In search of a big picture at the end of the singular world

A writer roams her sleepscape in search of the extraordinary subconscious

The log jam is tall and wide and choosing wrong means we don’t make it home

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The fish is a suspended phantom, its magenta skeleton an exquisite, vibrant exhibit of what lies beneath

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A wildland fighter witnesses an old burn's second act

Memories sneak up, tiptoe quiet as a cat. Boom like a slapshot

The unmistakable buzz of an approaching aircraft is enough to send my family onto the lawn

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This invertebrate does not go looking for prey

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For the sake of the large romantic gesture

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Hit everything dead on, even if it’s big

The names we learn in childhood smell the sweetest to us

Maybe my doctor has two patients named Ian Roy, and I’ve been sent the other Ian’s file

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No Skylab buzz in East Germany.

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Nature’s sanctity is the only portal to the future.

PRESS 1 IF YOU THINK YOU MAY HAVE HEARD THE BIG BANG.

Playing against the fastest chess player in the world.

"You have bruises / There was time / You spent trying to / Heal them. / As in, time wasted."

That’s one for the rice bag!

The maple leaf no longer feels like a symbol of national pride.

"my point that / i is but a : colon grown / too long"

If marriage was a television show, it might look something like this.

"The following resume / arrived by fax: One ex-military / man, 52, applying / for duty ..."

Scrape every last bit of English out of your throat.

Who puts those little stickers on the apples in the grocery store?

Destroying books for the greater good.

Mary Meigs and her friend Lise Weil, editor of Beyond Recall, met regularly to do freewriting together. For each exercise they chose a line or phrase from the work of a poet they both admired; then, inspired by that "prompt," both women wrote for five or ten minutes, recording whatever came to mind (and hand).

When I lived in Ottawa in the 1970s, I used to enjoy passing lazy afternoons at the National Gallery looking at the pictures. I remember how surprised I was when I first encountered the Group of Seven collection. These paintings were completely familiar—I’d seen them in schoolbooks and on calendars, posters, t-shirts, everywhere—yet at the same time they were completely unexpected.

A first-hand account of Greenpeace's first expedition to stop U.S. underwater nuclear testing on September 15, 1971.

Review of "House Work" curated by Caitlin Jones and Shiloh Sukkau.

Review of "M Train" by Patti Smith.

Review of "On Community" by Casey Plett.

Review of "The Boy and the Heron" directed by Hayao Miyazaki.

Review of "Conversations with Khahtsahlano, 1932–1954" reissued by Massy Books and Talonbooks.

Review of "Hangman: The True Story of Canada’s First Executioner" by Julie Burtinshaw.

Review of "Queers Like Me" by Michael V. Smith.

Review of "Pinball: The Man Who Saved the Game" written and directed by Austin Bragg and Meredith Bragg.

Review of "Rearrangements" by Natan Last, published in The New Yorker December 2023.

Review of "Cabin Fever" by Anik See.

Review of "Matrescence: On the Metamorphosis of Pregnancy, Childbirth and Motherhood" by Lucy Jones.

Review of "Edible and Medicinal Flora of the West Coast: British Columbia and the Pacific Northwest" by Collin Varner.

Review of "Big Mall: Shopping for Meaning" by Kate Black.

Review of "The Adversary" by Michael Crummey.

Review of "Galore" by Michael Crummey.

Review of "Jo Cook and Perro Verlag Books by Artists: The Unreadable Sacred," organized by the Simon Fraser University Art Gallery.

Review of "Gertrude and Alice" produced by United Players of Vancouver.

Review of "Censorettes" by Elizabeth Bales Frank.

Review of "Memories: From Moscow to the Black Sea" by Teffi (trans. Robert Chandler).

Review of "Our Flag Means Death" created by David Jenkins on HBO Max.

Review of No Fun (the band) and reissued music by Atomic Werewolf Records.

Review of "Godzilla Minus One" directed by Takashi Yamazaki.

Review of "Canzone di Guerra: New Battle Songs" by Daša Drndić, trans. by Celia Hawkesworth.

Review of "The Midnight Bargain" by C.L. Polk

When you find yourself laid up in a sterile hospital room, which books do you want to have with you?

During the 1950s the RCMP used a machine to identify federal employees who were homosexuals. The name of this bogus device? The "fruit machine," of course.

A writer whose work is among the most important contributions to the literature of the Holocaust is forgotten by almost all.

In the world between here and there, what place does one call home?

Stephen Henighan argues that efficiency has become a core value that heightens social divisions.

Richard Stursberg’s memoir of his years in CBC programming raises the question: How did someone with no sympathy for public broadcasting get the job in the first place?

Stephen Henighan remembers Mavis Gallant, the original nomad of Canadian literature, who wrote some of Canada's finest fiction at Pablo Picasso's café table in Paris.

How much does a photograph really capture the essence of a person?

Daniel Francis investigates the practice of visiting asylums and penitentiaries as entertainment in nineteenth-century Canada.

Stephen Henighan investigates bus travel as one of Canada's last surviving democratic spaces.

Alberto Manguel reflects on art as a witness to the human desire to be infinite and eternal.

Daniel Francis explores the photographer as Vancouver's most interesting historian.

The Great White North gets rebranded and gains some military muscle: goodbye peacenik, hello soldier.

As Canadian leaders look to emulate Asian nations, our government fails to see that the tigers' fatal flaw is the absence of democracy. Or, maybe they do see.

A French writer whose name I hadn’t heard before, Pierre Bayard, has written a book called Comment parler des livres que l’on n’a pas lus? published by Éditions de Minuit in a collection aptly titled Paradoxe. A number of critics in France have writt

I’ve now read Comment parler des livres que l’on n’a pas lus? and I’m happy to say that I was right.

One of the indispensable figures of contemporary journalism is the cutting-edge cultural commentator. The columnist who offers sardonic insights into trends, fashions, television shows and publishing personalities has become an institution.

In 2002, when my essay collection When Words Deny the World was published, people started behaving strangely. Ambitious young writers scurried out of sight when I entered a room, as though afraid that irate authors might banish them from Toronto for having spoken to me.

Since the Wall came down, East German socialists in Prenzlauer Berg are free to sip coffee and talk about art.

When the crash came, Canadians paid the price for the colonized mentalities of their investment advisors.

I met Alejandra Pizarnik in Buenos Aires, in 1967, five years before her death. I had asked her to contribute to an anthology of texts that purported to continue an interrupted story begun in Shakespeare’s The Winter’s Tale: “There was a man dwelt by a churchyard.” She agreed and wrote a haunting piece called “Los muertos y la lluvia,” “The dead and the rain.” The book was never published, but we became friends.

From the trench coat to the Hummer, what does the militarization of style say about us?

In 2007, when The Penguin Book of Canadian Short Stories was published, Urquhart sent me a copy. As I examined the table of contents, I felt a dull thunk in my chest.

When General James Wolfescampered up the steep path that carried him onto the Plains of Abraham andinto the pages of the history books, what was he thinking?