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Longlisted for the 2018 Scotiabank Giller Prize - Winner of the 2019 Indigenous Voices Award for Published Prose in English Fact can be as strange as fiction. It can also be as dark, as violent, as rapturous. In the end, there may be no difference between them. An Inuk girl grows up in Nunavut, Canada, in the 1970s. She knows joy, and friendship, and parents' love. She knows boredom, and listlessness, and bullying. She knows the tedium of the everyday world, and the raw, amoral power of the ice and sky, the seductive energy of the animal world. When she becomes pregnant, she must navigate all this. In this acclaimed debut novel – haunting, brooding, exhilarating, and tender all at once – Tanya Tagaq explores the grittiest features of a small Arctic town and the electrifying proximity of the worlds of animals and of myth. 'One of the Best Things I've Ever Read.' Elliot Page ‘Tagaq’s surreal meld of poetry and prose transmutes the Arctic’s boundless beauty, intensity, and desolation into a wrenching contemporary mythology.’ The New Yorker
Longlisted for the 2018 Scotiabank Giller Prize - Winner of the 2019 Indigenous Voices Award for Published Prose in English
Fact can be as strange as fiction. It can also be as dark, as violent, as rapturous. In the end, there may be no difference between them. An Inuk girl grows up in Nunavut, Canada, in the 1970s. She knows joy, and friendship, and parents' love. She knows boredom, and listlessness, and bullying. She knows the tedium of the everyday world, and the raw, amoral power of the ice and sky, the seductive energy of the animal world. When she becomes pregnant, she must navigate all this. In this acclaimed debut novel – haunting, brooding, exhilarating, and tender all at once – Tanya Tagaq explores the grittiest features of a small Arctic town and the electrifying proximity of the worlds of animals and of myth.
'One of the Best Things I've Ever Read.' Elliot Page
‘Tagaq’s surreal meld of poetry and prose transmutes the Arctic’s boundless beauty, intensity, and desolation into a wrenching contemporary mythology.’ The New Yorker