Carmine starnino biography of michael
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At the time, her mother was in an insane asylum, and her alcoholic father was sleeping where he could. They don’t have time to read.
Excerpt from Arrival: The Story of CanLit:
Gwen MacEwen dropped out of high school to become a writer when she was eighteen. In 2011, she became a MacArthur Fellow.
ALEXANDRA OLIVER, contributing editor, was born in Vancouver, BC.
She is the author of Meeting the Tormentors in Safeway (recipient of the 2014 Pat Lowther Memorial Award) as well as a forthcoming collection Let the Empire Down (2016). This is the first book to try to do that, to tell the whole story for both those who know parts of it and those who know none of it.
She read with confidence, pulling audiences together through the talk and the smoke. His writing has appeared in The Atlantic, The New Republic, The Walrus, and Flavorwire. He lives in Toronto.
CARMINE STARNINO, senior contributing editor, is the author of numerous collections of prose and poetry including A Lover's Quarrel: Essays and Reviews (2004), Lazy Bastardism: Essays and Reviews on Contemporary Poetry (2012), and This Way Out (2009), which was nominated for a Governor General's Award.
It’s a story about readers, publishers, and writers. The use is immaterial; the knife (or, more precisely, its Italian name) is the thing that connects grandfather and grandson to each other within their culture, and to their places in the world. But at the same time the sense of writing as a national project is stuttering to its final end."
The Pitch, Nick Mount, House of Anansi
See alsoITALIANS; ITALIAN CANADIAN WRITING.
The Pitch: Nick Mount
Carmine Starnino talks to Nick Mount about his new book
WELCOME TO THE PITCH, a series on Partisan in which writers come clean about their works-in-progress—and share an exclusive excerpt.
Stallings, Alexandra Oliver, Brooke Clark, Jack Hanson & Jackie Hedeman
Foreign Correspondent: Evan Jones
MICHAEL LISTA, co-editor, is the author of the poetry collections Bloom (2010) and The Scarborough (2014).
EVAN JONES, foreign correspondent, was born in Weston, Ontario, and has lived in Manchester, UK, since 2005.
The long decade between the late 1950s and the mid-1970s saw the emergence of what are still the best-known names in Canadian writing, including Margaret Atwood, Marie-Claire Blais, Leonard Cohen, Mavis Gallant, Margaret Laurence, Alice Munro, Michael Ondaatje, Al Purdy, Mordecai Richler, and Michel Tremblay. 2000 saw the publication of Credo, which won the CANADIAN AUTHORS ASSOCIATION Award for Poetry, and the David McKeen Award.
She has been a finalist for the Canadian National Magazine Award for Best New Writer in feature journalism and the Writers’ Trust of Cananda’s RBC Bronwen Wallace Award in poetry. Those women are mostly working today, while still doing the laundry. Milton Acorn was from Charlottetown, a World War II veteran with a metal plate in his head, a socialist chip on his shoulder, and a serious case of chronic depression.
What we don’t have is a book that puts all those stories together. What made it a singular event?
“These are the people who made writing and publishing a profession in this country, but they weren’t yet themselves professionals—many of them lived larger and often riskier lives than their inheritors.”
MOUNT: Mostly for the very simple reason that the numbers were so small before the ‘60s—the number of good books and the number of books, period.
And it’s the story of the culture that created and sustained them all, a society that after several centuries of swatting bugs and cutting trees suddenly found itself with both the time and the need for their own books.
STARNINO: You’ve taught, and written about, Canadian literature for many years. He lives in Montréal.
SUZANNAH SHOWLER, managing editor, is the author of Failure to Thrive (2014), a finalist for the Gerald Lampert Award.
Oliver co-edited (with Annie Finch) Random House/Everyman’s one-hundredth anthology in the Pocket Poets series, Measure for Measure: An Anthology of Poetic Meter (2015). He came to Toronto in the summer of 1960 and soon became an Embassy idol, shouting poems at the rafters, scaring the college kids, letting lawyers and housewives imagine themselves part of the revolution for a night.