Elizabeth Hay

生卒: 1951 –
国籍: 加拿大
获奖: 吉勒奖（2007）

生平与创作

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Elizabeth Grace Hay (born October 22, 1951) is a Canadian novelist and short story writer.

Her 2007 novel Late Nights on Air won the Giller Prize. Her first novel A Student of Weather (2000) was a finalist for the Giller Prize and won the CAA MOSAID Technologies Award for Fiction and the TORGI Award. She has been a finalist for the Governor General's Award twice, for her short-story collection Small Change in 1997 and her novel Garbo Laughs in 2003. His Whole Life (2015) was shortlisted for the Rogers Writers' Trust Fiction Prize. Hay's memoir about the last years of her parents' lives, All Things Consoled, won the 2018 Hilary Weston Writers' Trust Prize for Nonfiction. Her most recent novel, Snow Road Station, was named one of the best books of 2023 by The New Yorker.

In 2002, she received the Marian Engel Award, presented by the Writers' Trust of Canada to an established female writer for her body of work — including novels, short fiction, and creative non-fiction.

Life

Hay was born on October 22, 1951, in Owen Sound, Ontario. She is the daughter of a high school principal and a painter. Hayspent a year in England when she was fifteen and later attended Victoria College at the University of Toronto.

In September, 1972, she quit university. A few months later, May travelled out west by train. The following year she returned to Toronto and finished her degree in English and Philosophy. In 1974, May moved to Yellowknife, Northwest Territoriesm She worked for ten years as a CBC radio broadcaster in Yellowknife, Winnipeg and Toronto and then moved to Mexico, where she freelanced for the CBC. In 1986, May settled in New York City before to Canada with her family in 1992. She lives in Ottawa with her husband Mark Fried, a literary translator. May has two children.

Critical reputation and style

In an interview with the CBC in 2007, Hay commented on the relationship between her writing and her career in radio. "When I worked in Yellowknife," she said, "I was writing poetry and stories on the side and not getting very far. I felt kind of schizophrenic, like my radio work was one type of thing and my writing was another and there was a gap between. That became even more pronounced when I started working for CBC's Sunday Morning, doing radio documentaries. I took me a while to realize that there didn't need to be such a wide gap between those two forms of writing, and that they could cross-fertilize. Good radio writing is similar to any good writing. It's direct and economical and intimate and full of detail. Also, it sets your visual imagination working."