“It is a confusing thing to be born between generations where the one above thinks nothing is trauma and the one below thinks everything is trauma.”

From acclaimed novelist and television writer Zoe Whittall comes a memoir in prose poetry that reconfirms her celebrated honesty, emotional acuity, and wit. Riving and probing a period of six years marked by abandoned love, the pain of a lost pregnancy, and pandemic isolation, No Credit River is a reckoning with the creative instinct itself.

Open and exacting, this is a unique examination of anxiety in complex times, and a contribution to contemporary autofiction as formally inventive as it is full of heart.

ZOE WHITTALL’s third novel, The Best Kind of People is currently being adapted for limited series by director Sarah Polley. It was shortlisted for the Scotiabank Giller Prize, named Indigo’s #1 Book of 2016, a Heather’s Pick and a Best Book of the Year by the Walrus, the Globe and Mail, Toronto Life and the National Post. Her second novel, Holding Still for as Long as Possible, won a Lambda Literary Award for trans fiction and was an American Library Association Stonewall Honor Book. Her debut novel, Bottle Rocket Hearts, won the Dayne Ogilvie Prize and is being adapted for screen. In 2014 Whittall sold her first sitcom, Breaking, to CTV, and recently optioned the half-hour comedy Wellville to CBC. She has worked as a TV writer on the Emmy Award–winning comedy Schitt’s Creek and the Baroness Von Sketch Show, for which she won a 2018 Canadian Screen Award. She has written three volumes of poetry, most recently an anniversary reissue of The Emily Valentine Poems, about which Eileen Myles said, “I would like to know everything about this person.” Zoe Whittall was born on a sheep farm in the Eastern Townships of Quebec, has an MFA from the University of Guelph and has called Toronto home since 1997. 

Zoe Whittall's profile page

"I think No Credit River by Zoe Whittall, deserves all the credit for not just encapsulating the complexities of queer relationships, bisexuality, middle age, or for writing a successful “poetry-prose memoir” hybrid, but for making heartbreak real and anxieties that often get hushed apparent: things that make human beings human, and sad, and vulnerable in tender, moving poems that demand rereading." —The Woodlot