Press/Bio

Spend your spare time in writing up a number of clever anecdotes
in which you figure prominently, interviews with
celebrated people, etc., to be used in your press work.

Frederick LaDelle, How to Enter Vaudeville

Marina Endicott was born in Golden, BC, and grew up in Nova Scotia and Toronto. She began her career as an actor and director in Ontario and went on to England, where she began to write fiction. After London, she went west to Saskatoon before going farther west to Mayerthorpe, Alberta; she now divides her time between Edmonton and Toronto. Her first novel, Open Arms, was short-listed for the Amazon First Novel award. Her second, Good to a Fault, was a finalist for the 2008 Giller Prize and a CBC Canada Reads book, and won the Commonwealth Writers Prize for Best Book, Canada/Caribbean. The Little Shadows, longlisted for the 2011 Giller Prize, was shortlisted for the Governor General’s Award. Close to Hugh comes out in May, and she is at work on a new novel, The Difference.


Representation/Contact

Advance praise for Close to Hugh

“Delightful, tragic, gloriously elegiac and riddled with puns—Close to Hugh is just like life, only so much more beautiful for being art.”
Lynn Coady

“I love Marina Endicott’s writing. I adore the exquisite, unfussy grace of her language, the dexterity and range of her storytelling. Close to Hugh is slyly humorous, delightfully and cheekily observant of contemporary manners, and most importantly, filled with warmth and generosity. It was an absolute thrill to disappear into this book, to spend time with every character.”
Christos Tsiolkas


The Little Shadows

Globe & Mail 100 Best Books of 2011
Shortlisted, Governor-General’s Literary Award 2011
Longlisted, Scotiabank Giller Prize 2011

“Different as The Little Shadows is from its predecessor, it has Endicott’s wry sensibility, her pithy lyricism and her skill at pulling the rug out from under the reader’s feet. Like the previous novel, this one also concerns itself with big ideas: the point of art, sisterly and familial love and, as the war’s shadow extends and darkens, the meaning of life itself. Endicott is at her most magical when she describes their singing and dancing acts. Her love for this material, her confident musicality and her understanding of the sometimes subtle relation between emotion and art is nothing short of wondrous… This novel is redolent of the small-to-large western cities of a century ago. But its beautiful conclusion happens on a farm near Qu’Appelle, Sask., where the sisters reunite as the war looms large. Bella’s husband is enlisting, the once astoundingly agile Victor has been wounded and Aurora is (with one important exception) alone, where she is always happiest: ‘Not pretending, not folding herself small to fit in someone else’s grasp.’ In this rural peace (reminiscent of another pastoral final scene, in E.M. Forster’s Howards End), they talk about art and war and the pointlessness of it all. Victor disagrees that art is pointless: ‘Perfecting it. Making it—realer, or less real… We are only pointing at the moon, but it is the moon.’ Aurora, Clover and Bella—each now accomplished in her true metier—embark on tour once more. That’s the Finale, or so you’d think. But, in the best vaudeville tradition, there’s one last surprise in the Encore.”  – Katherine Ashenburg, GLOBE & MAIL

“The Little Shadows is a theatrical event as much as a literary one…. In her efforts to reform modern readers into a turn-of-the-century audience, Endicott proves experimental. She rolls out whole evenings of vaudevillian entertainment, performers performing in real time. She forces us to relinquish our need for cinematic wizardry and literary tricks, to rely on our own unmediated sense of delight…. The Little Shadows is a novel about art and women, and personal fulfillment and the thrill of performing. But it is also a story about the rôle of the audience; Endicott celebrates the art of watching. Set against a backdrop of ice and snow and war, the book belongs to a Canadian tradition preoccupied with survival. At the same time, Endicott insists, art has always had its place. She has written an entertaining, moving and original work.” – Donna Bailey Nurse, NATIONAL POST

The Little Shadows should come with a warning label: You will stay up too late at night reading this book. And in the morning, your first thoughts will be about its characters. Are they all right? How will they manage? …The first two-thirds of The Little Shadows is a rollicking romp. We meet – and grow to love – at least a dozen outrageously eccentric vaudeville performers. We’re dazzled by their feats; we laugh out loud at their witty routines and even at their corny jokes (Time flies like an arrow; fruit flies like a banana)…Yet despite giving us chapters that grow inevitably darker, Endicott finds a way to maintain the gentle spirit of her story’s telling. In this way, The Little Shadows is nothing less than legerdemain. – Monique Polak, MONTREAL GAZETTE

“How fitting that a novel that features vivid descriptions of stunning displays of skill should be such a stunning display of skill itself… Like these three singing sisters, this book is clearly bound for greatness. With a background in live theatre, Endicott has a deep understanding of the unique and intimate relationship between performer and audience… Extensively researched, though never ostentatiously so, The Little Shadows conjures a richly detailed world. As with Guy Vanderhaeghe’s The Englishman’s Boy, we’re given the chance to experience our home turf in a different time. Endicott opens with a quote by Crowfoot that begins “What is life?” and that simple question really is the exploration at the heart of her novel. As the aging and broken performers lurch towards their final curtain, or the boys we’ve come to love return broken (or not at all) from the theatre of war, Endicott celebrates the tenacity of life. As entertaining as it is profoundly moving, The Little Shadows will leave you crying for an encore.” – WINNIPEG FREE PRESS

“Besides her obvious research into vaudeville and its colourful people, Endicott mines her own life on either side of the curtain to show us how these young women come into themselves as performers, even as they grow as women, with particular tastes, trials and triumphs… To go from glum from not eating, from covering a bruise or from hiding a pregnancy to a “sudden froth of mirth” is what these young women must do, every night and matinee. The astonishing amount of work that makes it all look easy, as well as their increasingly outlandish adventures, is what makes Endicott’s new novel a gradually unfolding marvel to behold.” – SASKATOON STAR-PHOENIX

“Within an hour… I was the happy captive of three gorgeous teenage women, Aurora, Bella and Clover, and their indefatigable Mama, along with a vividly irrepressible cast of actors, singers, impresarios and cads — all alive and rampaging through a story that, as Canadian novels tend to go, is long (nearly 550 pages) but wasn’t long enough for me. I don’t want to diminish the accomplishment of this book by using tired adjectives of description (brilliant, compelling, rich, dramatic, sexy) or understate the power of the characters (funny, strong, tragic, brave and, yes, sexy) — so I’ll simplify: the best book I’ve read in a long, long time; it deserves to be a contender for every major literary prize this fall.” Linden MacIntyre, Recommended Reading, cbc.ca


Good to a Fault

“With delicate precision, Goodto a Fault tackles some of the big, eternal questions—love, mortality, God—in a deceptively modest story populated with very ordinary people brought together in extraordinary circumstances. Endicott’s wry, understated prose turns a few surprising months in Clara Purdy’s life into a gripping moral quest, searching to discover what it means to live a truly good life.”
— COMMONWEALTH WRITERS PRIZE JURY REMARKS, CANADA/CARIBBEAN REGION 2009

“Probing the moral and emotional minefield of heroic Samaritan acts, Endicott’s enchanting and poignant novel of compassion run amok handles provocative issues with a deft and winsome touch.”
— BOOKLIST (STARRED REVIEW)

“An Anne Tyler-esque domestic drama… Narrated with such lambent detail and compassion that it succeeds in casting a spell… A limpid, witty, humane talent to watch.”
— KIRKUS REVIEWS

“A brilliantly balanced and engrossing work about illness, charity, and the very tenuous nature of goodness. Fans of contemporary fiction exploring the dangers of complacency and how domestic upheaval can lead to personal growth will enjoy; think Anne Tyler, Elizabeth Berg, and Anita Shreve. Highly recommended for all fiction collections.”
—LIBRARY JOURNAL

“An enjoyable and affirming meditation on altruism, goodness, and loneliness…. A touching story.”
— PUBLISHERS WEEKLY

Good to a Fault is an ingeniously plotted and brilliantly paced novel. It manages to be both witty and wise, light and dark, with many unexpected moments. The characters are drawn with sympathy and with very clear lines. What is most unusual about the book is how unlikely and odd the drama is and then how compelling and urgent it becomes.” — Colm Tóibín

“Marina Endicott is a sweet-natured but sharp-eyed and quick-tongued social observer in the Jane Austen-Barbara Pym-Anne Tyler tradition, who can wring love, revulsion and hilarity in a single page.”
— GLOBE AND MAIL (BEST BOOKS OF 2008)

“A study of goodness; of the motives—including the hidden ones—behind acts of charity, and the webs of emotion that are formed between the helper and the helped… always alert to shades of good and bad in people and in all they experience.”
—TIMES LITERARY SUPPLEMENT

A single, childless woman selflessly takes into her home the three children of a woman whom she injured in an automobile accident. Or maybe she’s not selfless but has found a way to steal a family while appearing to be a do-gooder. A graceful and deeply satisfying novel.
—WALL STREET JOURNAL (BEST WOMEN’S BOOKS 2010)

Most of all, Good to a Fault lays bare the dread cloak of poverty, how it clings, leaving a trace as indelible as ink. The “whole dirty business of being human” is a challenge to all. And rising to the challenge of doing good, not out of selfish need but generosity, is even greater. The incipient tenderness of this novel makes it at times movingly difficult to read, but that tenderness also makes it compelling. In an age of slick and clever writing, substanceless as air, Good to a Fault incites tears. They are tears of pleasure, for a good story and for such good writing.
— Aritha van Herk, ALBERTA VIEWS

“There’s heartbreak, there’s joy, there are parts where you cry—and it’s very high quality writing.”
— Margaret Atwood, GILLER PRIZE JURY REMARKS

“Absolutely ingenious… as you were going along, you were thinking—turning the pages—‘This is simply delightful.’”
— Colm Tóibín, GILLER PRIZE JURY REMARKS

“The novel shows that the gift of love, even with tangled motivations, holds people together and makes it possible for them to go on. . . . Reminiscent of the work of Carol Shields, Good to a Fault is a profoundly humane novel.”
— VANCOUVER SUN

“Warm and witty. . . . Utterly engaging. With a theatrical sensibility, Endicott, an established playwright and dramaturge, beautifully illuminates the interior lives and stunted interactions of her cast of struggling strangers. . . . Told in time to the steady, poignant pulse of domestic life, and with sharp observations and characters so vulnerable they’re impossible not to care about, this is a novel that gets under the skin.”
— QUILL & QUIRE

“This book explores, in clear, beautiful language, what happens when acts of kindness become selfish. . . . Compelling, funny, and meaningful.”
— CALGARY HERALD

Good to a Fault is sturdily old fashioned. The main protagonist worries about the state of her soul, the characters are a believable mix of strengths and weaknesses, and the narrative arc brings the novel to a satisfying close. Endicott’s prose is plain but purposeful, carrying the story through moments of sorrow and heartbreak as well as joy and comedy… Good to a Fault doesn’t offer any easy answers, but in its depiction of ordinary people facing hard choices and challenging situations, it rings true.”
— TORONTO STAR

“We are not here to be happy. We are here to be of service. If this was ever said to you, even in jest, while growing up, then Good To a Fault, by Marina Endicott (Freehand Books) is the perfect read for you. What motivates our good behaviour? Are we in fact selfish in our choices to do good? Are we seeking recognition for our good deeds? A wise friend said: Do your work; expect nothing in return; celebrate your accomplishment and start again. If you choose to do a good deed, good for you. I loved the book.”
—David Mirvish, Favourite Books of the Year, GLOBE AND MAIL

“Endicott’s writing is realistic, not unlike the writing of the now-deceased Canadian literary doyenne, Carol Shields, who wrote about ‘ordinary people doing extraordinary things’…. Though it’s a domestic story, there is a sense of urgency to the narrative, and the reader is constantly waiting for the situation to change, and for a fragile situation to deteriorate…. This is a novel that delivers and treats its reader with kindness and goodness.”
— VUE WEEKLY (CANADA)

“In Good to a Fault, Marina Endicott asks the penetrating question…What does it mean to be good?… Endicott explores the notion through one of the more endearing characters to appear in recent years on the Canadian literary landscape…. Endicott’s background in theatre, as both actor and director, are evident in the brisk pacing of the novel, the complex unfolding of plot and character…. The writing is undoubtedly assured, and though the subject is weighty, the prose is leavened with a gentle, loving humour.”
— GAZETTE (MONTREAL)

“A powerful, thought-provoking novel rooted in the minutiae of daily life and a fundamental sense of humanity…. A powerful study in character development and interaction…. It’s an embarrassment of riches, frankly. Good to a Fault, indeed.”
— EDMONTON JOURNAL (ALBERTA)

“As Jane Austen taught readers two hundred years ago, a few families in a small community are just the thing to write about. Endicott first has her character Clara create a community, which in itself is a small marvel, then the writer gets down to work providing pithy observations of the vital life that’s been made there. A lovely triumph.”
— SASKATOON STAR PHOENIX

“Good to a Fault is a brave book. When Christianity is so seemingly out of fashion, Endicott shows that the religion’s age-old images and issues are decidedly relevant in a contemporary context. More importantly, it’s possible that Good to a Fault provides a glimpse of the glorious and holy mess that just might be the kingdom of God.”
—UNITED CHURCH OBSERVER

“Endicott writes precisely and lucently, and sustains her novel well beyond any number of easy conclusions to provide a convincing case that some redemptive force is at work in the world, even if it’s just our own innate creativity and talent for finding love. It also has a welcome funny streak.”
— NATIONAL POST (CANADA)

Open Arms

Open Arms, by Marina Endicott, meets one of my major criteria for successful novels: three weeks after reading it I can still recall characters, scenes, and events… Endicott is an excellent storyteller and this is a substantial, sweet-natured novel, full of hope and promise.”
–W. P. Kinsella, Books in Canada

“[Endicott’s] novel offers lucid, unembellished prose that hides convolutions of deeper meaning. Six girls and women are the linked heroines of this deceptively episodic tale–deceptive because events scattered over thousands of miles and several decades are finally fused into a striking emotional whole, a continuum of fractured, rarely spoken, but persistent and mysterious love.”
The Globe and Mail