Robin Richardson is the author of two collections of poetry, and is Editor-in-Chief at Minola Review. Her work has appeared in Salon, Poetry Magazine, Hazlitt, Tin House, Partisan, Joyland, and The North American Review, among others. She holds an MFA in Writing from Sarah Lawrence College, and has been
Emily Izsak is one of the sharpest young poets I’ve seen in some time. She is currently in her second year of U of Toronto’s MA in English and Creative Writing program. Her work has been published in Arc Poetry Magazine, The Puritan, House Organ, Cough, The Steel Chisel,
Faizal Deen seeks to address the ways in which the cultural production of Caribbean populations in Canada—in particular, the work of poets—encourages us to rethink existing notions of diasporic identity.
Given that Toronto poet, editor, critic, novelist and librettist George Elliott Clarke is Canada’s seventh official Parliamentary Poet Laureate (2016-17), I thought it would be interesting to explore some of his experiences now that he’s a bit more than halfway through his two-year term.
Erin Wunker teaches and researches in the fields of Canadian literature and culture. She is chair of the board of Canadian Women in the Literary Arts (CWILA) and co-founder and managing editor of the feminist academic blog Hook & Eye: Fast Feminism, Slow Academe.
I originally met Rhonda Douglas back in 1992, when we took the same creative writing (poetry) workshop at the University of Ottawa, conducted by Ottawa writer Mark Frutkin.
Originally founded by Robbie MacGregor, Megan Fildes and Nic Boshart, Invisible Publishing released its first fiction titles in Spring 2007, and “has come to include works of graphic fiction and non-fiction, pop culture biographies, experimental poetry, and prose.” Formerly the managing editor at Coach House Books, Leigh Nash joined
Over the past four decades, Cobourg, Ontario poet, editor, fiction writer and small press publisher Stuart Ross has become a Canadian institution. The co-founder of the Toronto Small Press Fair and the Meet the Presses collective, he sold some seven thousand of his self-published chapbooks on the streets of
“My greatest influences are those moments in my past where I’ve been surprised, or where I’ve surprised someone. Those are the moments that stay with me. Reading Jonathan Goldstein’s book Lenny Bruce is Dead was one of those instances where I was profoundly surprised.”
One could argue that the work of Diane Schoemperlen is highly unusual even beyond its incredible strength: a more lyric prose managing publication through larger and more mainstream Canadian publishers. Given her work, I was curious to engage with her memoir, This Is Not My Life.