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Halifax writer Francesca Ekwuyasi got her start when she was 10, writing fictional stories in her journal. In her early 20s, still in her native Lagos, Nigeria, she began writing short stories, ultimately submitting one for publication around 2015.
Happy Hour is a tribute to a particular frenetic pace among New York’s social elite, one sometimes lived by these kinds of characters—modern femmes fatales and manic pixie dream girls.
Ruthnum is a student of form as much as substance, and his latest novel was the only way to contain some of the sweeping ideas about technology, diversity politics, and the modern workplace that had been nagging at him for months.
After the dissolution of her marriage, Camilla Gibb lost the ability to write fiction. The stories vanished, fluttering off somewhere out of reach, and it took many years for the acclaimed writer to hold them in her hands again.
Ian Williams is concerned with social honesty expressed through immaculate craft. In a time when many novels try to jockey for the hippest or most woke, Williams deals with the messy ambiguities, which is why a family is the perfect vehicle.
When writers send their books out into the world, there is always a hope attached. For Talaga, her hope is that people read the stories, listen to the collective voices, and ask themselves, “What can I do?”
The author talks about her creative process and the birth of her Scotiabank Giller Prize-nominated novel Motherhood.
Over her 20-year-career, Madeleine Thien has rooted her storytelling in the personal and the political of Asian communities. In her latest novel, music became the point of departure.
