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FOR IMMEDIATE RELEASE
Toronto, November 21, 2017—The Editors’ Association of Canada (Editors Canada) congratulates member Michael Redhill, winner of the 2017 Scotiabank Giller Prize for Bellevue Square.
Bellevue Square is a darkly comic literary thriller about a woman who fears for her sanity and eventually her life when she learns that her doppelganger has appeared in a local park.
Redhill is an award-winning poet, playwright, short-story writer and novelist, and a member of Editors Toronto. He gave the keynote address at Editors Canada’s 2010 national conference in Montreal, where his clever speech kept the audience laughing (and the interpreters jumping).
Last night, Redhill’s address to the audience in attendance at the gala at the Ritz-Carlton Toronto was an emotional one. He thanked Michael Ondaatje and Linda Spalding who “over 30 years ago…opened their door to me and I’m grateful for the enthusiasm and encouragement they brought to my life.”
He went on to thank his mother. “Our house was full of books because of [her]. Because of her love of reading, I wanted to make her books,” he said.
The $100,000 Scotiabank Giller Prize is the richest literary award for a work of fiction in Canada. The prize has been awarded annually since 1994. It was founded by the late Jack Rabinovitch to honour his wife, the journalist Doris Giller, who died a year earlier. Rabinovitch died this year at the age of 87.
An editor all his life, Redhill is no stranger to the “best supporting actor” role that goes along with this invisible art in publishing. Earlier this year, he posted on Facebook looking for editing work. “The ends, they do not meet,” he wrote.
“The ends are going to meet for a while now,” he joked after winning the prize.
Born in Maryland in 1966, Redhill has lived in Canada for most of his life. His career formally began in the early nineties at Coach House Press. He taught “Editing Poetry” at Ryerson University and is the author of the novels Consolation, longlisted for the Man Booker Prize, and Martin Sloane, a finalist for the Giller Prize. He has written a novel for young adults, four collections of poetry and two plays, including the internationally celebrated Goodness. He also writes a series of crime novels under the name Inger Ash Wolfe. He lives in Toronto.
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About Editors Canada
Editors Canada began in 1979 as the Freelance Editors’ Association of Canada to promote and maintain high standards of editing. In 1994, the word “Freelance” was dropped to reflect the association’s expanding focus to serve both freelance and in-house editors. As Canada’s only national editorial association, it is the hub for 1,300 members and affiliates, both salaried and freelance, who work in the corporate, technical, government, not-for-profit and publishing sectors. The association’s professional development programs and services include professional certification, an annual conference, seminars, webinars, guidelines for fair pay and working conditions, and networking with other associations. Editors Canada has five regional branches: British Columbia; Saskatchewan; Toronto; Ottawa–Gatineau; and Quebec/Atlantic Canada, as well as smaller branches (called twigs) in Calgary, Edmonton, Manitoba, Kitchener-Waterloo-Guelph, Hamilton/Halton, Kingston, Nova Scotia, and Newfoundland and Labrador.
By James Harbeck
There has been much discussion of the Nobel Prize in Literature being awarded to Bob Dylan. I have no interest in weighing in on whether his work is Nobel quality—I won’t pretend to understand the judges’ criteria—but I do have some thoughts on the question of whether a songwriter is even eligible to be awarded the prize.
There is no Nobel Prize in music, or in songwriting. So we can’t say that he should be considered for a different category unless you think songwriting is more appropriate to the Peace Prize, or perhaps to Economics. No, if he’s getting a prize, Literature is it. The question is whether songs qualify as literature—whether, to be frank, they’re good enough, or whether they’re “just songs.” There’s something of a privileged-genre attitude, a white-marble image of literature (that is, the truly worthy kind of text) as being cool prose in dry books that silently dissects humanity’s problems, not in the noise of a musical performance.
This has about as much basis as the white-marble image of Greek statuary, which, we now know, was originally painted bright colours. We ought to remember that the novel, as such, has only existed for a few centuries. Narrative texts pretending to any literary merit were expected to be written in verse until early modern times. And why was that? Because the written literature was, originally, the lyrics of songs and chants and declamations to music. The vaunted Greek drama had not one word that was flatly spoken. The psalms of the Bible were for singing. Beowulf was incomplete without a harp to aid the recitation. The fact that we have peeled the spoken from the sung, and ultimately the silently read from the spoken, does not have any bearing on the human insight conveyed in the words. Poetry has been deemed worthy of the Nobel: Pablo Neruda, Seamus Heaney, and Wole Soyinka have all won it, and it is terrible to think that they might have been ineligible if they had, like Leonard Cohen, been driven by economics to set their poetry to music. (more…)