Linda Holeman
Linda Holeman is the author of fourteen books of fiction. Her work includes two adult collections of literary short stories, Flying to Yellow and Devil’s Darning Needle, as well as the historic novels The Linnet Bird, The Moonlit Cage, In a Far Country, The Saffron Gate, The Lost Souls of Angelkov, and The Devil on Her Tongue. Her young adult body of work consists of a collection of short stories, Saying Good-Bye, which was re-released as Toxic Love, and four novels: Promise Song, Mercy’s Birds, Raspberry House Blues, and Search of the Moon King’s Daughter. She has also written a first-chapter book, Frankie on the Run, illustrated by Heather Collins. To date, Linda’s work has been translated into French, German, Spanish, Portuguese, Dutch, Greek, Polish, Russian, Serbian, Swedish, Danish, Norwegian, and Hungarian, soon to be published in Croatian, Italian, Czech and Slovakian.
As well as being published in many journals and periodicals, her work has been widely anthologized in Canada – most noticeably in The Journey Prize Anthology – and abroad. Linda has also acted as guest editor for a young adult issue of Prairie Fire Magazine, for which was she awarded the Vicky Metcalf Short Story Editor Award. She has been the recipient of many honours and awards for her young adult work.
Linda has been a member of the Manitoba Artists in the Schools Program and CANSCAIP, toured with the Canadian Children’s Book Centre, acted as a mentor in the Manitoba Writers’ Guild Mentor Program, taught creative writing through the University of Winnipeg’s Continuing Education, served on many juries, including the Governor-General’s Award for Children’s Literature, and created and facilitated numerous writing workshops on many aspects of the writing process to both students and adults nationally and internationally. She held a nine-month term as Writer-in-Residence at the Millennium Library in Winnipeg, and served on the editorial advisory board for Turnstone Press and on the board of the Manitoba Writers Guild. She is a member of The Writers Union of Canada.
Linda holds a BA in Psychology and Sociology from the University of Winnipeg, a BEd in Early Childhood Education and MEd in Educational Psychology from the University of Manitoba.
She currently lives in Toronto, Ontario.
Source: http://www.lindaholeman.com/
“I knew my box of paints, stored away on the bedroom shelf of my small house across the ocean, could never create such colors.”
“I had never wanted attention, and now I waspurposely inviting it. As I had told Dr Duverger, I had little vanity, and yet one recentmorning I realized that I was avoiding looking at my own reflection, because it wasdisturbing. Did I wish to go through life like this? Yes, the scar was a horrible mementoof what I had done to my father, but now I questioned whether I needed it to be soobvious. The actual weight was within me. I carried it as though it were a heavyearthenware pot of water. I had to walk through my days carefully, so as not to let it spillover. It was my own personal burden, not necessary to be shared with all who looked atme.”
“But it wasn't just the distance. It was what had happened to me since these days, those endless, quiet days when I thought my life would always continue in that way. When my life consisted of small, certain pieces of a larger, but basically simple, puzzle.When I was certain that I always knew where each piece fit.”
“And now the thought came to me that I lived much of my life through the pages of books as well. That perhaps I, too, was only a paper figure. A cut-out, or silhouette. Flat.I always thought I knew the shape of my life. Of course I thought I knew about life, thought I knew all I needed - or wanted - to know. And yet, like the opening left when a burning star falls from its perch, now an unexpected hole was left in what was once a solid curtain of understanding... ( )... Sitting under the cold stars, I understood that it was death that made me recognize life, and the existence, or pherhaps the non-existence of my own beeing.”