Apple shakes up textbook publishing

Rumours of Apple’s entry into the digital textbook market were confirmed this morning with the announcement of iBooks 2.

The latest version of Apple’s e-reading platform focuses on media-rich, interactive digital textbooks designed for the iPad. Education publishers McGraw-Hill, Pearson, and Houghton Mifflin Harcourt – which comprise approximately 90 per cent of U.S. textbook market sales – have signed on as the first content partners.

But it’s not just international corporations that will have the capability to produce and sell e-textbook content. Apple also announced iBooks Author, a free DIY ebook app that has been compared to GarageBand, Apple’s audio-editing software that has made digital recording and sound engineering accessible to independent musicians and podcast producers.

“Education is deep in our DNA,” said Philip Schiller, Apple’s senior vice-president of world-wide marketing, at a launch event at the Guggenheim Museum in New York City. Schiller also noted that education institutions already use “more than 1.5 million iPads and have access to more than 20,000 education apps,” according to the Wall Street Journal.

Apple’s move into education isn’t all about the children. If a publisher wants to take advantage of the platform, it has to sign an exclusivity contract with Apple, and keep textbook prices at $14.99 or less (of which Apple takes its customary 30 per cent cut). While the lower price is great for students, there is the upfront cost of purchasing an iPad. And as tech website Engadget points out, with all the interactive graphics and video, the first released e-textbooks take up anywhere from 800MB to 2.77GB of memory, which means it won’t take much to fill a low-end 16GB tablet. Also, what happens when the classroom iPad breaks?

Reaction from Twitter users has been mixed:

Canadian literary event round-up: Oct. 14-20

Here are just a few of the literary events happening across the country in the next week:

• Rob Benvie launches Maintenance with performances by the Maintenance Band and Choir! Choir! Choir!, Double Double Land, Toronto (Oct. 14, 8 p.m., free)
• Adam Gopnik delivers the first 2011 Massey Lecture in the series Winter: Five Windows on the Seasons, Rebecca Cohn Auditorium, Halifax (Oct. 14, 8 p.m., $24/$14 for students)
• LitFest non-fiction festival, various locations, Edmonton (Oct. 14–23, tickets at litfestalberta.org)
• New Brunswick WordsFall festival, various locations, St. Andrews (Oct. 15, e-mail wfnb@ns.aibn.com for information)
• Guy Vanderhaeghe reads from A Good Man with performance by musician Justin Rutledge, Banff Centre (Oct. 15, 7 p.m., $20)
• Vancouver International Writers Festival, various locations, Granville Island (Oct. 18–23, tickets at writersfest.bc.ca)
• David Bezmozgis discusses The Free World as part of the Jewish Book Festival’s Writer’s Salon, Vancouver (Oct. 19, 8 p.m., $54)
• Derek Hayes launches The Maladjusted with an art exhibition by Mike Limerick, Type Books, Toronto (Oct. 19, 9 p.m., free)
• International Festival of Authors, various locations, Ontario (Oct. 19–30, tickets at readings.org)

Fall preview 2011: Canadian fiction

In the July/August issue, Q&Q looks ahead at the fall season’s biggest books.

NOVELS

One of the most anticipated releases of the fall season is surely the new novel from internationally acclaimed author Michael Ondaatje, his first since 2007 Governor General’s Literary Award winner Divisadero. Set in the early 1950s, The Cat’s Table (McClelland & Stewart, $32 cl., Sept.) tells the story of an 11-year-old boy crossing the Indian Ocean on a liner bound for England, and the mysterious prisoner shackled on board. • Also from M&S is Guy Vanderhaeghe’s first novel in eight years. Set in the late 19th-century Canadian and American West, A Good Man ($32.99 cl., Sept.) is the third book in a loose trilogy that also includes The Last Crossing (2003) and The Englishman’s Boy, which won the 1996 Governor General’s Literary Award. • A third GG winner has a new novel out this season: David Gilmour, who won in 2005 for his previous novel, A Perfect Night to Go to China. Gilmour returns with The Perfect Order of Things (Thomas Allen Publishers, $26.95 cl., Sept.), the story of a man who revisits traumatic and life-changing incidents from his past.

Marina Endicott follows up her Scotiabank Giller Prize–shortlisted 2008 novel Good to a Fault with The Little Shadows (Doubleday Canada, $32.95 cl., Sept.), about three sisters who become vaudeville singers following the death of their father. • Acclaimed novelist Helen Humphreys returns with an historical novel set in France during the Napoleonic period. The Reinvention of Love (HarperCollins Canada, $29.99 cl., Sept.) is about a French journalist whose affair with Victor Hugo’s wife causes a scandal (as it might be expected to do).

Brian Francis’s debut novel, Fruit, was a runner-up in the 2009 edition of CBC’s battle of the books, Canada Reads. His second novel, Natural Order (Doubleday Canada, $29.95 cl., Aug.), tells the story of a mother who is forced to confront the secrets she has kept about her son when her carefully constructed life is overturned by a startling revelation. • Kevin Chong returns to fiction with his first novel in a decade. Beauty Plus Pity (Arsenal Pulp Press, $17.95 pa., Sept.) follows an Asian-Canadian slacker in Vancouver whose incipient modelling career is derailed by the death of his father and the sudden departure of his fiancée.

Requiem (HarperCollins Canada, $32.95 cl., Sept.), the third novel from Frances Itani, is about a Japanese-Canadian who embarks upon a cross-country journey of discovery following the death of his wife. • Anita Rau Badami follows her best-selling novels Tamarind Mem and The Hero’s Walk with Tell It to the Trees (Knopf Canada, $32 cl., Sept.), about the Dharma family – the authoritarian Vikram, the gourmand Suman, and the old storyteller Akka. When the Dharmas’ tenant, Anu, turns up dead on their doorstep, the family’s long-buried secrets begin to boil over. • Gayla Reid returns with her first novel since 2002’s Closer Apart. Set during the Spanish Civil War, Come from Afar (Cormorant Books, $32 cl., Aug.) tells the story of an Australian nurse who falls into a relationship with a Canadian soldier from the International Brigade.

Haitian expat Dany Laferrière is back with his third novel in translation in three years. The Return (Douglas & McIntyre, $22.95 pa., Aug.) tells the story of a 23-year-old Haitian named Dany who flees Baby Doc Duvalier’s repressive regime and relocates to Montreal. Thirty-three years later, Dany learns of his father’s death in New York City, and plots a return to his native country. David Homel translates. • Another Montreal resident, poet Sina Queyras, has a novel out this fall, the author’s first. Autobiography of Childhood (Coach House Books, $20.95 pa., Oct.) is about one day in the lives of five siblings haunted by the death of a brother years before. • Infrared (McArthur & Company, $29.95 cl., Sept.), the new novel by Nancy Huston, is about a photographer who travels to Tuscany with her father and stepmother. Employing internal dialogues with the photographer’s mental doppelgänger, Huston opens up her hero for exposure and provides an intimate picture of her interior life.

CanLit mainstay David Helwig returns with a novella, his first since 2007’s Smuggling Donkeys. Killing McGee (Oberon, $38.95 cl., $18.95 pa., Oct.) tells the story of a professor’s dual obsessions with the assassination of D’Arcy McGee and the disappearance of one of his students. • Toronto-based poet Dani Couture returns with her first novel, a surreal and iconoclastic take on that perennial CanLit staple: the family drama. Algoma (Invisible Publishing, $19.95 pa., Oct.) tells the story of a family attempting to cope with the aftermath of a young child falling through the ice and drowning. • Shari Lapeña also has a novel about a perennial CanLit concern: raising money to allow one time to write poetry. Happiness Economics (Brindle & Glass, $19.95 pa., Sept.) tells the story of a stalled poet who takes a job writing advertising copy to start a poetry foundation.

Jamaican-born novelist, poet, and non-fiction author Olive Senior returns to long-form fiction with Dancing Lessons (Cormorant, $22 pa., Aug.), about a woman looking back on her life after a hurricane destroys her home. • Memoirist Frances Greenslade (A Pilgrim in Ireland, By the Secret Ladder) has a debut novel out this August. Shelter (Random House Canada, $29.95 cl.) is a coming of age story about two sisters searching for their mother, who abandoned them after their father was killed in a logging accident.

Not one, but two novels this season extend the burgeoning CanLit focus on towns that have been/are about to be flooded (after Johanna Skibsrud’s The Sentimentalists, Anne Michaels’ The Winter Vault, and Michael V. Smith’s Progress). Tristan Hughes’s Eye Lake (Coach House, $19.95 pa., Oct.) is about the town of Crooked River, Ontario. Named for a river that was diverted to make way for a mine, the town harbours secrets that surface when the river reclaims its original course. • And in September, Goose Lane Editions will publish Riel Nason’s The Town that Drowned ($19.95 pa.), about the suspicions, secrets, and emotions that flare up when the township of Haverton is scheduled to be flooded to allow for the construction of a massive dam.

Edward Riche follows up his Thomas Head Raddall Award winner The Nine Planets with Easy to Like (House of Anansi Press, $29.95 cl., Sept.), a satire about a screenwriter and oenophile who dreams of travelling to Paris, but is trapped in Canada by an expired passport and a growing Hollywood scandal. Relocating to Toronto, he bluffs his way into the upper echelons of the CBC. • Former president and CEO of Penguin Canada, David Davidar was forced out of his position under a cloud of scandal after accusations of sexual harassment. Davidar’s new novel, Ithaca (M&S, $29.99 cl., Oct.), is, perhaps not coincidentally, about the rise and fall of a publishing star.

Canadian literary icon Michel Tremblay returns with a new novel, the first in a trilogy. Set in 1913, Crossing the Continent (Talonbooks, $18.95 pa., Oct.) takes the author’s characters out of Quebec for the first time, to tell the backstory of the people who populate his Chroniques du Plateau-Mont-Royal series. Long-time Tremblay collaborator Sheila Fischman translates.

A resident of St. John’s, Newfoundland, lately one of the most fertile spots for Canadian writing, Michelle Butler Hallett crafts genre-busting stories and novels that frequently experiment with gender and perspective. Her new novel, Deluded Your Sailors (Creative Book Publishing, $21.95 pa., Sept.), focuses on the culture industry from the perspective of Nichole Wright, who makes a discovery that puts a government-funded tourism project in jeopardy, and a shape-shifting minister named Elias Winslow. • Another Newfoundland native, Kate Story, has a novel out with Creative this season. The follow-up to 2008’s Blasted, Wrecked Upon This Shore ($21.95 pa., Sept.) tells the story of Pearl Lewis, an emotionally damaged, charismatic woman who is seen at different stages in her life.

In 1972, Christina Parr returns to her hometown of Parr’s Landing, a place she fled years earlier. The dirty secret of Parr’s Landing? A 300-year-old vampire resides in the caves of the remote mining town. Christina learns why she should have stayed away in Michael Rowe’s Enter, Night (ChiZine Publications, $17.95 pa., Oct.). • English literature professor Janey Erlickson struggles to make headway in her academic career while caring for a tyrannical toddler in Sue Sorensen’s comic novel A Large Harmonium (Coteau Books, $21 pa., Sept.). • Paul Brenner, a Vancouver lawyer, dines with his son, Daniel, one Friday evening. The next day, Brenner receives word that his son has been murdered. Hold Me Now (Freehand Books, $21.95 pa., Oct.), the first novel from Stephen Gauer, examines a father’s grief and a lawyer’s faith in the legal system.

SHORT FICTION

Anyone who has ever wondered what might transpire if the author of Bigfoot’s autobiography were to illustrate a story collection by Canada’s reigning postmodern ironist can stop wondering. October sees the publication of Highly Inappropriate Tales for Young People (Random House Canada, $24 cl.), the first collaboration between author Douglas Coupland and well-known illustrator Graham Roumieu.

D.W. Wilson currently lives in London, England, but is a native of B.C.’s Kootenay Valley. The winner of the inaugural Man Booker Prize Scholarship from the University of East Anglia, Wilson’s debut collection, Once You Break a Knuckle (Hamish Hamilton Canada, $32 cl., Sept.), is a suite of stories about good people doing bad things.

Novelist Anne DeGrace has her first collection of short stories on tap for September. Flying with Amelia (McArthur & Company, $29.95 cl.) spans the 20th century and crosses vast swathes of territory. Wireless telegraphy, German POWs in Manitoba, the Great Depression, and the FLQ crisis all crop up in her stories. • David Whitton’s story “Twilight of the Gods” was included in the 2010 sci-fi anthology Darwin’s Bastards. The story also appears in Whitton’s first solo collection, The Reverse Cowgirl (Freehand, $21.95 pa., Oct.), which sports the most sexually suggestive title for a collection of CanLit stories since Pasha Malla’s The Withdrawal Method.

Toronto writer Rebecca Rosenblum follows up her Metcalf-Rooke Award–winning debut collection Once (a Q&Q book of the year for 2009) with The Big Dream (Biblioasis, $19.95 pa., Sept.), a collection of linked stories about the lives of workers at Dream, Inc., a lifestyle-magazine publisher. • The Maladjusted (Thistledown Press, $18.95 pa., Sept.), Toronto writer Derek Hayes’ debut collection, focuses on people who run afoul of the dictates of polite society. • Also from Thistledown, Britt Holmström’s Leaving Berlin ($18.95 pa., Sept.) examines contemporary women in both Canadian and European settings.

The fine print: Q&Q’s fall preview covers books published between July 1 and Dec. 31, 2011. All information (titles, prices, publication dates, etc.) was supplied by publishers and may have been tentative at Q&Q’s press time. • Titles that have appeared in previous previews do not appear here.

Canadian literary event round-up: June 3-9

Here are just a few of the literary events happening across the country in the coming week:

• Canadian Women in Afghanistan presents Fawzia Koofi reading from her memoir Letter to My Daughters, John Dutton Theatre, Calgary (June 3, 7 p.m., registration required)
• Children’s rights activist Craig Kielburger reads from his new book Lessons From a Street Kid, Me to We, Toronto (June 4, 10 a.m., free, RSVP)
• Dialogic Series on the writings of poet and editor Dr. John Asfour with Professor Norman Cornett, Lallouz, Montreal (June 6, 6 p.m., $25, $15 f0r students and seniors)
• Joel Thomas Hynes will launch his new chapbook God Help Thee: A Manifesto, The Ship Pub, St. John’s (June 7, 7:30 p.m., free)
• Elisabeth Mann Borgese, Paul Kennedy, and ocean-inspired writers Kathy Mac and Donna Morrissey celebrate Oceans Day, Scotiabank Auditorium, Dalhousie University, Halifax (June 8, 7 p.m., free)
• Andre Gerard read from Fathers: A Literary Anthology, McNally Robinson Booksellers, Saskatoon (June 9, 7:30 p.m., free)

Publishing at the polls: federal parties respond to arts and culture questions

The Canadian Conference of the Arts sent leaders of the five federal parties a series of questions pertaining to arts and culture, and have posted the responses on its website. All of the parties responded, except for the Conservatives.

The answers are published without edits, and in a handy table format so you can compare responses. Of particular interest are questions pertaining to the Copyright Modernization Act:

Which elements of Bill C-32 will your party keep, and which elements of the bill will your party remove or change in a new bill to modernize the Copyright Act?

Bloc Québécois: The Bloc Québécois will ensure that the new bill is fair to both creators and consumers. This balance must be achieved, most notably through: an upgraded system for private copying, applying to Mp3 players and other digital music players; reasonable royalties to artists for redistribution of their works; the abolition of the education exemption and fair recognition of the resale rights of visual artists.

The Bloc Québécois is committed to fostering a regime requiring ISPs to pay royalties, which will go towards a fund to pay creators in Quebec who have been harmed due to the illegal downloading of artistic works.

Conservative Party:

Green Party: The Green Party of Canada strongly supports artists’ rights to guaranteed fair compensation through fair patent and copyright laws. At the same time, we consider the digital lock provision in Bill C-32 to be excessively restrictive in that it will not allow students and journalists to properly create and conduct research.

We will work with the CCA and other stakeholders to sharpen the definition of “educational uses” to find the right balance to give researchers this ability in a manner consistent with a thriving information commons, fair dealing principles, and moral rights.

Liberal Party: Recent studies have shown that Canada’s out-of-date Copyright Act translates into major economic loss (up to $965 million lost last year due to piracy, according to an Ipsos/Oxford economics study) for Canadian creators all across the country; the Liberal Party will thus start working on presenting a modernized copyright act as soon as we form government. Bill C-32, the latest Conservative attempt to modernize copyright, was unbalanced and unfair; a Liberal government will work with all stakeholders to ensure creators rights and their sources of revenues are protected under the Copyright Act.

Digital technology offers many new opportunities, but enjoying content without compensating its creators shouldn’t be among them. A new Liberal government will introduce technology neutral copyright legislation that balances the needs of creators and consumers and reflects the principle that our artists and musicians should be paid for their work. We will stand with Canadian creators as they navigate both the opportunities and challenges of the new digital society.

During the debate on copyright legislation in the last Parliament, it was the Liberal Party that developed a practical solution to providing musicians with compensation through a new private copying compensation fund rather than a levy. A Liberal government will look to develop similarly innovative solutions to ensure that the Copyright Act protects creators’ existing and future rights and revenue streams in a digital age. Likewise, the Liberal party believes that any exception under fair dealings must be clearly defined with a clear and strict test for fair use so that creators are fairly compensated for their work.

NDP: In reviewing Bill C-32, New Democrats would closely examine a number of key issues contained in the proposed legislation, including (but not limited to) ISP liability, Technological Protection Measures (TPMs, or so-called “digital locks”), statutory damages, private copying and reproduction for private purposes, broadcast mechanical licensing and fair dealing.

In order to arrive at an equilibrium between the interests of rights-holders and those of consumers, New Democrats would likely begin developing new copyright laws, beginning by consulting widely with stakeholder groups with the aim of creating a legislation that is – unlike C-32 – truly technology-neutral, balanced and flexible enough to ensure its adaptability to new platforms and technologies in the years to come. We would also determine definitively Canada’s obligations as a signatory to various international treaties governing copyright and intellectual property.

And when you’re done reading all the responses, reward yourself with a visit to vintagevoter.ca.

Toronto Women’s Bookstore anthology seeks contributors

Hot on the heels of its change in ownership, the Toronto Women’s Bookstore is celebrating its 40th anniversary in independent bookselling and feminist activism with an upcoming anthology edited by Tara-Michelle Ziniuk and published by Three O’clock Press under the Women’s Press imprint.

Ziniuk has sent out a call for contributions explaining the impetus for the book:

In light of the recent stresses at TWB, its upcoming anniversary and the current state of feminist book publishers and sellers, this is a pivotal time to talk about the importance of a place that’s very dear to many people, for many reasons. I am looking for love letters, historical documentation, writings about TWB from authors, artists, academics, readers and activists who have been influenced by the store. I am looking to speak with former staff, Board members, class instructors, students, customers and appreciators of all kinds. I am looking to get in touch with people who were involved in the bookstore’s earlier years … TWB has a rich history and I want to make sure to include as much of it as is accessible. I am looking for non-fiction, personal narratives, articles and interviews on a variety of topics.

The deadline for submissions is May 31, 2011, and Ziniuk asks that queries be sent in advance to twbanthology@gmail.com.

Students prefer print for look, feel, and font

Two recent studies shed some light as to why e-books haven’t caught on with students – they don’t feel right, and they make the work too easy.

Earlier this month, the Book Industry Study Group released “Student Attitudes Toward Content in Higher Education,” a report that claims 75 per cent of students polled prefer print textbooks to e-books, largely because of their “look and feel.”

A few months prior to the BISG report, a study conducted by Princeton University psychologists found students achieved higher grades when they studied from material written in difficult fonts, including the widely scorned Comic Sans. Apparently, these fonts require readers to put more effort into reading, which leads to more information retained. Easier-to-read typefaces like Arial, Caecillia, or Times New Roman – the preferred fonts of many textbooks and e-books – make it too easy for readers to passively consume the written word.

“When we see a font that is easy to read we’re able to process that in a mindless way, but when we see an unfamiliar font, one full of weird squiggles, we have to work a little bit harder […] All the extra work, the slight cognitive frisson of having to decipher the words – wakes us up,” explains science writer Jonah Lehrer at the Daily Mail Online.

Obama, Rumsfeld books set for winter release

Simon & Schuster unveiled the cover for O: A Presidential Novel, an anonymously authored novel about U.S. president Barack Obama. The cover features a gold “O” bookended by a pair of protruding ears against a blue background.

Set during the 2012 presidential election, the book is described by The Washington Post as:

a novel about aspiration and delusion [...] written by an anonymous author who has spent years observing politics and the fraught relationship between public image and self-regard. The novel includes revealing and insightful portraits of many prominent figures in the political world – some invented and some real.

There’s been a flurry of speculation about the identity of the author, someone Simon & Schuster says “has been in the room with Barack Obama and wishes to remain anonymous.”

A blogger at the Wall Street Journal points out the futility of such conjecture:

In addition to the 469 employees of the White House, the president had 616 visitors there in December 2010 alone, according to records released by the administration.

And since we don’t know that this “room” is the Oval Office, we should probably also include everyone who’s attended a party or town hall or fund-raiser or campaign trail event also attended by Mr. Obama, plus his classmates, students and colleagues over the years.

O isn’t the only work of fiction inspired by American political figures published this winter. Donald by Eric Martin and Stephen Elliott is a novel that publisher McSweeney’s says imagines what would happen if former U.S. Secretary of Defense Donald Rumsfeld “was abducted at night from his Maryland home, held without charges in his own prison system, denied a trial, and kept in a place where no one could find him, beyond the reach of the law.”

The novel is set for release Feb. 8, the same day Rumsfeld’s official autobiography, Known and Unknown, is launched by Sentinel. By no coincidence, the covers of both books are similar — though only one features Rumsfeld in an orange jumpsuit.

Publishing: not always a downer

There’s some funny book stuff floating around the internets today. Lest the trolls be confused or angered by humour, this is indeed an attempt to offer some Friday afternoon levity:

Eye Weekly columnist Sarah Nicole Prickett defends Chapters as her favourite bland non-space to rest without people judging her:

They don’t complain about how many magazines I’ve read for free and possibly ripped things from. They don’t look askance at my taste. Their eyebrows don’t say, “Oh, you’re just getting into Murakami now?” They make no suggestions, having nothing to prove; they work at Chapters. “Are you sure you want The Paris Review?” says absolutely nobody to me. “What about The Believer?” I never feel like I have to buy anything, the way I do everywhere else books are sold, as though upon walking in I’ve been handed a bucket, and now I must scoop out my share of the water to prevent us all from drowning. Not here. This ship will float on.

Those crazy kids at CBC Radio’s Day Six provide us with an audio track of Giller winners reading from Snooki’s debut novel, A Shore Thing:

Linden “Giller Gorilla” MacIntyre is a journalist with CBC’s The Fifth Estate, the winner of eight Gemini Awards, an International Emmy, and the 2009 Giller Prize for his novel, The Bishop’s Man.

Johanna “Skib-WOWW” Skibsrud is the 2010 Giller winner for The Sentimentalists, and the author of several collections of poetry.

The New York Times points to a project by a group of history teachers with an inventive and bizarre way to engage students. They produce music videos for altered versions of their favourite songs that replace the original lyrics with lyrics based on classic books and historical figures. Witness – for serious -  “Jenny From the Block” as Mary, Queen of Scots.

Scott Griffin brings poetry into Canadian schools

Canadian literary benefactor Scott Griffin is taking his passion for poetry – in particular, the live recitation of poetry – into schools across Canada with a new bilingual recitation contest that will award $10,000 to students and school libraries.

Griffin announced the initiative, known as Poetry in Voice, at a press conference in Toronto on Tuesday. A pilot program is currently underway at a dozen Ontario high schools, and the plan is to expand to Quebec in 2011–12 and across the country in 2012–13.

Griffin, who recites a favourite poem from memory at each annual Griffin Poetry Prize shortlist announcement, spoke of the importance of recitation in discovering poetry. “The best way to know a poem short of writing it is to memorize it,” he said. “It’s amazing how different emotional settings or scenes will resurrect that particular poem because it strikes exactly what you’re experiencing at the time.”

Griffin wants to change the negative attitude many people have toward the rote memorization of poetry. “We hope this program … will excite students to want to memorize [poetry], and then they will discover the value of the poem,” he said.

Students participating in the pilot program can choose three poems from an online anthology that currently comprises more than 100 English-language and 25 French-language poems in the public domain, as selected by Poetry in Voice director Damian Rogers (author of the collection Paper Radio, published by ECW Press) and three-time Governor General’s Literary Award–winning poet Pierre Nepveu.

According to Rogers, the contest will serve as a platform for bringing Canadian literature and contemporary poets into schools. “I want students to make the connection that poetry is part of the Canadian cultural landscape across the country,” said Rogers, who added that the group is currently in the process of securing rights to contemporary and Canadian poems.

Competing students will be judged according to a variety of criteria, including physical presence, voice and articulation, accuracy, and dramatization. Griffin says students who choose to recite at least one poem in their non-native tongue will have a slight advantage over other competitors.

The province-wide finalists will face off on April 12 at Toronto’s Soulpepper Theatre, with the winning student receiving $5,000, plus an additional $2,500 for the student’s school library. The runner-up will receive $1,000 (plus $500 for the library), while the third-place student will receive $500 (plus $500 for the library).

In addition to the $10,000 earmarked for the Poetry in Voice program, the Griffin Trust for Excellence in Poetry will hand out $200,000 to the nominees of the 2011 Griffin Poetry Prize.