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Fiction Short Stories (single Author)

Here the Dark

by (author) David Bergen

Initial publish date
Mar 2020
Short Stories (single author), Small Town & Rural, Literary
  • Paperback / softback

    Publish Date
    Mar 2020
    List Price

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SHORTLISTED FOR THE 2020 SCOTIABANK GILLER PRIZE • A NEW YORK TIMES NEW & NOTEWORTHY BOOK • A GLOBE AND MAIL TOP 100 BOOK FOR 2020 • A CBC BEST FICTION BOOK FOR 2020 • "His third appearance on the Giller shortlist ... affirms Bergen among Canada's most powerful writers. His pages light up; all around falls into darkness."—2020 Scotiabank Giller Prize Jury • “David Bergen’s command is breathtaking … His work belongs to the world, and to all time. He is one of our living greats.”—Matthew Thomas, New York Times-bestselling author of We Are Not Ourselves

From the streets of Danang, Vietnam, where a boy falls in with a young American missionary, to fishermen lost off the islands of Honduras, to the Canadian prairies, where a teenage boy’s infatuation reveals his naiveté and an aging rancher finds himself smitten, the short stories in Here the Dark explore the spaces between doubt and belief, evil and good, obscurity and light. Following men and boys bewildered by their circumstances and swayed by desire, surprised by love and by their capacity for both tenderness and violence, and featuring a novella about a young woman who rejects the laws of her cloistered Mennonite community, Scotiabank Giller Prize-winner David Bergen’s latest deftly renders complex moral ambiguities and asks what it means to be lost—and how we might be found.

About the author

DAVID BERGEN is an award-winning author of seven previous novels and a collection of short stories. A Year Of Lesser was a New York Times Notable Book, and The Case of Lena S. was a finalist for the Governor General's Award for Fiction. In 2005, Bergen won the Giller Prize for The Time in Between. His sixth novel, The Matter With Morris, was shortlisted for the Giller Prize in 2010, won the Carol Shields Winnipeg Book Award and the Margaret Laurence Award for Fiction, and was shortlisted for the International IMPAC Dublin Literary Award. The Age Of Hope was a #1 bestseller and a finalist for Canada Reads 2013. Bergen lives with his family in Winnipeg.

David Bergen's profile page


  • Short-listed, Scotiabank Giller Prize

Excerpt: Here the Dark (by (author) David Bergen)

April in Snow Lake


The summer I turned nineteen my girlfriend went to Italy to work as a cook for a crew that was rebuilding houses in the aftermath of the earthquake in Udine Province. She wrote me long letters on thin sheets of paper. The letters arrived two weeks after she wrote them and as I read her words I was aware that what I was reading had already passed, she had moved on to some new experience, and so I felt as if I was following her from some great distance, catching a brief glimpse of her, only to have her disappear into a future that I would hear about fourteen days later. She had met a wonderful group of people from Belgium and Holland and France. There was Paul, who was six and half feet tall and played the banjo and admired Woody Guthrie. He wore a bandana. And there was Lillian, who was German Swiss, and was teaching her French. Lillian had taken her to Venice one Sunday, on their day off, and they had stayed overnight in a tiny villa. They had shared a bed and woken in the morning and made coffee on a hotplate and then had leaned out the window of their room and watched the lovers pass by below. It is all so romantic, she wrote. When I read this I was forlorn and I wondered how I would last the rest of the summer without her. I had found a job driving a truck for the local feed company, a job that required a lot of sitting and waiting, usually in the lot of an abattoir where I had been sent to pick up several tons of meat meal. Every evening I showered and scrubbed myself in order to remove the smell of dead animals from my hair and skin.

A year earlier I had decided to become a novelist, or a writer of short stories, or a poet, though I did not truly understand poetry and was more attached to narrative crescendo. I would write in a frenzy over the weekend and show my stories to my girlfriend on Monday evening. Of course we talked about my lack of life experience and my lack of voice and my lack of worldliness. She thought that my religious background, my faith in God, how I saw the world, would be a detriment to my writing. She said that Ernest Hemingway’s father had been religious like my father was, but that Hemingway had managed quite nicely to walk away from all the baggage. I said that I had no desire to walk away. There was room for grace as well as sin in the world of novels.

One morning, before I left for work, my girlfriend telephoned from Italy. At first I didn’t know it was her because I had not expected the call, and then when I finally recognized her voice I told her that I missed her horribly and I couldn’t wait for her to come home. She said that that she knew that but she planned to travel after finishing at the work camp. She might visit Lillian in Basel and then hitchhike up to Amsterdam where Paul lived. I’ll be home at the end of the summer, she said. Then we’ll get married.

This had been our plan, to marry in the fall. It had been my idea, my wish. She would just as happily have moved in together, but I had convinced her that we should marry. She agreed. But first, she said, she wanted to spend time traveling. She was quite willing for me to join her but the offer felt too easy. She knew that I could not afford it.

Her voice on the line faded in and out, and there was a delay, so that our conversation overlapped. At times we were speaking simultaneously and then we had to repeat ourselves and this led to long silences while we waited for the other to speak, and then it started all over again. Finally I just let her talk and as I did so I was aware of the tremendous physical distance between us and that her heart seemed smaller. And then the line went dead. I sat beside the phone for half an hour but she never called back.

That week a letter arrived in which she informed me that she wasn’t sure anymore if we should get married, in fact she wasn’t clear about her love for me. She claimed that the world was a big place and that she had one life and was she ready to spend that life with me? She wasn’t sure. I knew, as I read the letter, that the words had been written before her phone call, and this fact made our conversation irrelevant. She had been talking to me on the phone, promising that she missed me, and that she would return in the autumn and we would marry, while all along she knew that this wasn’t true. The space, the geographical distance, and the gap between what she wrote and what took place after she wrote it, all of this depressed me. Why had she not told me the truth? What was she afraid of? Was there something about me that she feared?


Two weeks later I quit my job driving truck at the feed mill and I rode a bus five hundred miles north to Snow Lake where I worked construction for an old friend of my father who was pouring basements. The crew worked long hours, getting up at five in the morning and working till nine or ten in the evening. The summer nights were short and the light was forever blue and then white and then briefly yellow, and again blue. We did not sleep much and this did not seem to matter. Because darkness barely existed it felt as if sleep was something that other people might require. Not us. Perhaps it was a madness to behave this way, and perhaps this is why the summer lacked a moral focus. The lack of sleep, the wild dreams when I finally did sleep, the anguished poetry I wrote to my girlfriend, my predilection for feverish musings, an inclination to save the world from sin—all of this might have been the result of a lack of sleep.

I was not a drinker, and at nights, when the men were finally free, they went to the local bar while I stayed in my motel room, or sat out on a chair on a rock and read John Steinbeck. And the Bible. The other men on the crew, mostly older than me, kept trying to drag me down to the bar for some pussy. This was their way of putting it. I told them that I was engaged to be married in the fall. Shit, they said, that’s exactly why you need to get laid. I smiled and humored them and shook my head. They went off to get drunk and find a woman, or at least to imagine that possibility, and I read. They had taken to calling me Preacher, because I had let them know that I was a Christian. That fact amused them.

On Sundays, our day off, I was lonely and so I wandered through the town. I noticed that the children on the streets and in the yards were aimless and, my nature being inclined towards industry, I decided to organize a Sunday Day Camp for youth. The ages would be 14 to 17. I didn’t want any small children. I planned to do some hiking and orienteering and I planned to tell these kids stories that were mature and I planned to save their souls. I knew that a sixteen-year-old was able to think along the lines of metaphor more easily. At the local hardware store I purchased several compasses, a filleting knife, a hatchet, and two fishing rods. I canvassed the town, knocked on doors, and asked if there were teenagers living there who might be interested in joining my Day Camp. We would meet under the shelter at the town park. Some folks said no and closed the door, others were willing to listen, and one older woman who had no children asked me in and brewed tea and we sat in her dark living room and listened to the clock tick on the mantle as she cautioned me against presumption.

The first Sunday, three kids appeared. Two sisters, Beverly and April, and a boy named Rodney. I told them a little about myself—I was nineteen, I came from a small town in the south, I liked to read, I wrote poetry and songs, and I believed in God. I asked them to tell about their lives. They looked at each other and giggled. Finally April said that she was there because her younger sister Beverly wanted to come. She shrugged. April had long dark hair that she wore in a single braid and, unlike the other two, she looked right at me when she spoke. She was seventeen. I found her very attractive and so I concentrated on Beverly and Rodney, sneaking looks at April when I thought she didn’t notice.

That afternoon I taught them how to build a lean to, and how to use the compasses, and we caught two fish and filleted them by the lake. These were all things that my father, who considered himself a bit of an outdoorsman, had taught me. We built a fire using the log cabin method and we fried the fish and ate it with our hands, right from the frying pan. Later, I played a few songs and I sang and then I told them the story of how I had become a Christian. I had asked Jesus into my heart. Everyone needs to do that, I said. Would you like to do that? I asked. They looked at me and then April said, Maybe. Someday.

That’s good, I said. Really good.

That night I went to bed imagining that I might fall in love with April, or if not that, we would walk in the park at the edge of town and hold hands. At that time in my life I was full of ego and pride and I could not imagine April liking anyone more than me, in fact I thought that if I were to be with her, I would be the gentlest and kindest person she had ever known. These were similar to the thoughts I used to have about my girlfriend who was in Udine.

I had not heard from her since the last letter, and though I had asked my parents to forward my mail, no letter had arrived. I believed at the time that she would come to regret her decision.


Editorial Reviews

Praise for Here the Dark

"Sexual loneliness and moral confusion pull at the delicately wrought characters in David Bergen's latest work, a story collection of masterly skill and tension. His third appearance on the Giller shortlist—including the 2005 winner, The Time in Between—affirms Bergen among Canada's most powerful writers. His pages light up; all around falls into darkness."—2020 Scotiabank Giller Prize Jury

“Striking.”—New York Times Book Review

“Bergen’s style is taut, devoid of overblown ‘writerly’ prose … He brings to mind Ernest Hemingway … A masterclass in fine writing.”—Toronto Star

“Gripping … Here the Dark highlight[s] the nuance in every decision; more often than not, no ‘right’ choice is offered. It’s love — not faith — that saves.”—Winnipeg Free Press

“Bergen’s prose is always tight and clear, but in his novella it takes on an eerie quality; the story is both immediate and dreamlike … Lily never feels less than real. In the hands of a less skilled author, her character—uneducated, religious, sexually frustrated—might fall into trope territory, but Bergen never lets that happen.”—Quill & Quire

"Lulled by confident and poetic prose, the reader could be fooled into missing the nuance of Bergen’s writing: it lives in the detail, the gesture, the words spoken and how they’re received ... It is a refined stream-of-consciousness, turned cinematically outward, often to nature—human or otherwise. The turns are so carefully done we don’t realize we are on the precipice of action until the ground falls out from under us, opening the stories up, like the crumbling earth, to a new equilibrium ... It is for all the questions, lingering and gathering force, that I will be continuing to pick up this outstanding collection."—Malahat Review

“A wondrous experience … Because Bergen is such an astute and generous writer he has been able to give Lily the precious gift of a full and rich character and it will be a long time before I forget her.”—Guelph Today


Praise for David Bergen

“David Bergen’s command is breathtaking, and Stranger is a work of genius. There is not one sentence out of place in this book, not one missed stitch. This is a novel with the tension of The Road and the moral heft of The Power and the Glory. His work belongs to the world, and to all time. He is one of our living greats.”—Matthew Thomas, New York Times-bestselling author of We Are Not Ourselves

“The gorgeous lyricism of David Bergen’s latest novel recalls the atmosphere of Hemingway’s The Old Man and the Sea.”—Maclean’s

Stranger is an engrossing human exploration of displacement and inequality. . . Bergen paints a dire reality that isn’t far off from the current state of affairs in the United States. Stranger feels like a caution, warning of the dangers of continued disunity and the growing rift from inequality.”—Toronto Star

“Inventive and electrifying. . . Skilled and gutsy. . . Brilliant and utterly convincing. . . [Stranger] reminds us that even in the best-known stories, something unexpected is always lurking, if you go deep enough.”—Globe & Mail

“David Bergen has written arguably his best novel. . . The book manages the rare feat of being profound and important but at the same time absolutely gripping.”—Quill & Quire

“At once grand and intimate, Stranger is an epic story with a very human heart.”—Rachel Giese, Chatelaine

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