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Interview: Brian Hughes

Brian (white shirt, 3rd from R) with the Write Clicks, August 2021.

One of the true pleasures of being an everyday struggling writer—emerging, submerging, and maybe even re-emerging—is meeting others who are in the battle with you.

One such person is Brian Hughes of Winnipeg. I first encountered Brian during one of the Manitoba Writers’ Guild open mic critique sessions. I liked his stories and his slightly offbeat delivery, which I thought added a lot. (Hint: Faulkner is in the house!)

Brian and I ended up in the same writing group, the “Write Clicks,” with members from Winnipeg (some alumni from Carolyn Gray’s WPL Critique group) and Lac du Bonnet, with ex-pats from Donna Besel’s former group. I enjoy his readings and his succinct critiques.

Here’s the interview:

How, when, and why did you start writing?

I stole a typewriter out of a garage at a vacant house when I was twelve and I mark the start of my moral descent from there. The stories from that time have a certain naively tentative eroticism and an undercurrent of self-pity. I never showed them to anyone. When I was fifteen and a little drunk I declared that I wanted to be a seminal genius. I was mocked unmercifully for that and I’ve been hesitant to proclaim my ambitions ever since. I started writing stories with a view to public consumption when I was in my early twenties. There are stories from that time that I’m not ashamed of now.

Can you speak both broadly and specifically about influences?

I was passionate about movies and novels from early on. I read 1984 and tried to read Joyce’s Ulysses at thirteen and read Lolita at fifteen. I would take a novelist I found resonant and try to read all their works, including Nabokov, Joyce Cary, V.S. Naipaul, L.P. Hartley, Margaret Laurence and Joseph Conrad.

I’ve been reading a lot of short stories recently. William Maxwell, William Trevor, Alice Munro, V.S. Pritchett and others.

Cinema 3 in Winnipeg showed a lot of new wave movies, in my teens I was addicted to them. Nous Doux, Get Out Your Handkerchiefs, The 400 Blows, Shoot the Piano Player, Saturday Night and Sunday Morning, Alfie, Satyricon, 8 1/2, and The Go-Between all stand out in my memory.

Lately, I’m becoming addicted to Netflix. I find the works of the Coen brothers and Vince Gilligan really resonates and their storytelling techniques seem to keep showing up in my writing.

What drives you to write?

One of my favourite quotes is from The Simpsons’ Krusty the Clown – “Do you have a hole in your self-esteem that can only be filled with applause?” – that is part of it and also striving for importance and immortality; to have built a platform that others will stand on to build theirs.

In what other ways do you create?

I studied drawing, painting, printmaking and sculpture. I still try to keep my hand in it.

I’ve taken to building furniture. I’ve always had a strong desire to be self-reliant and I like to take a tree, mill the wood and build a table.

What kinds of writing do you focus on and why?

I seek resonance more than anything else. It can’t be defined but I know when it’s there.

What artistic challenges do you face?

Other people, which is to be expected if you think that others should come to you instead of you reaching out to them. It’s like Greek tragedy; hubris leads to downfall. Ultimately it is my own delusions that I fight with.

Brian Hughes was born in South Africa and came to Canada with his family as a young child. He has lived in Manitoba ever since.

Thinking About Infinity

Big Zeus of a wind. Surface-frozen skim of slush on top of the ice, bright sun. Blue and blue and blue. Hauling ass at 40Kph with my iffy knee suggesting discretion on the port tack and my young blood–so it claims, drunk on endorphins or some other pop science–saying, “screw that!”

I am of the privileged few.

Plus, summer’s coming. A whole new set of physical laws. Wet, bumpy, sticky until you’re planing and the foil lifts you clear of the surface and the volume goes to mute and ravens tumble from above in comical one-upping nose dives.

In my black wetsuit, I must look like an extremely odd, hideous relative. Flightless, except for the clumsy board and sail. Enormous. No feathers and only a dusting of white hair. White, not black. WTF? I’d mock me too, if I was a master flier and fearless freep with a sharp, pointy beak.

Thinking about infinity in a place where it’s always windy.

The Morning After Nothing

Image: Cover, “Strange Weather” Becky Hagenston Press 53

Most mornings… in fact, most mornings as long as I can remember, I wake up happy. It’s a trait I would not trade. I am a cheerful morning person with a positive outlook. However, I must admit that some mornings are more of a poutlook. Soo gohne daut; so goes it.

Pouty mornings I sometimes call, “The Morning After Nothing.” A kind of bitter hollowness, apropos of nothing, with nothing left to lose, and nothing is more true than that you still have to get up and make the bed and get going. There is no cancel button for this illness.

“Cancel” starts with a C. What else starts with C are the things that conquer the dog-breath stench of waking up on a Morning After Nothing: coffee, chickadees, and creativity. My go-to fixes, respectively: Medium C, Little Cs, and Big C.

Coffee and the antics of our neighbour chickadee pals are self-explanatory cheer-bringers. Creativity is the third great remedy because it takes you away from the grumbly place and puts you far on the other side of Nothing. This last C takes you straight to Elsewhere: rapping at a keyboard, pushing wood through a saw, trying to learn a new move on the windsurfer. Painting something for a friend or for one of our pog grandkids. (That’s my wife Janice’s usual way out.)

“Dee-dee-dee!”

Today, I found the coffee less than stimulating and the chickadees were their usual acrobatic and fearless 15-gram selves but I still had the look of the guy at the back of the longest line at the grocery store… the guy with the dripping container of ice cream.

But, C-ing is believing, as the saying goes, so I moved on to Creativity: “C’mon Creativity, papa needs a new toque!” I wound up considering a difficult short story I’ve been working on for a long time. It’s an outside-your-comfort-zone story, with nary a Mennonite in sight. The story is dark and harsh, and carries a gut-shot of implicit violence. Well, if you’re gonna write about toxic masculinity, I guess you gotta break a couple of… Uhh, scratch that—sounds too glib, and not a little.

Cal Rhinehart. Big and mean. Damaged goods and all about the booze and the dope. Everyone else’s fault but his. Maybe his dad beat the shit out of him or maybe one fight too many or maybe he just had bad chemicals in his head; got dealt a rotten hand, Fiona thought, sad and furious and terrified all at once. Maybe understanding too well. Maybe even feeling a sort of mongrel kinship. But she shook that thought away. Positive thinking, Doctor Tracewski always says.

—Main Character, Fiona Hewel, in “Four Baths, Great View, Bank Owned Mountain Home”

This is the story that started up in my head after reading an incredible story by the super-pog Becky Hagenston, “Midnight, Licorice, Shadow.” I was determined to jump outside of my skin—that old, wrinkly bag of derma—and take on the many risks attendant for an older man who writes a story that contains difficult passages; violence both emotional and physical and violence against both men and women.

Violence is real. Violence towards women happens. Violence is at the heart of the topic I wanted to broach, and yet, how could I, “go there?”

Would it be best to just bail-out? Let someone else handle this topic? Did you just shout, “Hell yeah?” I understand, and yet, I have an indelible memory; something that happened to me, in real life, in the real world on the #1 Highway just west of the Bow Flats, at the feet of Big Sister, Middle Sister, and Little Sister.

“What in the world? Look at that!” Joe said, straightening his back and shifting his attention to the road ahead. A red SUV accelerated along the merge lane of an intersection. Behind the speeding car, a tattooed, bareback man ran in a dead sprint.

“Is he chasing them?” Fiona said.

Tall and broad shouldered, the man had an athletic build and long dirty blonde hair. The white drawstrings of his grey sweatpants fluttered and snapped behind him like kite tails as he ran after the vehicle. His bare feet pounded on the gravel strewn pavement.

The bizarre drama played on and Joe slowed the car as they closed on it. A white, flatdeck truck, “Rhinehart Well Drilling” in bold letters along the side, sat parked at a cockeyed angle near the intersection—driver door open, blinker on.

The running man slowed and hopped a few strides on one leg, then staggered to a lame halt. He bent at the waist to inspect his foot. The SUV sped away on the highway.

—”Four Baths, Great View, Bank Owned Mountain Home”

As you can see, I choose to go ahead with the story. The early iterations were the cause of some “Morning after Nothing” feels, but “vann aul, dann aul,” as is said in the Plaut: “if already, then already,” or “if you’re going to do it, go all the way!”

So I did.

Ugh. The result was more than one editor, I fear, not seeing the Red Badge of Courage in my choices, but instead feeling triggered and put upon. More than one editor who might have stroked me off a list or two. For good, or longer.

Still, this the way of it, is it not? If there’s no risk, then I will stay forever in the safe-feeling place—potentially a moribund state for my writing—where I just write happy, little stories about wise Mennonites. Where grey-bearded Opas nod knowingly and open their mouths to release a dazzling, atmospheric river of axiomatic truths and cornpone savviness. Savvy like, “vann aul, dann aul.”

But… many rewrites and tough critiques later, I feel as though the story has evolved and now comes closer to the way I want it. Consider: I am a male writer, someone who grew up in times and places where even the worst acts of wanton male violence were sometimes forgiven—forgiven (or given up) even by those who suffered the violence. Forgiven by those whose job is was to police this violence: pulpit, patrol car, politician. I lived this condition, directly and indirectly. Is that not a story worth considering? Is it not important to write from a point of view that—without absolution and without friendly framing—tells a human story in all of its unsettling truth?

I vote yes.

There’s a part near the end of “Midnight, Licorice, Shadow” where the author describes something being thrown into a dumpster, “with a thud,” and your heart sinks, and you feel a bit sick to your stomach. Without that passage the story is still wonderfully strong, but when you read it… when you read, “with a thud,” you are moved in a way that will last.

That! That result is the big prize, the one worth taking some risks to attain. It’s how a story can make a difference. It’s certainly one way to beat the Morning After Nothing blues!

Besides, as some wily Mennonite Oma must have said, to some future author on some far shore: “the best way to catch fish is to keep fishing!”

So I will.

Jus’ Noodlin’

Image: My grandparents and my uncle Ken in Steinbach, MB during the 40s; Mennonites hiding in plain sight.

As I idle down the back lanes of my brain’s daydream centre, procrastinating before my session on the rowing machine, I imagine what the logline might look like for a collection of my short stories. Note that I’m idling along the back lanes—where windmills and cobwebs exist in perfect harmony—on a brand-new, electric Ural sidecar motorcycle. Hey… if you’re gonna daydream, go carbon-friendly or go home!

Mitchell Toews’ collection of insightful short stories, “Pinching Zwieback – Prairie Stories,” reveals the confines of small-town life in a Mennonite community. Vivid characters demand to be heard and recognized. The book’s mixture of the iconoclastic and the nostalgic delivers reality through the little-seen lens of an outsider—but one with a deep insider pedigree. Toews’ heartfelt expression of lives lived captures the conflict and the contradictions that are unavoidable in these insular Jemeend*.

Pulling apart the clockwork of the axiomatic Mennonite profile, Toews probes for what is common to all and what is beautiful and what is problematic within faith, culture, domestic life, commerce, and interaction with the wide world beyond.

“Out of patience, I stood up and began angrily shouting down the ridiculous, muddled stereotypes coming from the lecturer in my ‘Introduction to Geography’ course. I was at the University of Victoria in 1974 and we were discussing Canadian Mennonites. At almost the same time a tall, blonde woman from the Interior rose to protest, and also another; a young Albertan from La Crete who was on the men’s J-V basketball team. All of us disavowed the reckless, almost comical blending of Amish, Mennonite, and Hutterite tropes. At that moment, I saw myself and my ‘brethren’ in the way others must and furthermore, I saw the confusion within our own ranks.”

Mitchell Toews

__

*Or Gemeinde: Communities or congregations

Ageism in Literature. An Analysis Kit for Teachers and Librarians.

The title of this essay is the actual name of a research and analysis paper written by Anita F. Dodson and Judith H. Hauser. The paper was sponsored by the U.S. Dept. of Education and the publication was released in 1981.

https://eric.ed.gov/?id=ED211411

I discovered this document online when searching for resources about the improvements made in modern literature in respect of ageism, embedded bias, and systemic elder malignment. Like you, perhaps, I assumed that progress has been made in this area; that certain antiquated and demeaning stereotypes had been scrubbed out of literature by a watchful literary vanguard of editors, publishers, librarians, teachers, readers and right-minded people in general.

“We should all be concerned about the future because we will have to spend the rest of our lives there.”

I believed, like American industrialist Charles F. Kettering must have (quoted above), that age bias is the product of an illogical mind and that it would, especially in today’s atmosphere of rapid, broad communication and ultra-scrutiny be all but eradicated. While discrimination over race, religion, gender, or sexuality continues to plague society, open hate-speak and flagrant animosity have been essentially banned in world literature. The same should be true for ageism, yes?

Well… “Hey, BOOMER!” No.

Here are the some of the findings of the Dodson/Hauser paper. Their research included visits to, “public, college, and school libraries, as well as bookstores. Approximately eight hundred books from the kindergarten through adult levels were investigated.” The authors reason that what readers absorb through reading—particularly the young—will influence their opinions and beliefs. How true.

In summary, the authors concluded the following:

[…] “analysis of past and present literature shows that the aged have been stereotyped and portrayed negatively. By not assigning them a full range of human behaviours, emotions, and roles, authors have categorized them, resulting in ‘ageism’—discrimination against the elderly.

Literature conveys writers’ and society’s stereotypic and negative images when:

  1. Authors consistently use adjectives such as “old,” “poor,” “little,” “sad,” and “wise” to refer to the elderly.
  2. Older men are depicted with wrinkles, white hair, and canes, while older women are portrayed as fat or skinny, with their hair in “buns” and wearing aprons.
  3. Senility is considered to be synonomous with old age.
  4. The aged are pictured as sitting in rocking chairs or engaged in passive roles, such as storytelling, fishing, or housekeeping.
  5. Personality is characterized in two forms—crotchety or unfailingly pleasant.

1-5, above, are the faults present in a certain cross-section of American literature at the time the study was done forty years ago.

The authors identified important categories as a way to break down and better analyze a piece of literature in respect of its treatment of elders.

  • Significance. In Canada today, StatsCan estimates, “Almost one in five (18.5%) Canadians are now aged 65 and older, and the number of centenarians rose 1,100 year over year to 12,822 as of July 1, 2021.” https://www150.statcan.gc.ca/n1/daily-quotidien/210929/dq210929d-eng.htm Simply put, are one in five contemporary literary characters age 65 or older? What systemic initiatives (funding, grants, contests, mandates, education) exist to promote the significance of elders in modern literature?
  • Ethnic and Racial Composition. The study contends that, in 1981,

“When older characters appear in literature, the vast majority are white. Ethnic and racial minorities tend to be stereotyped to an even greater degree, assuming roles that are even more typecast than whites. While some behaviors are not inaccurate, they are shown in exclusion to others. For example, Asian-Americans operate laundries or gift shops or participate in dragon festivals, while Blacks appear in servile roles.”

  • Character Role. To what degree are elders depicted as main characters?
  • Occupational Role. Are elders, “shown in a diversity of meaningful occupations and employment settings?” The study found that:

The majority of older characters are placed in indeterminate occupational roles or those that require only passive participation… When there is obvious employment, the positions require little mental acuity or are outside the experiences of the average student. Women’s roles are repetitive… generally engaged in housework or gardening.

  • Behavioral Characteristics. Elder characters found by the 1981 study usually created problems Today, are they depicted solving problems too? Are behavioural characteristics stereotypical? A somewhat recent example is Canada’s “Corner Gas” television show. The ensemble cast includes two prominent elder roles, a husband and wife. The show often elevates the female elder to a person of agency, responsibility, strong character and otherwise gives her a role equal to younger characters, although she seems to me too often petulant and vengeful and her role in the home and the community are based on typecast models. Her husband is a comical dumping ground of grouchy old man tropes, spun out relentlessly, episode after episode, giving authority for other writers to continue down the caricature trail, unabated; angry old white man… Difficult old lady.
  • Physical Traits. In 1981, “Older characters are rarely given fully developed physical descriptions. Instead, they are described by three adjectives–“old,” “little,” and “ancient.” “Old” is used approximately seventy-five percent of the time. No other generation is completely described by the use of one word.”
  • Personality Traits. Do older characters express, “a full range of emotions with the opportunity for continued growth?”

~ ~ ~

The sample size is small. It’s a review of predominantly American literature and may not be representative of the Canadian reality—then or now—particularly in respect of Indigenous characters, for which significant differences exist between American and Canadian cohorts. (Example: Métis peoples are seldom represented in American culture or literature.)

Despite these shortfalls and potential inaccuracies, when I read the findings and conclusions, I can’t help but see a description of many parts of modern day Canadian literary content. Few elder characters are drawn in the same way as their younger counterparts and many suffer from the same endemic flaws as those highlighted in 1981.

What, if anything, has changed? Is this unalterable? Will literary and genre fiction remain forever bound by and within these “old” tropes and lazy caricatures?

A few nights ago, the doddering, heavily made-up character portrayed by “Saturday Night Live’s” Mikey Day, fell headlong and without reserve into almost every insulting, belittling device cited by Dodson & Hauser. When in doubt, slander the elderly and grab a cheap laugh! This recent example from one of the big-audience icons of Western pop culture suggests that elder discrimination is still openly permitted. The zeitgeist has spoken.

~ ~ ~

On the plus side, and I’m sure there are many, I was impressed with Ralph Benmergui, author of

I THOUGHT HE WAS DEAD: A SPIRITUAL MEMOIR

during his CBC radio interview from Winnipeg yesterday. Author-broadcaster-spiritualist (and likely much more), Mr. Benmergui is, like me, a 1955 product and I thought his take on elder invisibility was a direct hit. BOOM! He later added a positive tone to his comments, pointing out many of the things that have changed and are changing concerning the role of seniors in Canadian society. I’m sure his book will contribute to the dialogue.

His is another book for me to buy and it may find a place on the shelf right next to Sharon Butala, and her wonderful book of essays,

THIS STRANGE VISIBLE AIR: ESSAYS ON AGING AND THE WRITING LIFE

~ ~ ~

Please accept my apologies for being on a bit of a birthday-induced rant about all of this, but as Kettering pointed out, it is in our best interests—and that of generations to come—to grapple with issues of ageism now and with permanence.

Jessica Lake IMPRESSIONISM

I’m working a lot lately on creating stories that follow my understanding of an “impressionistic writing style.”

Impressionism as manifest in Scene; Character; Action; Sensation; and Style.

This is, you see, part of the Jessica Lake MFA I’m enrolled in. The internet and my writing group, the reading I do, my readers and editors are the instructors. I am definitely the coolest guy in my MFA. In fact, I’m the only guy in my MFA, but then, I always avoid giving statistics too much credence.

The overriding rules go a little like a Lightnin’ Hopkins song — there’s some improvisation involved as you go along:

  1. Writen in the present, without reflection or authorial comment
  2. No narrative intrusions of any kind — the story simply unfolds in the reader’s mind
  3. Choice of words is left to “Mot juste” or a sense of using just the “right” word that contributes to the totality of the piece without undue attention to the beauty of the prose.

Scene — a reportorial flow, objective, use of understatement and simple words, clear imagery, repetition and reiteration of key words and phrases, strong description of action, use of landscape to echo emotion… the last bit suggested by author and writing instructor Lauren Carter of Winnipeg.

Character — describe traits or activities, but not physical attributes

Action — up close and participatory with reader as onlooker, cinematic: rapid (fluttering) or slow motion and may utilize a bird’s-eye view from above that is clipped and declarative

Sensation — actions are felt by the reader, be concrete and crude, be simple and realistic, work the senses

Style — author should express their individuality as a writer (untarnished), focus always on the subject and what the subject experiences, use the iceberg technique to hide the worst and only show the surface — the tip — of what is wrong, and ala Hemingway and Manitoba memoirist Donna Besel, write slow and clear about the most terrible and the most hurtful.

Note: A good deal of this came from a doctoral thesis (from a few decades ago) I found on the web and now cannot relocate to cite. Acch. Quite a bit is of my own invention so… maybe the no citation is okay here. If you recognize it, lemme know!

Third Time’s a Charm?

[…] From Wikipedia: The Pushcart Prize is an American literary prize published by Pushcart Press that honors the best “poetry, short fiction, essays or literary whatnot” published in the small presses over the previous year. Magazine and small book press editors are invited to submit works they have featured. Anthologies of the selected works have been published annually since 1976. It is supported and staffed by volunteers.

The founding editors were Anaïs NinBuckminster FullerCharles NewmanDaniel HalpernGordon LishHarry SmithHugh FoxIshmael ReedJoyce Carol Oates, Len Fulton, Leonard Randolph, Leslie FiedlerNona BalakianPaul BowlesPaul EngleRalph EllisonReynolds Price, Rhoda Schwartz, Richard Morris, Ted Wilentz, Tom Montag, Bill Henderson and William Phillips.

* * *

My story, “Sweet Caporal” about a morning of fishing on Big Whiteshell Lake has been nominated for a Pushcart Prize by Editor Robert Boucheron on behalf of the quarterly literary journal, Rivanna Review, of Charlottesville, Va.

This is my third Pushcart nomination, the first from a U.S. periodical. It is the second time a version of “Sweet Caporal” has been nominated.

“What’s it about?”

I’ve assembled a collection of short stories to present to small presses in Canada. My hope is that I can attract a skilled, smart, simpatico partner to work with and publish the collection. I have several unpublished works and just over 90 published stories from which to choose.

I curated the stories into a themed collection and they are mostly those tales I have written that I consider “MennoGrit.” I define this in a sloppy way — like when you have to saw a board with your left hand:

Stories about real life. Ordinary people who encounter difficult situations and respond in a manner incommensurate with their simple station in life. Allegedly simple.

“So, what’s your book about?” is the question that everyone from agent to publisher to the person in the line at the pharmacy, pimple cream in hand, might ask.

Good question. To better understand this I pulled up the manuscript and made a list of the themes or messages that are at the core of each story. I was surprised by what I found. Here is that Thematic Table of Contents:

Loyalty…toxic male behaviour

Women’s rights in a patriarchy

Growing up…responsibility…saying no

Friendship and its obligations

Pacifism…courage

Bullying…courage

Regret

Womanhood…courage

Right and wrong…courage

Racism…insularism

Forgiveness…alcoholism

Nativism…equality

Class struggle

Alcoholism…class struggle

Pacifism

Toxic religion…abuse of authority

Deceit…class struggle

Mental health

Faith…life and death

Cruelty…guilt

Empathy

Abuse of authority

Life and death

Written as they are in the mind of my times, I can focus ice cold on these themes. They come from the lives that exist in all places, including those I know best. There is no “trending” in these familiars, where I am the son — both homegrown and prodigal — only observations scooped up and saved in a coffee can, resting placid and true on the high shelf where they have cured; some softening, some hardening.

The working title of the book is “Pinching Zwieback — Prairie Stories.”

Do They Remember?

Does the gravel road remember

the border of pastel yarrow, my footprints and the hollows made by my knees and the heels of my hands, me concentrating on staying awake while ravens oversee, soaring, violet mystique wings outstretched

Does the sky remember

glaring down on the old drunk, in his yellowed Stanfields, lying in a soaking puddle in the backyard morning, sprinkler ran all night and he drowned but didn’t know it

Does the backstop remember

me up on the mound, black socked Juan Marichal leg kick, wild as an air hose when the nozzle breaks off, baseball’s the next perfect thing after the last one blew apart

Does the kitchen floor remember

her pinwheeled on the cornflower tiles, alone and snoring, pajama top only, mustard on her pointed chin, the yellow badge of surrender, but what would I know of it?

Do the unknowing remember

all the things they can’t know when they say “Good for you…” but judge with unwrinkled eyes and tiny fists shooting venom, like Marvel halftone beams white hot with denial

Does the delivery room remember

my red moustache in an eighties flow, holding those babies so precious, waited through all the bad befores and here they are, perfect and undefinable, all worth it

Does the shy boy remember

how it felt to build the rink, leaves falling amber, nailing the boards, dragging the curved corners flat, dreaming of me yet to come, faceless, so I took his with its smiling eyes

Does the upstairs bedroom remember

her reading from Grimm’s, cover corners worn like the tongue of a boot, eyes the sagging hue of fall light but still life giving and aglow, “Who’s that walking across my bridge?” and the silver fillings glitter in the laughter of it

Detailed C-V

MITCHELL TOEWS: A big list…

 ONLINE ADDRESSES

Mitchellaneous.com
@Mitchell_Toews
Author pages on Facebook, Goodreads, and LinkedIn

 CURRICULUM-VITAE

Updated 10.15.22

EDUCATION

University of Victoria (1974-75)
University of Winnipeg (1975-77, dangerously close to a B.A. in Sociology)
Masters Certificate in Marketing Communication Management, York University (2001)
“So You Want To Write Indigenous Characters…” Manitoba Writers’ Guild (2019)

 ASSOCIATIONS/MEMBERSHIPS

Member — Manitoba Writers’ Guild
Professional Artist — as designated by Manitoba Arts Council
New/Early Career Artist — as designated by Canada Council for the Arts

Past Member — Winnipeg Public Library’s Prose Writing Circle, led by Winnipeg Public Library Writer in Residence Carolyn Gray (2019-2020)
Past Member — The Sunday Writers Group, led by Donna Besel (Lac du Bonnet, MB)
Member — WriteRamble, led by Lauren Carter, Winnipeg Public Library Writer in Residence, 2020-2021
Member — Write Clicks, a Winnipeg River/Winnipeg city alliance: a critique circle formed in 2021
Member — Winnipeg River Arts Council
Member — The Writers’ Union of Canada

 PUBLISHED WORKS

2016: 16 short stories | 15 online, 2 paid print, 9 Canada, 6 UK, 1 US

2017: 20 short stories | all online, 4 Ca, 1 India, 7 UK, 8 US.

Note: 2017 short stories Include: Best of Fiction on the Web: 1996-2017 ISBN: 9780992693916 (ISBN10: 9780992693, ISBN13:9780992693) and The Machinery: Fauna ISBN: 9781544723266.

2018: 14 short stories, 1 interview, 1 podcast (audio) | 1 paid print, 3 unpaid print, 6 Ca, 4 UK, 1 Ireland, 5 US

“I am Otter” — short story, CommuterLit (Ca)

“Fall From Grace”, short story, Literally Stories (UK) (“Pinching Zwieback” 2023)

“Of a Forest Silent” — short story, Alsina Publishing LingoBites (UK – English and Spanish)

“City Lights” — short story, Literally Stories (UK)

“The Bottom of the Sky” — short story, Fiction on the Web (UK)

“In the Dim Light Beyond the Fence” — short story, riverbabble (US) (“Pinching Zwieback” 2023)

“Nothing to Lose” — short story, riverbabble (US) (“Pinching Zwieback” 2023)

“Shade Tree Haven” — short story, Doorknobs & Bodypaint (US)

“Sweet Caporal at Dawn” — short story, Blank Spaces (Ca), paid print

“Sweet Caporal at Dawn” — short story, Just Words, Volume 2 Anthology (Ca), print ISBN: 9781775279273 (ISBN10:1775279278)

“Away Game” — short story, Pulp Literature (Ca), paid print

“Groota Pieter” — short story, River Poets Journal, Special Themed Edition, “The Immigrants” Anthology (US), print (“Pinching Zwieback” 2023)

“Five Questions for Mitchell Toews” — interview, Mennotoba (Ca)

“The Narrowing” — short story, Scarlet Leaf Review (Ca) (“Pinching Zwieback” 2023)

“Wide Winter River” — podcast, Not Ready for Prime Time (US)

2019: 14 short stories, 1 interview, 1 CNF essay | 1 paid online, 1 paid print, 2 unpaid print, 3 Ca, 2 UK, 1 Australia, 3 Iran, 8 US

“The Fifty Dollar Sewing Machine” — short story, Literally Stories (UK)

“The Toboggan Run” — short story, The MOON magazine (US) (“Pinching Zwieback” 2023)

“Peacemongers” — short story, The MOON magazine: “Out of This World” Anthology The Best Short Stories from the MOON (US), Volume 1, print ISBN: 9781078315326 (ISBN10: ‎1078315329, ISBN13: ‎978-1078315326) (“Pinching Zwieback” 2023)

“Cave on a Cul-de-sac” — short story, The Hayward Fault Line, Doorknobs & Bodypaint (US) Issue 93

“Din and the Wash Bear” — short story, The Hayward Fault Line, Doorknobs & Bodypaint (US) Issue 95

“Died Rich” — short story, Fabula Argentea (US), Issue #27, paid (“Pinching Zwieback” 2023)

“I am Otter” — short story, Short Tales – Flash Fiction Stories (Iran)

“Away Game” — short story, Short Tales – Flash Fiction Stories (Iran)

 “4Q Interview with Author Mitchell Toews” — interview and excerpt from WIP novel, “Mulholland and Hardbar”, South Branch Scribbler (Ca)

“Concealment” — short story, Me First Magazine (US)

“Groota Pieter” — short story, Pact Press (Australia), “We Refugees” Anthology, print

“Fast and Steep” — short story, Riddle Fence (Ca), Issue 34, paid print

“Holthacka’s Quandary” — short story, Lunate Fiction (UK)

“Shade Tree Haven” — short story, (mac)ro(mic) (US)

“My Writing Day” — CNF essay, my (small press) writing day (Ca)

“Our German Relative” — short story, Xmas Stories (Iran)

2020: 11 short stories, 2 CNF essays, 1 interview | 6 print, 1 paid online, 2 paid print, 5 Canada, 3 UK, 4 US

“The Business of Saving Souls” — short story, Literally Stories (UK)

“The Log Boom” — short story, in “A Fork in the Road,” 2019 Special Theme Edition Anthology of River Poets Journal (US), print

“Encampment” — short story, Tiny Seed Journal (US)

“Regrets de Foie Gras”— short story, Literally Stories (UK), May 2020

“The Grittiness of Mango Chiffon” — short story, Agnes and True (Ca), paid online, Summer 2020 (“Pinching Zwieback” 2023)

“My Life as a Corkscrew” — a CNF essay “On Writing” in Blank Spaces (Ca), June 2020, print

“Piece of My Heart” — short story, Pulp Literature, (Ca), paid print

“Away Game” — short story, Quail Bell Magazine, (US), paid print

Interview — Maysam Kandej Talks (Iran), https://maysam.id.ir/talks online, August 2020

“My Life as a Corkscrew” — a CNF essay “On Writing” in the Just Voices anthology (Ca), September 2020, print ISBN: 9781999290375 (ISBN10: 1999290372)

“The Sunshine Girl” — short story, Cowboy Jamboree Magazine (US), Fall 2020 (John Prine Tribute issue), print and online (“Pinching Zwieback” 2023)

“Died Rich” — short story, Fiction on the Web (UK), September 2020

“Baloney, Hot Mustard and Metal Filings” — short story, WordCity Monthly (Ca-Intl), September 2020 (“Pinching Zwieback” 2023)

“Our German Relative” — short story, WordCity Monthly (Ca-Intl), December 2020

2021: 8 short stories, 2 interviews | 1 paid print, 4 Canada, 4 UK, 2 US

“Interview with Contributor Mitchell Toews” — Blank Spaces (Ca), January 8, 2020

“So Are They All” — short story and interview, Literally Stories (UK), February 14, 2021(“Pinching Zwieback” 2023)

“Fast and Steep” — short story, CommuterLit “Love Stories,” (Ca), February 14, 2021

“The Grittiness of Mango Chiffon” — short story, Literally Stories (UK), March 9, 2021

“Fast and Steep” — short story, Fiction on the Web (UK), March 29, 2021

“Featured Artist — Mitch Toews” Winnipeg River Arts Council, the interview was written by Donna Besel (Ca), June 2021

“The Log Boom” — short story, WordCity Monthly (Ca-Intl), July 2021

“In the Dim Light Beyond the Fence” — short story, The Twin Bill (US), July 13, 2021

“Sweet Caporal” — short story, Rivanna Review (US), September, paid print

“Fast and Steep” — short story, Fenechty Anthology (UK), print

2022: 12 flash/short stories, 1 poem | 5 paid print, 3 royalty agreements, 4 US, 8 Canada, 1 Intl

“Hundred Miles an Hour” — short story, Rivanna Review, (US), paid print, March 2022

“Piece of My Heart” — short story, Miramichi Flash, (Ca), Spring/Summer 2022

“Downtown Diner” — short story, Cowboy Jamboree, (US), Bruce D’J Pancake Issue

“Winter Eve at Walker Creek Park” and “Shade Tree Haven” — Guernica Editions’ This Will Only Take a Minute: 100 Canadian Flashes, (Intl), a collective anthology edited by Bruce Meyer and Michael Mirolla, August 2022 ISBN: 9781771837514 (softcover) Identifiers: Canadiana (print) 20220195986

“I am Otter” — short story, Lintusen Press “Small Shifts: Short Stories of Fantastical Transformation” edited by Shawn L. Bird, (Ca), anthology, royalties print, July 2022 https://books2read.com/Prose-by-Toews ISBN: 9781989642351 (ISBN10: 1989642357 ISBN13 9781989642351)

“Sanctuary Quandary” — short story, WordCity Monthly (Ca-Intl), July 2022

The flash fiction “New War — Old Technology” will appear in The Fieldstone Review (Ca), Fall 2022.

“No Strings” — short story, Bell Press “Framework of the Human Body” edited by Catherine Mwitta, (Ca), anthology, paid advance/royalties print, 2022. ISBN: TBA

“The Spring Kid” — short story, Macrina Magazine, (US, Intl), Summer 2022

“A Cultivated Halloween” — short story, CommuterLit (Ca), October 2022

“Sweet Caporal” — poem, WordCity Literary Journal (Intl) November 2022

“The Sewing Machine” — short story, Rivanna Review (US), paid print, December 2022

2023: 3 flash/short stories | 1 royalty agreement, 1 UK, 1 Aus, 1 Canada

“The Margin of the River” — short story, D.A. Cairns  “I Used to be an Animal Lover: An extraordinary and eclectic collection of short stories.” (Au), anthology, royalties print, 2023. ISBN AU: TBA

“Piece of My Heart” — short story, Literally Stories (UK), January 26, 2023

“All Our Swains Commend Her” — short story, PULP Literature (Ca). Spring, 2023

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TOTAL: 107 short stories/flash fiction/interviews/essays/poems/podcasts in total out of approximately 600 submissions.

 CONTESTS-PRIZES-AWARDS

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The Pushcart Prize: Best of the Small Presses is an annual award that has chosen stories for a prestigious anthology for the past 45 consecutive years. Mitchell has three PUSHCART PRIZE nominations (See below for details.)

“So Are They All” — short story, Second Place in the Adult Fiction category of the Write on the Lake (Ca) contest, 2016, paid print ISSN: 1710-1239

“Fall from Grace” — short story, Honourable Mention in The Writers’ Workshop of Asheville (US) Memoirs Contest, 2016

“The Phage Match” — short story, Finalist in Broken Pencil’s (Ca) annual “Deathmatch contest, 2016, print

“Cave on a Cul-de-sac” — short story, Winner in The Hayward Fault LineDoorknobs & Bodypaint Issue 93 Triannual Themed Flash contest, 2018 

“I am Otter” — short story, CommuterLit (Ca), Runner-up in for Flash Fiction Feature, 2018

“Sweet Caporal at Dawn” — short story, nominated by Blank Spaces for a PUSHCART PRIZE, 2019, print

“Piece of My Heart” — a 750-word or less flash fiction was named “Editors’ Choice” in the 2020 Bumblebee Flash Fiction Contest from Pulp Literature Press, paid print

“The Margin of the River” — short story, nominated by Blank Spaces for a PUSHCART PRIZE, 2020, print

“Fetch” — short story, one of 11 finalists in a national field of over 800 entries: The Writers’ Union of Canada’s Short Prose Competition for Emerging Writers (“Pinching Zwieback” 2023)

“Sweet Caporal” has been nominated by Rivanna Review, Charlottesville, Va. for a PUSHCART PRIZE, 2021, print

“The Rabid,” finalist in the 2022 PULP Literature Bumblebee Flash Fiction Contest. (750-word max.)

The 2022 J. F. Powers Prize for Short Fiction. This Open competition drew over 400 submissions from around the world from writers in all stages of career development. “The Spring Kid,” was one of 28 longlist finalists and later advanced to the shortlist.

“The Mighty Hartski”: 2022 longlist for the Humber Literary Review/Creative Nonfiction Collective Society (CNFC) Canada-wide CNF contest (“Pinching Zwieback” 2023)

“Winter in the Sandilands” was named to the longlist for the 2022 PULP Literature Hummingbird Flash Fiction Contest. Mitch’s story, “Luck!” was on the shortlist in this same contest.

“All Our Swains Commend Her” 2nd Runner-Up in the 2022 PULP Literature Raven Short Story Contest.

 FUNDING

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Manitoba Arts Council, June 30, 2020. Financial support for the creation of a unique Manitoba artbook, ekphrastic in nature and featuring artistic photography and short fictional stories. The theme is “People, Places, and Light”. Photography by collaborator, Phil Hossack. Project extended due to Covid 19 to July 1, 2022. Complete.

February 2022. Mitchell has been partnered with veteran, award-winning author Armin Wiebe, a mentor in The Writers’ Union of Canada Mentorship Microgrant program. Armin and Mitch will be reviewing Mitchell’s debut novel: “Mulholland and Hardbar” (“Fargo with Mennonite accents.”)

 READINGS

  • Voices Launch, McNally Robinson, Winnipeg, MB, 2016
  • PULP Literature Issue Launch, Vancouver, BC, 2017
  • Manitoba Writers’ Guild, Artspace, Winnipeg, MB, 2019
  • Prosetry, Jessica Lake, MB, 2019
  • Driedger Readings, Winnipeg, MB, 2019
  • Victoria Writers’ Society, AGM—Open mic, 2020
  • PULP Literature Reading Series, live internet April 24, 2020
  • PULP Literature Issue 27 launch, live internet July 19, 2020
  • Mechanics’ Institute, San Francisco, Cal, COVID-19 open mic, Zoom August 19, 2020
  • Just Voices Volume 4 virtual launch, recorded for September 26, 2020
  • PULP Literature Issue28 launch, live internet November 7, 2020
  • Rivanna Review editor Robert Boucheron reads an excerpt from the short story “Hundred Miles an Hour” on Charlottesville (VA) Cable Access TV, May 2022 https://bit.ly/100MPHat12min18
  • Read “Sweet Caporal” and “Winter Eve at Walker Creek Park” for an international Zoom audience organized by poet Fizza A. Rabbani (Fizza Abbas) https://www.facebook.com/fizzah.abas.9, May 2022
  • Prosetry, Jessica Lake, MB, 2022
  • Regular appearances on Manitoba Writers’ Guild monthly Zoom critique circle
  • Several readings are recorded here: https://bit.ly/proseBYtoewsYouTube

 WORK IN PROGRESS

A short story collection, “Pinching Zwieback” is underway (At Bay Press) and a spring 2023 release is expected. The collection comprises a range of loosely related stories focused on Mennonite experiences in the fictional prairie town of “Hartplatz” and elsewhere in the world.

“The truth, the whole truth, and anything but the truth.”

(NOTE: In the story listings above, those pieces selected for inclusion in “Pinching Zwieback” are, in their first appearance on the list, shown in blue.)

“Mulholland and Hardbar” — a WIP novel (“Fargo, with a Mennonite accent”)

“People, Places, Light” — an ekphrastic Manitoba artbook including original photography and short stories (Funded in part by The Manitoba Arts Council | Le conseil des arts du Manitoba.)

A number of new short stories are always on the go, being submitted to literary journals, contests, and anthologies.

“The Mismaloya”— a proposed novelette screenplay adaptation. Awaiting a collaborator.

FRIENDS & FOLLOWERS

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  • Goodreads 274 friends, 22 followers
  • LinkedIn 923
  • WordPress 218

PANELS

1.15.21 Mitchell Toews participated as an Artist Testifier for the Commission on Basic Income. This Ontario/Canadian (Ontario Arts Council, Canada Council for the Arts) jointly-sponsored commission requested Mitch to “share your experience and thoughts with our commissioners and to inform their future report on the issue of Basic Income for Artists.”