Telephone: 604 444-4889
Outside Vancouver: 1 888 445-4176
Fax: 604 444-4119
To publish work of the highest literary merit by world class authors from the mainstream and the margins of Canada’s three founding nations, as well as from both visible and invisible minorities within Canada’s cultural mosaic, and to work with all of our authors to build their national and international literary careers throughout their active writing lives.
We have close to 500 titles that have received well over 300 awards. We have built and continue to keep in print one of the finest and most diverse literary lists in Canada.
Role in Canadian Publishing
Talon’s dedication to the publication of over four decades of excellent Canadian literary work, created through an unbroken line of internal mentorship and succession of ownership in the company, has earned our publishing house the privilege of being one of the pre-eminent independent Anglophone literary presses in Canada. We are the only one of the pioneering “first generation” of Canadian literary publishers of the 1960s to have consistently maintained our success and independence over the past 45 years. We are Canada’s largest independent publisher of drama; do more translations from Québec than anyone else; and publish more Native voices than any other Canadian publisher with the exception of First Nations publisher Theytus Books.
Talon was first established as a poetry magazine with an editorial collective based at Magee High School in Vancouver in 1963, which moved to UBC in 1965. By 1967, the magazine had published so many young writers, Talon decided to become a book publisher for its authors.
Starting out with poetry, including the first books (Sticks & Stones) of Canada’s first Parliamentary Poet Laureate, George Bowering, and Ken Belford’s Post Electric Cave Man respectively; the press diversified into drama with Beverley Simons’ Crabdance, George Ryga’s The Ecstasy of Rita Joe and James Reaney’s Colours in the Dark in 1969; into fiction with Jane Rule’s Desert of the Heart and Audrey Thomas’ Songs My Mother Taught Me in 1973; into Québec literature in translation with Robert Gurik’s The Trial of Jean Baptiste M. and Michel Tremblay’s Les Belles Soeurs in 1975; and into non-fiction with the collected works of ethnographer Charles Hill-Tout, The Salish People, Volumes I-IV, in 1979.
In the early 1980s, the press experimented with publishing highly successful commercial titles. However, we found that these not only took too much time away from our new literary work but also threatened, by putting at too great a risk, the company’s solid literary backlist. For these reasons, the press returned to its original, exclusively literary mandate in 1985.
Over the past decade, Talon has diversified its literary non-fiction list to include works on global flash-points in the Middle East and the Balkans, and on Canadian issues and politics.
Talon is a member of the following organizations:
The Literary Press Group
The Association of Book Publishers of B.C.
Canadian Booksellers Association
The Canadian Conference of the Arts
The Association of Canadian Publishers
The holiday season is upon us, and perhaps you are considering giving the gift of a good book! Here are the most lovely and readable and immediately compelling books we have produced recently to help you in your quest. Order soon to have them delivered in the next couple of weeks! (And did you know that ours come nicely packaged?)Tuesday December 3, 2013 in Meta-Talon
by Chloë Filson
In a recent Meta-Talon article, “Reflections on Regionalism,” Megan Jones referred to the “quietly profound writers that dwell in far-off corners and dense urban hotbeds of this vast country.” This description points to one of the most important – or at least one of the most critically discussed – tensions in Canadian literature: urban vs. rural.Thursday November 28, 2013 in Meta-Talon
Tuesday November 26, 2013 in Meta-Talon
“With this magazine cover, I know it’s only a prototype, but with this cover, we decided to concentrate on the mole. This may look to you and me like an ordinary, and might I add rather famous, mole on a human face. Yet if we were to make that assumption, we would both be making a rather naive supposition.”
Candy blinked and stifled a yawn.
“Because,” roared F with wild eyes, nearly startling Candy out of her seat, “the mole is not a real mole at all!”
“Okay, Doc, I believe you. Just chill, okay.”
We gratefully acknowledge the financial support of the Canada Council for the Arts; the Government of Canada through the Book Publishing Industry Development Program; and the Province of British Columbia through the British Columbia Arts Council for our publishing activities.