poetry Month, collaboration makes sense,” said Jennifer Benka, Executive Director of the Academy of American Poets. You can find the free Poem in Your Pocket Day guide and more information at poets.ca/pocketpoem.
Find more information on National Poetry Month at poets.ca/npm.
Ways to participate in Poem in Your Pocket Day
It’s easy to carry a poem, share a poem, or start your own Poem in Your Pocket Day event. Here are some ideas to help get you started:
- Start a “poems for pockets” giveaway in your school or workplace
- Urge local businesses to offer discounts for those carrying poems
- Post pocket-sized verses in public places
- Memorize a poem
- Start a street team to pass out poems in your community
- Distribute bookmarks with your favorite lines of poetry
- Add a poem to your email footer
- Post lines from your favorite poem on your Facebook, Instagram, Twitter, or Tumblr
- Send a poem to a friend
About the Academy of American Poets
The Academy of American Poets is the largest membership-based nonprofit organization fostering an appreciation for contemporary poetry and supporting American poets. The organization produces Poets.org, one of the world’s most popular websites for poets and poetry; National Poetry Month; the popular Poem-a-Day series; American Poets magazine; resources for K-12 educators; an annual series of poetry readings and special events; and awards the American Poets Prizes.
About the League of Canadian Poets
The League of Canadian Poets is the professional organization for established and emerging Canadian poets. Founded in 1966 to nurture the advancement of poetry in Canada, and the promotion of the interests of poets. The League serves the poetry community and promotes a high level of professional achievement through events, networking, projects, publications, mentoring and awards. It administers programs and funds for governments and private donors and encourages an appreciative readership and audience for poetry through educational partnerships and presentations to diverse groups. As the recognized voice of Canadian poets, it represents their concerns to governments, publishers, and society at large, and maintains connections with similar organizations at home and abroad. The League strives to promote equal opportunities for poets from every literary tradition and cultural and demographic background. For more information about the League of Canadian Poets, visit poets.ca.
For more information, visit the press release on the League of Canadian Poets website.
>>From the Editor’s Association of Canada
Editors Canada announces the first réviseurs agréés from its French editing proficiency testing program
Toronto, March 22, 2016 — The Editors’ Association of Canada (Editors Canada) is proud to announce the first réviseurs agréés in its history! Fifty-nine people passed the inaugural general editing test and will receive the title of réviseur agréé or réviseur agréée du Programme d’agrément en révision linguistique – Réviseurs Canada.
French-language editors now have a tool to assess their editing skills and receive official recognition from a professional association. What’s more, businesses, government ministries, agencies, organizations and all those who produce texts can now hire editors with proven expertise. The program includes two tests: one in general editing and one in comparative editing, which covers the editing of texts translated from English to French.
“We are thrilled to announce the first réviseurs agréés of our French editing proficiency testing program,” says Anne Louise Mahoney, president of Editors Canada. “Ten years ago, we paved the way with the Editors Canada Certification program in English. With the addition of the Programme d’agrément en révision linguistique – Réviseurs Canada, we can truly say that today we are also setting the professional standard when it comes to French-language editing in Canada.”
“I am very proud that the world’s francophone editors now have access to such a program,” affirms Sandra Gravel, chair of the program’s founding committee, “as it adds a key ingredient to keep their career vital and active and allows us to spread the word about this fascinating profession. Congratulations to all the new réviseurs agréés!”
In October 2016, Editors Canada will offer the first test in comparative editing to réviseurs agréés and réviseures agréées. Registration for the test will begin in May. The next test in general editing will be offered in October 2017. To find out more about the Programme en révision linguistique – Réviseurs Canada, visit www.reviseurs.ca/agrément.
2016 Réviseurs agréés and réviseures agréées:
Stéphanie Audet Brazeau, Toronto, ON
Magalie Avard, Québec, QC
Marie-Rose Basque, Saint-Hubert, QC
Marie-Gabrielle Blais, Québec, QC
Isabelle Bouchard, Saint-Antoine-de-Tilly, QC
Joanie Boutin, Saint-Augustin-de-Desmaures, QC
France Brûlé, Québec, QC
Marilène C. Rousseau, Montréal, QC
Isabelle Capmas, Sutton, QC
Geneviève Cloutier, Montréal, QC
Sylvie Collin, Montréal, QC
Dominique Dancause, Montréal, QC
Johanne David, Beaconsfield, QC
Luce Des Marais, Montréal, QC
Noémi Doyon, Québec, QC
Fabiola Fouron, Montréal, QC
Lise-Andrée Francoeur, Verdun, QC
Chantal Frigon, Montréal, QC
Marie-Élaine Gadbois, Québec, QC
Marie-Élaine Gervais, Montréal, QC
Marilyn Giroux, Sainte-Marie, QC
Josianne Guillemette, Lévis, QC
Catherine Houle, Québec, QC
Frédérique Izaute, Montréal, QC
Maryse Lafontaine, Beaconsfield, QC
Judith Langevin, Québec, QC
Pierre-Luc Langevin, Québec, QC
Anne-Marie Lapointe, Québec, QC
Jenny Larouche, Québec, QC
Suzanne Lavigne, Montréal, QC
Ariane Leblanc-Vincent, Québec, QC
Marie-Claude Leduc, Gatineau, QC
Liette Lemay, Québec, QC
Bianka Lemelin, Québec, QC
Emmanuelle Marchand, Boucherville, QC
Julie Morin, Gatineau, QC
Valérie Murray, Québec, QC
Pascale Ouimet, Lévis, QC
Sophie Pallotta, Saint-Eustache, QC
Sophie Paradis, Montréal, QC
Christine Paré, Lévis, QC
Annie Pelletier, Rivière-du-Loup, QC
Patricia Pelletier, Saint-Augustin-de-Desmaures, QC
Hélène Perrin, Laval, QC
Millie Pouliot, Québec, QC
Geneviève Racette, Montréal, QC
Marie-Ève Rivet, Québec, QC
Chantal Roberge, Québec, QC
Joëlle Simoneau, Boucherville, QC
Dominique Thomas, Saint-Colomban, QC
Sandy Torres, Granby, QC
Geneviève Toussaint, Québec, QC
Mylene Tremblay, Québec, QC
Daphné Trottier, Québec, QC
Dominique Vallerand, Montréal, QC
Catherine Vaudry, Québec, QC
About Editors Canada
Editors Canada began in 1979 as the Freelance Editors’ Association of Canada to promote and maintain high standards of editing. In 1994, the word “Freelance” was dropped to reflect the association’s expanding focus to serve both freelance and in-house editors. Now known as Editors Canada, it is Canada’s only national editorial association. It is the hub for 1,500 members and affiliates, both salaried and freelance, who work in the corporate, technical, government, not-for-profit and publishing sectors. The association’s professional development programs and services include professional certification, an annual conference, seminars, guidelines for fair pay and working conditions, and networking with other associations. Editors Canada has six regional branches: British Columbia; Prairie Provinces (currently on hiatus); Saskatchewan; Toronto; Ottawa–Gatineau; and Quebec/Atlantic Canada, as well as smaller branches (called twigs) in Calgary, Alberta; Kitchener-Waterloo-Guelph, Ontario; Hamilton/Halton, Ontario; Kingston, Ontario; Nova Scotia; and Newfoundland and Labrador.
For more information, visit the press release on the Editor’s Association of Canada website.
>>From the Association of Canadian Publishers
Copyright Board decision offers little clarity on fair dealing for education
TORONTO, ONTARIO—(March 3, 2016)—Canada’s independent publishers are discouraged by the Copyright Board’s recent decision on the 2010-2015 K-12 Tariff, issued February 19. The decision assigns no tangible value to the vast majority of material copied in Canadian schools. This will further diminish the industry’s capacity to invest in new works and threatens the future supply of Canadian-specific learning resources.
In 2012, the Copyright Modernization Act added education as a purpose for fair dealing. In the vacuum of guidance occasioned by the new law, the Council of Ministers of Education (CMEC) subsequently created and adopted “Fair Dealing Guidelines” and have largely ceased paying for print and digital copies used to deliver curriculum in Canadian schools. As a result, revenue flowing to publishers and creators has plummeted, with an economic loss of at least $30 million in royalties annually across the industry. Last month’s Copyright Board decision contributes to a troubling framework, and means that book publishers and creators will not be compensated for copying an amount equivalent to close to 900,000 books annually.
“Canadian publishers are long-term partners in Canadian education. We invest in and produce the works that teachers and students have come to rely on in delivering curriculum,” said Association of Canadian Publishers (ACP) President Matt Williams. “We share a common interest in ensuring the ongoing availability and quality of Canadian content in the classroom, content that reflects local culture and realities. But with dramatically reduced royalties coming back to us for reinvestment in new works, this system is threatened.”
The Copyright Board’s decision also raises questions about the application of CMEC’s Fair Dealing Guidelines. Though CMEC repeatedly cites the guidelines as evidence of its members’ respect for copyright, in its decision the Board found that CMEC witnesses “showed that there was little or any emphasis on monitoring and compliance with the Guidelines.” The Board’s decision highlights the shortcomings of CMEC’s guidelines, and serves as a reminder of the complex copyright landscape Canadian educators now find themselves working under.
“The educational publishing market continues to erode in Canada, and the consequences are more than just financial,” observed ACP’s Executive Director, Kate Edwards. “Without incentives to publish, the variety and quality of contemporary Canadian educational content will decline. At the end of the day, it’s students and teachers who will lose out.”
The ACP calls upon the federal departments responsible for copyright – Canadian Heritage, and Innovation, Science and Economic Development Canada – to clarify fair dealing provisions immediately, to ensure fair compensation for the use of copyright-protected work.
The ACP is the national voice of Canada’s independent English-language book publishers. The ACP supports its 115 members in creating an economically sustainable Canadian-owned and -controlled publishing industry. Visit www.publishers.ca for more information about the association’s programs and mandate.
For more information, visit the press release on the Association of Canadian Publishers website.
>>From the Writer’s Union of Canada
COPYRIGHT BOARD DECISION IGNORES CULTURAL DAMAGE
Toronto – Canada’s professional authors are extremely disappointed with the recent decision of the Copyright Board around the copying of published works in K–12 schools. The Writers’ Union of Canada (TWUC) calls for an immediate repair of the Copyright Act, specifically the damage caused by ill-conceived 2012 changes that have set in place a vicious cycle of market failure.
While on the one hand the Copyright Board has set a new royalty rate for copying in the K–12 sector, they appear to be simultaneously excusing the vast majority of the actual copying from that royalty. The net result of such a decision is that Canada’s writers and publishers will go completely uncompensated for close to a million books worth of copying per year in Canadian schools.
“This is further proof of the damage caused by the 2012 changes to the Copyright Act,” insisted author Heather Menzies, chair of TWUC. “Not only has the board nearly halved the tariff that K–12 schools should pay as compensation for copying Canadian-authored books, it has excluded nearly 90% of our work. And the students of this country will also pay a heavy price, as the source of this cultural work dries up. Authors cannot afford to work for free.”
Since the passage of Bill C-11, a highly contentious and poorly constructed 2012 amendment to the Copyright Act, educational royalty payments to Canadian authors have plummeted. Publishers have reduced investment in the educational sector and authors have indicated they will have to abandon future work. In fact, many have.
“It’s an outrageous situation for Canadian cultural workers,” remarked John Degen, TWUC’s executive director. “Canada’s writers provide a massive contribution to education in this country. For our professional work to be forcibly extracted without compensation is a scandal. We warned Parliament this would happen, and were assured it would not. This ridiculously broad loophole must be closed.”
Both the court system and Canada’s copyright regulator appear to be hamstrung by that 2012 legislative change. The Writers’ Union of Canada calls upon the federal ministries responsible for copyright (Canadian Heritage and Innovation, Science, and Economic Development Canada) to prioritize an immediate fix.
The Writers’ Union of Canada is our country’s national organization representing more than 2,000 professional authors of books. The Union is dedicated to fostering writing in Canada, and promoting the rights, freedoms and economic well-being of all writers.
For more information, visit the press release on the Writer’s Union of Canada website.