Jeff Shucard reminisces about St. Patrick's Day, 1979: druidic magic, Irish fiddle tunes and the greatest piss-up of all time.

The rasp, the spatula and the corkscrew—Eve Corbel's series of obsessive cooks.

Diana Fitzgerald Bryden attends Between the Pages, the pre-Giller hybrid that’s a kind of sacrificial altar/beauty pageant for six Canadian authors.

Stephen Osborne on dog walking, the absurdity of online writing guides and the THE building.

Stephen Osborne's broken cellphone leads him to Schopenhauer, the Titanic publishing industry and historical Phantom Rides.

Jan Feduck faces Frenchish food, vomit and guys from Ontario when her ferry from the Magdalen Islands is caught in a hurricane.

“Don’t try to make anything happen,” the calm voice said. Dylan Gyles visits a sensory deprivation float tank.

Stephen Osborne attends a gallery opening for Elisapee Ishulutaq, an 89-year-old Inuit artist who has been making prints in Pangnirtung, Nunavut for 40 years.

Stephen Osborne discovers that some of the most startling papers in the city archives are the letters and diaries of the first archivist himself.

A young Canadian man visits family in Pakistan to settle a generational feud.

Does a house that has been home to four generations of one family still hold their electricity?

Opa, you know that sometimes people say things, well, indirectly? They don’t say everything that they mean?

At the Jubilee Cinema, the manager carries an imitation pistol in the John Dillinger style.

A Vancouver rock band made up of musicians, photographers and at one time, a prominent sci-fi writer.

Shared family memories of burnt baked goods.

The Calgary floods left behind a stew of knee-deep mud, and waterlogged piles of couches, fridges, books, toys, artworks, chairs, carpet, drywall...

A new pet kitten becomes part of the family.

Headlines featuring crack-smoking mayors and election fraudsters.

That dreamlike quality causes rational minds to dismiss the moment as “only a coincidence.”

Rick laughed. I walked away. I was irritated at Henry, at Lee for getting stoned and being paranoid and leaving without saying goodbye, at Rick, at everyone.

Two women on motorcycles: one in the dead zone of Chernobyl, and the other in the cactus country of Kamloops.

The first time losing a game of Scrabble and the last time taking a train cross-country.

"One way or another we all write out of this place,” comments Patricia Young in Writing Life (McClelland & Stewart), edited by Constance Rooke, a collection of essays by fifty writers, most of them Canadian, about the process and perils of authorship

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An account of the circumstances surrounding seven literary honours bestowed on a writer.

A young man comes into possession of a 1957 Pontiac, modelled after one owned by a legendary pianist.

Sebastian and I enjoy making fun of le mythomane. We compare him to characters in novels. Maybe he can’t return home because he’s wanted for a crime.

What does it mean to love a band? A friend? A nation?

The postcard presents a series of absences—the nameless photographer,

the unknown writer and recipient; it is constituted by what is unknown

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I always longed to be the falling woman—impelled by unruly passion, driven by beauty and desire, turned into stone, drowned in flowers.

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New bylaws for civic spaces.

It is racism, not race, that is a risk factor for dying of COVID-19.

Doing time is not a blank, suspended existence.

It was as though a magic potion had brought him back to life.

Going unnoticed must be the root sorrow for the broken.

On the curve of the contagion and on the measure of Montreality.

It took me a million miles to get here and half the time I was doing it in high heels.

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I am the only woman in the water. The rest of the swimmers are men or boys. One of them bobs his head near me, a surprising vision in green goggles, like an undocumented sea creature. I imagine us having sex, briefly, him rocking over me like a wave.

The chain-link fence along boulevard de l’Acadie— two metres high, with “appropriate hedge”—separates one of the wealthiest neighbourhoods in Montreal from one of the poorest.

Randy Fred thought that life after residential school would be drinking, watching TV and dying. Instead, he became the "greatest blind Indian publisher in the world."

"I want to buy a house. And build a secret room in it. And not tell the kids about it."

I wasn’t certain whether I was in Winnipeg because of the Weakerthans, or whether I cared about the Weakerthans because I care about Winnipeg.

Spiritual landscapes and unknowable people captured on film, used to convey a message.

After Paul Muldoon and Raymond Williams.

A seance to contact a dead miner at Port Arthur, Ontario, in 1923—conducted by Conan Doyle himself.

He has been called the greatest Bulgarian poet of his generation. Can one literary scandal bury his whole career?

A basement shrine in her 1920s home inspires Caroline Adderson to discover the past lives of her house and its inhabitants.

Mastery of the self

Somewhere in the sweat and ache and muscle I carved a new shape for myself that made more sense.

"If you are still alive, you must have had the experience of surrendering."

Review of "Memories: From Moscow to the Black Sea" by Teffi (trans. Robert Chandler).

Review of "Our Flag Means Death" created by David Jenkins on HBO Max.

Review of No Fun (the band) and reissued music by Atomic Werewolf Records.

Review of "Godzilla Minus One" directed by Takashi Yamazaki.

Review of "Canzone di Guerra: New Battle Songs" by Daša Drndić, trans. by Celia Hawkesworth.

Review of "The Midnight Bargain" by C.L. Polk

Review of "The Invention of the Other" directed by Bruno Jorge (2022).

Review of "A Primer for Forgetting: Getting Past the Past" by Lewis Hyde.

Review of "Orwell: The New Life" by D.J. Taylor.

Review of "Iron Curtain Journals," "South American Journals" and "Fall of America Journals" by Allen Ginsberg.

Review of "Antkind" by Charlie Kaufman.

Review of "A Guest in the House" by Emily Carroll.

Review of "The Last Grain Race" by Eric Newby.

Review of "The Man in the Red Coat" by Julian Barnes.

Review of "Rubymusic" by Connie Kuhns.

Review of "A Russian Sister" by Caroline Adderson.

Review of the Netflix series "Rabo de Peixe" (2023) created by Augusto de Fraga.

Review of "My Grandfather’s Knife: Hidden Stories from the Second World War" by Joseph Pearson

Review of "Mercy Gene" by JD Derbyshire.

Review of "Underland" by Robert Macfarlane.

Review of "Tracking Giants: Big Trees, Tiny Triumphs, and Misadventures in the Forest" by Amanda Lewis.

Review of "Solito: A Memoir" by Javier Zamora

Review of "Turn Every Page" directed by Lizzie Gottlieb

Review of "Holden After & Before: Love Letter for a Son Lost to Overdose" by Tara McGuire.

Over dinner, I asked the Québécoise writer Sylvie Desrosiers, the author of successful novels for both adults and younger readers, whether her books had been translated into English. “Non, pas en anglais,” she said.

Last summer, in anticipation of the opening round of the World Cup of soccer, the largely immigrant population of the narrow side street in Lisbon where I was renting an apartment draped their windows with flags. The green and red of Portugal predominated, but the blue planet on a gold-and-green background of Brazil also hung from some windows.

It is not only the children of British mothers who have lost one of their nationalities; Great Britain, too, has lost a part of itself

In a letter of 350 words, published in Geist 65, Michael Redhill calls me a racist once and implies that I am a racist on at least four other occasions. Redhill’s repetition of the ultimate insult of the postmodern era offers a fascinating, if depressing, window into how certain Canadian writers betray their responsibility to the society they live in.

"There are people," Chateaubriand comments, "who, in the midst of the collapse of empires, visit fountains and gardens"

Dear George Szanto, I write in answer to your letter describing your difficulties in finding a publisher for your new novel.

A few years after Kafka’s death, Milena, the woman he had loved so dearly, was taken away by the Nazis and sent to a concentration camp. Suddenly life seemed to have become its reverse: not death, which is a conclusion, but a mad and meaningless state of brutal suffering, brought on through no visible fault and serving no visible end. To attempt to survive this nightmare, a friend of Milena devised a method: she would resort to the books she had read, stored in her memory.

Many years ago my father-in-law, who had been a British prisoner of war in Japan, gave me a small pocket anthology, The Knapsack, edited by the undeservedly forgotten Herbert Read. The book (which I have since passed on to my daughter) had been put together for the Ministry of War to be given to its soldiers: its proclaimed intention was "to celebrate the genius of Mars." Surprisingly, however, the general tone of the anthology was above all elegiac.

When I was in school in Argentina, Europe (our notion of Europe) was a vast and powerful conglomerate of culture and wisdom. From there, from across the Atlantic, came the history to which, magister dixit, we owed our existence; from there came the writers whose literature we read, the musicians whose music we listened to, the filmmakers whose films we watched.

One of the pleasures of reading for no particular reason is coming across hidden stories, involuntary essays, samples of what someone once called “found literature”—as opposed, I imagine, to the literature that states its official identity on the cover. Leafing through a book on Samuel de Champlain, I came across, of all things, a detective story.

Cyril Connolly’s writings have been republished, as The Selected Works (Picador, 2002). I remember reading his work in my late adolescence and wondering how someone could write like that, in fragments and half-formed ideas, allowing his thoughts (and the reader’s) to go in a thousand directions at the same time, and yet lend his texts an overwhelming feeling of cohesiveness.

There are two big trees in my garden under which, when friends are visiting, we sit and talk, sometimes during the day, but usually at night. Especially at night, when talk seems less inhibited, wider-ranging, strangely more stimulating.

For reasons I can't make out, organizers of congresses and literary get-togethers throughout the world appear to have been inspired by a common theme: America. In Germany, in Spain, in France, in Holland, writers are being asked to talk about this faraway place that is either an overwhelming country or an underdeveloped continent.

Auvers-sur-Oise is a town of ghosts. Among the summer tourists and art-loving pilgrims who visit Auvers from all over the world, drift flocks of long-dead artists with folding easels and boxes of paints, who a century ago would disembark every week at the small railway station.

The federal government recently announced it is reviewing the CBC’s mandate. This review is the latest chapter in a long story of questioning the value of the CBC since its inception seventy years ago. Clearly there are politics involved here; the CBC is an easy target for attack by parties of all stripes.

The epic genre suffers from disregard. To the Iliad, our new century has preferred the Odyssey: the encumbered return of the warrior matters more to us than his laborious swordplay.

“Get it right,” Rob Allen told me. “You have no idea how few novels you will actually write in your life”

Six days before the Passover festival in Bethany, the sisters Martha and Mary gave a dinner in honour of Jesus who (the gospels tell us) had raised their brother from the dead. Martha worked in the kitchen while Mary sat herself down at the feet of their guest, to listen to his words. Overwhelmed by the many tasks to be done, Martha asked her sister to come and help her. “Martha, Martha,” said Jesus. “You fret and fuss about many things, but only one thing is necessary. The part Mary has chosen is the best, and it will not be taken from her.”