Category: Features

We're excited to announce that Anne Marie Todkill is the winner of our 2023 Creative Nonfiction Contest and $2000 prize! Her essay "Storm Damage" is featured in the upcoming autumn issue of The Fiddlehead (no.297).

Anne Marie Todkill’s story “The Makeweight Piece” won The Fiddlehead’s 2021 fiction contest and appeared in issue no. 291. Her book of poetry, Orion Sweeping (Brick Books), was shortlisted for the 2023 Gerald Lampert Memorial Award. “Storm Damage” is from a collection of essays in progress.

In Nicholas Herring’s first novel, his self-named protagonist, Herring, makes the following socioeconomic comment about lobsters: “You know, it wasn’t too long ago, you couldn’t get anybody to buy lobster. People used it as fertilizer in their gardens. Farmers would put it out on their rows. Eighty per cent of the market nowadays is cruise ships and casinos. The way I see it, lobster is just something people eat to distract them from the fact that they’re pissing their wages away” (260).

Excerpt of "What’s yer fadder’s name?" translated by Sophie M. Lavoie from Joannie Thomas's "La fille à Colette à Robert à John"

HURRAY! IT’S THE SUMMER POETRY ISSUE! The summer poetry issue has always been an event for me. Even before I was editor of The Fiddlehead, I looked forward to its arrival. The section titles, drawn from lines within the poems, always made the issue feel like an occasion, showed how closely the editors were reading the work featured, and I got to read some of the most engaging, reorienting, challenging and/or delightful poetry written that year. I still feel this sense of occasion, and I rub imaginary hands together in my mind as I anticipate what readers will find here.

George Elliott Clarke has carved a name for himself in Canada’s poetry landscape as a talented modernist paradoxically charged with verbosity. The richness of his language, the energy and directness of his address, and his exploration of “big” themes (racism, love, poverty) have garnered him understandable praise. In his best work, the focus of language and theme creates an undeniable force.

“My parents peeled me like a fig. I was a different fruit each day.” Is the self the me, an object created, or the I, with self-knowledge and even agency over its own definition? In Métissée, ably rendered in English by translator and scholar Rebecca L. Thompson as Little Wet-Paint Girl, Québec poet Ouanessa Younsi brings multiple possible selves together in a collision complicated by mixed cultural heritage.