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is a poet, novelist, storyteller and veteran whose novel Predators, Reapers and Deadlier Creatures is available from Double Dagger Press.

Today, Matt writes and teaches in Paris: leadership at the 脡cole Militaire and creative writing at SciencesPo. His many published works interrogate themes of dehumanization, poetics, monsters, masculinity, cross-cultural exchange, and healing. He also co-hosts the by-donation Write Time workshop, and organizes fitness enthusiasts who use trees as barbells: the Log Club.

Follow his work and receive .

杏吧原创 the Novel

Predators, Reapers, and Deadlier Creatures tracks Jones, a drone operator stationed in Kandahar, Afghanistan, 2010. As he monitors Sahar, a teenager and suspected terrorist, Jones commits the ultimate crime: he cares.

Jones鈥檚 supervisor is similarly stained, a fierce soldier who champions Afghan women. By day, Jones and the Major track Taliban down the cratered highways. By night, they wish their love had never hurt so many.

Beneath the base, Jones befriends Noah who, despite his cruel fangs and horrifying strength, is the only gentle creature in the entire desert. As Jones contends with a brutal predator stalking soldiers, Noah鈥檚 bids for freedom grow desperate, and the fighting season renews with a fresh crop of Taliban.

In Kandahar, there鈥檚 a monster in every window. And there鈥檚 also one in every mirror. As the war grinds him to ever-finer particles, Jones grapples with the toll鈥攎adness, craters, grief.

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Bachelor of Journalism and Humanities student Dominique Gen茅 has won th.

Gen茅 says the Humanities program armed her with skills that helped structure her journalistic work.

The fellowship program aims to amplify Black voices, improve coverage of Black issues in the news, and cultivate future Black media leaders. Each fellowship provides a unique opportunity for an early-career Black journalist鈥攚ith one-to-five years鈥� experience鈥攖o be hosted for six months at CBC/Radio-Canada (English and French), The Globe and Mail, a CTV News newsroom or at the IJB at the University of Toronto鈥檚 Dalla Lana School of Public Health.

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By Emily Putnam

杏吧原创鈥檚 own Sarah Phillips Casteel will be launching her new book, , published in Columbia University Press’ new , at the on Thursday April 11.

The first-of-its-kind book delves into a variety of often neglected literary and artistic creations that illuminate Black wartime experience in Nazi Germany and occupied Europe.

This work underscores the importance of African diaspora experiences and artistic expression for Holocaust history, memory, and representation.

Casteel says that within Holocaust studies, there has been increasing attention to neglected or overlooked victim groups. 

鈥淏ecause the numbers of Black victims were relatively small, they have tended to be overlooked or to be perceived as less significant. I don’t agree with that perspective, but I think it has played into the invisibility of Black experience during World War II.鈥�

She says a number of other components contributed to the lack of acknowledgement thus far.

In an often-overlooked aspect of World War II history, Black people living in Nazi Germany and occupied Europe were in some cases subjected to ostracization, forced sterilization, and incarceration in internment and concentration camps.

Casteel explains that it was artworks, in particular the 鈥檚 and Ghanaian Canadian writer 鈥檚 novel that initially got her interested in this neglected topic.

“I think there has been a systemic erasure of Black historical experience in wartime Europe as well as more broadly,” says Casteel. “I became really intrigued with what writers and artists have done to draw attention to a chapter of the war that scholars, museums, and other institutions had overlooked.”

Emphasizing Black agency, Casteel鈥檚 book explores both testimonial art by Black victims of the Nazi regime and creative works by Black writers and visual artists that imaginatively reconstruct the wartime era. 

In the absence of public recognition, African diaspora writers and artists have preserved the stories of overlooked Black victims of the Third Reich. Their works shed light on the relationship between creative expression and wartime survival and the role of art in shaping collective memory.

鈥淚t’s been an interesting research challenge, just trying to find traces of these Black wartime stories,鈥� says Casteel. 鈥淧art of the challenge is that the Nazis didn’t have a designated category for Black prisoners. So that makes it harder to trace their presence in the camp system and in the archive.鈥�

Among the artworks Casteel examines in the book are the internment art of Caribbean painter Josef Nassy, the survivor memoir of Black German journalist , the jazz fiction of African American novelist , Black Canadian novelist Esi Edugyan, and the photomontages of Scottish Ghanaian visual artist .

Casteel hopes that people will take away from the book a greater understanding of the interconnectedness of different histories of oppression and the diversity of experiences of Nazi persecution. 

She notes that utilizing visual sources enables new narratives to surface.

“Because this is a hyper-visible victim group, it’s sometimes easier to find traces of Black stories in the visual documents as opposed to the textual ones because the archive has not always recorded their presence well. Whereas when you have something like the Josef Nassy Collection, you can access a story that wasn’t recorded in written form.”

Casteel says that she is struck by how artists have often pointed to underrepresented narratives before scholars have.

She explains that a combination of storytelling mediums was essential to uncovering these histories.

鈥淚 came to the conclusion that when you’re faced with a history that’s been so invisible and so suppressed, you end up having to draw on all the resources of all the different media that you can in order to try to recover it. I think that’s why I ended up putting the book together in this way鈥攚hy the book is so eclectic in terms of the range of artistic genres and mediums that it addresses.鈥�

Casteel hopes that her work will reach beyond academia and help to bridge gaps in the historical awareness of who was affected by the Holocaust.

Casteel was also interviewed in where she discusses the book in-depth.

Those looking to celebrate the release of Sarah Phillips Casteel’s new book can on April 11 at 5:30 p.m. Casteel will be in conversation with Aboubakar Sanogo, and Ming Tiampo will moderate the conversation.

Organized by the Centre for Transnational Cultural Analysis in partnership with the National Gallery of Canada, the event will be presented in English with simultaneous French translation. Following the talk, Casteel will be available to sign copies of the book.

Sarah Phillips Casteel is a professor of English at 杏吧原创 University, where she is cross-appointed to the Institute for Comparative Studies in Literature, Art and Culture and the Institute of African Studies. She is a member of the鈥檚 Academic Council. Her previous books include  (Columbia University Press, 2016) and the coedited volume  (University of Virginia Press, 2019).

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By Emily Putnam

Artist-in-Residence has closed their residency at 杏吧原创 with two student-led performances.

Shortt is a storyteller and performing artist working across Turtle Island and internationally. They are a vocalist, saxophonist, noisemaker, improviser, composer, sound designer, video artist, curator, administrator, and producer.

Shortt has been on campus since January 2024. While here, they’ve taught a course called Music Producing 101 (MUSI 4200) and ran the Performer-Composer Lab ensemble. They also gave a masterclass, presented a concert at 杏吧原创 Dominion-Chalmers Centre, and took part in music auditions and juries.

They say 杏吧原创鈥檚 music program hosts a uniquely diverse range of musicians in study.

鈥淭he program here is really great because I’m meeting students from a plethora of genres. I have metal guitar players, I have singer-songwriters, I have classical musicians and jazz musicians, people who are self-taught, and people who have had lessons their whole life. I think it creates a really interesting dynamic that’s fun to work with.”

Shortt says the students they鈥檝e worked with have been open and eager to the new challenges they鈥檝e been assigned.

鈥淪tudents here are super keen. They have been absolutely amazing to work with. I don’t think I’ve met that many people who are just happy to try things out.鈥�

Shortt focussed on teaching students how to prepare artist bios, build their resume, and send email pitches in hopes of helping artists become more well-rounded experts of their craft.

The 杏吧原创 Music that occurred on April 1 took place at local venue .

The showcase featured the music of ABBA, Gotye, Andrea Bocelli, and several original compositions from 杏吧原创 music students.

The ensemble also collaborated with 杏吧原创鈥檚 radio station where students Robyn Lichaa, Sarah Peters and Anastasia Wasylinko  and performed pieces that will be featured at the showcase.

Shortt says connections and community can be one of the keys to success.

鈥淚 think it’s the advice everyone gives, and not everyone takes 鈥� which is: ask the local artists you’re interested in for coffee, because you learn so much from these conversations. I’ve done that so many times. I still do it.鈥�

Shortt also advises aspiring artists to refrain from being discouraged when things don鈥檛 go according to plan.

They say Ottawa鈥檚 community has welcomed them with open arms.

鈥淚 really like that Ottawa seems to have specific communities. And while maybe if you look statistically, there’s less, it’s almost like there’s more, because you’re really focusing on specific places.鈥�

Shortt says they particularly connected with 鈥檚 work, one of Ottawa鈥檚 leading independent and underground music and arts presenters.

鈥淚 found people really want to connect with you. Even if they don’t have the time, even if time鈥檚 not available, they’re like: I’ll find time.鈥�

Another focus of Shortt鈥檚 teaching was improvisation and interpreting music beyond traditional notation.

鈥淚 did all this training for so long, and then someone introduced me to improvisation. It really opened my eyes and reshaped how I looked at my previous training and classical music.鈥�

鈥淭here’s now these different ideas and ways of approaching improvisation, but they all coalesce, and they all come together. I just think it’s good to make sure you’re working all the different parts of your brain. I think they all work together in the end, and I’m just hoping that I can help make people into full and complete musicians, so that they’re not just only looking at music one way.鈥�

Shortt鈥檚 most recent artistic expression-of-choice is creating that encompass all components of their creativity.

鈥淚 really like video art because it kind of became a substitute for theatre, which I had really fallen in love with.鈥�

The second student-led performance will be taking place on Friday, April 5 at the Kailash Mital Theatre at 杏吧原创 University.

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By Emily Putnam

Those from the 杏吧原创 community tuning-in to the this weekend may get to see a familiar face on screen.

, who is now a Juno nominated composer, started her journey at 杏吧原创 in 2002 to study jazz guitar.

Brandon says she feels overwhelmed and excited for her first-time nomination.

鈥淚t鈥檚 wonderful to have this acknowledgement from my peers and to be in the company of the other nominees I admire so much, such as Dinuk Wijeratne, Emilie Lebel and Nicole Liz茅e.鈥�

Brandon is nominated for Classical Composition of the Year for , a piece recorded with and cellist , who she says she wrote the piece for.

鈥淪imulacra is essentially a sonification of my own experiences with identity鈥�, says Brandon. 鈥淟ike many others, I鈥檝e often felt intense pressure to alter aspects of my fundamental self in order to better 鈥榝it in鈥�.鈥�

鈥淚 express this in the piece by making the timbre of the cello a metaphor for this kind of self-inhibition and self-suppression 鈥� it travels from the narrowest of timbral ranges to the fullest, undergoing continuous transformation, eventually ending in an uneasy balance.鈥�

Brandon鈥檚 compositions have been described as 鈥�…gut wrenching and horrific鈥� (Critipeg), and “otherworldly, a clashing of bleakness with beauty” (Minor Seventh).

鈥淚 get great satisfaction from creating music that has a certain physicality, although sometimes that quality is not necessarily beautiful in the traditional sense. But to me, this manipulation of timbre is what carries the most communicative aspects of music.鈥�

The piece, conducted by , was first performed at the in 2023 and was supported by , and .

鈥淭he title of the cello concerto, Simulacra, refers to Baudrillard鈥檚 famous book on semiotics, and the concept of 鈥榓 copy that does not have an original鈥�. This is a nod to the idea that sometimes we create our identities out of nothing, creating a kind of hyperreal self that replaces us in the real world.鈥� says Brandon.

She says her education at 杏吧原创 helped to instill important values that she carries with her today.

鈥淚 worked with Wayne Eagles, Garry Elliott, Tim Bedner and , all of whom had a profound impact on me musically and as a person. I was lucky to have had the chance to work further with Roddy beyond my degree – we toured a little together on the East Coast and he is featured on my first album, ‘‘ which was released in 2016. He’s a brilliant guitarist and composer.鈥�

鈥淚 also took classical guitar lessons from Garry even after I graduated. His approach to teaching gave me a foundation of discipline which I relied on later in life as I moved into composition. He taught me that nothing good comes without effort and practice, which is a philosophy I use to this day twenty years later.鈥�

Brandon says 杏吧原创鈥檚 music program was always encouraging of her innovative and unique sonic interpretations.

鈥淥ne thing I appreciated about 杏吧原创 as a whole was its openness to musical ideas and influences from beyond the traditional conservatory system. I never felt that my musical ideas, however outlandish, were considered unwelcome. This musical openness definitely laid the foundation for my later approach to composition and performance in more experimental and free improvisational styles.鈥�

She says her compositions help bring her internal emotions outward.

鈥淔or me, composing is as simple as wanting to take everything that I hear inside, and bringing it outside. Simulacra, and all my pieces are these kinds of personal communications to ‘the outside world’.鈥�

鈥淚’m grateful that other people have found these expressions to be something worthwhile, and I cherish all the collaborations with performers that have come from that.鈥�

This year鈥檚 winners will be revealed in Halifax, Nova Scotia at the  Presented by Music Canada on Saturday, March 23 and The on Sunday, March 24, live on CBC.

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Renowned playwright Drew Hayden Taylor delivered a lecture titled ‘A Coming of Age: Indigenous Literature’ as the 37th Munro Beattie speaker.

This year’s Munro Beattie Lecture was delivered by , a dynamic and versatile playwright, novelist and documentarian from the Curve Lake First Nations celebrated for his blend of humoristic and deeply insightful storytelling. Taylor’s lecture offered a captivating glimpse into the multifaceted world and perspectives of one of Canada’s great authors. 

Taylor took the stage at the 杏吧原创 Dominion-Chalmers Centre on Saturday, Nov. 4.

Taylor鈥檚 lecture marked the 37th year of the Munro Beattie lectures, a series dedicated to honouring the English department鈥檚 founding chair. Serving as chair for over two decades, from 1953 to 1969, Beattie is remembered as a brilliant conversationalist known for his wit and passion. This lecture series continues to celebrate and uphold the values he characterized.

Taylor’s talk, titled A Coming of Age: Indigenous Literature, explored what he calls the “contemporary Native Literary Renaissance.” He defines this renaissance as a powerful eruption of Indigenous Literature across various genres that started in the late 1980s and continues today.

In conversation with FASS writer Emily Putnam, Taylor discusses the ever-evolving world of storytelling, the transformative utility of humour, and what the dexterous creator hopes to work on next.

EP: Your speaker event is called ‘A Coming of Age: Indigenous Literature’. Is Indigenous Literature coming of age?

DT: That’s the $64,000 question. I think it is. In fact, some may argue it already has. In my lecture, I like to refer to what I think of as the contemporary Native Literary Renaissance, which began in the late 鈥�80s and early 鈥�90s. And that’s when there was this explosion of Native Literature, prose, plays, poetry, etc. where before, there had been very little of which that the dominant culture was aware of. And since then, there have been dozens and dozens and dozens and hundreds of books released. In fact, I’d have to say in the last five to ten years, when they do the annual awards, the Governor General’s, the Writers’ Trust, etc. It’s fairly common to have one to two finalists in there, if not actual winners. There has been this coming of age. But what’s been really happening in the last five to ten years is that the books coming out of the First Nations community have greatly expanded their genres. We’re now doing science fiction, horror, things like that. So yeah, I think it has come of age and is continuing to come of age.

EP: Can you speak to the power of storytelling? Does it have the ability to bring communities together?

DT: Storytelling is universal, I don’t think there’s a culture anywhere on earth that hasn’t had stories or a storyteller. The power of stories is the fact that in pre-literate times, they contained history, philosophy, and ethics 鈥� all different types of things that are covered by so many different fields today, and that was the way they passed on the culture. It was a self-generating system of knowledge. I think those stories, and most of them range from scary stories, which we all love, to historical stories, to stories that basically try to explain the natural world. So, I think everybody has an innate interest and innate ability to appreciate and welcome stories. Nowadays, you’ve got all these movies and things which have special effects and stuff like that. But the best special effects, the best interpreter of stories, is basically your imagination. I think storytelling will always be there. It’s just constantly morphing into different ways of telling that story.

EP: How is humour an effective storytelling tool for you when confronting complex issues?

DT: Well, I think everybody likes to laugh; it releases endorphins. It’s a wonderful, amazing feeling. And it also has an interesting way of delivering the message. I’ve had conversations with people, and it’s like, you have somebody angry on the side of the street, screaming out the wrongs of the world, and people will stop, they’ll listen for a few seconds, and then move on. And they’ll completely dismiss everything you had to say. But if you pick up that story, and you wrap it in humour, they’ll stop, they’ll listen, they’ll laugh, and they will take that bit of what you’re trying to tell them home with them and share it. I think humour is an excellent and innovative way of telling a story or improving the story, because what humour does is it takes something, turns it inside out, and then releases it in a whole new form. It’s like A plus B equals D.

EP: What compels you to pursue stories, and what draws you in to stories that make you feel like you have to tell them?

DT: I mean, the stories come to me, or I think them up. I guess it’s either what fascinates me, or what hasn’t been told before and what I think will intrigue people. When I write something, I try to entertain, I try to educate, and I try to illuminate. When I come up with something that includes all three of those, I’ve got a story there that is a 鈥榳inner鈥� for lack of a better term. Literally, it’s a strike of lightning that inspires you, and then you have to take that inspiration and make it work. I mean, what is it, 1% inspiration and 99% perspiration in terms of writing, in terms of genius, all of that. I tend to agree, sometimes the difficult thing is coming up with that original idea. The rest of it is just gritting your teeth and making that idea work.

EP: When you choose to pursue a story, how do you make the decision to place yourself within it 鈥� which you鈥檙e known for 鈥� or to tell the story as the narrator behind the curtain?

DT: I work in so many different fields. I write novels, I write plays, I write documentaries, creative nonfiction, television shows, etc, etc. And I have a friend who is a journalist for the CBC, and I did numerous articles for newspapers, magazines, and radio. In fact, I had an in Saturday’s Globe and Mail. And my friend tells me that I’m a very poor journalist. And, I said, why? He says, because you use the words I and me, and no journalist uses the term I or me in what they write, yet I find that instrumental to any type of journalism I do because I am the observer. I am the viewer that wants to share what I see, because I know it’s filtered through my consciousness. When I’m telling a story, like a novel or a play, it鈥檚 again filtered through my consciousness where I am telling the story. I see it as it comes out of me. And that’s why I don’t try to write like other people. That’s why I do not teach, because I can only teach people how to write like I write. And that will not work for all people.

EP: You鈥檝e done everything from scriptwriting for The Beachcombers and North of 60 to novel writing and present-day documentarian work with APTN and the CBC. Can you speak to your evolution as a storyteller, and do you have any plans for what鈥檚 next for you? Is there something new you want to try?

DT: I originally started out writing for television, which was unexpected and delightful. But the cliche is it’s great work when you can get it, and I wasn’t getting a lot of it. Through a series of bizarre circumstances, I was offered the chance to be a writer-in-residence for Native Earth Performing Arts, one of the leading indigenous theatre companies in the country, and I needed the money. So, I signed on. And I learned the wonders of theatre, not just theatre, the practice itself, but the philosophies behind it. So, I went from television writer to writing for theatre. Along the way I started writing articles and essays because I’d come across an idea, or something I wanted to explore that was not worth a two-hour play, or it wouldn’t work in a television show. I would just write these one-offs about something usually funny, and they developed a following. I would do one occasionally, and then as I became more well-known as an artist, I began to get more and more requests. I started doing more and more articles, and then from there, I started doing the odd short story. From there, I was asked to write a novel, and then so on and so on. Today, I think I have done practically everything I want to do. I’ve done theatre pieces, I did one made-for-TV movie, I had a sitcom on HVTN called Mixed Blessings. I’d love to do a feature film somewhere along the line. I’ve got my fingers and toes crossed, and I’m always waiting to hear what’s going to happen.

EP: Do you have a favourite artistic medium to create in?

DT: They all have benefits. It’s hard to say which is my favourite. I mean, I came to fruition as an artist and as a playwright, and I’ve got a soft spot in my heart for the theatre. But television, you can reach more people with one episode than you can with all the plays that I have produced. And it’s a fascinating industry, which I really like. Same with movies. With novels, it’s literally you and your computer, and you create the entire universe. The response, too, I think in the social hierarchy, you have playwrights and novelists at the top of the literary hierarchy. And the fact that you sit down and can read a novel, I can crawl into it. Plays are meant to be seen, not so much read. So that sort of limits the kind of inspiration that it has out there, because very few people are walking down the street saying, jeez, I feel like buying a play to read.

More Information about this year鈥檚 Munro Beattie Lecture

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By Emily Putnam

Meet literary trailblazer Tyler Pennock, 杏吧原创鈥檚 newest Artist in Residence whose unique approach to poetry and storytelling challenges convention and celebrates the contemporary.

Pennock hails from the Lesser Slave Lake region of Alberta as a member of the Sturgeon Lake Cree Nation.

Armed with a Creative Writing MFA from Guelph University, Pennock鈥檚 literary career has been nothing short of remarkable.  In 2022, they released their celebrated second book, 鈥�鈥�, following up the resounding success of their debut work, 鈥�鈥�, which was shortlisted for the Gerald Lampert Memorial Award and the Indigenous Voices Award for Poetry.

Pennock also commits to fostering cultural understanding and knowledge through their teaching role at the Centre for Indigenous Studies at the University of Toronto.

This is an ethos that Pennock is excited to bring to 杏吧原创 University 鈥� which they consider a homecoming of sorts.聽聽“I spent nine of my formative years in Ottawa, so this experience feels like a return to a familiar place.”

While at 杏吧原创, they aim to expand their literary repertoire.

鈥淚鈥檓 working on a collection of poetry to follow up Blood, which will again be more oral tradition in terms of how I conceive of it,鈥� says Pennock. 鈥淚鈥檓 also working on a couple of short stories, and a sort-of literary criticism that I鈥檝e been considering in terms of how we lose and then recover para-textual information in the context of oral traditions.鈥�

鈥淚鈥檝e also liked reading a lot of theory lately, because it’s not something you get access to so much in undergrad. And in graduate studies you get tossed in it, like radishes in a salad. And you still don’t get enough of it in terms of depth.鈥�

One of Pennock鈥檚 signatures as a literary artist is that they challenge traditional ideas of poems and choose to go without titling many of their works. “I imagine the poems themselves as audience members, actually speaking to each other, so not titling a poem brings forward a sense of how oral cultures work. It’s not a disembodied title or name,鈥� says Pennock.

鈥淚f I named a poem, you could just state the name, but it gives no understanding of the poem. Whereas if I asked you what your favourite poem is, you would tell me according to your descriptor.” In this way, Pennock鈥檚 act of naming, or rather not naming a literary work, becomes one of discovery.

Though often given the 鈥榯itle鈥� of a spoken word poet or performance artist, Pennock declares, “I’m not [a spoken word poet], although I’ve been invited to spoken word events.” Rather, they see the performance of poetry as a continuation of oral traditions and cultures.

Pennock takes inspiration from all over, including from the likes of singer-songwriters such as Tori Amos, PJ Harvey, and Bj枚rk, and enjoys playing Elder Scrolls on their PlayStation to engage in the art of story. 鈥淭hey put so much into world building, you could at any point in any of the games, going back to 2000, pick up a book and read it,鈥� says Pennock. 鈥淵ou can now pick up a book and it refers to a time in a game you played [and] refers to a story you already know. And I love that part.鈥�

They also enjoy the outdoors and are quite familiar with Ottawa鈥檚 trails, saying, 鈥淚 like to ride my bike, and I’ll go for exceptionally long walks, because, why have legs if you’re not going to use them.鈥�

When considering advice to aspiring writers at 杏吧原创, Pennock notes, 鈥淭ake the word 鈥榓spiring鈥� out is what I would say to them. There鈥檚 no such thing as aspiring, you just are.鈥�

Pennock鈥檚 tenure at 杏吧原创 spans from September 1 to December 2023. All students are welcome to drop by to engage with Pennock and fellow students for a poetry-focused workshop on Wednesday, Nov. 8 in Gordon Wood Lounge on the 18^th Floor of Dunton Tower. You can also email them at tyler.pennock@carleton.ca.

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The Office of the Dean of the Faculty of Arts and Social Sciences is now accepting nominations for the 2023 Sheila McCallum Leadership Award.

The Sheila McCallum Leadership Award recognizes the exceptional contributions of staff members within the Faculty of Arts and Social Sciences and promotes innovation and collaboration amongst staff.

It was established by Sheila McCallum, a long-time employee of 杏吧原创 University and someone who worked in the Dean鈥檚 Office of the Faculty of Arts and Social Sciences for many years.

The 2021 winner was Kristin Guth from the School for Studies in Art and Culture.

To nominate someone for the 2023 Sheila McCallum Leadership Award, please visit the award website.  Nominations must be submitted by October 31, 2023.

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