Historical Overview

As was the case with most of Eastern Canada and New England, the cultural heritage of Atlantic Canada was shaped by centuries of war between England and France, as part of the broader competition between European countries during the colonization of the Western hemisphere. Although the Atlantic Provinces are usually seen as one of the most culturally homogeneous regions of the country, that image often camouflages a more complex mix of British, French, aboriginal, and African heritages, as well as a history of conflict that includes the decimation and dispossession of the original Mi’kmaq and Malicete populations, the extinction of the Beothuk people of Newfoundland, the expulsion of the Acadians in 1755, and the presence of the institution of slavery in various parts of the region. Atlantic-Canadian literature in English has its roots in the sixteenth and seventeenth centuries, beginning with the records of explorers and settlers who first established a presence on Canada’s East Coast. Explorers such as Richard Whitbourne in the early 17th century and George Cartwright in the late 18th century left records of their travels and experiences in the region that provided a kind of foundation for the literature to come. Whereas settlement in Newfoundland was at first actively discouraged to favor migratory fishing fleets from England, by the 18th century, permanent settlements began to spring up. In the Maritimes, two important waves of emigration in the second half of the 18th century – Loyalists fleeing America in the wake of the American Revolution and the New England Planters immigrating principally to the Annapolis Valley in Nova Scotia – contributed to a more substantial and permanent literature. Although literary activity was largely the preserve of the colonial elite – government officials such as poet Jonathan Odell, Anglican ministers such as Jacob Bailey, military officers and the like – it was not exclusively so. There were also alternative voices, such as the religious and autobiographical writings of Black Loyalists such as Baptist minister David George and Methodist Boston King; the poetry of Irish expatriate Donncha Rua Mac Conmara, writing about Newfoundland in the mid-18th c.; and itinerant preacher Henry Alline, whose hymns and songs were an important contribution to the founding of the Baptist church in the Maritimes in the late 18th c. Thus poetry and prose – whether for purposes of edification, practical instruction, or entertainment – made an important contribution to the burgeoning colonial settlements on the East Coast.

Over the course of the eighteenth and early nineteenth centuries, a more established literature took shape in Atlantic Canada as settlement became permanent and as the major cities of the region such as St. John’s, Fredericton, Saint John, Charlottetown, and Halifax were founded and began to flourish as centres of economic, political, and cultural activity. Reflecting the political and social domination of the region by English Protestants, figuring prominently in nineteenth-century Maritime literature were writers of Loyalist backgrounds such as Saint John poet Oliver Goldsmith and Nova Scotians Thomas Chandler Haliburton – author of the tremendously successful Clockmaker series featuring the Yankee clockmaker Sam Slick – and politician, publisher, and writer Joseph Howe. Indeed, the first novel published by a native-born writer in Canada, St. Ursula’s Convent, or the Nun of Canada (1824), was written by Fredericton writer Julia Catherine Beckwith. But there were also writers from other backgrounds making their mark, such as the influential Presbyterian educator Thomas McCulloch, author of the popular series of prose sketches The Letters of Mephibosheth Stepsure. With a relatively established cultural infrastructure supporting such literary activity, the Maritimes thus had an early and formative influence on English-Canadian literature as a whole.

Writing in the nineteenth century continued to have a utilitarian cast, such as that of Frances Beaven, who, much like sisters Susanna Moodie and Catherine Parr Traill in Upper Canada, wrote about life in the backwoods of New Brunswick in the mid-nineteenth century. But the range of literary activity gradually expanded, as evident in the work of Saint John writer Douglas Huyghue (“Eugene”), one of the first writers in the region to address the plight of Native peoples in the region as well as the expulsion of the Acadians. After the formation of the new dominion of Canada in 1867 – which Newfoundland declined to join – writers from the Maritimes played a key role in the national literary culture of the late nineteenth century, as New Brunswick poets Charles G.D. Roberts and Bliss Carman were key members of the so-called Confederation Poets, a cluster of writers and critics who did much to foster a sense of cultural and literary nationalism. But they were part of a broader burgeoning literature on the East Coast that included such successful fiction writers as the prolific and popular New Brunswick novelist Agnes May Fleming; Saint John bookstore owner and later professor James DeMille, best known for his satiric adventure novel A Strange Manuscript Found in a Copper Cylinder; and Nova Scotian Margaret Marshall Saunders, whose 1893 novel about a rescued dog, Beautiful Joe, went on to sell millions of copies. At the turn of the century, American Norman Duncan wrote ground-breaking stories of outport life and of the lives of ordinary Newfoundlanders. This era also saw the emergence of perhaps Canada’s best-known writer, Lucy Maud Montgomery, whose pastoral romances about Prince Edward Island (most notably, Anne of Green Gables) have achieved a lasting popularity with readers around the world.

The early twentieth century, however, was marked by a downward turn in the fortunes of the Maritimes and Newfoundland. Amid a growing resource crisis and in the wake of changes in the political and economic structure of the nation, the Maritime Provinces experienced a pronounced economic downturn, characterized by a decline in manufacturing and by a substantial migration of finance, business, and labour from the region, principally to central Canada. In Newfoundland, a debt crisis attributable to heavy wartime expenditures, a resource crisis, and failed attempts to industrialize the island led to the surrender of the colony’s relative sovereignty in the mid-1930s, during which the quasi-autonomous colonial government, in exchange for debt relief, was replaced by a Commission government. The Commission then called for a referendum on Newfoundland’s future, leading to the bitterly disputed 1948 decision to join Confederation. The reconfiguration of the region’s place in the nation during the first half of the twentieth century, which for many amounted to an increasing subordination, was arguably reflected in the literary culture as well. While writers such as Nova Scotia’s Hugh MacLennan, Thomas Raddall, and Ernest Buckler, and Newfoundland poet E.J. Pratt were prominent figures on the national literary scene in the mid-twentieth century, the literature of the region was increasingly tinged with a certain postlapsarian nostalgia and regret, even, to some degree, as Ian McKay and James Overton have argued in their influential studies The Quest of the Folk and Making a World of Difference, an antimodern celebration of being left behind by modernity, capitalism and progress. This marginal status was also arguably reflected in the decisions of many writers in the region to migrate to central Canada, where the influential cultural institutions, the intelligentsia, and the bulk of the nation’s literary infrastructure were (and still are) concentrated. Major literary figures from the Atlantic Provinces such as Pratt, MacLennan and fellow Nova Scotian Charles Bruce spent the bulk of their careers in Toronto and Montreal, while those who made the decision to stay in the region, such as Buckler and Newfoundland novelist Margaret Duley, risked marginalization and obscurity by doing so. Even Montgomery – so closely associated with Prince Edward Island – spent the majority of her writing life living in Ontario after her marriage to Presbyterian minister Ewan MacDonald.

The late 1960s and 1970s, however, were marked by a surge of regional consciousness that was reflected in the establishment of regional theatres, drama co-operatives, literary and dramatic festivals, and regional presses. Writers and critics in the Maritimes and Newfoundland, like their counterparts on the Prairies and the West Coast, reacted to what they saw as a highly centralized and exclusive national culture by highlighting and celebrating their regionally distinctive cultures. Nova Scotian Alden Nowlan, as long-term writer-in-residence at the University of New Brunswick, until his early death in 1983 was at the centre of a vibrant cultural circle in Fredericton that included poets Fred Cogswell and M. Travis Lane and fiction writers Bill and Nancy Bauer and Allan Donaldson. P.E.I.’s Milton Acorn emerged as a distinctive working-class voice and won national acclaim as a poet of the people. Nova Scotia Mi’kmaq poet Rita Joe, writing about the hardships of her own life but more optimistically about the possibility of interracial reconciliation, influenced a whole generation of emerging young Native writers. Newfoundland writing was part of a resurgent embrace of traditional rural Newfoundland culture, reflected in the work of novelist Harold Horwood, poet Al Pittman, and playwrights Michael Cook and David French, among many others. The establishment of regional theatres in major centres throughout the Atlantic Provinces in this era made theatre more widely accessible, and alternative theatre groups such as Nova Scotia’s Mulgrave Road Co-op and the Mummers’ Troupe in Newfoundland were an important part of a nation-wide embrace of co-operative theatre giving voice to regional culture and local issues.

Coming in the wake of such cultural and literary ferment, the period from the late 1970s to the early 1990s comes across as a relatively fallow one in the history of Atlantic-Canadian literature, although it was characterized by a good deal of literary activity. During that time arguably only two writers from the region, Nova Scotian Alistair MacLeod and New Brunswicker David Adams Richards, made much of a mark on the national stage, although it was quite a mark: the two have gone on to become distinctive and central figures in Canadian literature – MacLeod for his lyrical fiction about Cape Breton and Richards for his sustained evocation of the Miramichi region in northeastern New Brunswick. At the same time, that period laid the groundwork for what has been a pronounced flourishing in Atlantic-Canadian literature over the last two decades. There has been a conspicuous increase in the number of accomplished writers coming out of the region, and a comparable surge in the amount of attention received by these writers outside of the region. George Elliott Clarke from Nova Scotia and Wayne Johnston from Newfoundland have joined MacLeod and Richards as writers of unquestionably national (and even international) stature, and a host of other writers – including New Brunswicker Sheree Fitch, Nova Scotians Daniel MacIvor, Anne Simpson and Lynn Coady, Newfoundlanders Lisa Moore, Michael Winter and Michael Crummey, and Anne Compton from P.E.I. – have increasingly staked out a similar presence. While important developments such as the building of the Confederation Bridge between the mainland and Prince Edward Island, the crisis in the Atlantic fisheries (and in particular the 1992 moratorium on Northern cod in Newfoundland), the exploitation of offshore oil and gas have had a pronounced and often negative effect on life in the region, cultivating a sense of the region in many ways being at a kind of cultural and social threshold, the literature of Atlantic Canada is – for the time being at least – vibrant and robust.

Regional Identity

To truly appreciate current trends in the writing of Atlantic Canada, it is helpful to have an understanding of the place of the region in the larger federation, because much of contemporary writing in the region consciously or implicitly contends with the way in which the region is imagined and constructed by people in the rest of the country. As a relatively underdeveloped region with limited political and financial clout within Confederation, Atlantic Canada is often seen as a region behind the times, failing to keep pace with the technological, industrial, economic and even social progress evident in other, more prosperous regions. At its most benevolent, this perception of Atlantic Canada takes the form of what historian Ian McKay has described as Folk discourse, a perceptual framework within which Atlantic Canadians are viewed as a simple, communal, down-to-earth populace contentedly living lives close to the natural elements and fortuitously sheltered from progress, modernity, and the stains of capitalist relations. This perceptual framework, which has been promulgated not just outside the region but at times within it, and which has been a strong influence on how tourism in the region has been promoted, cultivates a set of expectations about culture in Atlantic Canada which have powerfully shaped contemporary writing in the region.

One result is that readers often come to Atlantic-Canadian literature expecting to encounter a more elemental, traditional, realistic and rural literature. Certainly, much Atlantic-Canadian literature – such as the plays of Robert Chafe and the fiction of Donna Morrissey, Bernice Morgan, and (up to a point) Alistair MacLeod – to some degree fulfills these expectations. But it is almost as likely that readers will encounter literature that is just as situated in the postmodern present as is literature in other regions of Canada, such as the writing of George Elliott Clarke, the poetry of Anne Simpson, and the plays of Daniel MacIvor. Furthermore, they might encounter literature – such as the poetry of Mary Dalton or the fiction of Lynn Coady and Edward Riche – that anticipates and (often humorously) subverts those expectations of a traditional, rural Folk identity. Contrary to the expectation of a down-home, traditional sensibility, the work of contemporary Atlantic writers such as Clarke, Coady, Riche, MacIvor, Michael Winter, Lisa Moore and others is conspicuously urbane, cosmopolitan and global. Rather than a region in a state of arrested development – as is, at times, the impression cultivated about it – Atlantic Canada is very much caught up in, and shaped by, wider global economic, political, social and cultural developments, and that sense of being thoroughly caught up in the present (as opposed to hermetically sealed in the past) increasingly has become an important defining feature of contemporary writing in Atlantic Canada.

This cosmopolitan sensibility is, in part, a reflection of the increasing mobility of the writers themselves. Whereas it used to be the case that Atlantic-Canadian writers were faced with a fairly stark choice between staying in the region or leaving, particularly because of the concentration of the cultural industries in central Canada, now that mobility is much more fluid and less of an either/or choice. While there are still writers who, for various reasons, have migrated out of the region – such as Clarke, MacIvor, and novelist Wayne Johnston, for instance, all of whom are long-time residents of Toronto – other writers find it easier (particularly because of improvements in communications technology) to stay in the region to ply their trade, while others such as Winter and MacLeod come and go, spend part of the year elsewhere, part in the Atlantic region. Consequently, in an increasingly mobile, interconnected cultural milieu, regional definitions of literary identity in Atlantic Canada, as elsewhere, are becoming more fluid and less rigid, as writers increasingly “belong” to or inhabit more than one place.

Another important way in which contemporary Atlantic-Canadian literature defies expectations is in its increasing formal and generic diversity. Not without good reason, the fiction, drama, and, to a lesser degree, the poetry of the Atlantic Provinces traditionally have been associated with a gritty, elemental realism. Certainly, much of the writing in the region still meets that description – the fiction of David Adams Richards, Leo McKay, Jr., and newcomer Joel Hynes, for instance. But contemporary writing in the region arguably is more ambitious and innovative and has a greater formal and generic range than it has in the past. This is reflected, for instance, in the experimental formalism of Anne Simpson’s and matt robinson’s poetry, Daniel MacIvor’s theatrically ingenious postmodern monologues, the historiographic metafiction of Wayne Johnston and John Steffler, the magic realism of Michael Crummey and Kenneth J. Harvey, and the staccato, impressionistic stylings of some of the writers associated with St. John’s Burning Rock writers’ collective, such as Moore, Winter, and Jessica Grant.

Small Presses

Independent publishers are so rare these days, being one is almost like being an inshore fisherman” (Atlantic Books Today 24). Breakwater Books publisher Clyde Rose reveals in this analogy the economic disadvantages of operating a publishing company in Atlantic Canada. However, the usage of nostalgic terms like “these days” suggests the outlook for regional presses was not always so grim, but, like the East Coast fishery, the publishing industry has seen better days, profitable days.

Publishers in Canada release about 10,000 books annually (Association of Canadian Publishers). This count does not reflect publishing activity in Atlantic Canada, as many books come out of Central Canada and the publishing centre of Toronto. While Atlantic Canada remains home to numerous literary presses which publish award-winning works in terms of both content and design, the publishing industry on the East Coast exists on the peripheries. Great upheavals in publishing during the 1990s—due to government funding cuts, economic transmutations, and merges of publishers and booksellers—brought risk to the publishing industry. However, in the late 1990s and in 2000, many publishers at risk of being marginalised in a global marketplace have diversified their business enough to stay afloat. Some publishers have emerged from small areas like the Annapolis Valley to publish books garnering favourable reviews for design, while others have expanded, such as Halifax’s Nimbus Publishing, which recently launched the fiction imprint Vagrant Press.

The global marketplace has not been kind to East Coast publishing. Media concentration of the late 20th and early 21st century created conglomerates of book publishers; transnational companies own publishers which produce under a variety of imprints. One example, Bertelsmann, is a German transnational that owns Random House, the world’s largest general-interest publisher (Bertelsmann). In turn, Random House’s imprints include a who’s who of publishers: Knopf, Doubleday, Vintage, Seal, and Anchor. Revenues in the Canadian publishing industry topped $2 billion in 2004, yet this pie was shared with foreign-controlled companies who, though representing but 6 per cent of all companies surveyed, received 47 per cent of total revenues (Statistics Canada). Clearly, small presses on the East Coast taste only a little bit of this pie: as of 1998, only 0.6 per cent of Canadian publishing activity occurred in Atlantic Canada (Anderson 6). Furthermore, only in rare cases does this activity generate blockbuster sales. Fairy-tale stories in Atlantic Canada are limited: Halifax’s Nimbus published the non-fiction work Hurricane Juan in 2003 which sold 65,000 copies, 50,000 of those within three weeks of its release (Canadian Press NewsWire). It is more common for East Coast publishers to have titles selling 500 to 800 copies, whereas 10 years ago, 1,400 was the average print run (Quill & Quire).

The loss of high profile authors that might generate sales to larger publishing corporations mean that small literary presses struggler to maintain a stable of nationally recognized writers. Some authors publish their first book locally, such as Lynn Coady, who sold Strange Heaven (1998) to Goose Lane. Goose Lane benefited when the book was shortlisted for the Governor-General’s Award. However, once achieving critical success, Coady moved to Doubleday for subsequent publications. Newfoundland writer Michael Crummey, who signed with Doubleday for two more books, spent the early part of his career publishing in literary periodicals, and with small literary presses, albeit outside the region. He has not veered away from local publishers: he collaborated with several other Newfoundland writers to publish a collection with Running the Goat Books and Broadsides, a one-person affair in St. John’s. Chapel Street Torque (2002) was published in a print-run of 150 (Running the Goat Books and Broadsides). More often, though, authors foster their careers outside the region which began them. This is ironic, though, suggests Danielle Fuller, for it is such authors who “helped to put Canadian writing on the world stage” (Fuller 46). Yet the stage moves from regional presses onto the larger corporations. While some presses lose some authors to bigger publishers, others manage to retain writers who have achieved a modicum of fame. Bernice Morgan’s tomes Random Passage (1992) and Waiting for Time (1994) became bestsellers for Breakwater Books, heightened by the media attention surrounding the movie created from the works. Despite her success, Morgan remained with Breakwater for her short story collection The Topography of Love (2000). The Morgan novels gave Breakwater Books consistent sellers, as the two works have been in print for over a decade, making it “a significant critical success” (Fuller 140).

The marketplace’s changing composition restructures the way in which books are bought and sold, often to the detriment to smaller companies. Bookselling superstores are capable of carrying large quantities of work; when the Chapters in Bayer’s Lake, outside Halifax, opened in the late 1990s, it boasted 100,000 titles (Eve 4). Easy internet access to Chapters and Amazon on the internet also means more books are diverted from small independents which promote local writers and home presses. Superstores are able to cut the prices, which cannot be matched by independents. Discounted bestsellers are stores like Wal-Mart and Costco mean that books become cheap products which have “changed consumers’ expectations about prices” (Fuller 45).

Small presses selling small quantities of intellectual property cannot compete without government aid (Fuller 43) and even this is contingent on who is in power at the time. Government funding supports publishing programs, yet arguable, the region is marginalized in terms of grant money as well. The Canada Council for the Arts is one such federal government initiative that operates at arm’s length from the government, essentially dispersing taxpayer money to arts programs. Aside from government funding, the council receives donations, bequests, and endowment income (Canada Council for the Arts), though these contributions must be tenuous, as when government funding plummeted in the early 1990s, grants to publishers also fell. Cuts occurred to funding at provincial and municipal levels as well (Fuller 43). Bearing a mandate to encourage arts programs in Canada, the council grants money to authors and publishers, both in block funding as well as cash for promotional tours. Most council funding goes to Toronto: in 2003-2004, the council granted $4.7 million to Toronto authors and publishers, compared to the $1.3 million sent to the four Atlantic provinces combined (Canada Council for the Arts). Prince Edward Island is perhaps marginalized to a greater degree, as, in 2000-2001, it received a tiny $2,700 from the council despite being home to a lively writing community and small publishing ventures (Canada Council for the Arts). Often, minute publishing houses are too small to be funded: Roseway Publishing, with its output of two books per annum, does not qualify for Emerging Publisher Grants, as four books per year is the qualifying minimum. Because it could not double production, Roseway turned to a self-publishing venture, and owner Kay Tudor never took a salary for her work as editor (DeLong 10).

Diversifying, like Roseway, is a strategy which has kept smaller publishers aloft, despite the tumultuous 1990s. Goose Lane Editions of Fredericton provides a key example: the company teamed with CBC Radio’s Between the Covers to produce audio versions of well-known novels like Sheldon Currie’s The Glace Bay Miner’s Museum and Frank Parker Day’s Rockbound (Lahey 19). In 1998, audio sales accounted for one-third of the publisher’s revenue, making it a significant contribution to Goose Lane’s income (19). Ironically, Atlantic Canadian publishers do not comprise the entire catalogue, as authors such as Margaret Atwood and Timothy Findley provide their heavyweight status to the list. However, the venture allows Goose Lane to continue publishing regional fiction. Design work is another way to finance literary endeavours, as Goose Lane hires out their design and publishing expertise to clients like the Canadian Museum of Civilization and the Beaverbrook Art Gallery. Kentville publisher Gaspereau Press, known for their rich, tactile books, engages in commercial printing to offset publishing costs. Formac Publishing in Halifax, which produces mostly non-fiction titles alongside its Fiction Treasures reprints, also distributes for James Lorimer & Company out of Toronto. Breakwater Books of St. John’s produces material for educational markets, including anthologies aimed for high school curricula. Pottersfield Press owner, and one-man publisher Lesley Choyce diversified his own career by teaching creative writing at Dalhousie University, hosting a television show, and authoring his own diversified oeuvre.

The increasing presence of the internet has been blessing and curse for the region’s publishing industry. Online superstores like Chapter and Amazon mean prices are cut. Annapolis Valley author Cameron Royce Jess’s two novels, published by Inscape Publishing, were both available online at Chapters and Amazon, yet the retail price of $24.95 has been slashed to $16.71—a discount that cannot always be matched by smaller stores which promote local authors. However, the internet has also been invaluable. The internet has become a means of purchasing literature, as approximately two-thirds of adult Canadians cruise the internet and 43 per cent of those shop online (Statistics Canada). Smaller publishers have begun selling their wares online as well, often directly through the publisher’s homepages. Websites feature author biographies and overviews of their products, as well as icons to click on to purchase books directly. The flexibility of book publishers to hawk their publications with the internet’s aid illustrates the pervasive cultural transformations of the electronic age in transforming the book-buying experience. The electronic age also means more affordable desktop publishing. Smaller textual communities, such as those described by Fuller can utilize desktop publishing to self-publish without the extensive typesetting costs of yesteryear. Two such anthologies arose out of creative writing workshops at the Nova Scotia Community College in Bridgewater in 2000 and 2002, meaning new authors could participate in cultural production. Recognizing the desire for self-publishing, Roseway Books launched Community Books in 1997 to allow authors outside the publisher’s mandate to be published with professional assistance. Not only does Community Books allow for Roseway to encourage smaller textual communities to publish, it funds their own activities.

The state of publishing on the East Coast is perhaps not as dire as Clyde Rose predicted when equating the industry with the devastated inshore fishery. In the cost-cutting culture of the 1990s, government grants fell to publishers; however, many presses remained afloat by diversifying their businesses to include more than just publishing literature from local authors. Numerous techniques have allowed them to fund publishing activities that see new writers published and promoted. Unfortunately, small publishers do not always keep their famous recruits, who move on to bigger markets as afforded by the transnational companies which own many of the big-name imprints. Sometimes, local authors do not even publish one work locally, as Newfoundland’s Donna Morrissey went straight to Penguin Books to publish her breakout hit Kit’s Law (1999), while Annapolis Valley scribe Ami McKay show to the top of the bestseller list with The Birth House (2006) because of Knopf’s ability to market her across the country. However, the awards won by publishers such as Gaspereau Press for their innovative press techniques mean that the state of publishing in Atlantic Canada is not one of decline. At the same time, though, regional marginalization means that East Coast presses cannot compete with larger companies housed in regions that are more populous. Though quality work emerges from the region, it continues to be marginalized in terms of numbers and funding.

Works Cited

Anderson, Scott. “Sizing up the Book Industry: StatsCan’s Latest Publishing Survey Yields Some Questionable Results.” Quill & Quire 64.10 (1998): 6.
Association of Canadian Publishers. 24 Aug. 2006 https://www.publishers.ca.
“Ballot Questions.” Quill & Quire 72.1 (2006): 8-9.
Bertelsmann. 24 Aug 2006 http://www.bertelsmann.com.
“Book on Hurricane Juan Fastest-Selling Book Ever in Atlantic Canada.” Canadian Press NewsWire. Toronto: December 1, 2003.
“Breakwater Books Reaches Middle Age.” Atlantic Books Today 41 (2003): 24.
Canada Council for the Arts. 30 Aug. 2006 https://www.canadacouncil.ca.
The Daily (15 August 2006). Statistics Canada. 24 Aug. 2006 http://www.statscan.ca.
The Daily (30 June 2006). Statistics Canada. 24 Aug. 2006 https://www.statcan.ca.
DeLong, Jodi. “Two Books a Year—and One Labour of Love.” Atlantic Books Today 45 (2004): 10.
Eve, Elizabeth. “Editorial: Bigger Still Isn’t Better.” Atlantic Books Today 19 (1997-1998): 4.
Fuller, Danielle. Writing the Everyday: Women’s Textual Communities in Atlantic Canada. Montreal: MQUP, 2004.
Lahey, Anita. “Goose Lane and CBC Produce Winning Combos: Broadcaster’s ‘Brand Name’ Makes the Difference in Risky Business of Spoken Audio, Publisher Says.” Quill & Quire 64.4 (1998): 19.
Running the Goat Books and Broadsides. 24 Aug 2006. https://www.runningthegoat.com.