If the Canada Council for the Arts — the most important prize-awarding organization in Canadian literature — decides to ignore the majority of works of history in their award schemes, what can the Canadian literary community do about it? Sutherland House reacts by creating their own prize for those works deemed no longer prize-worthy by the Canada Council:
Almost from the start of this newsletter in May 2019, we’ve been concerned with the crisis in Canadian nonfiction publishing.
It began with our realization (SHuSH 10 and SHuSH 17) that the Canada Council had decided that books relying primarily on facts as opposed to the author’s voice are not art. Personal history, personal memoir, personal essay meet the Canada Council’s standard for art and are therefore eligible for grants and awards. Objective fact-based journalism, essays, histories, biographies, business and science writing, not so much.
We were bothered by the notion that the distance an author chooses to take from a subject (first person, say, versus third-person) is what makes or breaks a work of art. Same goes for an author’s fidelity, or lack thereof, to verifiable fact.
It also seemed bonkers that a government agency like the Canada Council would bail on researched nonfiction in favor of works in which the subjective experience of the writer is primary at a time when the rest of the government was so panicked over the lack of reliable fact-based information in the public sphere that it was pumping more than $500 million into our failing newspaper chains. If Ottawa was genuinely concerned about the quality of public discourse in Canada and the information available to the electorate, it would be directing the Canada Council to rescind its policy and support fact-based nonfiction to the same levels as fiction, poetry, and personal literature.
SHuSH pursued the issue. We explained why Canada Council funding matters: most publishers in Canada would be out of business or much reduced without their grants, so they naturally produce books that keep them in the money. Researched nonfiction is expensive and time-consuming to produce at the best of times; when it’s relatively disadvantaged by arts funders, it begins to disappear. It’s no accident that the shortlists of all the major nonfiction prizes in Canada have been dominated by memoir in recent years.
(We’ve always been at pains to add that we have nothing against memoir — we publish our share — but it is no substitute for well-researched, fact-based nonfiction. We need investigative journalism, history, biography, politics, current affairs, science & health books if we’re going to understand ourselves and our times.)
