Esi Edugyan Wins The 2011 Scotiabank Giller Prize

TORONTO, Nov. 8, 2011 /CNW/ - Esi Edugyan has been named the 2011 winner of the Scotiabank Giller Prize for her novel Half-Blood Blues, published by Thomas Allen Publishers. The announcement was made at a black-tie dinner and award ceremony hosted by Jian Ghomeshi, attended by over 500 members of the publishing, media and arts communities. The gala was broadcast live on CBC's bold, livestreamed on cbc.ca/books, and aired on CBC Television at 11:05 p.m. (11:35 p.m. NT).

The largest annual literary prize in the country, the Scotiabank Giller Prize awards $50,000 to the author of the best Canadian novel or short story collection published in English and $5,000 to each of the finalists. A shortlist of six authors and their books was announced on October 4, 2011. Those finalists were:

David Bezmozgis for his novel THE FREE WORLD, published by HarperCollins Publishers Ltd.
Lynn Coady for her novel THE ANTAGONIST, published by House of Anansi Press
Patrick deWitt for his novel THE SISTERS BROTHERS, published by House of Anansi Press
Esi Edugyan for her novel HALF-BLOOD BLUES, published by Thomas Allen Publishers
Zsuzsi Gartner for her short story collection BETTER LIVING THROUGH PLASTIC EXPLOSIVES, published by Hamish Hamilton Canada
Michael Ondaatje for his novel THE CAT'S TABLE, published by McClelland & Stewart

The shortlist and ultimate winner were selected by an esteemed jury panel made up of award-winning Canadian writer and 2009 Scotiabank Giller Prize finalist Annabel Lyon; American author, memoirist and Guggenheim fellow Howard Norman; and acclaimed UK playwright and prize-winning novelist Andrew O'Hagan.

The shortlist was chosen from an unprecedented 143 books submitted for consideration by 55 publishing houses from every region of the country.

Of the winning book, the jury wrote:

"Imagine Mozart were a black German trumpet player and Salieri a bassist, and 18th century Vienna were WWII Paris; that's Esi Edugyan's joyful lament, Half-Blood Blues. It's conventional to liken the prose in novels about jazz to the music itself, as though there could be no higher praise. In this case, say rather that any jazz musician would be happy to play the way Edugyan writes. Her style is deceptively conversational and easy, but with the simultaneous exuberance and discipline of a true prodigy. Put this book next to Louis Armstrong's "West End Blues" - these two works of art belong together."