La FNPMC a le plaisir de présenter « En marge », une série d’entretiens réalisés avec des auteurs primés aux Prix du magazine canadien. Pour amorcer la série, la Fondation s’est entretenue avec la journaliste scientifique Dominique Forget.
Maintes fois récompensée aux Prix du magazine, Mme Forget raflé pas moins de cinq prix: quatre mentions honorables et une médaille d’or. En 2012, elle a récolté trois mentions honorables pour des textes publiés dans autant de magazines. Lors de la plus récente édition des prix, elle s’est encore une fois illustrée, avec l’équipe de Québec Science, en remportant la médaille d’or dans la catégorie Dossiers thématiques : imprimés.
FNPMC : Québec Science a accumulé les honneurs aux Prix du Magazine canadien au fil des ans. Cette année, votre équipe a remporté la médaille d’or dans la catégorie Dossiers thématiques- imprimés. Que fait la force de Québec Science à votre avis?
Dominique : Québec Science occupe une niche peu exploitée. Il est le seul magazine au Canada qui aborde des sujets de société sous l’angle des sciences.
L’équipe est petite, mais dévouée. Malgré les pressions grandissantes des annonceurs pour publier du contenu payé dans le magazine, Québec Science arrive à préserver farouchement son indépendance et à miser sur des sujets qui comptent.
At the National Magazine Awards Foundation we are getting very excited about the upcoming year, our 38th recognizing and rewarding the very best in Canadian magazines. We’ll be announcing our call for entries on December 1. Here are the important dates for the coming year:
As always, there are many ways to keep current with news and updates from the National Magazine Awards: sign up for our e-newsletter; follow us on Twitter @MagAwards and Facebook; and come back and visit this blog often.
Starting next week, you can submit your entries to the National Magazine Awards at magazine-awards.com.
A brand-new “hyperlocal” city magazine is coming to Edmonton readers next week. The Yards, edited by National Magazine Award-winning writer Omar Mouallem, promises to be a “quarterly glossy/newsprint publication [that] focuses on cultural, planning and social issues in central Edmonton, particularly in Downtown and Oliver, two neighbourhoods experiencing enormous growth over the decade.” The magazine’s name is a tribute to the rail yards which pass through those two dynamic neighbourhoods.
Said Mouallem via press release:
“Newspapers and newsrooms are shrinking, but there’s still hunger for local news—especially in a city growing as steadily as Edmonton. Nowhere is this excitement and uncertainty more visible than in the city’s core. So as a hyperlocal magazine we can home in on that growth, in on our backyards, and we can understand it and access it better than anyone else.”
The first issue will launch next week in a partnership between the Central Edmonton News Society and the Oliver and Downtown Edmonton Community Leagues. In addition to Mouallem as editor, the staff includes Vikki Wiercinski as designer and the first issue will include contributions from Jennifer Cockrall-King, Tim Querengesser, Tyler Biard, Studio Tipi and Scott McKeen.
Off the Page is a regular interview series produced by the National Magazine Awards Foundation. Today we catch up with Charles Yao, publisher and art director of Little Brother, a literary magazine which won its first NMA this past spring. The 2014 National Magazine Awards are now open for submissions.
NMAF: Little Brother only recently burst onto the Canadian lit-mag scene, with your first issue released in 2012 (and alreadysold out, I see). What is your perspective on the value of literary magazines to Canadian readers and culture, and how did this influence what was no doubt a bold decision to launch LB?
Charles: Literary magazines are valuable, for sure. They’re like this living system—new writing, lovingly packaged, parceled out every few months—that keeps the culture moving, keeps it evolving. That’s the best-case scenario anyway.
When we started Little Brother, we wanted to be a part of that, but also do our own thing. If it’s not new, why bother? So we junked what we didn’t like, and made a magazine that we personally would want to read. LB has always been very DIY. No grants, no open submissions, no army of slush readers, no affiliations with universities. Just two people pushing out their literary and aesthetic sensibilities onto the world! We’ve run 10,000-word essays on hot dogs, professional wrestling, illness and laughter, women in print media, the influence of America on Canadian writers. We’ve commissioned photo essays on pop bottles and “boring” apartment buildings. It speaks to the breadth of Canadian literary culture that there’s room—even a relatively sizeable audience—for what we’re doing.
As far as the “bold” decision to launch our own mag. Back then, [founding publisher] Emily M. Keeler was thinking a lot about Canadian literature: whether there was anything new under the sun—that kind of thing. Little Brother is like this candy-coloured mag that, twice a year, says, “Yes. Yes there are new things coming out of Canada that will more than repay your commitment.”
NMAF: Emily hassaidthat she decided to pursue LB as a print publication (as opposed to digital) in part because the magazine wanted to create space for long pieces and experiments, for “prose that isn’t forced to hurriedly unfurl itself.” And she spoke of the rhythm of reading a printed magazine over digital. Is this sense of writer-reader engagement on a kind of special sensory plane a motivating force for you as a publisher, and why is this important in a media landscape with so much content?
Charles: A beautifully designed, thoughtfully paced magazine is simply the best medium for reading a certain kind of literary writing. If you want to read work that requires and rewards sustained attention, then a quality print mag, like McSweeney’s, like The Paris Review, like Little Brother, is still where it’s at.
And part of that, for sure, has to do with the sensory appeal—with, as you say, the rhythm of turning pages. You get that “space” that Emily mentions. You get the literal white space of the margins surrounding nice typography, which is its own kind of minor luxury these days. But you also get the mental space of uninterrupted reading. And you just don’t get that, at least not right now, with the junky impermanence of most web sites. (Just to be clear, though, the web is great for 95% of all reading. Most of my reading—most of everyone’s, I imagine—takes place on the web.)
I’ve also mentioned this elsewhere that an important aspect of publishing is excitement. Does the reader get excited when something is released? I think people still do get genuinely excited when a new issue of a print magazine comes out. They’re probably less excited when a web site gets refreshed. And, let’s be honest, they’re hovering in the bottom rungs of excitement when an eBook is released.
Finally, as producers, making a print, as opposed to a digital, magazine is a necessary motivator. We could have made a Tumblr. That would have been easy, but a little struggle is good. The fact that a print magazine costs money to produce, takes time to design and distribute, requires a wide skill set, forces you to learn new things—these are all pluses. Having stakes is important.
NMAF: A wonderful emerging writer namedJess Taylorwon last year’s National Magazine Award for Fiction, for a short story called “Paul” in LB No. 3. Describe your experience of the nomination and the award, and what were you thinking when Jess walked up on stage?
Charles: Well, funny story. We first heard Jess read an early version of “Paul” at a live reading series, and we immediately wanted it for the mag. Wanted it quite badly. The problem was that she had already submitted it to this other journal, which, incredibly, couldn’t decide if they wanted to run it! I still remember the day that Jess sent us an email to say that we could have the story and start the editing process. That was a good day.
Still, I didn’t think Jess would win. It’s not because “Paul” isn’t great. And it’s not because Jess isn’t amazingly talented. It’s because, you know, she’s a relative newcomer. At that point, she hadn’t published very many stories and Little Brother wasn’t even finished its second year! So: you have a 24-year-old writer with an offbeat but beautiful story about three guys named “Paul,” and it’s published in a small-run magazine that’s only on its third issue—and it’s up against Michael Winter and Pasha Malla [and 3 other nominated writers]. Yet, somehow, she won! Actually, that’s some false modesty, I know: Jess’s story is a stone-cold classic!
When they announced Jess as the Gold winner, we pretty much lost our shit! She ran up on stage, and gave this really endearing speech. Her speech, and the one from an editor at Torontoist, were the best of the night. They were both deeply appreciative and a little shocked and very happy. I remember talking to Emily about whether we should even go to the ceremony; the price of the tickets was not inconsequential—that’s money we could put to good use elsewhere. But it turned out all right in the end. Also: there were two chocolate fountains at the post-awards gala, so I really can’t complain.
NMAF: What are your publishing goals for Little Brother, and where do you see recognition, such as that of the National Magazine Awards helping, to fulfill those goals?
Charles: Our goal is to keep growing, to get in front of as many potential readers as possible.Little Brother No. 5, the meta issue, is the first where we have proper national distribution. It’s important that LB be in stores across the country, in a lot of cities. It’s cool to see a spreadsheet of all the places selling it. My hope is that someone who’s never heard of LB stumbles on it, finds it intriguing enough to pick up, and brings it home. That kind of serendipity was how I found a lot of magazines—like early McSweeneys and Speak—that were important to me.
We’ve also launched a speaker series, called What We Talk About, which was originally started by the late Alicia Louise Merchant and Peter Merriman. Both of them, coincidentally, wrote essays for LB2. One reason we started LB was to build this community of like-minded writers, artists, and readers. So the lecture series is an extension of Little Brother! The first–about Witchy Women!–was held on November 19 at the Drake Hotel.
With Emily now the Books Editor at The National Post, we’ve grown the administrative side to compensate: Lydia Ogwang from Worn Fashion Journal is now our publishing associate, and Evangeline Holtz, who talked us into letting her be our publishing assistant (really!), will be helping us as she finishes her PhD. Jess Taylor, speak of the devil, will become our first fiction editor, which is very exciting. She’s as dedicated as anyone we know to nurturing, finding, and publishing new fiction writers, and she has a sensibility all her own—though it fits well within the context of LB. Emily will still work on the big essays, and I’m still the art director, but now also the publisher.
As for the National Magazine Award, I think it’s given us a certain legitimacy in the eyes of people who might have otherwise written us off as this upstart publication that just does what it likes. That’s true, but getting a Gold NMA is proof that there are other people who like what we’re doing, too.
The National Magazine Awards Foundation strives to ensure that the awards recognize the best work from Canadian magazines. To help ensure a broad base of participation, this year we are offering one (1) FREE ENTRY to the National Magazine Awards to all magazines whose annual revenue is $200,000 or less. [Version française].
Applications are being accepted now; submissions for the 2014 National Magazine Awards will open on December 1.
Why should you take advantage of the Small Magazine Rebate?
New Readers: Award-winning magazines attract new readers who are hungry for great stories.
Bragging Rights: Tell your readers and supporters that you are delivering the best and most credible content, recognized by your peers in the magazine industry.
Get Noticed: With a National Magazine Award, writers and artists find new audiences for their creative work.
Celebrate Your Creators: Editors, publishers and art directors have the opportunity to reward creative talent.
We Promote You: The NMAF works year-round to promote award-winning magazines and creators through mass media publicity, social media channels, newsstand promotions and more.
Because small magazines do so much with so little already.
In-depth journalism is expensive, and so most outlets are shying away from it [and] it needs to be supported by genuine investigative journalism that offers trustworthy and thorough research along with genuine writing talent (to keep us reading!). The NMAs mean a great deal to people in the magazine industry and to writers in general; they indicate what is working at a high level and signal to the country what might be worth paying attention to.
— Curtis Gillespie, editor of Eighteen Bridges
Because literary magazines are a critical component of Canadian culture and their work deserves recognition.
Because winning a National Magazine Award helps take your magazine to the next level.
After our first NMA a lot of illustrators and writers who hadn’t really been looking at us started submitting work our way. It definitely helped us grow and added some more established voices to our ever-expanding list of contributors. I guess you could say that award helped us beef up subsequent issues, including Feathertale 9, which won Gold for Best Single Issue last year.
— Brett Popplewell, editor of The Feathertale Review
Because without the participation of small magazines, the NMAF would not be able to represent the wonderful work of Canada’s best literary and visual artists.
The NMA is a big award and I’m extremely grateful to have won it. I’m sure it has done quite a bit to promote my work and lift my profile as a documentary photographer. Above all else, I’m happy that this award brought the story to more viewers.
— Ian Willms, NMA-winning photojournalist for This Magazine
The 2014 Governor General’s Literary Awards have been announced, and we are delighted to see several wonderful books by National Magazine Award winners among those chosen as Canada’s best of the year.
In Children’s Literature (Illustration) the winner is Jillian Tamaki for This One Summer (Groundwood Books), with text by her sister Mariko Tamaki. Jillian is a 4-time National Magazine Award-winning illustrator whose work has appeared in The Walrus, More and other great Canadian magazines. Read our Off the Page interview with Jillian about her career and illustration work. Check out Jillian’s award-winning illustrations in the NMA archive.
In Non-Fiction, the winner is Michael Harris, for The End of Absence (Harper Collins), an exploration of the gains and losses of living in a hyper-connected world. Michael has twice been nominated for a National Magazine Award for his journalism in The Walrus, most recently for his profile of civil rights attorney Joseph Arvay. Read more in the NMA archive.
In Fiction, the winner is Thomas King, for The Back of the Turtle (Harper Collins). Thomas King won a National Magazine Award for Fiction in 1991 for his story “Borders” published in Saturday Night.
The ceremonies to honour this year’s Governor General’s literary award winners will be held on November 26 (English-language winners) and November 27 (French-language winners) in Ottawa. Read up on all the finalists and winners at ggbooks.ca.
Off the Page is back. In the latest installment of our popular interview series, we chat with National Magazine Award finalist and freelance writer Arno Kopecky, author of The Oilman and the Sea, shortlisted for this year’s Governor General’s Literary Awards.
NMAF: You’re an intrepid magazine journalist. We’ve read your reporting fromIcelandandColumbiaand others in The Walrus, fromBeaver Lakein Alberta Views, and recently from the British Columbia coast in the Reader’s Digest story “The $273 Billion Question,” for which you were a finalist for a National Magazine Award this past spring. How did you get started on this journey to a freelance magazine writing career, and what do you find personally or professionally rewarding about it?
Arno: Intrepid? Thanks, but groping in the dark is usually how it feels. I studied creative writing at the University of Victoria, and when I graduated in 2002 I realized I had no idea how the world worked, let alone how to write about it; so, on Bertrand Russell’s advice, I travelled. Moved to Spain and got a job teaching English, and after two years I’d learned (barely) enough Spanish to land a reporting internship in Oaxaca, Mexico. A string of magazine and newspaper internships followed: New York, Toronto, Nairobi. I was basically a professional intern for a few years. Somewhere along the way I started selling the odd story to various publications, and before long I was too old to be an intern, but the writing and travelling continued.
The thing I love about my “job” is what I think many journalists love, whether they travel or not: Writing gives us an excuse to meet interesting people doing interesting things. We get to join the conversation.
NMAF: The RD feature story appears to have led to an even larger project, your latest bookThe Oilman and the Sea(Douglas & McIntyre), which won the 2014 Edna Staebler Award for Creative Non-Fiction and is shortlisted for the Governor General’s Award. Was there momentum from your fascinating voyage up the BC coastline to the magazine article to the book, and how did your writing journey proceed?
Arno: Actually it was the other way round: the book contract came first. I pitched the idea to my then-editor at Douglas & McIntyre about two days after my friend Ilja Herb (whose photographs are in the magazine story and book) bought a 41-foot sailboat. We wanted to see the oil tanker routes proposed by Northern Gateway for ourselves, and it was clear from the beginning that the trip would generate tens of thousands of words, if only we could find a home for them. Douglas & McIntyre signed on early and gave us the reason we needed to pursue the expedition.
But Reader’s Digest signed on very quickly as well, and was hugely supportive from the outset. My editor there fought to get me real estate for one of the longest stories that magazine has published in recent history.
Two weeks after I got home from the sailing trip, D&M went bankrupt. Suddenly that Reader’s Digest feature was the only thing I had going for me. Thankfully, Harbour Publishing swept in to the rescue and resuscitated D&M, so that by the time my RD feature was on the stands I had a book contract once again. All I had to do was… write a book.
NMAF: Your approach as a writer to the complex debate about the Northern Gateway pipeline could be characterized by journalistic curiosity, a sense of adventure (to say the least) and perhaps a sense of responsibility, at least with respect to seeking out grassroots perspectives in places such as Bella Bella, Kitimat and others. Was there a particular place or event in the evolving process that made you think, This is the heart of the story, this will grab the reader’s (and editor’s) attention?
Arno: The Great Bear Rainforest–as the north and central coast of British Columbia is known– was itself the thing that captivated me from the outset. In some ways it’s the story’s central character. Here’s this Switzerland-sized labyrinth of whale-jammed fjords and evergreen islands on BC’s north and central coast, the biggest chunk of temperate coastal rainforest left on earth, that also happens to be one of the oldest continually inhabited regions on the planet–Heiltsuk, Haisla, Haida, Gitga’at and many other coastal First Nations have called this place home since the last ice age. I’m not sure how many Canadians are aware of its existence. The fact that oil tankers are now poised to navigate through those waters for the first time was, in some ways, just an excuse to talk about this teeming, volatile, amphibious zone, the likes of which happen not to exist anywhere else on the planet.
NMAF: What is the significance to you of being nominated for or winning awards for your work, whether National Magazine Awards or others? Is there (or do you foresee) a measurable impact on your career?
Arno: I heard a debate on CBC a while back as to whether there weren’t too many awards in Canada’s literary scene these days; that may well be true, but it doesn’t feel so when you get a nomination yourself. It’s become a cliché, how hard it is to make a living at writing, and anyone who wants to give writers a few bucks and some attention-grabbing praise has my everlasting gratitude.
That said, it’s hard to measure what the impact is on your career. Doors crack open, but you still have to push through; money comes, and then it goes. I guess for me personally, insecure hack that I am, the psychological boost that comes with an award is its most lasting aspect. Recognition helps put the self-doubting demons to rest, and it can be called on to subdue them when they inevitably reappear.
Last night at the annual Giller Gala in Toronto, Montreal-based writer Sean Michaels won the $100,000 prize for his debut novel, Us Conductors. This remarkable story, noted the CBC, is
“… inspired by the life of Lev Sergeyevich Termen, the Russian inventor of the eerily beautiful theremin, taking him from the rambunctious New York clubs of the 1930s to the bleak gulags of the Soviet Union. The Giller jury praised Michaels’ writing, saying “he succeeds at one of the hardest things a writer can do: he makes music seem to sing from the pages of a novel.”
Like many a former Giller nominee and winner, Sean Michaels has built a successful career as a magazine writer. First nominated for a National Magazine Award for his music criticism in Maisonneuve, he won a gold medal National Magazine Award in 2010 for his essay “The Lizard, the Catacombs and the Clock” in the literary magazine Brick.
The intoxicating story of the underground labyrinths of Paris and the cataphiles who spelunk within them, Sean Michaels explored one of the more mysterious sides of the world’s most-visited city.
Parisians call it a gruyère. For hundreds of years, the catacombs under the city have been a conduit, sanctuary, and birthplace for its secrets. The Phantom of the Opera and Les Misérables’ Jean Valjean both haunted these tunnels, striking students descended in 1968, as did patriots during the Second World War. The Nazis visited too, building a bunker in the maze below the 6th arrondissement.
In 2012 Sean Michaels won a second National Magazine Award, alongside veteran Canadian photojournalist Roger LeMoyne, in the Words & Pictures category for “Ringmasters” – a portrait of Montreal’s Tohu circus published in The Walrus.
But the artists still remember what drew them under the lights: the risk, the thrill, the chance to brush up against another world. Experiments are once again taking place in the streets, in the metro — or even at Tohu, where management rents studios for as little as $2 an hour: a troupe called Recircle salvages equipment from the trash, while Cirque Alfonse reinvents the family circus with a show that turns Québécois stereotypes (sometimes literally) on their heads.
Update: A memorial for Don Obe will be held on Friday, November 21, in the East Common Room ofHart Houseat the University of Toronto, from 5:30-8:00pm. All are welcome.
With great sadness and yet also inspired by the outpouring of remarkable tributes to a titan of Canadian magazine journalism, we remember the life and career of Don Obe, who passed away Friday. A former recipient of the NMAF’s Foundation Award for Outstanding Achievement (1993) for his remarkable contribution to the Canadian magazine industry as an editor, writer, teacher and mentor, Don was beloved by countless colleagues and students at Ryerson University where he oversaw the j-school program and the Ryerson Review of Journalism.
Before joining the faculty of Ryerson, where he taught many of Canada’s brightest journalists, Don was associate editor at Maclean’s and editor-in-chief of The Canadian and Toronto Life. In 1983 he became the chair of Ryerson’s journalism program where he founded the RRJ in 1984 and established it as Canada’s premier student magazine. He also won a National Magazine Award for Religious Journalism in 1982 for his story “The Dissident Rabbi” (Toronto Life). From 1989-1999 he was a resident editor of Creative Nonfiction at the Banff Centre for the Arts. He retired from Ryerson in 2001 but remained a mentor and inspiration to many.
Don was one of the great characters of modern Canadian journalism. He could be funny, biting, sweet, profane, hard-assed and kind, sometimes simultaneously. He was, for decades, the kind of journalist about which movies are made: hard-drinking and irascible with a soft heart. He was an important mentor of mine, as a writer, editor and, especially, as a teacher. But do you know what really matters? I owe everything I know about the soul of journalism to him.
— David Hayes, 2-time NMA winner and current NMAF board member
I met Don Obe in 1974. Today, I was with him shortly before his death at 78. In the intervening 40 years he had a substantial impact on journalism–particularly magazine journalism–in this country. I join many of his former students at Ryerson, his writers at the Banff nonfiction program and his colleagues in the business in remembering Don as the trailblazer he was.
— Lynn Cunningham, 2-time NMA winner and former recipient of the Foundation Award for Outstanding Achievement
I still hear him in my head: “Magazine writing is an intellectual exercise: it involves a lot more thinking than anything else”; “If you can’t write better than other people talk, you’re in the wrong business”; “Style at the expense of clarity is a waste of words.” But quoting his advice does nothing to capture his passion for journalism and writing, especially narrative non-fiction, or his love of sharing that passion.
— Tim Falconer, NMA winner and instructor on the RRJ
Don was also the editor of the National Magazine Awards 25th anniversary anthology in 2002.
Our thoughts are with Don’s family and friends, and the National Magazine Awards Foundation is honoured to be among those who have been touched by and celebrate Don’s life and achievements, and the impact he made on Canadian magazine journalists.
The Ryerson School of Journalism has announced that a memorial for Don Obe will be held on Friday, November 21 in the East Common Room of Hart House at the University of Toronto, from 5:30-8:00pm. All are welcome.
Each year the National Magazine Awards Foundation relies on the generously donated time and expertise of over 200 volunteer judges, who sit on three-member peer juries for our written, visual, integrated and special awards. Judging takes place between early February and mid-April, depending on the category.
Ideal candidates should fulfill one or more of the following criteria:
Editor, art director, publisher, web editor or other staff member (past or present) of a Canadian magazine, whether or not your publication participates in the National Magazine Awards (naturally you cannot serve as a judge in a category where your magazine is entered, but potentially in other categories);
Freelance or staff writer, illustrator, photographer or digital creator, where a significant portion of your work is in Canadian magazines (especially if you have been nominated for or won a National Magazine Award yourself);
Journalist with expertise in a particular field represented by one or more NMA categories (such as health, business, photojournalism, science, sports, travel, lifestyle, food, finance, poetry, etc);
Bilingual (obviously not all of our judges need be bilingual, but all written categories are judged by both unilingual and bilingual juries, and most other categories include one or more bilingual members on their juries).
To nominate yourself or a colleague as a candidate to judge, please contact the NMAF at staff [at] magazine-awards.com. Please include your name, contact information and a brief bio or summary of your expertise.
The sad news reached us recently of the passing of Mark Anderson. Mark was an accomplished and enthusiastic magazine journalist who won three National Magazine Awards for his work in Explore and Outdoor Canada.
We read his work in a number of other Canadian magazines, including Financial Post Magazine, Listed, Report on Business, MoneySense, Canadian Geographic, Reader’s Digest, Cottage Life, Ontario Nature and Canadian Business.
For us at Outdoor Canada, Mark was the complete package—an incredibly gifted storyteller with the added bonus of being a highly accomplished angler. Not only did he win major awards for his feature writing, he also earned laurels for his fly-fishing expertise, competing in both national and international competitions. Mark leaves a major vacancy in our stable of writers, and all I can say is we are so thankful we had him on our team when we did.
In one of his best-known stories for Outdoor Canada, “Requiem for a River,” Mark travelled to Quebec’s Rupert River, famous among anglers for its exquisite natural beauty and genetically unique brook trout, the summer before it was dammed as part of a massive hydroelectric project in the province. The story showcased Mark’s rare gifts as an inquisitive and thoughtful writer and conservationist.
I start working my way down the shoreline, all heavy brush and treacherous deadfalls, and when I break out into the open a half-kilometre later, I’m in for a shocking sight: clear-cut as far as the eye can see. It’s the slash Freddy Jolly warned us about, Hydro-Québec’s relentless drive to denude the banks of the Rupert in preparation for the coming flood. After three days surrounded by raw wilderness, it’s a dismal, depressing scene.
The story won a National Magazine Award for Travel writing in 2008 and was also nominated in Sports & Recreation. You can read the entire story here from the National Magazine Awards archive.
A Celebration of Mark’s Life was held at Algonquin College’s Observatory lounge on Sunday, October 26. Donations are being accepted in Mark’s name to Algonquin College Foundation’s Mark Anderson Memorial Bursary, via CanadaHelps.org. Mark’s obituary appeared in the Ottawa Citizen on October 22.