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Month: August 2017

Reflection

I am sitting mum, decked up and bejeweled. Golden drapes cascade down the wall behind me. Chandeliers hang from the ceiling like the weighty earrings I am wearing. My entourage of bridesmaids have just escorted me to the stage, dancing their way through the aisle, clapping to Bengali wedding songs.

My mother is in tears. Every now and then, she wipes her eyes with the end of her sari as she talks to a guest at a nearby table. I cannot hear them amidst the blaring music, but I know exactly what the conversation entails, word for word. “Don’t cry, Bhabi,” the woman must have said. “Today is a day of great happiness.” I also know what my mother will say next: “My life is complete. My daughter has found her match.”

I graduated a few months ago with a B.A. from York University. I am twenty-two years old. They—meaning my suitors and their mothers—say my face is pretty, my smile in particular. I come from a good family, they tell me. But there is a slight limp in my left leg from polio, and this, they say, is a deal breaker. Actually, they have never said it out loud. But each time I have looked into their eyes, I have seen the same descending cloud, a screen that shuts me out as soon as they notice my walk, that tells me that I will never hear from them again. So, I have been told not to be picky. I should feel grateful to have any man who is magnanimous enough to sacrifice his desires to be with me. I know it is the same for some of my friends, too. They have crossed the age of thirty and have three to four degrees. They, too, must not expect much, they are told.

My husband, Amir, is dashingly handsome. As he sits to my right on the velvet-cushioned seat, wearing his princely sherwani and turban, he looks grandiose, as grandiose as this night. He is tall with sharp, chiseled features, and holds an MBA from the University of Toronto. “You are so lucky, my dear!” my mother chanted the day he asked for my hand. A few coffee dates was all it took, a few conversations that revealed nothing more than his current work projects and his childhood in Dhaka. He spoke little and smiled with reserve. But there was a tenderness in him that I could not deny. It irked me. Every time I think of that dreadful last date, when he asked me in his soft voice, his face expressionless, if I would marry him, I can feel the heat crawling under my skin.

I had no reason to say no, since it was a yes from him. And turning down perfection would not just make me look picky or ungrateful. It would stamp me as an arrogant fool for the rest of my life. “This is beyond our imagination!” My mother still repeats like a mantra. “What an amazing guy, and just so nice.” Yes. The others were nice, too. The only difference is their reaction was polite rejection, while his was pitiful acceptance.

Our shoulders touch and I cringe. My eyes sting as an army of cameras flash before me. The togetherness of me and my husband has just been captured, sealed, frozen in time. It did not seem like that even moments ago when I signed the contract with my henna-covered hand, and said “I accept” to the Qazi. I don’t hold back the tears now. In that sense, Bengali brides are fortunate. We can cry without any restraint on our wedding day, easily releasing all kinds of suppressed agony under the guise of the one pain we have absolute permission to feel: the pain of leaving our parents.

The lights keep firing at me like gun shots, and I look past defiantly, searching in the midst of the crowd of five hundred guests for David.

David is not Bengali. He has blonde hair and cream-coloured skin. His eyes are blue, deep and mysterious like the ocean. “Your Canadian friend,” my mother calls him. I am never quite sure what bothers me more—her calling him “Canadian,” or my “friend.” It is not her fault entirely. “Friend” is the safest label for a dead-end relationship, so this is how I introduced him to her soon after I met him in my second year of university. He could visit my house, chauffeur me to and from university. We could work on assignments together and, in the presence of my mother, we would always stand a safe distance apart. The only time we could hold hands or kiss without suspicion was inside his car in the parking lot or the empty hallways of our university, like curious, rebellious teenagers. For two years, we have been together, surreptitiously loving one another—though never talking about marriage. He did not dare to bring it up, knowing that my mother would never forgive me for this betrayal, for dismissing all the struggles she has faced for me, raising me by herself after my father’s passing, working night shifts at Wal-Mart, imbibing cultural values in me against all odds in a Western country.

Each time a man rejected me, it was David who sat through my grievances, patiently listening on the phone while I moved from crying and cursing to finally thanking my suitors for leaving my lover and me alone. Each time he comforted me with the same words: “I love you. I always will.” I have never heard anything close to this from any of my suitors. In fact, I could see right through their masquerade of polite silence, laughing at me in their thoughts, repeating over and over again, “You fool. What makes you think I would ever marry you?” And each time my mother brought another prospect, a Bengali, thinking that he was the best possible match for me, I wanted to say to her, “Will he love me like David?” I feel like screaming it today, into the microphone that sits on the podium. But I stay quiet. My struggles are nothing compared to my mother’s. And for this reason, instead of eloping with David, I invited him as my friend, as a guest.

I think I see him.

My family friends, Sadaf and Saima, walk up on stage. They have just announced the ritual of Rusmat, where bride and groom look at one another in the mirror underneath the canopy of a glittery shawl and declare what they see as they observe the image of their significant other. I quickly try to think of something original. The husband usually says, “I see the moon,” or, “I see my life.” When Saima was getting married, her husband, Ahmed said, “The best thing that ever happened to me.” She said, her eyes full of truth, “I see my best friend.”

Saima walks behind us and spreads a red and gold shawl over our heads. The weight of my sari, the pounds of gold around my neck, the extra shawl over my head feel unbearable. I imagine myself standing in a garden with David wearing a white gown and a dainty pair of earrings, facing him as he says, “I do.”

Sadaf holds a mirror in front of me and Amir. “What do you see?”

Our eyes meet in the mirror but I quickly glance away.

“My reflection,” Amir says, looking straight into the glass.

Saima and Sadaf break out in laughter. “Come on, Mister. You gotta do better than that.”

When they ask me, I say the same thing, looking at myself.

My friends keep on laughing.

It was not David I saw in the crowd. My friends, Halle and Angela join me at our special dinner table, reserved for the newlyweds and their closest friends and cousins. David was supposed to come with them. I want to ask them where he is but my husband is right next to me. I scan the crowd one more time and see the blonde-haired man I thought was David. The server brings a massive lamb roast, surrounded by lettuce sheets and discs of cucumber and tomato. It is placed at the centre of the table and my husband and I must hold the knife together to cut the meat. Another ritual. I take my phone out of my purse and check to see if David has sent any texts, but there is nothing. I place my focus back on the knife. My husband holds it too, as we run it through chunky flesh. David is vegan. I wonder how he would react, watching me butcher a dead baby sheep all over again.

It is time for me to leave the hall, and my mother’s life permanently. She begins to howl. I, too, start to sob, this time really feeling the grief of separating from her. I embrace her as tightly as I can, and relatives surround us in sympathy. Voices around me advise me to be strong. This is something David would never understand—the uncontrollable crying at the moment of the bride’s departure. I take one last look around for him as I prepare to exit through the main gate. Suddenly, pain shoots up my left leg. It feels heavy as I step outside. I suppress it so my husband won’t have to hold me. Could it be possible David came for a little while and left, not wanting me to see him? Perhaps he did not want me to weaken? Maybe, for this very reason, he did not come at all. In the car I pull out my phone to see if there is a text message saying, “I love you. I always will.” Nothing. David’s absence on this day, his act of detachment, does not make me think of him less. I long for him more desperately. I look at Amir. He is looking away, gazing indifferently out the window.

After hours of bright lights and loud music, the quiet in the hotel bedroom is unsettling. Ahmed has carried our suitcases up to the suite, and the small group of friends that accompanied us to the hotel has left. I have changed out of my wedding attire, and slipped into my nightgown. The furniture in the room is minimal: just a desk, a chair and two bedside tables. Two night lamps, dimly lit, flank the queen-sized bed. Magenta-red rose petals are scattered all over the white bed sheet. The large window is covered with white curtains that blow like apparitions above the air conditioner. While Amir uses the washroom, I take out my phone and charger. I cannot let it die. Before I can plug it in, Amir comes out, wearing his pyjamas.

“Muna, there is something I need to tell you,” he says as he hesitantly walks towards me. Great. The jerk will probably reveal he has a girlfriend. I knew it. A part of me feels great relief. I can tell him about David. Then we will be even.

“I didn’t want to marry you, Muna,” he says. “You deserve so much better than me.”

He pauses.

I have a bloody limp on my leg! What does he mean I deserve better?

“Go on,” I say.

I am prepared for the rejection. It was coming sooner or later. Compared to all my other suitors, he has kicked it up a notch. Instead of just keeping silent and disappearing into thin air, he separated me from David, then dressed his rejection in “It’s not you, it’s me” nonsense. Sadistic bastard.

He approaches the bed and sits beside me at a distance where it is impossible for our bodies to even touch accidentally. I feel safe— until he slowly begins to undo the buttons on his shirt. I am confused. I begin to feel a lump in my throat. I shift a little, turning my face away. After he takes off his shirt and places it on the bed, he raises his arms to pry off his undershirt. My heart starts to thump. My fists tighten as I clasp the bed sheet. I can feel the beads of sweat gathering on my neck. I want to shout and cry as loudly as I can. I cannot let this man touch me. God. No! I am glad my phone is right beside me.

“Muna, look at me,” he says softly. “Please.”

I finally turn towards him. As I stare at his bare upper body my hands release the sheet and shoot up, clasping tightly over my mouth. Massive scars travel from his right shoulder down his chest and right arm, wounds etched deeply, stubbornly into his skin.

“It was a kitchen accident,” he continues. “I was heating a pan of oil to deep fry pakora, and… Anyway, forget the details. It’s a third-degree burn.”

I am unable to say anything. I feel frozen.

“My mom and dad fell in love with you,” he says. “They wouldn’t let me tell you about this. But I was hoping you would say no to me anyway. I wouldn’t mind. Everyone else did.”

He starts to put his shirt back on and approaches the door. “You are free to decide, Muna,” he says.

“Where are you going?” I ask.

“I am going to see if they can give me another room.”

“Wait,” I call out to him. “Please sleep here. We can talk tomorrow.”

Slowly, reluctantly, he comes back to the bed. As he starts to turn the night lamps off, I stop him. “Do you mind if we keep them on? I can’t sleep in the dark.”

“Sure.”

He awkwardly slips into bed beside me, knocking over a glass of water he’d placed on the bedside table. The water splashes across his pillows. He jumps up, puts the glass back in position and runs to the washroom. I follow him as he returns with a towel and begins to scrub the surface of the pillows.

“Don’t worry,” I tell him. “Take one of mine.””

“What about you? Are you okay with one?”

“Yes, I’ll be fine,” I lie to him. Since childhood, I have been used to sleeping with two pillows. He takes the pillow from my hand and adjusts it under his head. Lying on his back, he drapes his left arm over his face, covering his eyes. I can tell the light is keeping him awake. I rest my head on my pillow. I am not able to sleep either. But for some reason, I am no longer making an effort to shut my eyes, to hurry into oblivion. I turn onto my side to face my husband. “Tell me everything. How it happened.” He unfolds his arm and faces me. There are only a few inches between us. As he begins to speak, I gaze deep into his eyes, as clear as glass. Strange. I feel the urge to call him my friend, even though my mother is not here. Hours have gone by. My head has shifted onto the corner of Amir’s pillow. I can feel my left leg gently touching his right, his right arm brushing against my left. My phone is still on the table, lying dead. Sunlight has shot through the curtains, and we are still chatting.


Bio: Silmy Abdullah is a Toronto based writer. She writes both fiction and nonfiction. Her nonfiction work has been published by Second Story Press and she is currently working on a short story collection on the Bengali immigrant experience in Toronto. She is an alumnus of Toronto’s Diaspora Dialogues Program for emerging writers. 

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2017 Contest Winners

 

2017 Contest Winners with bird sitting on typewriter letters

TNQ’s 2017 Contest Winners — Fiction, Poetry, and Personal Essay

 

The New Quarterly editors and judges made delightfully difficult decisions to determine the winners of this year’s three writing contests.

 

“We were excited to see such a range of stories where the craft of writing clearly mattered to the writer,” says Pamela Mulloy, TNQ editor and a judge of the Peter Hinchcliffe Fiction Award.

 

“These are anxious times, something that was reflected in the poems submitted this year, yet the overall tone was one of consolation and uplift,” says Kim Jernigan, former TNQ editor and a judge of the Nick Blatchford Occasional Verse.

 

“Personal essays demand risk,” says Susan Scott, TNQ’s lead nonfiction editor and a judge of the Edna Staebler Personal Essay. “It’s a form that challenges writers to use their own experience to bore into an issue. A good essay demands head and heart from the writer, and from readers, too.”

 

TNQ congratulates and applauds these 2017 contest winners:

 

Peter Hinchcliffe Fiction Award

First prize ($1,000):

Shannon Blake, “The Mataram Miracle”

 

Runners-up (tie):

Michelle Syba, “End Times”

Martha Wilson, “They Will Go to Loch Ness”

 

Honourable Mentions:

Mary Thaler, “Pet-Sitting in Iqaluit”

David Huebert, “Six Six Two Fifty”

Sara Mang, “Art of Camouflage”

 

Nick Blatchford Occasional Verse

First prize ($1,000):

Fiona Tinwei Lam, “Test”

 

Second prize ($500):

Joanne Epp, “Festival”

 

Runners-up ($100 each):

Rhonda Collis, “Elevation”

Cornelia Hoogland, “River Rhône”

Joseph Kidney, “Deer Lake on Christmas Afternoon”

Brenda Leifso, “3 o’clock, October”

Anne Marie Todkill, “November, Stormont County”

 

Honourable Mentions:

Judy Barlow, “Pace”

dee Hobsbawn-Smith, “Oranges & Pomegranates 2”

Fiona Tinwei Lam, “Ode to the Plate”

 

Edna Staebler Personal Essay

First prize ($1,000):

Susan Olding, “A Different River”

 

Runner-up:

Michelle Kaeser, “This is a Love Story”

 

Honourable Mentions:

Marion Agnew, “Atomic Tangerine”

Christopher A. Taylor, “Before You Were Born”

Anne Marie Todkill, “Difficult Light”

Anne Marie Todkill, “Plain Sight”

Isabella Wang, “Shortcomings of a Juvenile”

 

First prize winners Shannon Blake, Fiona Tinwei Lam, and Susan Olding have each been awarded $1,000 and invited to read excerpts from their winning submission on opening night of the Wild Writers Literary Festival, November 3 to 5, 2017 in Waterloo, Ontario. In addition, “The Mataram Miracle”,” “Test,” and “A Different River” will be published in the Fall 2017 issue of The New Quarterly.

 

To find out more about the sixth annual Wild Writers Literary Festival, which includes writers discussing the writing craft, masterclasses, workshops, literary panels, and much more, please visit tnq.ca/wildwriters.

The Peter Hinchcliffe Fiction Award is for a work of short fiction by a writer in the early stages—someone who has not yet published a novel or story collection.

The Nick Blatchford Occasional Verse is for poems written in response to an occasion, personal or public—poems that make something of an occasion, or simply mark one.

The Edna Staebler Personal Essay is for essays of any length, on any topic, in which the writer’s personal engagement with the topic provides the frame or through-line.

TNQ editors and contest judges thank everyone who submitted to our three writing contests. The 2018 deadlines are: February 28 for the Nick Blatchford Occasional Verse, March 28 for the Edna Staebler Personal Essay, and May 28 for the Peter Hinchcliffe Fiction Award. The opening date for 2018 submissions for all three contests is September 1, 2017.

Head over to our Contests Page for more information about our contests.

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TNQ’s 2017 Peter Hinchcliffe Short Fiction Award Longlist

 

Peter Hinchcliffe Short Fiction Award longlist announcement

TNQ Announces the 2017 Peter Hinchcliffe Short Fiction Award Longlist

The New Quarterly (TNQ) has unveiled its longlist for the 2017 Peter Hinchcliffe Short Fiction Award Contest.

Pamela Mulloy, TNQ Editor who along with Carrie Snyder, Masa Torbica and Gary Draper judged the contest, noted that the quality of writing was very high this year. “The longlist came after a lengthy and lively discussion. We were excited to see such a range of stories where the craft of writing clearly mattered to the writer.”

The longlisted pieces include:

Shannon Blake, “The Mataram Miracle”

David Huebert, “Six Six Two Fifty”

Kathleen Keenan, “Set the Lonely in Families”

Kirsten Madsen, “Seven Horses”

Sara Mang, “Art of Camouflage”

Michelle Syba, “End Times”

Mary Thaler, “Pet-Sitting in Iqaluit”

Martha Wilson, “They Will Go to Loch Ness”

Karin Zuppiger, “The Queen Reigns”

 

The winners will be announced by the end of August this year.

The Peter Hinchcliffe Short Fiction Award is sponsored by the St. Jerome’s University English Department. The contest honours the distinguished St. Jerome’s professor, Peter Hinchcliffe, who served as co-editor at TNQ in the magazine’s early years. The award also recognizes his many contributions and enduring influence on both students and colleagues.

 

The New Quarterly is committed to providing a space for both established and emerging writers, but the PH SF Award is designed specifically for new writers. Notable past winners include Zoey Leigh Peterson, whose novel Next Year For Sure from Simon & Schuster was published in March 2017, and Lisa Alward, whose winning submission “Old Growth” has been shortlisted for the 2017 Journey Prize.

 

TNQ also has two other contests: the Nick Blatchford Occasional Verse Contest and the Edna Staebler Personal Essay Contest.

 

For more information on TNQ’s publications and contests please visit www.tnq.ca. For publicity inquiries, please contact Catherine Brunskill, Acting Publicity Director, at cbrunskill@newquarterly.net

 

 

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Losing Ground

“Residents of Saint-Apollinaire, Quebec, voted against a proposed Muslim-run cemetery in their town Sunday … The final tally showed 19 votes were against the project, 16 votes in favour and one rejected ballot. Mohamed Kesri, who was overseeing the Muslim-run cemetery project, said …[1]”

I put my coffee down and hit the off switch. I couldn’t listen to his pain. I could already feel it filling my heart and overflowing into my body, pushing its way out, to wash away me, my childhood, and my future.

It was a familiar wave of pain. I first felt it driving along the sea in Dar es Salaam. I had begged my mother to travel there with me to show me the place where her childhood stories were set. Her stories were weathered beach stones I had repeatedly tried to piece together, unable to complete the puzzle without feeling the curves and cavities of the home that shaped her.

She had stayed away from that home since leaving at age eighteen to explore other worlds, first London, England for two years of postsecondary education, then Nairobi to work as a flight attendant for East African Airways, where she spent months based in India, and travelled to Japan, Italy, Rwanda, Hong Kong, and more. She met my father, who worked for the same airline, and settled with him in Nairobi, where my brothers and I were born and lived for a few years before we migrated to Toronto.

In all that time, she never made the trip home to Dar es Salaam, save for one funeral.

I could never reconcile her nostalgic stories of picking tropical fruit in her backyard and boat trips to family weddings along the Indian Ocean coast with the lack of longing she expressed to return. Living in Toronto, eighty percent of my body was filled with longing—fifty percent yearning to go back to Kenya, twenty percent to Tanzania, and ten percent to India, where my great-grandparents were born.

I had to act to fulfill that longing.

At first, my mother resisted my pleas for her to travel with me to Dar es Salaam. She eventually surrendered, and I sighed. Months later we were on our way. The moment I stepped off the plane onto the tarmac, the feeling of being at home hit me with a thud. It was as if a magnet buried deep in the earth was pulling me in. My body felt made for the precise weight of the air that released the tension in my neck and shoulders, and flowed into my lungs in the deep breaths I took to drink it in. I could feel my grandparents and great-grandparents welcoming me home and holding me in a warm embrace.

My usual shyness with strangers melted away. I approached a man I didn’t know outside the arrivals area, “Can we borrow your cellphone to let our ride know we’re here?” I knew he would say Yes. Family friends soon arrived to drive us to their home, steps away from the home my mother had grown up in. On the drive, I rolled down my window as far as I could, letting the air flow in, turning my head from side to side, my eyes wide open, scanning the landscape, trying to imagine my mother walking, here, among the people filling the streets.

Indian Ocean Beach, Tanzania 2009. Photo: Farah N. Mawani
Indian Ocean Beach, Tanzania 2009. Photo: Farah N. Mawani

 

We took the scenic route along Sea View Road, curving along the wide, white, sandy coastline that meets the lapping waves of the turquoise sea. The beaches were quiet, with tall palm trees dancing in the breeze, heavy with coconuts full of cool, sweet liquid, just right for quenching saltwater thirst. Dhows, rowboats, sailboats, and ships shared the water, crossing paths, equally determined to sail towards their destinations.

Street vendors were selling calamari and prawns on skewers. I saw where my mother’s love of seafood began.

My mother’s stories rushed to memory’s shore, the sea breeze blowing through our hair as we breathed the salty air. She pointed to our left, “That’s where my father was buried.” I stiffened. My grandfather died when she was ten, so I had never met him, though I felt his presence in my mother’s silences, and in the stories that she couldn’t tell.

When we came together with her side of the family, we all tried to find our places around the chalk outline of his body, adjusting, and readjusting our positions to get the most balanced composition possible, without erasing him.

It felt impossible for me to find my place. I couldn’t sharpen his hazy outline, couldn’t bring it into focus, no matter how I tried.

Ship through trees, Tanzania 2009. Photo: Farah N. Mawani
Ship through trees, Tanzania 2009. Photo: Farah N. Mawani

 

When I asked my mother questions about her father, to try to lightly shade in his outline, bring it back to three-dimensions, she said, “I was too young. I don’t remember.” It was as if her heart had been forced to grow around the hole he’d left when he died, like a plant that bends itself around obstacles to grow towards the light. I pictured the warehouse filled with unfinished furniture that her family discovered after my grandfather died, each piece representing a part of himself that he gave each of his ten children, for them to take into their homes, continue to craft throughout their lives, and pass on to their children and grandchildren.

When I looked to my left, my sorrow for our loss was quelled by a sense of peace. “It’s so nice that he’s buried overlooking the sea. We should visit his grave.” I was sure that would strengthen the frayed thread connecting me to him.

“Oh, he’s not there anymore,” my mother replied matter-of-factly, as if talking about a neighbour who had moved.

Confused by her response, I was about to say, “Well Mum, I know he’s dead …” when she spoke. Her voice was flat, as if reading from a newspaper.

“His body was exhumed from his grave and thrown into a mass grave with the thousands of other bodies from the cemetery.”

Anchor in Indian Ocean, Tanzania 2009. Photo: Farah N. Mawani
Anchor in Indian Ocean, Tanzania 2009. Photo: Farah N. Mawani

 

I felt like someone had punched me in my heart. I could feel the fist there, painfully pushing my blood out and choking me. I couldn’t breathe. I fought to get words out. I felt like I lost the grandfather I had never met, the frayed thread connecting us abruptly snapping, and him disappearing into the endless sky. “Why?!” I asked, as I tried to grasp the thread one more time, stretching my arm as far as I could.

She sounded numb. “The government wanted the land for commercial use.” I didn’t understand. The land was prime ocean-view property, but there were no buildings there now. Not one.

My mother must have buried her pain so deep, with her grief over losing her father so young, that only being in the place where he died could exhume her memories. “It’s hard for the living,” she said. “I don’t even know where he is.”

I never need to ask my mother again why she left her first home, so young, and could not go back until I begged her to go with me. I had never thought about her leaving her lost father there, in a mass grave, buried deep in the ground, a gravitational pull on her heart that no compass could find.

Now I worry about our lives, here in Canada, not only that we can never feel grounded while we’re alive, but that we won’t even be given ground to enable us to rest in peace after we die.


Bio: Farah N. Mawani’s creative nonfiction and personal essays have been published in Room, TVO Shared Values, Embassy, The Mark, The Star (Kenya), as well as by Huffington Post and Intent. She is writing a memoir, Held, with support from Canada Council for the Arts. Connect with Farah on Twitter, at @farah_way, or via email, at farah@farahwayglobal.com.


[1] Enos, Elysha. 2017. 19 voters quash Muslim-run cemetery in Saint-Apollinaire, Quebec. CBC News. July 16, 8pm ET.

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TNQ’s 2017 Nick Blatchford Occasional Verse Contest Longlist

TNQ Announces the 2017 Nick Blatchford Occasional Verse Contest Longlist

The New Quarterly (TNQ) has unveiled its longlist for the 2017 Nick Blatchford Occasional Verse Contest. This year’s judges received 175 entries which they narrowed to a longlist of 20. Of this year’s entries, judge and previous TNQ Editor Kim Jernigan notes, “These are anxious times, something that was reflected in the poems submitted this year, yet the overall tone was one of consolation and uplift.”

The contest is sponsored by Kim Jernigan and her family in memory of her father Nick Blatchford, the man who sparked the family’s love of poetry. They invite poems written in response to an existing occasion, personal or public, or poems that make an occasion of something ordinary by virtue of the poet’s attention. Speaking on the nature of occasional verse, Kim reflects that “Perhaps all verse is occasional, but this contest seems to elicit poems that come from someplace deep, and the best of them are as eloquent as they are heartfelt.” Past winners have addressed occasions as diverse as a sailor in a lifeboat listening to the cries of drowning men, a couple making love in a bird blind, a mother’s first outing without her newborn child.

This year’s longlisted poems and poets:

Judy Barlow, “Pace” and “Pstealing the 23rd Psalm”

Melinda Burns, “Marriage of Convenience”

Rhonda Collis, “Elevation”

Joanne Epp, “Festival”

Susan Haldane, “The Longest Night” and “Van de Graaff Generator, Ontario Science Centre, 1998”

dee Hobsbawn-Smith, “Oranges & Pomegranates 2”

Cornelia Hoogland, “River Rhône”

Joseph Kidney, “Deer Lake on Christmas Afternoon” and “Shovelling Snow, New Year’s Eve”

Brenda Leifso, “3 o’clock, October”

Colin Morton, “Event Horizon”

Kirsten Pendreigh, “Beer on the roof after radiation”

Emily Skov-Nielsen, “Birthday” and “What the birds know”

Royston Tester, “grief”

Fiona Tinwei Lam, “Ode to the Plate” and “Test”

Anne Marie Todkill, “November, Stormont County”

 

The winners will be announced by the end of August this year.

Nick Blatchford was a newspaperman who began his career as a copyboy for The Washington Daily News after serving with the American coastal artillery in Newfoundland during WWII. He worked his way up to Managing Editor, the person responsible for composing each day’s paper. He also won the Ernie Pyle Award for human interest storytelling. In a personal letter sent to his family from a colleague, he is described as possessing “an extraordinary gift for seeing quickly to the heart of the situation and treating it with compassion.” Nick was also a lover of poetry. On Kennedy’s death, he devoted the entire front page of The Washington Daily News to Walt Whitman’s “When Lilacs Last in the Dooryard Bloom’d,” a poem written to commemorate the death of another president. He was himself a dab hand at ingeniously-rhymed light verse. In a letter sent to his daughter on the occasion of his 80th birthday, a cub reporter tells about his come-uppance on having written a story longer than the assigned length in column inches, and then complaining when it was cut: “The next day I found in my box the following note from Nick:

Lincoln, under great duress

Wrote his Gettysburg Address

In words succinct and solemn

And well under half a column.”

 

Providing a home for poetry by both established and emerging poets has, from the start, been an important part of TNQ’s mandate. Our poets (including Kerry Lee Powell and Michael Prior, past prize-winners in the Nick Blatchford Occasional Verse Contest) have done well at the National Magazine Awards. Selina Boan won the Gold Medal in Poetry this year for poems published in our pages. TNQ also publishes a regular feature, entitled “Falling In Love with Poetry,” on a poet’s first infatuation with verse. A collection of these essays is available through our website.

 

TNQ also has two other contests: the Peter Hinchcliffe Short Fiction Award and the Edna Staebler Personal Essay Contest.

 

For more information on TNQ’s publications and contests please visit www.tnq.ca. For publicity inquiries, please contact Catherine Brunskill, Acting Publicity Director, at cbrunskill@newquarterly.net

 

 

 

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