31 Days of Stories 2026, Day 29: “Our Lady of Resplendent Misfortune” by Senaa Ahmad
In the story, a woman named Claribel living in Ohio during the Prohibition era of the 1920s is visited by the ghost of Jeanne d'Arc.
31 Days of Stories 2026, Day 25: “Novel Suggestions for Social Occasions” by Ji Hong Sayo
Sayo's chosen mode is satire, here doing double duty, parodying both Game of Thrones–style high fantasy and Martha Stewart–type rules for entertaining.
31 Days of Stories 2026, Day 23: “What We Do When No One Is Watching” by Dania Idriss
While the civil war does not play a central role in Idriss's story, it is constantly hovering in the background.
31 Days of Stories 2026, Day 22: “Seasons of Glass and Iron” by Amal El-Mohtar
Both Tabitha's and Amira's stories are situated in the realm of fantasy and fairy tale.
“We need our prize back”: Canadian poets feel buoyed by the reinstatement of the Canadian Griffin Poetry Prize
"The opportunity that a prize like this provides is not the opportunity to compete. It is the opportunity to be seen."
In his new long essay, Globe and Mail reporter Tyler Dawson examines the possibility and perils of Alberta separation
Dawson seems fairly sanguine about the slim chances Alberta secession has.
“Egotistical adults with no boundaries”: Rick Westhead investigates the corrosion affecting junior hockey in Canada
Westhead has done an invaluable service by shedding light on the ugly underbelly of a system that starts scooping up boys as young as five or six.
“C’est plus qu’un sport”: Brendan Kelly unravels the enduring mythology of the Montreal Canadiens in his most recent book
If the owners have at times seemed to prioritize winning over team makeup or history, Kelly argues they do so at their peril.
31 Days of Stories 2026, Day 17: “Penetrating Wind Over Open Lake” by Elise Levine
There is a tension between the free-floating style and structure of Levine's story and Paisley's notions regarding claustrophobia and confinement.
31 Days of Stories 2026, Day 14: “Roxanne (After Edmond Rostand)” by Catherine Bush
Bush maintains the characters' original gender roles but switches the focus from the play's title character to that of the romantic interest.