The Fiddlehead summer fiction issue is now available, and it’s the perfect read whether you’re lounging at the beach or sitting in a hammock. Spend those long, lazy, hazy days of summer, luxuriating in the fictional worlds of the fifteen stories gathered here. We have stories from established national and international writers such as Daniel Woodrell, D.R. MacDonald, and Kathy Page and stories from up-and-comers such as Charlie Fiset, Rod Moody-Corbett, and Mona’a Malik. And that's just some of the authors found within! . . .
By Reid Lodge
Lisa Alward has won The Fiddlehead's 24th annual Short Fiction Prize for her story "Cocktail." Originally from Halifax, Lisa Alward has a master’s degree in English from the University of London and was the Literary Press Group’s first sales manager. She presently lives in Fredericton, where she teaches courses in clear writing and has worked as an editor and freelance writer. She has been writing short fiction for three years. “Cocktail,” her second story to be published, is inspired by the cocktail party world of the sixties and early seventies.
By Greg Brown Myler Wilkinson has won the 23rd annual Short Fiction Prize for his story "The Blood of Slaves." Myler Wilkinson has published award-winning short stories set in British Columbia in journals such as Prism International and Pierian Spring. He has spent extended periods in Russia and has written three books, including Hemingway and Turgenev: The Nature of Literary Influence. He lives in the Kootenay region of British Columbia. His winning story is written from the point of view of Anton Chekhov and is dedicated to the memory of Alexander Vaschenko, friend of the heart, mentor.
By Sarah Bernstein
At my Jewish high school in Montreal, Mordecai Richler, of course, was a bit of a hero. Whether or not he liked it, and even though he relentlessly lampooned the Jewish community, he was still one of ours. February at our school was public speaking month. So, every February, the teachers compiled and distributed a list of quotations to all of us groaning, gawky teenagers — possible speech topics from which we were to choose. . . .
By Christina Cooke
Commendations on the novel’s thematic triumphs need not be contrived by this humble author as institutions such as The New Yorker, Guardian and Financial Times have safely lionized this text as one of the most celebrated of the past two decades. But the most striking yet undervalued aspect of White Teeth, from my reading, is Smith’s awareness of the constrictions placed upon writing by those reading it — of the insistent and insufferable question demanded ad naseum, “but what does this mean?" . . .
