Emily Schultz is the co-founder of the literary journal Joyland and the host of the podcast Truth & Fiction. Her novel, Heaven Is Small, released from House of Anansi Press in May 2009 in Canada, and in the U.S. in October 2010. Heaven Is Small was named a finalist for the 2010 Trillium Book Award alongside books by Margaret Atwood and Alice Munro. Schultz's newest novel, The Blondes, was released from Doubleday Canada in August 2012 and became a national bestseller. It is forthcoming in the U.S. for Fall 2014 from St. Martin's/Thomas Dunne.Her writing has appeared in the Globe and Mail, Elle, Today's Parent, Eye Weekly, the Walrus, the Black Warrior Review, Prism, Geist, Event, Descant, New Quarterly, CellStories, the Fanzine, At Length, and several anthologies. She has worked as an editor and as a creative writing instructor.She lives in Brooklyn with her husband Brian Joseph Davis. Together, they write scripts.PRAISE FOR THE BLONDES"Wow!"-Margaret Atwood, @margaretatwood"Sharp and fluid and legitimately disturbing. A thinking person's apocalyptic nailbiter."- Ben Loory, author of Stories for Nighttime and Some for the Day"At once weird and grounded, fizzily comic and satirically serious, The Blondes takes you by surprise and keeps on surprising. Emily Schultz has a point-of-view all her own, and knows how to use it."- Andrew Pyper, author of The Demonologist"Both a realist narrative about loneliness, insecurities and maternal anxieties and a fantastical, not quite allegorical tale of a semi-apocalypse. It's a testament to author Emily Schultz's immense gifts with tone, detail and the crafting of a compelling first-person voice that this novel is never less than engaging." The National Post"[The Blondes] weaves together elements of suspense and satire, with an academic overlay of critical cultural theory, but at its essence it is a fast-paced, unpretentious read. A wash-and-wear cut, if you will. Bounced through threats that feel creepily familiar, off-kilter in the way of Atwoodian speculative fiction, Hazel emerges as an everywoman, and a survivor." The Globe and Mail"The novel is part metaphor for racism, part commentary on epidemic-related paranoia and part sly look at manufactured beauty. But within these lofty themes are fascinating characters in intriguing relationships. NNNN" Now Magazine