My first film manuscript written with K. G. Green is now in development. More updates to come.
Lily Gontard is a writer living in Whitehorse, Yukon, Canada. Her fiction, poetry and non-fiction have appeared in magazines such as Geist, The Puritan Magazine, and Up Here. Her 2018 silver IPPY travel essay award-winning non-fiction book Beyond Mile Zero is a collaboration with photographer Mark Kelly that explores the vanishing Alaska Highway lodge community and was published in April 2017 by Lost Moose, an imprint of Harbour Publishing.
Lily is a regular contributor to the “Endnotes” review section of Geist magazine. Throughout her career in publishing she worked as a self-employed editor and designer, as well as in different roles for several magazines, including the Malahat Review, Geist, and Arcticamag.ca. She was the founding editor of Yukon, North of Ordinary magazine and of the now-defunct circumpolar art and culture magazine Arcticamag.ca.
Lily’s film and TV projects in development include a feature-length screenplay co-written with K. G. Green and two TV series co-written with Tonya Mallet.
- Beyond Mile Zero: The Vanishing Alaska Highway Lodge Community wins a gold award in the 2017 Foreword Indies, non-fiction travel book category.
- Beyond Mile Zero: The Vanishing Alaska Highway Lodge Community receives a 2018 silver IPPY award in the Travel Essay category.
- Lily Gontard and Mark Kelly awarded the Yukon Historical Museums Associations’ Innovation, Education and Community Engagement Award for 2017
- Emerging Northern Writers and Artists Fund, Northern Public Affairs 2016
- “Simple Division” short-listed for the 2015 23rd Annual SiWC Short Story Contest
- Advanced Artist Award 2014, Government of Yukon
- Advanced Artist Award 2002, Government of Yukon
- Beyond Mile Zero: The Vanishing Alaska Highway Lodge Community, Lost Moose/Harbour Publishing, April 2017
Non fiction articles
- “My Writing Day” featured in writer, publisher and critic Rob McLellan’s blog series of the same name, December 31, 2017.
- “We Know We Are the Same” in Up Here, December 2017
- “Long Gone from the Yukon, but not Forgotten” in Yukon, North of Ordinary, Fall 2017
- “Weekday Saints”, Door=Jar magazine, Spring 2017
- “View of a Life”, The Violet Hour Magazine, Issue 1.2, September 2016
- “Alaska Highway Workers: They showed up to work for different reasons, but they showed up just the same”, Northern Public Affairs, September 2016
- Profile of Yukon photographer Mark Kelly, The Camera Store blog, June 2016
- “The Vanishing Roadhouse”, Geist magazine, Spring 2016
- Interview with Joanna Lilley, April 2013, Open Book Ontario
- Book and film reviews for Geist magazine since 2004
- A number of editorial, human interest and services pieces in Yukon, North of Ordinary, Winter 2007 through Spring 2009
- “The Red Green Truck”, Up Here magazine, Fall 2004
- “A Daughter’s Lullaby”, Another Dysfunctional Cancer Poem Anthology, edited by Priscila Uppal and Meaghan Strimas, October 2018
- “Okanagan”, Pushing Out the Boat, Spring 2017
- “Heron Song”, “This Electric Night (or can this be winter?)”, “The Runaway” in the poem:a anthology published September 2016
- “A Daughter’s Lullaby”, The Puritan Magazine, Issue 32: Winter 2016
- “Rootcrop Haiku I (note to self)” and “Rootcrop Haiku II (he was a determined gardener)” published in the Big Lit Festival, Summer 2014
- “Diagnosis: Crippled by Cliché”, League of Canadian Poets National Poetry Month Blog, April 3, 2013
- “At the Party”, Cirque magazine, Winter 2012 Issue
- “Gestation”; “Searching for a Dead Sister in the Red River”, Own 2007 Issue 30
- “A Portrait: Janette”; “Henri—le survivant”, Event 2004
- Two poems, City of Whitehorse Poetry in Motion 2003
- “Observations II”; “Observations IV”, The Optimist, Spring 2003
- “Blue Grouse”; “The Patriarch”, Out of Service magazine, Spring 2001
- “Northern Vortex”, The Inner Harbour Review, 2000
- “Three Lessons”, The New Quarterly, Spring 2011
- “The Fighter”, The Northern Review, Fall 2009
- “Gentleman Gardener’s….”, Urban Coyote: New Territory (Anthology, 2003)
- “Fattening the Rabbit”, Out of Service, Vol 1 Issue 1
- “Mouthful O’ Clover”, The New Quarterly, Fall 1996
- (In development) CONflict, TV series, co-written with Tonya Mallet, based on a book by Jörgen Handsen-Ellenrieder, 3D Evolution Productions
- (In development) Gutleuthof: House of the Good, TV series, co-written with Tonya Mallet, 3D Evolution Productions
- (In development) The Perfect Family, full-length feature film co-written with K.G. Green, 3D Evolution Productions
- Guest reader, Circumpolar Duet, Yukon Artists at Work, Whitehorse, Yukon, September 29, 2017
- Guest reader for Chrys Salt reading, Baked Cafe, Whitehorse, Yukon, June 19, 2017
- Guest reader for the launch of summer evening, oak leaflet series, Whitehorse, Yukon, February 26, 2014
- Poetry in the Park, Whitehorse, Yukon (Whitehorse Poetry Society event), June 19, 2013
- Brave New Words featured reader, Baked Cafe, Whitehorse, Yukon, October 25, 2010
- An Evening with Yukon Writers, Yukon Public Libraries’ 50th Anniversary event, Whitehorse, Yukon, October 22, 2009
- Poetry in Motion launch, Whitehorse, Yukon, August 2003
- Finalist, CBC Poety Face-off, Yellowknife, Northwest Territories, March 2003
- Yukon Writers Festival Poetry Slam, Whitehorse, Yukon, May 2002
- Out of Service magazine launch, Whitehorse, Yukon, December 2001
- JBI reading series, featured reader, Victoria, B.C., March 2000
- Mocombo Poetry Reading Series, featured reader, Victoria, B.C., April 2000
- Poet Laureate, Peter Gzowski Invitational Golf Tournament for Literacy, Whitehorse, Yukon, June 2000
- “The Fine Art of Editing, Publishing and Promoting” Whitehorse Poetry Festival, June 22, 2013, Whitehorse, Yukon
- Atlin Arts and Music Festival: “Words and Whatnot” with Yvonne Blomer and Jamella Hagen, Atlin, B.C., July 9, 2016
- Magnetic Encounter, Magnetic North Theatre Festival: “Words and Whatnot” with Erin Brubacher and Talya Rubin, Woodcutter’s Blanket, Whitehorse, Yukon, June 14, 2016.
- Poetry in the Park, Whitehorse, Yukon (Yukon Writers’ Collective Ink event), July 11, 2014
- Book launch Joanna Lilley‘s poetry collection The Fleece Era (Brick Books), Whitehorse, Yukon, March 21, 2014
- The Crash Reading Series, Vancouver, British Columbia, May 2004
I’ve just signed with the Carolyn Swayze Literary Agency in Surrey, B.C. My wonderful agent Kris Rothstein is currently trying to find a home for my first novel. Stayed tuned for updates.
It’s hard to imagine that a bird—even a flock of birds—no bigger than the average housecat could sustain a people for centuries. But that is exactly the nature of the relationship between the eider duck and the Inuit people living in Sanikiluaq on the Belcher Islands in Hudson Bay.
For centuries, the eider have been a food source—eggs, meat—and provided protection from the elements: their feathered skins sewn together to make the most exquisite traditional anoraks, and their warm downy feathers fill modern anoraks.
It’s a human/animal relationship similar to that which the Gwitchin peoples of northern Canada and Alaska have with the Porcupine caribou herd. But how can this be understood in a modern world of WalMart, Target, Old Navy, and meat packaged in Styrofoam and tight Cellophane. In the circumpolar world, this reliance on the bounty from the wilderness is not foreign—some First Nations affectionately refer to the land that surrounds their communities as “the fridge” or “the supermarket”.
Canadian biologist-turned-film-director Joel Heath was studying the eider duck, when his research brought him to the Belcher Islands to help the Inuit figure out what had caused the mass death of thousands of ducks in one season. Though the film never solves the mystery, People of a Feather explores the challenges faced by these birds who don’t migrate, but winter in the Arctic version of an oasis: a pond in the ice. A co-production by Heath and the community of Sanikiluaq, the film switches between footage of the reality of life for the Inuit now and reenactment of life before European contact.
The end of a species (and cultural practices associated with the species) is often said to be beginning of the end of an Aboriginal people. This is a difficult idea for many non-Aboriginal people to comprehend, and watching this movie about the intricate relationship between the Belcher Island Inuit and the eider will perhaps make this concept more tangible.
As the ducks’ habitat is threatened by the warm fresh water from the hydro dams that flood into the cold salty Hudson Bay every fall and winter reversing the seasonal temperatures of the water and reducing the salinity, so do rap music, Kentucky Fried Chicken (eaten with a side of seal meat) and mod-cons flood into this remote community. An example of the cultural shift is the musical gangsta rap interlude performed by a group of Sanikiluaq youth part way through the film (note: listen to the lyrics, they are good).
Published in Arcticamag.ca 22/04/2012
In the graphic novel, The Klondike (Drawn and Quarterly) author and illustrator Zach Worton sets out to tell the story of the Great Klondike Gold Rush that to this day remains one of the largest voluntary movements of people in the history of the planet. This puts the telling of the story in perspective: it’s an undertaking as large as the event’s historical significance.
Worton attempts to show what transpired during the Klondike Gold Rush through the experiences of a variety of real and fictional characters and their stories en route to and in the Klondike. Skookum Jim and George Carmack, the men who first discovered gold at Rabbit Creek (later renamed Bonanza Creek), Jefferson Randolph “Soapy” Smith, Frank Reid and Belinda Mulrooney make up part of the cast of “real” characters. In his author’s note, Worton admits to using a variety of fictional characters and subplots to convey the story he wanted to tell. This is the crux of The Klondike: there is no defining narrative thread and it lacks a unifying plot. The stories occur independently and rarely weave. There are so many characters who are similarly drawn that’s it’s hard to differentiate one character from the other. The Klondike has a beginning, lacks a climax and the end, when it occurs, brings to a close the life of the most interesting character in Worton’s tale, just when the reader is warming up to the character’s eloquent dialogue and wicked complexities.
Published in Arcticamag.ca 19/10/2012
Not that long ago, but in a land far enough away, there is a village populated by people leading simple lives regulated by the rotation of the seasons: spring flows into summer, which in turn gently eases into fall that then folds, ever so quietly, into winter.
During the 12 calendar months, happiness reigns in the mysterious and stunning Siberian Taiga that is resplendent with spruce trees, a majestic river and nature’s bounty.
The scene sounds idyllic, and in the hands of German filmmaker Werner Herzog, Happy People: A year in the Taiga, portrays the village of Bakhtia as a fairytale come to life. (Personal disclosure: Move aside Dos Equis man, I consider Werner Herzog to be the most interesting man in the world.) But in the true sense of his storytelling predecessors die Gebrüder Grimm, Herzog delves into the darkness of the fairytale.
Post-Soviet era, Bakhtia appears trapped in time with lingering Communist nuances. The villagers came to the “collective farm,” (as one interviewee refers to the village) from various parts of Soviet society: as one trapper navigates his narrow and long wooden boat upstream, Herzog’s calm narrative voice explains that the man is a relation of famed Russian filmmaker Andrei Tarkovsky (Solaris, Nostalghia). The indigenous peoples of the community admit to having trouble with alcohol and work. During the filming, the last of their protective spirit dolls are destroyed in a house fire started by a cigarette.
The hero of Herzog’s tale is a man whose rough-hewn face could easily grace the cover of Fyodor Dostoyevsky’s The Idiot. Having arrived at the life of a trapper as a young man, he nearly died of starvation during his first winter working as a trapper in Siberia, and then never left. He could be 100 years old, but is likely closer to 50, and for most of the film he calmly shows Herzog the elements of his, and his fellow trappers, sustainable and independent life: stocking cabins on the trapline, making skis, setting traps.
Filmed in a style reminiscent of 1970s Canadian Film Board documentaries, it might come as a surprise that Herzog’s film was made in 2010.
Without explosions, hardly a raised voice, very little drama, Happy People is a meditation on a way of life that few people experience, but will be familiar to many people who live in the circumpolar region.
Published in Arcticamag.ca 19/10/2012
There might not be more of an unlikeable protagonist in the history of the autobiographical graphic novel (a niche genre) than Simon Gärdenfors in The 120 Days of Simon (Top Shelf Productions). During his odyssey across the Swedish countryside the couch-surfing sex-crazed consumer of hallucinatory drugs mild and wild and unrepentant drinker is by every definition a sinner. But, Gärdenfors is also a Swedish rapper, cartoonist and TV personality who may be known outside his homeland by followers of Scandinavian hip-hop (another niche genre) as one-half of the duo Las Palmas. It doesn’t matter whether or not you’re familiar with Gärdenfors upon opening the pages of The 120 Days of Simon, by the end of his autobiographical graphic novel, you will be perhaps more intimate with Gärdenfors than you’re comfortable with.
The 120 Days of Simon begins with this Scandic modern-day and carefree Ulysses deciding to travel around Sweden over a period of four months with two self-imposed restrictions: 1) a limit of two nights in the same location, and 2) he can only return to his apartment in Stockholm at the end of his journey. It’s a monumental stretch to compare Gärdenfors to Ulysses, but to compare his book to the similarly titled depravity The 120 Days of Sodom by the Marquis de Sade, which I’m sure Gärdenfors is hinting at, requires an even greater extension of the imagination. (Though hedonism, sexual exploitation, etc., are common themes in both books.)
Gärdenfors sets off on his journey with a list containing addresses of some fans and followers on whose couches he will sleep. Just before he leaves the capital, he meets a woman, also a cartoonist, who just may be his Penelope. But the development of true love doesn’t quell his behaviour. The mishaps and sexual conquests begin, continue and eventually come to an end.
Gärdenfors’ one-dimensional black and white illustrations hearken back to a romanticized era when a man wore a three-piece suit and fedora, and a woman was acceptably wearing an apron and safely ensconced in the home. The innocence of these drawings contrasts with Gärdenfors’ free-for-all attitude, and visually amplify the humour: a Simple Simon, he is not.
At times, the narrative might make you squirm—Gärdenfors’ choices remind me of the story scenarios in which the character says “yes” to everything that comes his or her way—but mostly The 120 Days of Simon is silly fun. It’s not profound, and if read backwards, doesn’t contain a Satanic message.
Published in ArcticaMag.ca 13/11/2012