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New novelists dominate $70K fiction short list
4 minute read Saturday, Sep. 26, 2026The 2026 Writers’ Trust of Canada’s top fiction prize will likely be won by a first-time novelist, with debuts taking four of the five spots on the short list revealed on Sept. 23.
The books in contention for the Atwood Gibson Writers’ Trust Fiction Prize are Fancy Gap by Zak Jones, My Person by Téa Mutonji, Riverwork by Lisa Robertson, Treat Them As Buffalo by Blair Palmer Yoxall and Seven Heavens Away by Ashraf Zaghal. Only Robertson has previously published a novel, 2020’s The Baudelaire Fractal, although Mutonji was a finalist for the prize in 2019 for the short-story collection Shut Up, You’re Pretty.
The winner of the Atwood Gibson Writers’ Trust Fiction Prize takes home $70,000, with finalists receiving $7,500. The trio of jurors — Conor Kerr, David Chariandy and Kathleen Winter — pored through 118 submissions to get to the short list. The winner will be announced at the Writers’ Trust Awards on Nov. 10 in Toronto.
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Books
Lightness of diction contrasts world’s grief
4 minute read Saturday, Sep. 26, 2026In the first section of her second collection, Lantern (Anansi, 112 pages, $23), Kashmiri-Canadian writer Sanna Wani articulates a familial and poetic lineage as well as the poetic theory that underpins the collection: “Like this tree,” she writes in A Happy Poet, “I am not interested in poetry that does not help me live. I take a picture of the light and I carry it — it carries me — home.”
Light suffuses the collection through the images as well as through Wani’s way with diction, whereby the lines land delicately on the ear and on the mind. This lightness is in a subtle tension with Wani’s focus on labour and the gravity of the griefs of living in the world. In A Poem’s Poet, Wani begins by considering the word “heft,” and the way it sits uneasily notwithstanding its persistence. The poem turns on the question “What have I been lifting? It shifts. It becomes hearth.” From there the speaker proceeds to chart a path to herself.
The labour of poetry is never more at the fore than when the question of what poetry can do comes up against genuine need for action. In Lullaby for Gaza, Wani opens: “The whole world mourns. The weeping willow.”
From these opening images, the speaker asks what the purpose of grief, the responsibility of poetry, are in relation to catastrophes of all sorts: humanitarian, climate, family. This poem nearly breaks under the tension between “Sometimes, in front of reality,/ art disgusts me” and “My job is to tell you about the light,/ dappled on the surface of the lake like a thousand sapphires.”
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