WINNIE TRUONG Portfolio: Trichophilia They stamp on any change: they close the way and keep the type fixed because they’ve got the arrogance to think themselves perfect. As they reckon it, they, and only they, are in the true image; very well, then it follows that if the image is true, they themselves must be God: and, being God, they reckon themselves entitled to decree, “thus far, and no farther.” That is their great sin:
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SANDRA JENSEN Romeo and the Lonely Girl Besides the Sunday dance at the Bunbeg Hotel, the only thing I looked forward to was going to sleep. We lived in the middle-of-nowhere-Donegal, surrounded by barren, treeless hills and sheep with scrapies. Excitement consisted of: Cripply-Wipply passing our house on his daily four-mile hobble to the nearest pub; the wurra-wurra bird scaring the bejesus out of me at night; my hair always smelling of peat smoke; oily
LIISA LADOUCEUR Warren Ellis’ Violin Because poets are like shoesbest when foreignand in translationall of ache is lost.Because sad songscan only say so muchin four minutes twentyand life is too messyfor such pretty mouths.Because words can be warpedby lips, fits, lispsand voices drowned outin dark rivers and bars. Play onyour ocean songs.Fingers singingbows for knivespiercing the skinsthat hold it all in.Those nights we pukedup desire, stumbled ashamedcrumbled, humbledby love’s lost namesthose dirty deedswhen we were
HOLLIE ADAMS Lessons in Division We pack cardboard boxes in silence. We are in mourning. My head is down; my black hair curtains my face. This is how to mourn a broken relationship, an expired lease: find own boxes, do not speak, write ‘yours’ and ‘mine’ a hundred times. This is how our one bedroom apartment divides in two. You will move back to your old neighbourhood; I will move closer to my parents. We
Given French performance artist ORLAN’s dedication to altering her physical appearance in the name of challenging the limits of human physicality, it’s ironic that her rather idiosyncratic look — the Bride of Frankenstein-esque hair, the exotic implants on her forehead and the owl-like glasses she often wears — makes her instantly recognizable in a way that few artists since Andy Warhol have been able to manage. In a world fascinated by cosmetic surgery, where the
AHIMSA TIMOTEO BODHRÁN Vergüenza He didn’t realize the shame of being Native was the same as the shame in being queer. The shame of wanting to touch something, someone, his hands reaching towards trees butlooking around before touching, or touching so brief it might be brusk, might bruise the branches, tear a leaf, rip acorn from what was once tender grasp. Soon he wondered the ways in which, during the years he has closeted, was
IAN WILLIAMS The Commute Nobody ever survives. — Margaret Atwood Ikemefuna certainly didn’tmake it through the forest, pot of palm wine on his head, with an entourage of slammer mouthed men who led him to believe he was going home. A lie, but they meant well. Machete to the neck. Then the unnecessary announcementMy father they have killed me, past perfect, as if he were already dead. And good weather, maps, company, trusty ship,
ANNE BALDO Like Money Everyone Will Use You & It Won’t Even Matter Stuck on the tongue,sour,like the pillyou cannot swallow your wordsare meaningless asfragmented hieroglyphicsyou talk in the calligraphyof valentines — beautiful but wasted. So don’t apologizefor your absenceas you walk awaydon’t say remembering people is so hard. Reduce usto a mere glitch of the heart. I will wait for youbut in the arms of other men. Like Money Everyone Will Use You …appeared
J.R. MYERS The Last Snowman It was a battle again; Ray pushing and demanding, never satisfied because he didn’t know what he wanted; Ethel pining to be left alone, wanting nothing more than to gaze at old familiar things and daydream. “It’s no use your moping around,” Ray scowled when his wife refused to come outside with him. “And it’s no use your storming around like a bull in a china
Jade Wallace maps the Southern Ontario Gothic geographies of Anne Baldo’s debut short fiction collection Morse Code for Romantics (The Porcupine’s Quill, 2023). ISBN: 978-0-88984-456-8 | 208 pp | $19.95 CAD — BUY Here #CAROUSELreviews#USEREVIEWEDNESDAY Lately I have sensed a revival of interest in Southern Ontario Gothic. In the past couple of years, multiple fiction debuts such as Erica McKeen’s Tear and Brooke Lockyer’s Burr have deftly employed the genre to tell contemporary stories, and
Since our debut more than two years ago in September 2020, CAROUSEL’s USEREVIEW has published over 100 traditional, experimental and short-form capsule reviews. Last year, we debuted our Reviewer-in-Residence program, in which we published short capsule reviews from a single reviewer for three weeks in a row. Never ones to coast, we decided this year to expand our Reviewer-in-Residence program to shine an even brighter spotlight on individual reviewers’ critical practices. For 2023, we have
Karl JirgensThe Razor’s Edge (The Porcupine’s Quill, 2022)ISBN | 978-0-88984-450-6 | 152 pp | $18.95 CAD | BUY Here #CAROUSELreviews#USEREVIEWEDNESDAY Karl Jirgens gave me some advice years ago that I haven’t been able to forget. He said (and here I paraphrase): “If you want to be a writer, don’t become a publisher.” Whatever wisdom there might be in that aphorism, it doesn’t seem to apply very well to Jirgens himself. He was the editor and
In lieu of our regular weekly USEREVIEW posts, we at CAROUSEL will be using each Wednesday in December to highlight just a few of the many exciting artistic projects that former contributors have been at work on outside of the pages of our magazine. Up now: Anders Nilsen’s covers for new reissues of classic John Wyndham books! Past CAROUSEL contributor Anders Nilsen is the Los Angeles-based artist & author of ten books including Big Questions, The
In lieu of our regular weekly USEREVIEW posts, we at CAROUSEL will be using each Wednesday in December to highlight just a few of the many exciting artistic projects that former contributors have been at work on outside of the pages of our magazine. Up first: Hey Witch! Pottery & Art by Jessica Bromley Bartram. CAROUSEL contributor Jessica Bromley Bartram is an illustrator, graphic designer and artist based in Ottawa, Ontario. We’ve featured her work
Laila El Mugammarundergrad: a commonplace book (2021)ISBN 978-1-77779-150-6 | 108 pp | $19.99 CAD | BUY Here #CAROUSELreviews#USEREVIEWEDNESDAY Undergrad: a commonplace book is Laila El Mugammar’s self-published debut collection. It serves as a literary scrapbook from El Mugammar’s time as an undergraduate student at the University of Guelph. Featuring academic essays, personal essays, speeches and fiction, undergrad examines and illuminates anti-Blackness, Islamophobia, queerness, disordered eating and much more within the context of university campuses and
Remembering writer David Haskins (ca. 1945-2022) We at CAROUSEL were deeply sorry to hear of the passing of teacher, father, writer and friend to literature, David Haskins, of Grimsby, Ontario. An emigrant from post-war Britain, Haskins spent his entire adult life in Ontario, where he taught high school English for 36 years, and will continue to be fondly remembered by students as an engaged, thoughtful and kind teacher. As a writer, Haskins was the author
The word emporium conventionally refers not only to a commercial centre, but also to the centre of the brain where nerves and sensations meet. These disparate connotations coalesce and transform in Sanchari Sur’s traditional review of Aditi Machado’s sophomore book of poetry Emporium (Nightboat Books, 2020). Sur shows us how Machado envisions the poet as a radical barterer, plying her trade in the immaterial and invaluable realm of words and meaning. ISBN 978-1-64362-029-9 | 112
Jade Wallace imagines what it would be like to interview Tanis Franco‘s poetry debut Quarry (University of Calgary Press 2019) in this experimental review. Asking questions in their own words and then borrowing and remixing lines from the book to craft ‘answers,’ Wallace literalizes what it means for a text to enter the literary conversation. ISBN 978-1-55238-981-2 | 80 pp | $17.99 CAD / USD #CAROUSELreviews Jade: Let’s begin with the human body. How would
Congratulations to Toronto-based artist Fiona Smyth (who we profiled/interviewed back in CAROUSEL 25) — she has just released her first graphic novel, The Never Weres, a youth-oriented science fiction tale where three teens become humanity’s only hope for survival. The Never Weres is a 6.75″ x 9.25″ book, 256 pages, b/w interior, and is being released by Annick Press in both softcover and hardcover editions. On Sunday, March 13, 2 – 5:30pm, The Never Weres