Guided by ancestors: Commonwealth Short Story winner Chanel Sutherland on inspiration, free writing, and the very Canadian cold
“Lord of the Rings is my favourite thing ever.”
Can the Giller be saved? Without an injection of funds, Canada’s glitziest literary prize may be forced to close at the end of the year
This is, to put it mildly, a difficult time for an arts organization to be chasing funding.
Don’t call it a ban: Alberta government follows through on threat to have books removed from school libraries
The Bible and other religious texts will be exempt from the order.
Riding shotgun: Two disaffected teens take a road trip heading north and bad things happen in Vijay Khurana’s debut novel
The discontent and anomie of these characters practically seeps from their pores.
Bindu Suresh discusses puzzle plots, blending genres, and leaving space for the reader to inhabit in her new novel, The Road Between Us
"I very quickly realized that it didn't need to change, I didn't need to make it more traditional."
Hustle and grift: Adnan Khan’s second novel, The Hypebeast, extends and elaborates the themes from his debut
The Hypebeast extends Khan's interrogation of masculinity and machismo in immigrant communities.
A live podcast event featuring Anne Michaels celebrates one year of The Walrus’s partnership with Nathan Whitlock’s What Happened Next
This is not the first time Whitlock has contemplated a live conversation for his podcast.
Heather Birrell’s debut novel finds a high school English teacher going into labour during a lockdown
Birrell employs a variation on Faulkner's structure in As I Lay Dying.
Dana A. Williams’s new book about Toni Morrison’s time at Random House shines a light – albeit a limited one – on an underexplored aspect of the writer’s career
The picture that emerges of Morrison as editor is of someone simultaneously dedicated to her authors and interested in helping them find wide audiences while also firm – not to say obstinate – in her opinion of her own editorial talent.
Canadian Chanel Sutherland wins the 2025 Commonwealth Short Story Prize
Sutherland says the structure of the story was "a risk" that arose out of her belief that "every enslaved person deserves to have their story told with dignity."