Welmmann’s work is a direct descendent of Meret Oppenheim's and Elsa Schiaparelli’s. And just as Oppenheim and Schiaparelli, Wellmann is on the “right side” of representation of the female form. On a platform ridden with casual and blatant misogyny, there is repose in Wellmann’s posts.
Nguyen’s new collection Violet Energy Ingots is out this week from Wave Books and the act of reaching seems an apt way to describe the collection, both in terms of Nguyen’s project and what it demands of its reader.
Inhale. I take a deep breath in through my nostrils. The air travels through the cartilaginous rings of my trachea, divides at the bifurcation of the bronchi, rushes down smaller and smaller pathways. It expands my lungs, widening my ribcage, stretching my diaphragm, raising my collarbones. Seconds pass before I release the breath, letting it stream out slowly, whispering away to nothing. Exhale.
The street sparkled with ice and the remnants of midnight. Angela loved walking at night, especially in winter. The air so cold it singed the hair in her nostrils, the tree branches a broken calligraphy against the sky, the moon whitely grinning or opening its mouth wide to aaahhh, to sing. The silence of the empty empty streets.
It’s too late to rename NASA’s lunar program but never too late to wonder why it was called Apollo and not Diana It’s too late to be the kind of boy who grows up to be an astronaut It’s too late to be any kind of boy (girls can be anything but first they should be quiet)
I can’t count the number of times I’ve heard statements like, “I don’t read poetry. I just don’t get it.” While poetry can seem inaccessible and impossible to understand, it is important for and relevant to everyone!
Literary journals are unique, playful spaces that foster dialogue between readers and writers and transform the meanings of texts. When read publicly, these texts expand even more as listeners generate their own interpretations.
The struggle of women, and for women in the arts particularly, remains very real. A friend’s mother told me recently, “it’s hard to do things as a woman.” It’s a basic observation, I know, but it is very true. I asked a few of my inspirational women in the arts about their experiences and how each of them find being a woman, an artist, and being both at the same time. This is what they said.
I recently had the pleasure of chatting with Sara Jane Strickland, a Toronto-based writer and the founder and editor of Petal Journal, an online journal for female poets. We sipped cocktails and wine at Loveless, one of Dundas West’s newest bars, as I talked to Sara about her experience as an emerging writer in Toronto and her vision for her online journal.
On Denise Levertov and Adrienne Rich discussing poetry at the kitchen table: the kitchen table is transformed from a symbol of domesticity to a site of community and intellectual reciprocity. These exchanges not only bring one’s private world into dialogue with another’s, they invite the public, collective realm of “poetry” into the private space of “women.” This is a new kitchen table. These are new women.
Kristen Smith discusses the 2015 Trillium Awards and talks to publishers and writers present at the awards about genre-bias and gender gap in the realms of awards, writing and publishing and the future of women writers.
Harsha Walia's critiques of neoliberal feminism are focused on untangling the current feminist rhetoric of independence (which reasserts Enlightenment ideals with strong ties to imperialism and capitalism) and inserting interdependence in its place. An expansive feminism emphasizes the ways that women need each other.