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Canthius Issue 13 presents new work from Kathryn Lennon (with a translation by Yilin Wang and Wai-Ling Lennon), Rachel Lachmansingh, Adriana Onițǎ, Julia Rudlaff, Kat Mohr, Tina Do, Rebekah Rempel, Miranda Baker, Sarah Hilton, Hannah Siden, Alice G. Waldert, Catherine St. Denis, Gabrielle Spear, Mahpiya Eagle, Olivia Zarzycki, Sadie McCarney, Zaynab Iliyasu Bobi, Erica Isomura, and Chrissie Minnery.
Artwork by M.E. Sparks.
As a literary journal that is committed to publishing diverse perspectives and experiences, Canthius stands in solidarity with occupied Palestine and condemns settler colonialism and genocide.
Projects
View the poetry, prose, games, visual art, and more published as part of Canthius Journal’s 2021 Pleasures project.
There’s definitely an encyclopaedic urge in my writing to try to fit everything into a poem, to push against the boundaries of what a poem can contain. I think it varies for each project, but in Crying Dress I rarely sat down to write a poem from beginning to end.
I think every poem has a central element driving it, whether that be the speaker’s voice, a particular set of images, a line break that cracks the poem open, a strange prosody or twisting language, an unsettling way of framing an idea, a striking layout on the page—any of these things can catch my attention.
Writing is one of the few things that makes me feel at home in my body. I deeply believe in writing as a physical practice. The tools we use and the ways we sit and what we write on and what we hear while we write are all part of the process of moving a pen across the page (or pencil, or fingers across a keyboard.)
Stories are often an amalgamation of perspectives and a person’s unique connection to them, resulting from all the stories they’ve lived; Bird Suit navigates multiple perspectives and multiple stories, slowly stitching together a central story that many people hold a piece of.
The texture of faith in Theophanies soothes me, as it understands faith as flawed, ruptured, unruly and riotous. The cover begins our understanding of this faith, present in titles. I understand Theophanies as the combined Greek theos from θεός • (theós), meaning “god” or “divine”, and φαίνω (phaínō), concerning manifestation and appearance.
With its Lisa-Frank-esque, unicorn-bedecked cover, Sadie McCarney’s second poetry collection promises fun, irreverence, and whimsy. In that aspect, it certainly delivers, but behind the cotton-candy design also lies a deep dive into mental health, personal experience, and history that you might not expect.
We’re excited to announce the winners of the 2023 Priscila Uppal Memorial Award for Poetry!