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Halifax writer Dorian McNamara wins 2025 CBC Short Story Prize for story about trans man on Toronto streetcar

Halifax writer Dorian McNamara wins 2025 CBC Short Story Prize for story about trans man on Toronto streetcar

CBC17-04-2025

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Halifax writer Dorian McNamara has won the 2025 CBC Short Story Prize for his story You (Streetcar at Night).
He will receive $6,000 from the Canada Council for the Arts and a two-week writing residency at Banff Centre for Arts and Creativity. McNamara's story was published on CBC Books. McNamara will also be interviewed by Mattea Roach on an upcoming episode of Bookends. You can read You (Streetcar at Night) here.
If you're interested in other writing competitions, the 2025 CBC Poetry Prize is currently accepting submissions. You can submit an original, unpublished poem or collection of poems from April 1-June 1.
Dorian McNamara is a queer transgender writer currently living in Halifax. Originally from Toronto, he graduated with a BA in psychology from Dalhousie University. He is currently working on his first novel as well as publishing the creative newsletter Dear You.
This year's winner and finalists were selected by a jury composed of Conor Kerr, Kudakwashe Rutendo and Michael Christie.
"From its opening lines, we were captivated by the deft and corporeal imagery of You (Streetcar at Night), with its lush descriptions of travelling via streetcar, and all the rhythm and music that one becomes enmeshed in along the way. But beyond its flowing narrative and lyrical writing, lay the story, and that is what called to us.
You (Streetcar at Night) follows a trans man's recollection of his first relationship, the narrative establishing itself as an address to his former partner, taking a novel route through aspects of transition," the jury said in a statement.
"Highlighting the nuanced duality of a Before and After, connected through a frank and vulnerable interiority. It is a requiem of sorts, a call to the past, that simultaneously grounds itself in a present of acceptance and true belonging. Where one can look at a stranger on a streetcar and see a whole history in their eyes.
This story resoundingly illustrates — at a time when it could not be more needed — that within everyone, outside of all our external features and presentations, is a prevailing interiority and humanity, and that trans people are not a threat.
"This story resoundingly illustrates — at a time when it could not be more needed — that within everyone, outside of all our external features and presentations, is a prevailing interiority and humanity, and that trans people are not a threat."
You (Streetcar at Night) tells the story of the before and after of a trans person. The protagonist reflects on his first relationship as he and his fellow riders roll through the Toronto streets at night.
"Growing up in Toronto, I've always loved the streetcars. When I come home to visit my family, I find I am often on the streetcar. There's always a lot of memories tied to them, but after coming out, I got anxious that people who knew me before would recognize me then. Part of me wanted them to remember me and see me now, but another part of me was afraid of how people I used to know would react," McNamara said.
McNamara joins a long list of writers who have won CBC Literary Prizes, such as David Bergen, Michael Ondaatje, Carol Shields and Michael Winter.
The CBC Literary Prizes have been recognizing Canadian writers since 1979.
To be given the opportunity to share my writing with others and to be understood and to even perhaps have my writing understand others is an incredible gift.
"Winning the CBC Short Story Prize is a monumental honour, one that still feels beyond me. Getting the news, I felt all the joy in my body well up in my throat and I did not know whether I was laughing or crying. Writing for me is a practice of trying to understand and often making peace with my inability to do so, be it regarding myself or others," said McNamara.
"To be given the opportunity to share my writing with others and to be understood and to even perhaps have my writing understand others is an incredible gift. I am so grateful for being given the chance to further my process and dedicate myself to my practice."
The other four finalists are Vincent Anioke of Waterloo, Ont. for Love is the Enemy; Trent Lewin of Waterloo, Ont. for Ghostworlds; Emi Sasagawa of Vancouver for Lessons from a peach and Zeina Sleiman of Edmonton for My Father's Soil.
They will each receive $1,000 from the Canada Council for the Arts.
The longlist was compiled by a group of qualified editors and writers from across Canada from more than 2,300 submissions.
The readers come up with a preliminary list of approximately 100 submissions that are then forwarded to a second reading committee. It is this committee who will decide upon the 30ish entries that comprise the longlist that is forwarded to the jury. The jury selects the shortlist and the eventual winner from the readers' longlisted selections.

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Madeleine Thien's new time-bending novel is haunted by her father's story
Madeleine Thien's new time-bending novel is haunted by her father's story

CBC

time08-05-2025

  • CBC

Madeleine Thien's new time-bending novel is haunted by her father's story

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In this world, voyagers and philosophers from centuries past coexist with migrants from around the globe. Lina grows up with only three books, each chronicling the lives of famous voyagers throughout history. Over time, these figures come to life as her eccentric neighbours, eventually becoming her friends. Thien joined Roach on Bookends to discuss the personal connection she feels to the fantastical world she has created, and what it means to exist in a place that blurs past and present. Mattea Roach: What would it mean for a building to be made of time, as Lina's father explains to her, because it's a very metaphysical concept? Lina's father describes it to her as a piece of string that keeps folding over itself, like a constellation knot. And really, what it is, is a crossroads of history. In some ways, it's the way that we hold history inside ourselves. It's the way that many centuries, many ideas, many philosophers, many words inhabit the space of our bodies. In a way, everyone has a kind of "Sea" within themselves. As a novelist, one tries to imagine what that would be like in a concrete sense. Escaping into literature, reading, writing, storytelling is something that Lina and a number of the other characters we meet in The Book of Records do. I understand that when you were growing up, books were somewhat scarce in your household, but you did have Encyclopedia Britannica at home. Were you an encyclopedia reader as a kid? Is your novel drawn from your own childhood reading? It's drawn from the intense longing to have books, definitely. I was just thinking about that this morning, actually — what was in the house? The Encyclopedia Britannica, condensed books and issues of Reader's Digest. I read everything that was lying around. I think, you know, my parents felt that given limited resources, what books could they put around that could kind of represent [an] abundance of reading material. I went to the library every weekend, and I'd just sit there looking at whatever I could find. The specific three encyclopedias that Lina reads over and over, are about the journeys of three historical figures — the 20th century political philosopher Hannah Arendt, the 17th century philosopher Baruch Spinoza and the eighth century Chinese poet Du Fu. Why these three people in particular? In the book itself, the father says it's random. They're the three books he plucked off the shelf in a chaotic moment and threw into a bag and then they had to leave. For me, The Sea housed many different people at many different times. It took me nine years to write the book and people kind of moved in and moved out. But I wanted to be true to a question that had been disturbing me for a long time, which was, 'How had I come to believe the things I believed? What things were so deeply instilled in me that I didn't see them?' So on that level, I stayed with writers and philosophers and poets who had meant a lot to me for decades. Lina's father is a complex man [and] cares a lot for his daughter. You've described your own father as being a complicated man in his own way. Did you find yourself drawing on your relationship with your father at all? Maybe only in the sense that there was an exceptional person in which something was unfulfilled, and a loving person. My father had to grow up in the shadow of a father who was executed during the Second World War — who was forced to collaborate during wartime occupation, and then was killed when the occupation ended by the occupiers, because he just knew too much. The complexity and the tragedy of my father's childhood is probably woven into all my work in some way or another. Those difficult choices and the long shadow of them haunts the work. What was [your father's] life trajectory? He was born in what was British North Borneo, and then became part of Malaysia. He was the youngest child, and eventually he was sent to college in Melbourne, Australia, and there he met my mother, who was born in China and then brought to Hong Kong as a baby, also during the war. They also were refugees. My parents came to Canada in 1974, and I think it was extremely difficult. My mother was pregnant with me, they had two other children. [It's] a story we know — that uprootedness, that profound desire to make a new home, to make a better life for their kids. It's a story that we know well in Canada. I think my father was the most loving man who tried to find a footing in this continuous uprootedness. In the novel, there are these series of books and there's this epigraph that opens all the books. It's Seneca and it says, "I leave you my one greatest possession, which is the pattern of my life." And I do feel that my parents left me this pattern of their lives that I'm kind of in awe of. I feel as a writer, and just as a person, an obligation to this remembrance and love, and maybe to not being silent in the face of things when I feel something should be said. I want to ask about the dedication to The Book of Records because I know it was dedicated to your best friend, Y-Dang Troeung, who passed away in 2022. Can you tell me a bit about her? Y-Dang was an extraordinary person. She was a professor, she taught Canadian literature. She and her family were named as the last refugees when they came to Canada in the early 1980s and were welcomed by Pierre Trudeau as one of the last of the 60,000 refugees to arrive from Southeast Asia. She's definitely one of those people who gives me courage. She was just a light, I wish she was here.

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