We've extended the deadline of our cover art contest. Submit your visual art to our judges Jillian Tamaki and Hangama Amiri before December 15, 2016, and it could be on a cover of Room in 2017.
Hold a winesap apple to your brow and think of the worst possible outcome.
Or has the worst already happened? How do you define cataclysm?
black pearls on a string
when young lustrous
men dazzle yet frighten us
for many our first encounters a plundering
The tongue is lost—now blood pools
in her mouth. Her maid stops the wound
with a tampon, split down the middle
like some carpenter’s unlucky thumb.
we only remember
the bad things
that happen to us
Currently on Newsstands
Room 39.3, Canadian Gothic
Edited by Leah Golob
In this issue:
Jen Currin, Amber Dawn, Julie Eliopoulos, Katie Fewster-Yan, Catherine Graham, Lucy Howe, Taryn Hubbard, Aislinn Hunter, Monika Lee, Carylann Loeppky, Erika Luckert, Jeanette Lynes, Annick MacAskill, Anne Maizia, Sadie McCarney, Cassidy McFadzean, Tiffany Morris, Sofi Papamarko, Rhonda Pelley, Marika Prokosh, Paula Jane Remlinger, April Ripley, Amy Roher, Ellie Sawatzky, Jocelyn Tennant, Jean Van Loon, Carly Rosalie Vandergriendt, Catriona Wright.
Erin Wunker is Chair of the Board of the national non-profit organization Canadian Women in the Literary Arts, a teacher of Canadian Literature and cultural production, as well as co-founder, writer, and managing editor of the feminist blog Hook & Eye: Fast Feminism, Slow Academe. Room’s Geffen Semach spoke to Erin Wunker about her new book, the act of refusal, self-care, and what it means to take on the figure of the feminist killjoy.
Natalie Wee is the author of Our Bodies & Other Fine Machines (Words Dance Publishing, 2016) and Once in a Blue Moon (BookThug, 2018). She is the Associate Fiction Editor at Broken Pencil Magazine. Her first book is now available at Amazon and on Goodreads.Room’s Chelene Knight spoke with her about her putting together her first book, and her experience publishing in both the US and in Canada.
Jen Sookfong Lee, this year’s short forms judge, was born in Vancouver, where she now lives with her son. Her books include The Conjoined (ECW, 2016), The Better Mother (Knopf, 2011), and The End of East (Knopf, 2007). She is a columnist for The Next Chapter on CBC Radio and teaches writing in the Continuing Studies department at SFU. Room’s Nav Nagra spoke with Jen to learn more about her work and the writing process.
Elizabeth Ukrainetz’s writing shows brief glimpses of life on the other side of a window painted with vivid colours and designs. Language in her work is at the forefront. In The Theory of Light at Midnight, the poetic prose draws the reader’s attention more than the story of Magda, who suffers from post-traumatic stress disorder symptoms.
Bearskin Diary is a humane, unflinching portrayal of a woman asserting her voice and claiming space in an often hostile nation.
Falling in Love with Hominids is a collection of fantastical short stories filled with an innovatory mix of characters grappling with existential and everyday questions—what’s for breakfast? should I bring a child into the world? how did that elephant land in my living room?
With the deadline for Room’s Short Forms contest less than two months away, Mica Lemiski discusses genre-bending writing and what it means to step outside literary conventions, using Maggie Nelson and Amber Dawn as examples.
Back again for Month 4, Room is proud to feature the intensely visceral and thought-provoking Deep Salt Water, an intimate memoir about the totality of abortion as human experience. Here we present to you Month 4 of Deep Salt Water, an interdisciplinary collaboration among four artists–author Marianne Apostolides, collage artist Catherine Mellinger, photographer Melanie Gordon, and composer Paul Swoger-Ruston–based on the forthcoming book by Apostolides of the same title.