Submitted by careytoane on May 14, 2015 - 10:13am
Inspired by my conversation with Merril Collection librarian Lorna Toolis, I started thinking about how a shift from book into film can change the subtext of a graphic novel. I’m thinking generally here of how comics occupy a middle ground between books and film – more explicitly visual than a text-based book but less so than a movie. As such, a graphic novel as format exists in this liminal, outsider space that is often reiterated by the content: misfits, rebels, masked marauders, loners, and freaks.
Submitted by careytoane on May 12, 2015 - 8:27am
Happy Tuesday! Author and illustrator Evan Munday answers our Writers on TV survey, in which I ask Toronto authors, editors, agents and others to tell us a bit about their personal reading and viewing habits.
Name: Evan Munday
Recent work: The Dead Kid Detective Agency book series, the third of which, Loyalist to a Fault, will be in stores this September.
Submitted by careytoane on May 11, 2015 - 9:56am
One of the best things about this writer-in-residence gig is using it as an excuse to interview smart people who are doing interesting things somehow related to books and TV. This week's feature interviewee is writer Rupinder Gill, who I wanted to talk to about the difference between writing for TV and books.
Submitted by careytoane on May 8, 2015 - 10:02am
Submitted by careytoane on May 4, 2015 - 9:31am
I'll just say/ I started watching Frazier/ I'll just say/ Every single episode
-David McGimpsey, Asbestos Heights
It started in grad school. I had moved from Brooklyn to sleepy, manicured London, Ontario to study 16 hours a day for 12 months. From the outside my life looked pretty good. My book of poems came out that fall, the same fall I wrote 17 papers in 13 weeks. There was a short and well-organized publisher tour, but to be honest, I don't remember much about it except that I paid so dearly for the time off when I returned to classes.
Submitted by careytoane on May 1, 2015 - 12:37pm
One late afternoon many summers ago, I found myself on a sunny balcony with a bunch of writers. Naturally we were talking about television. When one of us admitted she hadn't seen The Wire, I jumped in with the kind of enthusiasm that comes with being two beers in on a sunny balcony after a long winter of mainlining all five seasons of The Wire. "Blah blah Idris Elba blah blah Omar. It's a layer cake of society, with an arc like a symphony, written to completion before it was aired," I crowed. "It's the Great American Novel!"
Submitted by juliejoosten on April 30, 2015 - 8:47am
This has been an interesting April of blogging for me. While I read blogs, I’ve never myself blogged before. It was more difficult than I’d anticipated, and more enjoyable. What I so value in the blogs I read is their writers’ openness, their generosity with thinking in public, their invitation to their readers to accompany them in the experiences and thoughts they write about. It’s the offer to accompany, and, obliquely, to be accompanied, that I find most moving. It’s one of the solaces writing offers, a thinking with and feeling with that extends across space and time. Which can, in an instant, alter the texture and dimension of solitude. I read to inhabit others writers’ thoughts and modes of thinking.
Submitted by juliejoosten on April 29, 2015 - 5:40pm
Jane Gregory’s poem articulates exactly my feeling of being in the late afternoon, late April sun today on April 29, 2015:
DOOM / MOOD
In the dumb mud of attention, dear Judge, mood was everything, up to a certain
point, a bunch of what there was. And on the lawn the least of what was known
of the bird was not the feather it left behind where everyone was using the word
labor against the rubble rubble thunder rubble and aspired to the condition of the
music of the condition that aspired to destroy you through music. But I have found
a place in the sun, I said, inaccurate place inaccurate besides, sitting here is no way
a place in the sun, a product of chance overheard as chants over our heads, above
Submitted by juliejoosten on April 26, 2015 - 4:55pm
Last week, I saw the Eifman St. Petersburg Ballet perform Anna Karenina. Before the performance, Julia Zarankin gave a lecture on the novel to ballet-goers. She said that Tolstoy was deeply interested in exploring what the body knows that the mind does not, which makes interpreting Anna Karenina as dance an exciting choice. This thought stayed with me during the performance, which was always beautiful to watch and, in particular sequences, thrilling. In an interview with Globe and Mail writer Martha Schabas, Boris Eifman, founder and artistic director of the Eifman Ballet, said, “I’m not trying to illustrate the plot of the novel.