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And that is a huge achievement. That's not really a question that I can answer based on my friendship and working relationship with Daniel but I can't imagine that it didn't have an influence on him — after all, that rawness that is so much a part of Daniel's poetry and prose is certainly, from my perspective, what made punk so exciting. And Daniel's ability to convey the grittiness and grudge of punk and to make that world fully come alive — and I remember punk in '78 and Daniel certainly evokes the kind of punk experience that I took part in — depends in part, from my perspective, on his intimate connection with that scene.

I knew who Daniel Jones was when we were both at University College in and I re-call going to one of his parties and that sense of outrageousness that we see in The Brave and in was the way that Daniel was living!

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Daniel was a writer's writer — an absolutely voracious reader and collector of books who was totally interested in all aspects of the local literary scene — partly because of his own writing of both poetry and prose and his superb skills as the editor of Paragraph. He talked about writing with an amazing fluidity. When you were with him on the College Street strip, it was almost impossible to be with him and not run into a veritable who's who of Toronto's young hip literary landscape.

Who did he admire? I am afraid to try and make a list because I don't want to leave anyone out by mistake! But suffice it to say that Daniel's literary tastes were as varied as was his own writing. He was excited by new voices, by craft and style and had as much admiration for well-established Canadian writers like Timothy Findley as he was for new and up-and-coming writers like some of the writers who I did profile for him in Paragraph , writers like Makeda Silvera, Thomas King, Jane Urquhart and Nino Ricci.

I'm currently involved in putting together an anthology of performance pieces for the queer storytelling collective I've been a member of for the last dozen years or so called Queers in Your Ears — we have been writing and performing original material as part of the annual Toronto Storytelling festival and it's time to make sure that these alternate voices get heard outside of the storytelling world.

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So my fellow queers, Clare Nobbs and Rico Rodrigues and I are busy gathering up by some of the many different writers and performers who have worked with us and shared their work as a part of Queers in Your Ears and we're also hoping to do some performance work reviving some of the work in the collection later this fall.

And I keep hoping that just maybe I'll see someone wanting to re-issue Daniel's other prose works — he was a very innovative writer and it would be very exciting to see more of his work available to new readers! He is also a member of Toronto's queer storytelling collective, Queers in Your Ears. For more information about please visit the Three O'Clock Press website.

Amanda Doucette hasn't had an easy time of it — she returns from her aid work in Africa haunted by what she's seen and struggling to hold onto her ideals, and things aren't about to get any easier for the protagonist of Fire in the Stars Dundurn Press. Together along with Amanda's loyal canine sidekick, Kaylee , they set out to discover the truth about both the victim and Amanda's missing friend.

Set against the starkly beautiful background of Newfoundland's Great Northern Peninsula, Fire in the Stars is tense and atmospheric. Sign In. Submitted by Grace on July 25, - am Share. Related item from our archives. Read Full Story. Submitted by Grace on September 7, - pm. Advanced Search.

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All rights reserved. Site built by The Intelligent Machines Co-operative. Jeffrey Canton talks to Open Book about his experience in the unique role of literary executor. Jeffrey Canton: It is a peculiar space to be in because, on the one hand, it's your role to help make sure that the work stays alive and out there for readers but, at the same time, there's no author to turn to help make decisions about doing that or making editorial changes like the small ones that have been done for these two wonderful re-issues of Daniel's books.

JC: I think in part it's so resonant because it's so honest — there is a brutal, don't-hold-anything-back straight-forwardness that makes the reader immediately connect with the authorial voice in both the poetry and the prose. OB: The Toronto of today is very different from the one Jones wrote in and about.

JC: The world has changed immensely in the years since Daniel's death — was a very long time ago. JC: Kevin and I didn't collaborate on these two re-issues — The Brave was his project and, as Daniel's literary executor, I basically was involved with the publication of the book on a tangential level — Coach Hose always kept me in the loop but this was their project.


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JC: That's not really a question that I can answer based on my friendship and working relationship with Daniel but I can't imagine that it didn't have an influence on him — after all, that rawness that is so much a part of Daniel's poetry and prose is certainly, from my perspective, what made punk so exciting. OB: Were there local writers Jones admired during his life? JC: Daniel was a writer's writer — an absolutely voracious reader and collector of books who was totally interested in all aspects of the local literary scene — partly because of his own writing of both poetry and prose and his superb skills as the editor of Paragraph.

Poems about Strength

When Daniel Jones committed suicide on February 13, , at the age of 33, he left behind one published collection of poetry, one published novel, and a handful of chapbooks. His legacy, however, was still being written. A book of linked stories, The People One Knows. And, as it turns out, he did know them. He was sober for the rest of his life, though constantly battled depression.

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