Forthcoming from Biblioasis: The Unseen by Roy Jacobsen

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This week the ARCs for The Unseen came in! We are super excited about this book here at the Bibliomanse—not only was it shortlisted for the 2017 Man Booker International Prize and for the 2018 International Dublin Literary Award, but acclaimed literary critic Eileen Battersby said it was “Easily among the best books [she had] ever read.”

This stunning novel was translated from the Norwegian by Don Bartlett and Don Shaw into beautiful, lyrical English, but don’t take our word for it—read an excerpt for yourself!

 

Whatever is washed ashore on an island belongs to the finder, and the islanders find a lot. It might be cork or barrels or hemp or driftwood or flotage — green and brown glass balls to stop fishing nets sinking — which old Martin Barrøy disentangles from the piles of seaweed when the storm has  blown over, then sits down in the boat shed to fasten new nets around, making them look like new. There might be a wooden toy for Ingrid, there might be fish boxes and oars, gaffs, bow rollers, bailers, poles, planks and the remains of boats. One winter night a whole wheelhouse was washed ashore. They used the horse to drag it onto dry land and left it there in the south of the island so that Ingrid could sit in the skipper’s swivel chair and turn the brass and mahogany wheel as she looked out over the meadows and stone walls that roll like waves across the island.
…
On rare occasions they find a message in a bottle, a mixture of longing and personal confidences intended for others than the finders, but which, if they were to have reached the intended recipient, would have caused them to weep tears of blood and move all heaven and earth. Now in all their indifference the islanders open the bottles, pick out the letters and read them, if they understand the language they are written in, that is, and reflect on the contents, superficial, vague reflections — messages in bottles are mythical vehicles of yearning, hope and unfulfilled lives — and then they put the letters in a chest reserved for objects which can neither be possessed nor discarded, and boil the bottles and rill them with redcurrant juice, or else simply place them on the windowsill in the barn as a kind of proof of their own emptiness, leaving the sunbeams to shine through them and turn green before refracting downwards and settling in the dry straw littering the floor.

But one autumn morning Hans Barrøy finds a whole tree that the storm has torn up and deposited on the southern tip of the island. An enormous tree. He can’t believe his eyes.

English translation copyright © 2016
by Don Bartlett & Don Shaw

 

Born on the Norwegian island that bears her name, Ingrid Barrøy’s world is circumscribed by storm-scoured rocks and the moods of the sea by which her family lives and dies. But her father dreams of building a quay that will end their isolation, and her mother longs for the island of her youth, and the country faces its own sea change: the advent of a modern world, and all its attendant unpredictability and violence. Brilliantly translated into English by Don Bartlett and Don Shaw, The Unseen is a profoundly moving exploration of family, resilience, and fate.

The Unseen comes out on April 7, 2020 in Canada and the U.S., so keep your eyes open for it in the New Year!

 

 

 

ABOUT ROY JACOBSEN

Roy Jacobsen is a Norwegian novelist and short-story writer. Born in Oslo, he made his publishing début in 1982 with the short-story collection Fangeliv (Prison Life), which won Tarjei Vesaas’ debutantpris. He is winner of the prestigious Norwegian Critics Prize for Literature and two of his novels have been nominated for the Nordic Council’s Literature Prize: Seierherrene (The Conquerors) in 1991 and Frost in 2004. The Burnt-Out Town of Miracles was published in Britain in 2008. Jacobsen lives in Oslo.

ABOUT DON BARTLETT

Don Bartlett is the acclaimed translator of Karl Ove Knausgard’s auto-fictional sequence My Struggle, as well as of novels by Jo Nesbo and Per Petterson. He lives in Norfolk, England.

ABOUT DON SHAW

Don Shaw, co-translator, is a teacher of Danish and author of the standard Danish-Thai/Thai-Danish dictionaries.

 

 

The Best Canadian Series 2019 — Coming Soon!

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For the first time, the whole Best Canadian series is under one publishing roof! This year Biblioasis has taken on Best Canadian Poetry, Stories, and Essays with the help of editors Rob Taylor, Anita Lahey, Amanda Jernigan, Caroline Adderson, and Emily Donaldson.

This year’s selections feature works by recent Giller-winner Ian Williams and writers such as Billy-Ray Belcourt, Lisa Moore, Zalika Reid-Benta, Richard Van Camp, and more!

Check out interviews with Rob Taylor, guest editor of Best Canadian Poetry 2019 and Caroline Adderson, editor of Best Canadian Stories 2019 in previous blog posts.

We are offering a special deal on our website. For only $60 (shipping and taxes included), you can get all three Best Canadian 2019 books!

 

About Best Canadian Poetry 2019

Guest editor Rob Taylor, author of the widely acclaimed collection The News, brings a passionate ear for rhythm, an eye for narrative compression, an appetite for vital subject matter, and an affinity for warmth and wit to his selections for Best Canadian Poetry 2019. The fifty ruggedly independent poems gathered here tackle themes of emergence, defiance, ferocious anger, gratitude, and survival. They are alive with acoustic energy, precise in their language, and moving in their use of the personal to explore fraught political realities. They emit a cloud of invisible energy, a charge.

Featuring work by:

Colleen Baran • Gary Barwin • Billy-Ray Belcourt • Ali Blythe • Marilyn Bowering • Julie Bruck • Sara Cassidy • Sue Chenette • Chelsea Coupal • Kayla Czaga • Sadiqa de Meijer • Adebe DeRango-Adem • Chris Evans • Beth Follett • Stevie Howell • Danielle Hubbard • Dallas Hunt • Catherine Hunter • Sonnet L’Abbé • Ben Ladouceur • Tess Liem • D.A. Lockhart • Jessie Loyer • Annick MacAskill • Domenica Martinello • Laura Matwichuk • Katie McGarry • Jimmy McInnes • A.F. Moritz • Alexandra Oliver • Alycia Pirmohamed • Marion Quednau • Claudia Coutu Radmore • Shazia Hafiz Ramji • Shaun Robinson • Yusuf Saadi • Rebecca Salazar • Ellie Sawatzky • David Seymour • Kevin Spenst • Mallory Tater • Souvankham Thammavongsa • Russell Thornton • Daniel Scott Tysdal • William Vallières • Katherena Vermette • Douglas Walbourne-Gough • Cara Waterfall • Gillian Wigmore • Ian Williams

 

 

 

About Best Canadian Stories 2019

Now in its 49th year, Best Canadian Stories has long championed the short story form and highlighted the work of many writers who have gone on to shape the Canadian literary canon. Margaret Atwood, Clark Blaise, Tamas Dobozy, Mavis Gallant, Douglas Glover, Norman Levine, Rohinton Mistry, Alice Munro, Leon Rooke, Diane Schoemperlen, Kathleen Winter, and many others have appeared in its pages over the decades, making Best Canadian Stories the go-to source for what’s new in Canadian fiction writing for close to five decades. Selected by guest editor Caroline Adderson, the 2019 edition draws together both newer and established writers to shape an engaging and luminous mosaic of writing in this country today—a continuation of not only a series, but a legacy in Canadian letters.

Featuring work by:

Frankie Barnet • Shashi Bhat • Kai Conradi • Adam Dickinson • Christy Ann Conlin • Zsuzsi Gartner • Camilla Grudova • Elise Levine • Lisa Moore • Alex Pugsley • Zalika Reid-Benta • Mireille Silcoff • Troy Sebastian • Cathy Stonehouse • Richard Van Camp

 

 

 

 

About Best Canadian Essays 2019
The eleventh installment of Canada’s annual volume of essays showcases diverse nonfiction writing from across the country. Culled from leading Canadian magazines and journals, Best Canadian Essays 2019 contains award-winning and award-nominated nonfiction articles that are topical and engaging and have their finger on the pulse of our contemporary psyches.

Featuring work by:

Tanya Bellehumeur-Allatt • Ali Blythe • Larissa Diakiw • Jeffery Donaldson • Tarralik Duffy • Sue Goyette • Helen Guri • Danny Jacobs • Robbie Jeffrey • Jessica Johns • Andy Lamey • Jessie Loyer • Pasha Malla • Melanie Mah • Noor Naga • Anthony Oliveira • Meaghan Rondeau • Mireille Silcoff • Souvankham Thammavongsa • Bruce Whiteman

 

 

An Interview with Caroline Adderson, Editor of Best Canadian Stories 2019

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This year is the first year that the whole Best Canadian series is under Biblioasis’ roof! Best Canadian Stories 2019 is the first book in the series (available November 19, but if you order here, we’ll send it to you early!). Best Canadian Poetry 2019 is available here, and Best Canadian Essays 2019 is coming soon!

 

A Biblioasis Interview with Caroline Adderson, Editor of Best Canadian Stories 2019

Best Canadian Stories 2019 cover

For those who are coming to your work for the first time, can you tell us a little about yourself and your writing?

I live in Vancouver. I’m the author of four novels (A History of Forgetting, Sitting Practice, The Sky Is Falling, Ellen in Pieces), two collections of short stories (Bad Imaginings, Pleased To Meet You) as well as many books for young readers. On the adult side, my books have received numerous award nominations including the Sunday Times EFG Private Bank Short Story Award, the International IMPAC Dublin Literary Award, two Commonwealth Writers’ Prizes, the Governor General’s Literary Award, the Rogers’ Trust Fiction Prize, and the Scotiabank Giller Prize longlist. I’ve won some prizes too: two BC Book Prizes, three CBC Literary Awards and the Marian Engel Award for mid-career achievement, among others.  But I think my real accomplishment is that after three decades I’m still writing fiction.

 

What have you done in the past that prepared you to edit Best Canadian Stories? In what ways was editing this collection different from anything you’ve ever done?

In 2015 I edited a non-fiction book of essays and photographs, Vancouver Vanishes: Narratives of Demolition and Revival.  Besides that, my preparation has been as a mentor and a reader.  I’m the Program Director of the Writing Studio at the Banff Centre for Arts and Creativity so I read a lot of work by emerging writers, as well as by my more established Canadian peers.  I’ve also sat on numerous awards juries.  Best Canadian Stories is a little like the latter, except happily fifteen writers won the prize – inclusion in the collection – rather than just one.

 

In reading the gazillion lit mags you had to read to choose the stories in this volume, what surprises did you encounter?

The surprises are in this volume.  These were the stories that jumped out at me because of their use of language, their strangeness, the audacity of their ideas, their humour, or their sophistication.  Delight was my criterion.  It was a bit like placer mining; I kept watching for the glints in the pan.

 

If you could make a wish for the future of Canadian fiction, what would it be?

I wish it would be taught in schools.  When my son was in high school just a few years ago, he was assigned the same books I had to read in high school.  I’m not sure how we can develop a healthy reading culture and a thriving book economy if we don’t teach our stories to our own children.

 

What are you reading right now?

I just came back from eleven days in Lisbon where I read three José Saramago novels.  Now I’m preparing to host a couple of events for the Vancouver Writers Fest so have four story collections on the go (one by Zalika Reid-Benta, who is  included in this volume), as well as the latest novels by Michael Crummey, Marina Endicott and Joan Thomas.  Talk about delight!

 

An Interview with Rob Taylor, Guest Editor of Best Canadian Poetry 2019

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This year is the first year that the whole Best Canadian series is under Biblioasis’ roof! Best Canadian Poetry 2019 is the first book in the series (available now!), and Best Canadian Stories 2019 and Best Canadian Essays 2019 will be available later this month. Get your copy of Poetry now!

 

A Biblioasis Interview with Rob Taylor, guest editor of Best Canadian Poetry in English 2019

 

For those who are coming to your work for the first time, can you tell us a little about yourself and your writing?

I’m a poet, short fiction writer and editor. I teach creative writing part-time at Simon Fraser University. and live in Port Moody, BC, with my wife and two children.

My recent collection, The News (Gaspereau Press, 2016), is a sequence of 36 poems, one per week during my wife’s pregnancy with our first child. The poems weave together the “news” of the pregnancy, the political news of the day, and quotes from literature (“the news that stays news”). I like to look for big ideas that are hidden away inside small things, especially the political inside the personal.

I also have a strong interest in sound in poetry—rhythm, rhyme, alliteration, repetition—and in humour (including, perhaps especially, humour in the face of difficulty).

 

You recently edited What the Poets Are Doing: Canadian Poets in Conversation. In what ways did that prepare you to edit Best Canadian Poetry? How are those two projects completely different?

The two were very different. With What the Poets Are Doing I was soliciting as-yet-unwritten material from poets and then editing it into its published form. With Best Canadian Poetry the material was already written and submitted (in a sense), and the editing work on the poems themselves had been completed by the various magazine editors. One was like planting trees and trusting they’d bear fruit, the other was like wandering around an orchard someone else tended and filling my basket with whatever caught my eye.

Though it followed a rather different process, What the Poets Are Doing prepared me for Best Canadian Poetry by establishing a spirit of collective generosity in which to work. Both books are a celebration of poetry as practiced in this country, and the compiling of each involved the work of a great number of talented and tireless writers and editors. My enthusiasm in being able to publish writing by such remarkable poets in What the Poets Are Doing, and their willingness to make something new and vibrant with me, fueled me to do the same in Best Canadian Poetry 2019.

 

In reading the gazillion lit mags you had to read to choose the fifty poems in this volume, what surprises did you encounter?

Every one of the fifty poems was a surprise! That was the only way they were ever going to stand out amidst the gazillion lit mags (in reality, a mere 82 magazines [~300 issues], and over 2,100 poems). Each of these poems contains something—an image, a scene, an idea, a joke, a line of dialogue, a structure, a voice—which grabs you and demands your attention.

More generally, I was surprised to find that no magazine (or handful of magazines) has a monopoly on these “surprises.” The poems that I was drawn to came from magazines across the country, small and large, online and print, upstart and well-established. It made me appreciate a series like Best Canadian Poetry all the more—nowhere else could even a fraction of these poems have been gathered in one place.

 

You’ve been editing your poetry blog, Roll of Nickels, for thirteen years now. Could you comment on any trends, movements, or big-picture changes you’ve seen in Canadian poetry during that time?

As I note in my introduction to Best Canadian Poetry 2019, the biggest change to the poetry published in Canada has been a move away from prioritising style and towards prioritising content. In Best Canadian Poetry 2008, the inaugural edition of this series, guest editor Stephanie Bolster observed that, “Quirky, noisy, dense, disjunctive poems seem to be on the increase” and that “there is almost no overtly political work.” One could say the opposite is now true. The poems of 2019 are easier to understand than those of 2007, and are more explicitly engaged with the questions of our political moment (and—oof—what a moment it is).

That said, the majority of poetry in this country is as idiosyncratic as the poets themselves, and removed from conversations of “trends” and “movements”—just singular poets working away at their singular desks. I very much believe it’s mostly the magazines that are changing: what gets published from year to year varies far more than what gets written.

One way magazines have been changing has been to open themselves to a wider range of voices. This has partly been spurred by new online magazines, founded and edited by younger and more diverse editorial teams, but editorial boards at our print magazines have been slowly diversifying as well, and special issues (or whole magazines) devoted to Indigenous, racialized, or LGBTQ+ writing are now rather commonplace. It’s no small thing.

 

If you could make a wish for the future of Canadian poetry, what would it be?

I don’t want anything different from the poems themselves. They need to be what they need to be, for both their poets and their readers. To ask poems to transform to my preferences (or any one person’s) would rob the art of one of its greatest powers: to speak directly to a particular you in a particular now. I can’t predict what you’d like or what you’d need (and you probably can’t either!), so I welcome everything, even if much of it doesn’t “do it” for me.

For the culture of the poetry world (and for poetry in our wider culture), my one request is to read the poems. Don’t talk about reading poems, don’t scan lists of award winners and best-sellers, don’t scroll briskly through bookstore shelves or Instagram feeds, don’t just see who “made it” onto the list of contributors to this year’s Best Canadian Poetry, don’t run around worrying about the future of Canadian poetry, just read the damn poems! They are all that really matters. Make a quiet space, here or there during your busy days, in which a poem can do its work. Make that a practice in your life. You will be rewarded for that devotion many times over.

 

What are you reading right now?

Poetry! I fell behind in my poetry reading when I was reading all that poetry for Best Canadian Poetry . . .

I recently finished Matthew Walsh’s These are not the potatoes of my youth, Karen Solie’s The Caiplie Caves, Ilya Kaminsky’s Deaf Republic and Emily Davidson’s Lift, and I’m about to start in on Shazia Hafiz Ramji’s Port of Being and Al Rempel’s Undiscovered Country.

Biblioasis Is Hiring!

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Biblioasis is hiring an enthusiastic and organized full-time bookkeeper and office manager for its publishing company and bookshop. The successful candidate will be responsible for all bookkeeping at both organizations, as well as payroll, author royalties and payments, sales projections and financial reporting, helping to manage author contracts, and basic office administrative responsibilities. This position will require a close working relationship with the press publisher and managing editor, and the bookstore manager.

Key responsibilities:

1. Bookkeeping for both the press and bookstore
2. Payroll and source deductions for all employees
3. Working with the publisher to produce financial reports and projections, as well as cost analyses for titles
4. Managing author royalties and payments
5. Working with the accountant on year-end
6. Managing author contracts
7. Basic office administration
8. Other tasks as assigned

Requirements:

1. Degree or certificate in bookkeeping and/or accounting
2. Strong background in Microsoft office suite, especially Excel
3. Strong organizational skills
4. Ability to prioritize and meet deadlines
5. Knowledge of key bookkeeping software (Simply Accounting, Quickbooks…etc.)
6. Experience with Filemaker and Moneyworks an asset

Resumes can be sent to dwells@biblioasis.com, and will be accepted until Friday, November 29th, with interviews to follow over the following two weeks, in the hopes that the new hire can begin the position in January 2020.

An Interview with Pauline Holdstock, Author of Here I Am!

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Buy Here I Am! now.

MyMum said sometimes refugees don’t eat anything for days and days. Sometimes weeks and months so I am really lucky. I think she exaggerates. But I think she is right about the lucky bit. Or maybe not.

Sometimes I forget that MyMum is dead. But that is probably better than remembering.

When Frankie’s mother dies, he tells his teacher, of course. But he can’t seem to get anyone at his school in southern England to listen to him. So the six-year-old comes up with a plan: go to France, find a police station, and ask the officers to ring his father. Thus a stowaway’s view of the sea opens Giller-nominated Pauline Holdstock’s eighth novel, narrated in turns by Frankie—who likes cheese, numbers, the sea when it’s pink and “smooth like counting,” and being alone when he feels bad—and a cast of characters that includes his worried Gran, his callous teacher, and his not-so-reliable father. Set in the summer of Annichka the Soviet space dog, Here I Am! is a mesmerizing story about the lucidity of children and the shortsightedness of adults.

 

A Biblioasis Interview with Pauline Holdstock, author of Here I Am!

 

For those who are coming to your work for the first time, can you tell us a little about yourself and your writing?

I was born and raised in the UK and immigrated to Canada in my twenties.

I’m primarily a fiction writer—novels and short stories—though I also write essays and occasionally short shorts, my closest approach to poetry.

I’m drawn to subjects that offer a chance to explore the deepest shadows, but I’ve always steered clear of material too close to home. For that reason I’ve set my novels far afield, in time or in place. In Here I Am! I’ve decided to work closer to home, giving my protagonist, Frankie, a background not so far from my own very ordinary childhood in England, but subjecting him to a place of extremity.

 

Three of your books have had child protagonists. What is it that draws you to children’s points of view?

Possibly two influences at work there. The first is that, like most people, I’m always on the side of the underdog, consistently drawn to the plight of the most vulnerable and interested in having them find the wherewithal to overcome their situation.

The second is that I believe the quality we revere in children—that ability to experience life unreservedly, to the utmost—is a quality that once belonged to us all, before adulthood eroded it. Children have the power to reawaken that ability and also perhaps to reveal facets of ourselves long-hidden to us.

 

How is Frankie different from other child protagonists you’ve written?

The others have been marginal characters on the very fringes of society, dispossessed yet yearning to belong. Frankie belongs to the mainstream, yet is set apart by his exceptional abilities and his own singular response to the world.

He’s the only child protagonist of mine to tell his own story.

 

Your novel is quite humorous, but it deals with serious themes: death, loss, and grief, for example, and our tendency to dismiss what vulnerable people tell us. Talk a little bit about the value of humour when exploring serious topics.

Well I think no one is open to the bald message: Death is the pits and we’re all gonna die. That message doesn’t lead to compassion or empathy for ourselves or anyone else. But humour has the potential to take us closer to fellow feeling, to summon a little compassion for all of us sharing this predicament.

And humour’s a valuable tool when you’re working with unpleasant characters. It proved invaluable for the David and Goliath situations that cropped up throughout the book. Definitely the sharpest tool in the box…

 

What are you reading right now?

Three books currently at my bedside: Find You In the Dark by Canadian writer Nathan Ripley, Do Androids Dream of Electric Sheep? by Philip K. Dick, and Tristram Shandy by Laurence Sterne, whose sense of the absurd is boundless.