The origins of ‘Boxing Day’ are steeped in history and in my naivety, I assumed everyone had or knew of Boxing Day. Growing up in England my understanding was that it was an old tradition to open gifts the day after as Christmas Day was spent in church and then feasting.
The exact etymology of the term ‘boxing’ is unfortunately unclear and although there are several competing theories, none are definitive. Money and other gifts were traditionally given to the needy and to those in service positions, such as servants. The European tradition goes back to the Middle Ages but its exact origin is still unknown. There have also been claims that it dates back to the late Roman/early Christian era. It is known that metal boxes were placed outside churches to collect special offerings tied to the Feast of Saint Stephen. In England it was the custom in the nineteen-century for Victorian tradesmen to collect their ‘Christmas boxes’ or gifts on the day after Christmas in return for good and reliable service throughout the year.
The name could also derive from another old English tradition, where wealthy landowners would allow their servants to have the 26th off work to visit their families in return for a smoothly run Christmas Day feast. Each servant was given a box containing gifts and bonuses and sometimes leftover food! Also around the 1800’s churches would open their alms boxes and distribute the contents to the poor. These boxes were filled with monetary donations from the wealthier members of the congregation.
No matter which version you would like to believe, Boxing Day is still an enjoyable holiday and one spent with family and friends, enjoying the ‘left overs’ and new gifts.
Congratulations are in order to Jenna Greene for winning the Moonbeam Children’s Book Award. I asked Jenna some questions about her experience.
Which book won the award?
Reborn – a YA dystopian novel. (The first in a new series).
Can you tell us a little about the story and its characters?
This is a story about a girl named Lexil who is banished to slavery because of the marks on her skin. These marks state that she has lived previous lives and, as such, is to toil in service for those not fortunate enough to have multiple lives.
Why is this story important to you?
This story is important to me on many levels. One – it is a genuinely good story. I feel it is the best writing I’ve done so far. Two – I love the characters and the mythology. I kept the premise of the story simple, but the mythology is unique. Three – I wrote this book in a turbulent part of my life. This story will be forever connected to my mother, as I wrote the first half of it when she was sick and the second half of it after she passed away. And when you write a book about connection to past lives, and those who have lived before … there is no way to escape the fact that maybe those who love us never really leave.
When did you decide to submit this book for the award?
I’ve never submitted a book for an award before but, as mentioned, I feel very proud of this book and very connected too. It just felt okay, for once, to see if others thought it was worthy of recognition.
Where was the award ceremony held?
Traverse City, Michigan.
Can you tell us about the Moonbeam‘s Award – who can apply, who sponsors it etc.?
The Moonbeam Children’s Book Award has bronze, silver, and gold for various categories in Children’s Literature. My novel, Reborn, tied for gold in the YA science fiction and fantasy category. The awards are sponsored by the Jenkin’s Group.
How was your trip to the award ceremony?
Eventful, to say the least. I nearly didn’t make it, as traveling from Canada in winter isn’t exactly easy. Security scanners broke at the Calgary airport, delaying my traveling buddy and I in the line for two hours. We barely caught our flight to Chicago. Our connecting flight to Michigan couldn’t land because of snow, so we had to try again the next night. My luggage wasn’t lost, but it was inaccessible, so I spent 24 hours without it… and the list goes on. But travel adventures make good writing later!
Jenna Greene is the author of the acclaimed Young Adult Fantasy series, Imagine! She is a middle school teacher, dragon-boat coach, enthusiastic dancer, and semi-professional napper. She lives in Lethbridge, Alberta with her husband (Scott), daughter (Olivia), and dog (Thor, dog of thunder).
The Group of Seven Reimagined: Contemporary Stories Inspired by Historic Canadian Paintings is at once artistic and literary. This anthology is a gorgeous testament to the Group of Seven, through the unique lens of twenty-one acclaimed flash fiction writers. – Each flash fiction story, (a brief, condensed, though fully realized narrative, written in under five hundred words), is paired with a lush full-colour reproduction of the painting that inspired it, showcasing both Canada’s historical artistic oeuvre with its contemporary literary artistic talent.
Where did the idea for this book come from?
The impetus for this book began as a writing prompt. I am always looking for interesting, layered prompts: a phrase, paradox, scenario, image, to inspire and formulate a story around. I happened to be walking my dog along Vancouver’s Jericho Beach early one frigid but bright wintery morning and was struck by the awesome beauty of the snow-peaked North Shore mountains looming across that stretch of ocean. I imagined that Lawren Harris would have wanted to paint that stunning vista, and in that glance, had the inspiration for my story. – It was only later, when conducting background research for my piece that I learned that the one-hundred-year anniversary of the Group of Seven was coming up in 2020. – A light bulb went off! The anniversary presented a wonderful opportunity to celebrate the enduring genius of these painters, in story. I contacted fellow flash fiction writers with the idea of putting an anthology together inspired by the landscape paintings of the Group of Seven and the enthusiasm for this project was immediately infectious. I wanted to put together a book that would both increase the profile and expand the reach of these iconic Canadian painters, while at the same time introduce art lovers to the marvels and delight of flash fiction.
Why flash fiction?
Flash fiction is the hottest rising literary trend in Canada. It is my current obsession. I have been on a maelstrom writing flash for the past three years. Each miniature story (flash fiction) is a delicious morsel, the flavours exploding with each bite. For me, flash fiction (always written in under 1000 words, and usually in under 500) is storytelling at its best. It draws the reader into another world engaging her in an immersive, evocative, and emotionally resonant experience, albeit for a brief moment in time; ‘for a flash’. Each miniature story is meant to delight, surprise and challenge the reader. There is often much hidden in between the lines and white spaces inviting the reader to return again to discover more in the layers of the story. And while each flash fiction takes only a few moments to devour, each story takes much longer to ‘perfect’, requiring a practiced skill in crafting, sculpting, editing, and polishing. I love the challenge writing flash poses, and the sense of satisfaction in completing a layered piece with a beginning, middle, and end, in a relatively short period of time. Relatively short compared to that of the traditional short story of 1500-3000 words, novella, or novel (which can take years to realize). The Flash Fiction community of writers and readers across Canada is exploding. Canadian literary magazines, journals, and anthologies now publish several flash fiction pieces in each issue, and flash fiction workshops and classes, both online and in house, can be found everywhere. I find this so exciting!
Why the Group of Seven?
When I first saw a Group of Seven painting, a Lawren Harris, I was gobsmacked. A stunning mountain carved like folds of butter, light cascading down upon its peak, pure and ethereal. I was immediately transported, somewhere deep, sublime, and otherworldly. My love affair with the Group of Seven began in that moment. As a university student living in Toronto in the 80’s, I had the opportunity to visit the McMichael Gallery in Kleinburg many times. The McMichael Collection even then, was remarkable and awe-inspiring. Over the years as I have discovered more of the Group’s landscape paintings in galleries, museums, books, and on-line. They have captured my imagination and heart for all these many years, transporting me into the story of the canvas and beyond. – I was inspired and driven to realize this book in celebration of their enduring genius.
How did you decide to pair the Group of Seven with Flash Fiction?
For me the match is made in heaven! The paintings are immediately perceived as storied, and the flash pieces are beautifully written, as if a painting. Both image and story invite the reader/viewer into another realm; a place of deep resonance and wonderment. Each read of the narrative, when paired with the layers, shadows, and textures of the landscape painting, becomes an immersive experience.
Each Contributor chose a landscape painting that inspired them, from a selection of Group of Seven paintings. Works by Tom Thomson and Emily Carr, both contemporaries of the Group, are also included in the book.
Who are the Writers/Contributors in The Group of Seven Reimagined and how were they selected?
Most of the Contributors are award-winning short story authors, several times over. They come from all regions of Canada, from coast to coast to coast, and three from the US, the UK, and AU, each with a distinct Canadian connection. I felt it was important to invite writers from across Canada who I thought would present a varied, distinct, and unique voice, and, be expert at crafting a miniature work of fiction. While Canada has so many brilliant short story writers, writing flash fiction presents unique challenges, i.e. excellent editing chops and concision, not every short story writer is comfortable with or interested in exploring.
I am a voracious short fiction reader. I read as many short story collections, journal, magazine, and anthology short fiction pieces as I could find, looking for a range of style, genre, and voice. Above all, I was looking for writing at a level of excellence. And of course, I found brilliant storytellers, and was excited by so many extraordinary works of fiction. It was also important that each person I invited to participate be more than enthusiastic about celebrating the Group of Seven and be inspired by their paintings.
I am thrilled with each of the writers selected. Mike Blouin, Carol Bruneau, Paulo da Costa, Alfred DePew, Tamas Dobozy, Valerie Fox, Travis Good, Mark Jarman, JJ Lee, Brett Loney, Lorette C. Luzajic, Yael Eytan Maree, Michael Mirolla, Isabella Mori, Nina Munteanu, Waubgeshig Rice, Robert Runté, Nina Shoroplova, Mireille Silcoff, Mary Thompson. Each one a consummate professional and joy to work with. Each writer has selected a gorgeous Group of Seven painting to inspire their story and each has contributed a marvellous flash fiction piece. The results and pairing are stunning. In addition to being the editor, I also have a flash fiction piece in the book.
Where did you get your training? How long have you been writing flash fiction? Have you always written, have you always wanted to write?
I think my path to becoming a writer is rather unique. I was sixty-two before I wrote my first story, ever. And I will be sixty-four before this book is published. I have never written fiction before. Never even tried. My writing up until very recently has been academic and analytically focused. I had done some journal writing intermittently as process-writing, but that’s it. Back in high school I wrote my final English exam interpreting a poem about the Tree of Life, referencing photosynthesis/ chlorophyll / life cycle / and the ecosystem. I was clearly off the mark. Words and imagery, conveying personal experience through metaphor or simile was not my forte, comfort level, or inclination.
Since beginning to write fiction three years ago, I have been published in twenty-five international literary journals, magazines, and anthologies, and have more in the queue.
My training is in Psychology. I am a seasoned Family Therapist. Decades of ‘being fully present’ in the therapy session has made the transition into writing surprisingly seamless for me. As Pulitzer Prize winner Robert Olen Butler describes, ‘writing takes place in the Dreamscape’. Being fully present in this ‘Place of Solitude’ is where writing is best explored and fashioned. I enjoy this space. It is where I am most myself. And it is where I create from.
I discovered flash fiction reading journals and magazines online. There is a dynamic global flash fiction community. I read flash fiction journals regularly and enjoy discovering new writers (new to me) – the talent out there is magic. I quickly found online workshops teaching flash fiction and have participated in many three-day, ten-day, and monthly workshops, and continue to enrol in one every month or two. The workshops are lots of fun, generative, and attended by highly creative, respectful, and generous writers. I’m totally hooked.
What do you enjoy most about editing?
Cultivating a relationship with the writer is a must for the editing process to be successful.
Pulling back to the barest of form and arriving at clarity is what motivates me in editing. I love the process. Finding increasing precision in word choice is my kind of fun. I delight in the concision, word craft, play, and intentional word choice used to create imagery that resonates and evokes an emotional response in the reader. My tool is a thesaurus. I clean up a piece to reveal its essence, letting it take center stage and shine. Presenting a re-configured or revised passage to a writer who chooses to accept it, is the ultimate satisfaction for an editor.
I have a lot of ideas, although only two have reached the planning stage. 1. A flash fiction anthology similarly structured to The Group of Seven Reimagined, ekphrastic writing, – flash fiction inspired by visual art. This time showcasing the surrealist and magic realism artists Leonora Carrington, Remedios Varo and Kati Horna. and 2. A collection of flash fiction, all my own pieces.
I am exploring how to approach this next project differently. It has been enormously expensive to put this book together. The cost of permissions and licenses from Art Galleries, Museums and Estates to use hi-res reproductions of the paintings in the book has been almost prohibitive. This expense comes out of the author’s / editor’s pocket; the publisher does not absorb this cost. Having a sponsor/corporate interest would help move this next project forward. It is something I’m looking into.
The Group of Seven will launch in Vancouver in October, and in Toronto in May – details on Vancouver and Toronto launch coming soon – if you would like to receive an invitation to attend either Launch party, send an email to email@example.com with ‘Vancouver Launch Invitation’ or ‘Toronto Launch Invitation’ in the subject line. We are going to celebrate!
Karen Schauber is a Flash Fiction writer obsessed with the form. She has been on a maelstrom writing since she was first introduced to this brief condensed short story form three years ago. Her work has since appeared in 25 international literary magazines and anthologies, including Brilliant Flash Fiction, Bending Genres, CarpeArte, Ekphrastic Review, and Fiction Southeast. The Group of Seven Reimagined: Contemporary Stories Inspired by Historic Canadian Paintings, celebrating the Canadian modernist landscape painters, is her first editorial/curatorial flash venture. Schauber runs ‘Vancouver Flash Fiction’, a flash fiction Resource Hub and Critique Circle, and in her spare time, is a seasoned Family Therapist. A native of Montreal, she has called Vancouver home for the past three decades.
For those of you with school age children/grandchildren – are you celebrating having the house to yourself after the summer holiday/vacation? Do you plunge right back into your current manuscript or have some downtime to refresh?
Last week’s question: Do you incorporate politics and/or religion into your stories? What is the reason?
I have used a matriarchal society in my novel, Life in Slake Patch as the background to a young man’s life in that regime. It was interesting to write about the influences and attitudes of a different society. In contrast my novel, The Twesome Loop, which covers two time periods, shows the patriarchal suppression in the 1800’s.
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If you have a suggestion for a question please let me know.