A joint event put on by the Toronto International Festival of Authors (TIFA) and the Festival of the Peripheries (FLUP) in Rio de Janeiro, Brazil, is commemorated in an anthology published by Kegedonce Press.
“I’m interested in the comparison between what we consider a performative art and what we consider a creative one, and the point at which they might overlap.”
In Heroin: An Illustrated History, scholar and activist Susan Boyd wanted to tell the story not only of how heroin went from prescribed drug to illegal substance, but also of the harm-reduction activists and heroin users who have mounted a sustained resistance to prohibition and called attention to the continued overdose crisis.
When he set off in 2019 for an artist’s residency in Prince Rupert, B.C., Jon Claytor packed his paints and canvases, but he soon found himself scribbling line drawings on his tablet to record his cross-country travels. Those collected reflections became Take the Long Way Home, published this month by Conundrum Press.
Sing in the Spring! is arranged in poetic vignettes that celebrate the sounds, sights, smells, and textures of spring, all punctuated by delightful quilt illustrations.
Consuming the stories of the Panchatantra as a child allowed me to understand the socio-cultural ecosystem I was growing up in.
“With writing, there’s nothing to begin with,” Powning says. “With photography, you go behind the camera and the image is there.”
Canada has, depending on how you count them, between 15 and 60 journals that publish short fiction. Yet the influence of literary journals on the country’s short fiction ecosystem can feel more amorphous than futile.
If such a thing as “the Canadian short story” exists, it perhaps resembles the Canadian identity in its staunch refusal to accommodate any sort of stringent definition.