The Capilano Review is thrilled to announce our newest issue!
Gathering approaches that waver between “invention” and “intervention,” Issue 3.50 curates work that imagines the archive as a site of both creation and resistance. Contributors work through a variety of innovative forms and materially specific contexts to ask: What is our relationship to the archive as witnesses, researchers, creators? What is preserved in the archive and therefore commemorated? What is excluded? What can and can’t be held within an archive in its traditional definition, and how might we imagine an archive to also include immaterial and embodied forms of knowledge?
Featuring new poetry by Ashley-Elizabeth Best, D.M. Bradford, Carrie Hunter, Anna Navarro, Julia Polyck O’Neill, Carlos A. Pittella, concetta principe, and Jane Shi; a feature interview with and accompanying artist project by Nour Bishouty exploring fissures in memory and landscape; Liz Howard’s poetic response to the 1986 “Native Women” issue of Fireweed (with afterword by Felicity Taylor); a conversation between bill bissett and Mathieu Aubin on Vancouver’s 1979 Writing in Our Time series; an artist project by Marisa Kriangwiwat Holmes, with accompanying essay by Emile Rubino, on “listening” to images; and critical writing, transcripts, and prompts reflecting two events recorded in The Capilano Review’s audio-visual archives: a 1982 poetry seminar with bpNichol, George Bowering, and Daphne Marlatt at Simon Fraser University; and a lecture by Judy Radul at Capilano College in 1992.
The striking cover for this issue has been designed by artist Marisa Kriangwiwat Holmes as an extension of the artist project that she developed for our pages. Entitled Destroy Good Bad Baby, the folio as a whole is conceived as a kind of dishevelled, semi-fictitious family photo album—full of candid snapshots of friends, siblings, and pets, both real and invented. Readers will find Kriangwiwat Holmes’s 12-page artist project in the pages of this issue, alongside a thoughtful essay by Emile Rubino expanding on the artist’s practice.
Order a print copy of Issue 3.50: In(ter)ventions in the Archive below, or subscribe to receive this issue plus two more.
