Off the Page is a regular interview series featuring National Magazine Award winners. Recently we spoke with Adrian Forrow, who won his very first National Magazine Award in 2016, winning the Gold Medal in Illustration for his series of illustrations featured alongside the article “My Prescribed Life” (The Walrus). The story is a memoir about the longstanding link between mental health and prescription dependency, and it also received an Honourable Mention for Best Health & Medicine article.
NMAF:As splashes of colour that break up pages otherwise saturated by text, magazine illustrations give the reader a welcomed break, a moment’s pause before they jump back into reading. What do you think the role of an illustration is for people reading magazine articles?
Adrian: The role of editorial Illustration should be additive. It should help set the mood of the forthcoming text. The image can help evoke visual interest and transport the reader to a place where ideas and understanding intersect.
NMAF:What details do you need before you can properly begin your creative, designing process? Are there certain elements or information that your client or partner needs to relay, in order for you to develop your concept?
Adrian: What I find that works best for me is to receive the brief and the text and really absorb the core idea before putting pen to paper. Once I feel I have a grasp of the idea, I might discuss the tone of the imagery that I feel is best for the article. This is where collaboration can happen with the art director and it’s a great way to help inform your imagery. I try not to think about the imagery at this stage–just the mood, atmosphere and tone of the picture.
The other detail that is critical for my process is the dimensions of the image. It’s really important for me to consider the whole compositional area. The dimension can ignite my conceptual approach and really make the art feel customized to the space available.
NMAF:You won Gold in Illustration at last year’s National Magazine Awards for your pieces featured in a memoir called “My Prescribed Life.” The story, published in The Walrus, discussed the link between the author’s mental illness and related dependence on medication. How did the subject matter of the memoir influence your creative conceptualization for the piece? How did you decide what tone would be most appropriate?
Adrian:This was a great article and so interesting. It was a delicate and somewhat saddening topic. I knew the colours were going to be really important. I didn’t want to do what was expected. I knew I had to take an approach that might have to be more ambiguous and surreal.
I didn’t want to use this illustration to summarize or define the problem. Instead my intent was to ask a question or pose a contemplative composition so the viewer would be left to decipher the visual symbols that I included.
The colours were mostly primary and that helped carry the idea of youth and aging. The colours also helped to create a surreal or even jarring feeling in relation to the content. The goal was for the colours and composition to carry ideas about an altered state of reality.
NMAF:Your Gold win last year was also your first time being recognized by the National Magazine Awards Foundation. How does winning awards for your illustration work help you, on both a personal and professional level?
Adrian:It feels great to know that my work is being received and appreciated within the industry. Personally, it helps to motivate me to keep developing my skills as a visual communicator. Professionally, it helps to open doors and possibilities for new and exciting opportunities.
NMAF:Your work has adorned coffee cups, been part of the creative for major music festivals and has been made larger-than-life by outdoor mural installations. Your work has also appeared in magazines, including The New Yorker, Corporate Knights and The Walrus. As an illustrator, what types of creative collaborations do you like to pursue? Do you try to not limit yourself to any one medium?
Adrian:I feel that in many ways I am just getting started. I have so many ideas and desires to push what I can do. The best thing about my profession is the variety it offers. One day I’m drawing a coffee cup, the next day I’m painting a huge outdoor mural. Variety is the spice of life, so I try to be diverse in the projects I take on.
I also love the collaborative process and making things that fulfill a need or desire. I have always experimented with different approaches and tools for making images. I think it helps my clients see different possibilities and vary their experiences with illustration.
As of now, I have been collaborating with Warby Parker for a new store mural which I am really excited to share with people. I have also been collaborating with Keilhauer to make some artful promotional products.
Adrian Forrow is a National Magazine Award-winning illustrator whose work has been published in The Walrus, Corporate Knights, Canadian Running & Cycling Magazine and The New Yorker. His debut National Magazine Award was the Gold Medal in Best Illustration, for his series of illustrations featured in The Walrus memoir, “My Prescribed Life“.
Submissions to the 40th Anniversary National Magazine Awards The 40th anniversary National Magazine Awards are open for submissions until January 20, including awards for Illustration and for Best New Magazine Illustrator.
Enter at magazine-awards.com.
In alternate years, the NMAF presents distinct awards for Best New Magazine Illustrator and Best New Magazine Photographer. For this year’s 40th anniversary National Magazine Awards, the Best New Visual Creator award will go to an illustrator whose early work in magazines shows the highest degree of craft and promise.
Read more about the Best New Creators Awards here.
Off the Page is a regular interview series featuring National Magazine Award winners. Recently we caught up with photojournalist Marta Iwanek, who in 2016 was named Canada’s Best New Magazine Photographer from the National Magazine Awards Foundation, in addition to winning the Gold Medal for Photojournalism & Photo Essay for her incredible reporting of the 2013-2014 Ukrainian crisis, titled “The Maidan” (Maisonneuve).
NMAF: In your award-winning photo essay, “The Maidan,” you take the reader on a journey to a winter in Kyiv, where thousands of Ukrainians gathered to take a courageous stand against their government. You capture the Maidan as a place of fear and uncertainty, but also of community and solidarity. How did you get a sense of the place when you arrived, and what were the human emotions that spoke to you as a photographer?
Marta: I first arrived in Kyiv in early November (2013) before any of the protests had started. I remember driving through the centre of the city and thinking what a bustling metropolis it was. Then I went out east to work on a film and returned in late November a little after the pro-European protests had begun. Everything was still calm at that point and there was a sense of hopefulness among the crowd.
The protest was to last nine days, but on the last night everything changed. The remaining protestors were chased out of Independence Square (Maidan) and beaten by police, angering many people. On December 1 a large demonstration occurred in Kyiv where the people re-took the square and the movement that became known as “the Maidan” began. I was supposed to fly back to Toronto shortly after, but realized I couldn’t leave.
The feeling was so powerful and strong among the people. It felt like people had been pushed to an edge and they had nothing more to lose. There were feelings of frustration, abandonment and urgency. At the same time, you could still find the glimpses of hope and community as people unified under one cause–to oust then President Yanukovych. I was always trying to show those emotions in my photos and trying to understand the situation deeper, trying to figure out what made it this way? I changed my flight and ended up staying three months, living among the protestors and spending my days and nights wandering the square, talking to people and trying to make sense of it.
I like to immerse myself in stories as much as possible and I hope this translates in my photos. It was also a story I felt personally connected to because my roots are Ukrainian and I grew up in the Ukrainian diaspora in Toronto. I grew up listening to the stories of Ukraine’s constant struggle for independence and to be free of corruption, so the feelings of the people in the square were not foreign to me. However, this time, it wasn’t just my parents talking about it in Canada, detached from the situation and it’s consequences. It was happening in front of me. When it was finally time to leave, I will always remember that contrast I felt when I first arrived in the capital and when I left–the place, the people and the country had been changed forever.
During my years as the art director of Maisonneuve magazine, I had the opportunity to work with many talented women photographers—each one a unique visual voice. Marta Iwanek stands out for the way she brings her compassion to a body of work that sits on the edge of war and peace, among fire and smoke, between life and death situations, especially with her Ukrainian “Maidan” project.
—Anna Minzhulina, former art director, Maisonneuve
NMAF: Over one hundred people were killed in the government reprisals, and you spent time not only on the front lines but also with those who were wounded and grieving. How did you balance your own safety with your passion for capturing every aspect of the story? And did you learn anything about yourself as a journalist that will assist you in the future?
Marta: There were certain days that felt very unsafe on the square, but the majority of my time spent there, things were peaceful. There would be flare-ups between police and protestors and then things would resume back to “normal.” I looked to other, more experienced photojournalists in the square for guidance and advice. I had only been freelancing for three months at that point, fresh out of college and had found myself in the middle of the news cauldron that was Kyiv.
There were many times that I was scared. Even today I think I still would be. The most important thing I learned in those kinds of situations is to trust your gut. There were certain situations I decided to be close-up and others I held back from. Sometimes, I beat myself up for not being in the right place or holding back too much, but you have to be honest with yourself and with what you’re willing to do. It took quite a while to reconcile these feelings, but the experience taught me that I’m not a conflict photographer.
Many photojournalists starting out often have a dream of covering foreign stories and conflicts. I didn’t go to Ukraine searching out a conflict to photograph, I just happened to be there when it all started. And a part of me left feeling like I had failed as a journalist because I hadn’t gotten the most heated moments, and I was actually back in Canada on the day that over a hundred protestors were shot. For me, it was more emotionally heavy to be away from the square during that time than when I was in it. Not knowing about the fate of many friends who were there, as well as feeling the guilt of not being there, took a toll.
We’re taught to want to be this travelling, conflict photographer, but that’s not who all of us are. The whole time on the square, I found myself being much more drawn and interested in the quieter moments and it took me a while to realize those moments are just as important too.
We are all unique and we will all notice different things in similar situations and we will be better at photographing in certain situations over others. Journalism is a communal effort and we need to be honest with ourselves, find out the type of stories you’re best at and are drawn to. Then don’t be afraid to do it.
NMAF: That was over three years ago, and since then Ukraine has experienced war and occupation perhaps beyond the worst fears of those who gathered on the Maidan. How has this story stayed with you since then?
Marta: My time on the Maidan has been one of the factors that keeps driving me to keep coming back to this region and exploring the underlying issues more deeply, looking at why things are the way they are now, what’s caused them and what keeps causing them?
It’s also something I’ve always wanted to do because my background is Ukrainian. I’ve always been drawn to Ukraine and Eastern Europe because I’ve grown up with my cultural heritage being so central in my life, from participating in folk activities, being involved in the diaspora community to regular dinner table conversations about Eastern European politics. I actually started primary school barely speaking English because at home we just spoke Ukrainian. It has a huge place in my heart. I’ve started looking at my own family’s history in the area, connecting with relatives and following the story of Ukrainians in Poland who were deported from the South-Eastern territories in 1947 under military Operation Vistula. Deportations are a huge part of Eastern Europe’s history and play a huge factor in why things are the way they are today.
There has definitely been media fatigue with Ukraine as the conflict reaches yet another year. It’s why I think it’s more important than ever to stay with the story and understand what is happening there, to put the past and the future in greater context for the average viewer.
NMAF: For the camera nerds, what bodies and lenses do you shoot with? And what was your technical approach to the photography on the Maidan?
Marta: Back then, during those three months on the Maidan, I was using a D600 and a 35mm f/2 and a 24-70mm. This is still my favourite set-up although now I have a D810 with a 35mm f/1.4. My technical approach is to go as light on gear as possible, zoom with your feet and build intimacy with the people you are photographing. This will create a much better photo than any lens or camera body can.
NMAF: You worked with Anna Minzhulina, then the art director of Maisonneuve, who said she was stunned by the evocative scenes and characters that jumped out from your images. Can you describe the creative process of how the two of you edited your body of work into a story that connected with the magazine reader?
Marta: Anna is an extremely talented and passionate editor and I am so grateful for her eye. Editing is an art of its own and a skill many photographers often lack, myself included. It was also a story I had immersed myself in, so it can be very hard to be objective about the photos when editing, which is where Anna came in.
So often, I would attach a personal memory or story to a photo and Anna was able to single out the photos that could still speak to a viewer who was encountering them without all the backstory. She chose the photos that could speak on their own and spoke together cohesively to tell the story of the square.
It was also exciting to be able to tell a story in a magazine over so much space. The majority of my time I’ve spent working in newspapers where it’s usually one image to tell a story, but here it was a different process of how the photos work together to form a narrative.
Women photographers are still an anomaly in the male-dominated documentary photo world, with its emphasis on traditionally masculine values like the courage and bravery to ‘shoot’ with a camera. We need to encourage more female visual voices like Iwanek’s here in Canada and around the world. Death does not distinguish between genders. It takes all. But I’m interested in how the female eye looking through a photographic lens might see it differently. It’s important that we have different perspectives, that we pay attention to what they might show us that we haven’t considered before. That’s why we need exposure to more work of female war photographers, such as Iwanek.
—Anna Minzhulina, former art director, Maisonneuve
NMAF: The night of the 2016 National Magazine Awards, you didn’t have a ticket to get in, but as the show started you were hanging out in the foyer in case your name was called. And it was—twice! What was that experience like? And when you were on stage accepting your awards, what was your message to the audience?
Marta: I was generously given a seat at the sponsor table and so in the end I was able to attend the awards. I had a small cheer crew at the table and we had a lot of fun. I hadn’t prepared a speech, but I just went up there and spoke from my heart. I thanked everyone who helped me and it was great to see Anna in the audience as I spoke. I was also thankful that the recognition of the award would bring more attention to the story, which had greatly fallen off the news cycle. It’s a story close to me and so I’m grateful for any opportunity to talk about it.
NMAF: Can you tell us about some of your latest projects, and what you’re up to next as a journalist?
Marta: A project titled “Darling” was actually one of my first projects and still one close to my heart. It is a story about an elderly couple in Trenton, Ontario, where Lex Duncan is the at-home-caregiver for his wife Mary Duncan, who has dementia. I started it as a way to reconnect with a generation I felt I didn’t get a good chance to know after my last grandparent died.
It was a project to deal with the loss and also understanding what my parents, as well as countless others in our country are facing as they care for an ailing loved one. I am so grateful to the Duncan family who opened up their home to me and gave me a chance to get to know them and tell this story.
This year I started photographing in the villages my grandparents came from. They were once Ukrainian villages but after WWII became part of Poland and the majority of the Ukrainians who lived there were deported and dispersed either to Soviet Ukraine or throughout Poland, my grandparents included.
I’ve always been curious about my roots and grew up with a father who has worked as a historian, making films and writing books on eastern European history. So after the Maidan I became interested in exploring Eastern Europe on a deeper level and understanding events in the past that have an effect on the present. Through this project I want to explore how identity changes when a culture is displaced from its ancestral land. It’s been a very personal project, but I’ve also found it to be incredibly universal through the many forced migrations happening throughout the world today.
Marta Iwanek is a National Magazine Award-winning photojournalist whose work has appeared in Maisonneuve, Maclean’s, the Toronto Star, the Globe and Mail, and other publications. In 2016 she was named Canada’s Best New Magazine Photographer by the National Magazine Awards Foundation. Discover more of her work at martaiwanek.com.
The 40th anniversary National Magazine Awards are open for submissions until January 20, including three different categories for photography. Enter at magazine-awards.com.
Looking for that perfect (okay, perfect last-minute) stocking stuffer? Do they love to read, laugh, cook or shop? Do they love great writing, photography and illustration? Then stuff a great, National Magazine Award-winning magazine in that stocking. Here are some of our favourites from 2016. (And for more ideas, check out our holiday book guide, with new books by NMA-winning writers.)
A quarterly magazine of arts, literature, ideas and culture, published in English in Montreal. You’ll find a great mix of new and established writers, artists and photojournalists packaged around award-winning design. A perfect magazine for an afternoon on the sofa or a long train ride home. Also, it’s Canada’s Magazine of the Year in 2016 (1 of 5 NMAs it won this year), so you know every issue is a must-read. 2 years (8 issues) for just $30
Winner of 4 National Magazine Awards in 2016 including Essays and Investigative Reporting, this thought-provoking magazine of longform journalism published in Edmonton is consistent in introducing readers to Canada’s best writers and important stories. 4 issues for $26
CNQ: Canadian Notes & Queries
Winner of the 2016 National Magazine Award for Fiction, CNQ publishes some of this country’s finest literary criticism, poetry, graphic works, and short fiction. 1 year (3 issues) for just $25
Winner of the 2016 National Magazine Award for Poetry, Vallum is one of Canada’s very best publications for poetry and literary reviews, and regularly features Canada’s best poets as well as emerging ones. 1 year (2 issues) for $20
Globe Style Advisor
Also a winner of 4 National Magazine Awards in 2016 for its photography and design, Globe Style is one of our favourites for fashion and style journalism. Get it with your Globe & Mailsubscription. And you can get award-winning Report on Businessmagazine, too.
An award-winning magazine of design, decor, lifestyle and more, Western Living was a 2016 National Magazine Award winner and consistently delivers quality ideas that are in line with the latest and greatest trends. 1 year (10 issues) digitally for just $18
The Feathertale Review
A literary magazine dedicated to great humour (twice an NMA winner in that category), Feathertale makes a great gift for anyone who loves to laugh and enjoys the lighter side of CanLit. 1 year (4 issues) for $30
A Canadian tradition in a magazine, Cottage Life is not only the perfect companion to country living in all four seasons, it mixes practical advice with award-winning journalism. Don’t go into the woods without it. 1 year all access print and digital for $30
Here at the National Magazine Awards Foundation, nothing brings us greater joy than diving into our next non-fiction read. Non-fiction gnaws at us because prose based on real people and real events tends to capture, move, and inspire us.
So to bid farewell to the year that was, we’ve rounded up some of our top non-fiction reads by National Magazine Award-winning authors — aka fool-proof gift ideas — that will undoubtedly please (and hopefully inspire) anyone you’re looking to spoil this holiday season.
Alexandra Shimo’s new book, Invisible North, is a cry for help for our Indigenous peoples: their lives, their land and their dignity.
Shimo is not Indigenous. The lived experience and documentation of our Indigenous peoples, by Indigenous peoples, is of utmost importance to the amendment of Canada’s history and will play a crucial part in shaping our country’s future. Shimo is, however, an investigative reporter, who, while on assignment for CBC’s The Current, discovered the devastating reality of Canada’s Indigenous reserves. When Shimo travelled to the Kashechewan reserve in northern Ontario — known better to some as “ground zero” for the First Nation experience — she witnessed firsthand the deplorable living conditions, major lack of services and the relentless government inaction faced by the Cree living on that land. In Invisible North, she recounts her deep-seated guilt, struggles with post-traumatic stress disorder and ultimate inability to cope with the living conditions on the reserve.
Shimo is a former editor of Maclean’s. She is the recipient of three honorable mentions at the National Magazine Awards, including for her Toronto Life piece, “Kandahar Diaries,” five stories from soldiers after their return from Afghanistan. This is her third book.
“A Disappearance in Damascus” by Deborah Campbell
“Did I find her or did she find me?” writes Deborah Campbell in her new book, A Disappearance in Damascus(Knopf Canada), winner of the Writers’ Trust Award. Her is in reference to Ahlam, Campbell’s ‘fixer’— journalist jargon for a foreign correspondent’s interpreter or guide. An Iraqi mother and humanitarian, Ahlam is of invaluable assistance to Campbell throughout her Middle-East reportage, and when she gets taken by secret agents, the journalist, who has reported from countries including Egypt, Qatar and Russia among others, can’t help but take the blame for her disappearance. Campbell spends months in search of her friend in the perilous city.
The story takes place almost a decade ago, rendering the title somewhat misleading. When Ahlam disappeared, Campbell was reporting on the Iraq War, at a time when Iraqis were fleeing to Syria for refuge. Despite this, Campbell’s account provides a contemporary piece of the puzzle that is the current state of war in Syria.
Campbell is the winner of two National Magazine Gold Awards for her articles in The Walrus— “The Most Hated Name in News” and “Iran’s Quiet Revolution”— published in 2009 and 2006 respectively. She has written for many publications, including Harper’s, The Guardian and Foreign Policy, and has spent over a decade reporting abroad.
“The Marriott Cell” by Mohamed Fahmy (w/ Carol Shaben)
Just over one year ago, Egyptian-born Canadian journalist Mohamed Fahmy was awaiting bail from behind bars of an Egyptian maximum security prison. He, along with two other Al-Jazeera journalists, were sentenced to 7-10 years, accused of reporting false news, after police raided their makeshift studio in the Marriott Hotel in Cairo. According to Human Rights Watch, the trial of Fahmy was a “miscarriage of justice based on zero evidence.” Despite this, the three spent over a year in prison before making bail following a presidential pardon.
Now, finally free and back in Canada, Fahmy is an adjunct professor at UBC, and he’s just published The Marriott Cell (Random House), a book on his harrowing experience in Egypt. The book is a collaboration of efforts by Fahmy and Carol Shaben, a former NMA winner.
Shaben is the winner of two National Magazine Awards for her story, “Fly at Your Own Risk” (The Walrus), about the deficiencies of Canada’s smaller aviation aircrafts and companies. She has written one other book, Into the Abyss, and lives in Vancouver.
The problem with turning 60? It’s so goddamn melodramatic, says Ian Brown, who wrote about the experience in a bygone Globe and Mail column.
A year later, he’s written a book on the subject of his life since, entitled, Sixty: The Beginning of the End, or the End of the Beginning? A Diary of My Sixty-First Year (Penguin Random House). The title itself sounds characteristically self-deprecating — perhaps not surprising for any seasoned journalist in 2016. Fearing he’s “misplaced” the last 20 years of his life, Brown begins writing a diary in an attempt to embrace the next 20. He isn’t necessarily unhappy with how his life has played out — he is a successful journalist by anyone’s standards — but he grapples with how inconspicuously the last six decades slipped by. Brown provides both an intimate and humorous look at the aging process, in hopes it really is just “the End of the Beginning.”
Ian Brown is a journalist and author of five books. Currently, he hosts Human Edge and The View from Here on TVOntario. He is also a feature writer for The Globe and Mail. Brown has collected many National Magazine Awards over the years, most recently a Gold for “Man Vs. Behemoth,” his short feature published in Explore Magazine.
“Bad Singer” by Tim Falconer
If you’re into books like Daniel Levitan’s This Is Your Brain on Music or David Byrne’s How Music Works, Tim Falconer’s Bad Singer (House of Anansi) should logically be next on your reading list. Sure, it’s another look at music through a scientific lens, however, the latter takes a more personal approach, as Falconer himself suffers from amusia — the technical term for tone deafness, encompassing both pitch processing and musical memory. Weaving through the science behind singing, the limitations of the body and the trait of human persistence, Falconer is able to prevail, capturing the interest of any reader, simply by exploring a topic dear to so many.
Falconer’s book is based on his 2012 Maisonneuve piece “Face the Music,” that won him a Silver at the National Magazine Awards.
Falconer is the author of five books. Currently, he is a professor at Ryerson’s School of Journalism in Toronto, a mentor in the Creative Non-Fiction program at the University of King’s College in Halifax and an editor at the Literary Journalism program at Banff Centre for Arts and Creativity.
Gray includes the obvious, from George-Étienne Cartier to Tommy Douglas to Emily Carr, but strays (somewhat) with a chapter on Elijah Harper, former Indigenous NDP MLA, and noted critic of the Meech Lake Accord. If history textbooks of our past didn’t suffice in the area of Indigenous peoples pasts, perhaps Gray’s account will follow the lead of Harper’s, that is, to bring the stories of our Indigenous people into mainstream conversation.
Gray has received eight honourable mentions at the NMAs, including a Chatelaineprofile of global activist Naomi Klein and a Walrus political piece on leader of the NDP, Thomas Mulcair.
Happy holiday reading from the National Magazine Awards.
Off the Page is a regular interview series featuring National Magazine Award winners. Recently we caught up with Richard Kelly Kemick, who was nominated for 2 National Magazine Awards in 2016–winning the Gold Medal in One of a Kind for his story “Playing God” (The Walrus), a reflection on his singular obsession with building Christmas villages. The story also won him a nomination for Canada’s Best New Magazine Writer.
NMAF: “Playing God,” your story thatwon Gold in the One of a Kind category at last year’s NMAs, was developed at the Banff Centre for Literary Journalism. Can you describe your experience there, and how this somewhat unconventional idea was developed into an award-winning magazine story.
Richard: During my month at the Banff Centre––as every tagline on their website attests––I worked alongside some of the best editors and writers in the business (Ian Brown, Victor Dwyer, Charlotte Gill, to say nothing of the exceptional participants I was writing alongside). What I wasn’t expecting, however, was how affirming it would be for me as a writer.
As I’m sure we all do, I wrestle a lot with insecurity and mediocrity. Banff’s LJ program placed me an environment where I had a month to only write, read, and sit in Michael Lista’s room to watch The Bachelor (he forced us to watch, like, every episode with him). It was an environment which told me––day after day for a month––that as long as I’m writing, I am a writer.
Anytime I get an opportunity to work with an editor, it’s an absolute privilege. The “Playing God” piece was edited, edited, kicked around, and edited again. And while I came to develop a profound hate for the Track Changes bubbles on a word document, my editor, Victor, took the piece from the ramblings of a limp-wristed despot into something with form, narrative, and an actual arc.
NMAF: More recently, your debut collection of poetry, Caribou Run was included in this year’s CBC must-read poetry list. How is recognition — from the NMAF and other organizations — significant to you and your work?
Richard: The CBC list was bizarre. I had no warning; I received an email from my publisher with the link and a note saying “this better translate into book sales” (just kidding, they’re incredibly supportive). It was a very rewarding surprise, just like the NMA.
These types of recognition are indeed significant. So much of what we do as writers is sit at a desk and clack away in an isolation the rest of the world would refer to as cruel and unusual punishment. (If you’re lucky, you’ll have a dog to aid you through this.) Any recognition that someone has actually read your work and––god forbid––actually enjoyed it is inexpressibly quenching.
On the other hand, however, I don’t want to think that recognition objectively signifies quality. There were poetry collections which were far stronger than mine but not included on the CBC list. Same goes for the NMA. A writer once told me that saying you “deserved” to win an award is like saying you “deserved” to win the lottery because you played the numbers well. (That writer was Michael Lista and it was on a commercial break of The Bachelor.)
Rewards are fantastic; anybody who says otherwise is either lying or Buddha. But it’s boom/bust. I was on the boom for a bit. Now is the bust. And I’m finding it hard not to become petty, jealous, and focused on recognition instead of the writing. But I’m trying to work against that, work through it. Because I think there is a name for writers, and the writing they produce, who are like that: fucked.
NMAF: Robert Moore, English professor at the University of New Brunswick, recently wrote apiecefor The Walrus questioning the future of poetry as an art form. In Adam Kirsch’sreviewof The Hatred of Poetry by Ben Lerner, he claims poetry is “the site and source of disappointed hope.” He adds acclaimed poet Marianne Moore’s famous line “I, too, dislike it,” in reference to the craft. You’ve just published your first collection. What inspires you to write poetry?
Richard: As a poet, the perpetual death of poetry is my favourite topic. Yes, poetry now panhandles in the literary ghetto––neighbouring junk mail and the academic essay. Yes, poems gather more dust than acclaim. Yes, when I write “Poet” on credit card applications I all but assure rejection.
I think, however, that this apocalyptic setting is what enables Canadian poetry to be so exciting right now. We have an environment which produces writing, not writers. The pinnacle of this is when writers have brilliant collections (Michael Prior’s Model Disciple, anyone?) without floating off into the ether of poisonous pomp. Because the stakes are hedged, there is a democratizing force in contemporary Canadian poetry, a force which I’m not sure exists in any other commercial genre, a force in which free-verse upstarts and seasoned sonneteers are working within the same circles. Yes, there are politics within the CanPoetry community––just like anywhere. But at least we have the decency to wage our wars in divisive Facebook threads, rather than at the Giller’s or, for example, in a wildly offensive open letter.
I started writing poetry (and still do) because I wanted to be a better writer. Poetry––for my money––is the genre that best develops your craft. The attention to language is merciless, and if you can make fourteen lines of ten syllables each tell a story, think of what you can do with some elbow room!
NMAF: Much of your work centres around animals. How does your love for animals influence your writing, and what inspired the theme of caribou migration in your latest collection?
Richard: I write about animals because I’m unable to convey actual human emotion. Animals provide a healthy alternative. Like, if you’ve got a character that is unlovable but you want to make him lovable but you don’t know how–give him a dog. Then name that dog Maisy. Then let Maisy fool a woman, preferably a public school teacher because of the job security, into a long-term relationship. Then feel safe and loved and statistically unlikely to now die alone as you work on your poems all day, drinking coffee from small cups as your wife toils in a grade one classroom, with Maisy curled at your feet.
The caribou idea was just that I thought the migration was pretty rad and already had poetic elements within it. Four years later (which is about a third of a male caribou’s life), a book! Aim for the stars, kids.
NMAF: Your writing ranges from fiction to nonfiction, poetry to prose — do you have a favourite form? And, if you can tell us, what can we expect to see from you next?
Richard: I don’t have a favourite form. I consider forms like my children: they all disappoint me for different reasons.
I’ve currently got a collection of non-fiction essays (one of which is the piece that won the NMA) under consideration. I’ve also got a collection of short stories that was turned down for publication, but I’ve since been working on it and hope to submit again soon.
I’m trying to view rejection as an opportunity for me to make the work better. In five, twenty, or a hundred years (I plan to live forever), I know I won’t mind having been delayed in publishing a collection of short stories, but I will mind if those stories are shitty. I’m not saying that every rejection a publisher makes is sound; but in this individual case, the rejection has given me the clarity to realize that I can make the stories stronger and (after I’d cried myself dry and drank myself wet) I’m trying to do that.
Richard Kelly Kemick is a National Magazine Award-winning writer whose work has been published in The Walrus, The Fiddlehead, Maisonneuve and Tin House. His debut collection of poetry, Caribou Run,(2016, Goose Lane Editions) follows the Porcupine caribou herd through their annual migration, the largest overland migration in the world. Caribou Run was included as a one of CBC’s fifteen must-read poetry collections. Follow him on Twitter @RichardKemick.
Special thanks to Krista Robinson for her reporting on this interview with Richard.
Here at the National Magazine Awards we’re humbled to see so many familiar names in line for some of Canada’s most notable literary awards.
Earlier this month, the Governor General’s Literary Awards shortlist was announced, with four former National Magazine Award winners and nominees in the running for one of the country’s most prestigious prizes. They join fellow Canadian authors and poets on the Scotiabank Giller Prize and the Writers’ Trust Award shortlists — both of which also boast great work by recent NMA honourees.
Mona Awad has come a long way from her two-week stint on the then-famed Beverly Hills Diet in 1988, at age nine. Her raw depiction of the commonplace pursuit of slenderness, in 13 Ways of Looking at a Fat Girl (Penguin Canada), was shortlisted for the Giller Prize last month. The compilation of short stories follows the tribulations of a young Mississauga girl, struggling with her appearance and self-worth, into womanhood. Back in 2005, Awad’s Maisonneuve piece, “The Shrinking Woman” — which shared a common theme with 13 Ways — was a finalist for a National Magazine Award. The essay ushered the reader through Awad’s journey of growing up with a mother who, despite loving and supportive, couldn’t shield her daughter from an addiction to dieting and weight loss.
“Later on I’m going to be really…beautiful. I’m going to grow into that nose and develop an eating disorder. I’ll be hungry and angry all my life but I’ll also have a hell of a time.” — Mona Awad, 13 Ways of Looking at a Fat Girl
Awad has written for numerous publications including McSweeney’s, The Walrus, and Joyland, among others.
Gary Barwin is a Canadian poet, composer and professor at York University. In 2015, his poem Winter, published on Hazlitt was a finalist in the poetry category at this year’s NMAs. His most recent novel, Yiddish for Pirates (Random House Canada), has been shortlisted for both the Giller Prize and the Governor General’s Literary Award. From the point-of-view of a 500-year-old parrot, the story takes a humorous yet philosophical tone in telling the tale of Moishe, a young Jewish vagabond eager to escape to the sea. S. Bear Bergman, in the Globe and Mail’s Book Review, sang its praises, emphasizing Barwin’s unique and often hilarious use of language(s).
“A boychik with big ideas, his kop—his head—bigger than his body. He would travel beyond the scrawny map of himself, and beyond the shtetl. He’d travel the ocean.There were Jews—he’d heard stories—that were something. Not rag-and-bones shmatte-men like his father, Chaim, always following the dreck of their nag around the same small world. Doctors. Court astronomers. Spanish lords. Tax farmers. Learned men of the world. The mapmakers of Majorca. They were Jews.” — Gary Barwin, Yiddish for Pirates
Barwin has written over a dozen books, including writing for children and young adults as well as poetry compilations.
Kerry-Lee Powell got nods from the three big literary awards this year for her debut collection of short stories, Willem de Kooning’s Paintbrush (Harper Avenue/Harper Collins). The east coast poet was longlisted for the Giller Prize and shortlisted for both the Rogers Writers’ Trust Fiction and GG’s Fiction awards. Back in 2011, Powell was a finalist at the NMAs for two poems, “The Lifeboat” and “The Emperor.” The poems — scrawled down one night in a harrowing stupor — were in response to her father’s post-WWII PTSD and ultimate suicide, and her own struggles with mental illness.
“One of the after-effects of working in a busy bar is that you never really leave. It could be four o’clock on a Sunday morning. The pigeons are ruffling their oily feathers on the windowsill and the bedroom pales to a washed indigo as you launch into the slow drift towards oblivion. But it’s no use. The insides of your eyelids burn with visions of Saturday night. It’s a scene from the Inferno. Red shapes beckon and bang their glasses on the bar. They reel into shadows and surge forward again, a many-headed monster throwing punches in the air. The only thing is to wait for them to disappear. Except they never do.” — Kerry Lee Powell, Willem de Kooning’s Paintbrush
In addition to her debut collection of shorts, Powell has also written two poetry collections, Inheritance and The Wreckage.
Michael Helm’s apocalyptic fourth book, After James (McClelland & Stewart), is on the shortlist for the Rogers Writers’ Trust Fiction Award. The collection of novellas, with three intertwining settings, characters and plots, has been called “genre-defying.” Perhaps a not so surprising feat for Helm, who has served as an editor and contributor for Brick, the beloved Toronto-based literary journal, for over a decade. In 2014, Helm earned a NMA honourable mention for his tribute to esteemed Montreal writer Mavis Gallant. Helm’s short feature — published in Brick (93) — was deeply thoughtful. The reader, regardless of affiliation with Gallant, soon becomes mourner, naturally reflecting on lost loves — literary or otherwise.
“And then, a last idea, one she couldn’t suppress. It was that she was still inside the cave. She had fallen out of time, even as she descended through the woods as present in the world as she always had been. In thought, memory, body, she was nearly exactly herself. The feeling began to fade, to seem fanciful, at lower altitude, as her blood became better oxygenated, but she understood that it would never entirely leave her. It was somehow familiar, the idea that she was two places at once, or one place in two overlapping times. She must have read it in a junk novel, seen it in movies, things that everyone consumed without really remembering and that she found it harder and harder even to pretend to believe. — Michael Helm, After James
Helm’s past bibliography includes: Cities of Refuge (2010), In the Place of Last Things (2004) and The Projectionist (1997).
Steven Heighton has been on our radar at the NMA’s since the late ‘80s when he was first nominated for his poem “Approaches to Lhasa” in The New Quarterly. Now a five-time NMA winner, Heighton holds four gold awards and one silver for both his poetry and fiction, published in the likes of Arc Poetry Magazine, The Fiddlehead, Prism International and The Walrus. His newest collection, The Waking Comes Late (House of Anansi Press), has been shortlisted for the GG Poetry Awards. This much anticipated collection, by critics and fans alike, touches on the themes of contemporary life and death, and what a seemingly troublesome future might hold for us all.
Steven Heighton has written numerous short stories, essays, poetry and novels over the course of his career. He has won or been nominated for over a dozen literary awards.
Rachel Rose was nominated for her first NMA in 2015 for “Three Poems,” published in Fiddlehead. Her fourth collection of poetry, Marry & Burn (Harbour), has been shortlisted for the GG Poetry Award. The poems, all revolving around themes of love and loss (of people and dogs), evoke a correspondingly sad and familiar fond feeling in the reader. In Rose’s newest collection, she explores similar themes with new subject matters, including the devastation of losing a beehive in our current climate, to Canadian racism and the mistreatment of our First Nations.
Rose has won awards for her poetry, fiction and nonfiction works. Her chapbook, Thirteen Ways of Looking at CanLit, was published last year by Toronto-based publisher BookThug.
The GG Literary Award presents $25,000 each to both an English and French finalist. Check the GG’s website on October 25 when the winner will be announced.
The Writers’ Trust Awards, comprised of different categories, with awards funded by various sponsors, will be announced at the Glenn Gould Studio in Toronto on November 2.
The Scotiabank Giller Prize winner will be awarded $100,000, while finalists walk away with $10,000. You can watch the live stream of the event at CBC Books on November 7.
Read and download hundreds of great short fiction stories and poetry in the National Magazine Awards archive, at magazine-awards.com/archive.
Special thanks to Krista Robinson for contributing to this article.
Canada’s largest magazine & book festival – Word on the Street– is coming to four Canadian cities this month, with opportunities for readers to browse great deals on magazine subscriptions, hear inspiring stories from their favourite writers and go home with an exciting stack of new reads.
Halifax– Saturday, September 17, Halifax Central Library
Saskatoon– Sunday, September 18, Exhibitor Marketplace
Toronto– Sunday, September 25, Harbourfront Centre
Here are some of the events and speakers at Toronto’s Word On The Street we’re looking forward to, featuring NMA winners:
Lauren McKeon, 2-time NMA winner and editor of THIS Magazine (now celebrating its 50th anniversary year) leads a discussion with panelists: NMA winner Daniel Viola (Maisonneuve), Sheila Sampath (Shameless Magazine), Priya Ramanujan (Urbanology), and Shawn Micallef (Spacing) on why independent media is now more important than ever, and what role this form of journalism will play in the next fifty years. The hour-long discussion starts at 3:15 at the Canadian Magazines Stage.
Randi Bergman, 2-time NMA winner, chats with Corduroy Magazine editor-in-chief Tim Chan and 7-time NMA winner Tanya Watt about what is and what isn’t Canadian fashion, with examples of designers and companies across the country at 4:15 at the Canadian Magazines Stage.
Emily Donaldson, editor-in-chief of NMA-winning publication CNQ: Canadian Notes & Queries, joins Brick editor, Laurie D. Graham, and Nailah King in a showcase discussion of Canadian literary journals and magazines at 12:45 at the Canadian Magazines Stand.
NMA Gold winner in Poetry, George Elliott Clarke, is participating in the Diaspora Dialogues panel which will explore how to write about Toronto in the future at 3:00 at the Toronto Book Awards Tent.
NMA winners speaking at the Nothing But The Truth Tent, hosted by Sue Carter, editor at Quill & Quire andarts & ideas editor at THIS Magazine.
Craig Davidson, 2-time NMA winner, talks about his new book “Precious Cargo: My Year Driving the Kids on School Bus 3077”. Starts at 12:15.
Diane Schoemperlen, silver NMA-winner for Fiction, talks about her new book “This is Not My Life”. Starts at 4:15.
Sandra Martin, 2-time NMA winner, discusses her book “A Good Death”. Starts at 5:15.
Check out these National Magazine Award-winning titles at the Exhibitor Marketplace and the Magazine Mews (MM). Word on the Street always brings out great deals on magazine subscriptions, often with gifts and back issues on sale, too.[Map of WOTS Toronto]