The Fiddlehead recognizes the white supremacy at work in countries around the world, including Canada. We recognize its presence in literary culture, including our own organization, whose genre editors and staff are and have been predominantly white. We pledge to prioritize offering staff and editorial roles to Black, Indigenous and other equity-seeking people as these positions become available.
It is important to me to elevate the voices of female writers from my city. Voices that are rich, diverse and often lost in the shadows of larger cities like Vancouver and Toronto. In light of everything happening in the USA and around the world right now, it feels even more imperative to make sure I use this space to showcase a book from a Black author. This Is How We Disappear by Edmonton poet Titilope Sonuga is a book of raw beauty and fierce joy.
The most engaging musicians for me lately, are ones who have perfected the art of music as Trojan horse. Unleashing their rage from within a perfect overlay of pop, R&B, or Indigenous drumming, Janelle Monáe, King Princess, Eastern Owl, and U.S. Girls, create sublime melodies and catchy hooks that tackle an array of topics not often captured in song.
Dafna Izenberg won the 2019 Creative Nonfiction Prize for “The Promised Language,” published in The Fiddlehead, No. 281 (Autumn 2019). Editorial Assistant Jaeden Langlois conducted the following interview with Dafna Izenberg about her relationship to the Hebrew language.
Remember The Fiddlehead's CNF Contest deadline is June 1st! You could win $2000! Ariel Gordon will judge the submissions.
Let me make the case that the greatest TV show of all time is the German comedy, Der Tatortreiniger—that’s “Crime Scene Cleaner” in English. It’s an auteur comedy starring Berne Madel as our everyman-with-a-gross-but-interesting-job. Over the course of 31 episodes they explore every aspect of death, and more importantly, life.
