Tanis MacDonald, Tall, Grass, Girl: poems

 

She larches the woods,
the pond sedges her. 

Back lane brome brushes
her ankle. 

Sun on asphalt,
dandelion juice, 

the iron tang of
a train whanging by at night. 

Wild licorice by the tracks
holds a creosote whiff. 

She breaks trail past
reed grass and twinflower, 

dogwood and stinging
nettle, sow thistle and willow. 

Aspen is and aspen does.
Tall mulleins nod her on her way. 

All those cattails, narrow leaves,
fat velvet, frogs croaking elm, elm, 

burr oak, burr oak, birch, balsam,
mountain ash, sandy shore, 

loon, moose, coyote, girl
crossing a field of foxtails. (“LAST SEEN WITH CROW”)

The latest from Southwestern Ontario poet, writer and editor Tanis MacDonald is Tall, Grass, Girl: poems (Toronto ON: Book*hug Press, 2026), an assemblage of lyric gestures, responses and examinations that stretch out into a kind of book-length lyric sentence. “Ancestors, I was shocked to hear / this craft of woolflesh,” begins the poem “CABLE STITCH,” “this coursing of / wonder past fear into making, news to me / who was encouraged to disregard / my mother’s body, to think of my / birth like a hatching, [.]” The poems stretch into an ongoingness, each piece set as a further step in a lyric document of witness, survival, agency and observation, centred around the author’s experiences through adoption and assault, and attempting to seek a place of safety, healing and survival. “A girl needs / a poem with seams / that can be let out.” MacDonald offers, within the four-page extended “GIRL, INTERRUPTED,” “A lune oughta make / room to go / mad as bald batshit.” In the end, we all need to feel safe, and the poems in this collection directly confront those experiences, amid the choices of others, to seek out how to feel safe once again. “The students are writing exams and I am / thinking of old Woody Allen jokes.” begins the poem “STARLINGS,” “Woody Allen is an old Woody Allen / joke. Woody Allen is an old rape story. // Do we tell old violences so we don’t / have to tell new ones?”

Through Tall, Grass, Girl, MacDonald speaks from the perspective of an adoptee, writing on ancestry, connections and what we might inherit, and what we might choose to inherit. “I was born then whirled away,” she writes, early in the short piece “ADOPTION REEL,” “the offspring to be named later.” A bit further on, writing: “I slipped from hand // to hand like a baby made of soap. / Enough, then. Start again. Accent // on first and third beats. I left / in a hurricane and crossed // the bridge over the fault line.” Both experiences can be entirely upending, the trauma of assault and a feeling of dislocation as an adopted person, and requiring very different approaches to navigating how best to feel grounded and safe from either, let alone both. Through the poems of Tall, Grass, Girl, MacDonald examines, as the back cover provides, “living in the space between belonging and non-belonging, between victimhood and bold survivorship. She makes no apologies and pulls no punches, taking us on a journey through adoption and assault, to subsequent escapes, and eventually, into full-feathered survivor joy.”

Set with prologue—“PROLOGUE: EVERY PURCHASE WILL HELP / A WOMAN OR GIRL IN NEED”—alongside seven cluster-sections of lyrics—“Trail,” “Stutter,” “Bravado Waltz,” “Smithereens,” “Dress Down,” “Girl Rampant” and “Selvage”—the poems connect as extended lyric accumulations: constructed via individual parts that assemble into poems, into sequences, into sections, into a book-length line. Plying shades of the first-person confessional, MacDonald’s poems articulate anger and frustration and escape; they articulate an agency that should be presumed, retaken when needed, and with absolutely no fucks left to give. “our heroine comes from a long line of barren women,” begins the poem “SMALL FIERCE FACT,” “sparky girls who / could and did but never reaped for they had not sown despite all // efforts, our heroine’s mother comes from a line of farm girls who / knew how it worked, but after her wedding wakes to July blood, // then August, and then she is next year country: no yield, no workforce, / without swell or glow, there’s no crying, normal is as abnormal does // when it does it every month for twelve years [.]”

 

12 or 20 (second series) questions with Emer O’Toole

Originally from the West of Ireland, Emer O’Toole [photo credit: Trevor Browne] teaches performance, theatre and Irish studies at Concordia University. Along with her impressive academic credentials and publications, she is the author of Girls Will Be Girls (Orion, 2015), a humorous and thoughtful take on gender as performance, now translated into French, Spanish, Italian, Swedish, Icelandic and Korean. O’Toole’s gleeful refusal to shave her body hair made her an internet star of the 2010s. More recently, she has published Contemporary Irish Theatre and Social Change: Activist Aesthetics (Routledge, 2024). She lives in Montréal, QC.

1 - How did your first book change your life? How does your most recent work compare to your previous? How does it feel different?

When Girls Will Be Girls came out in 2015, life was such a whirlwind that it’s difficult to know what to attribute to the book. I got a generous 2-title publishing deal from an imprint of Hachette and a tenure track job offer that involved moving to Canada at exactly the same time. I should probably have chosen one or the other. Instead, I thought – I’ll do everything! I’ll be an author, and a newspaper columnist, and write and deliver six new undergraduate courses, and take on graduate students, and edit an academic collection, and turn my recently completely PhD into journal articles. So, ill-advisedly, that’s what I did.

Visibility brought additional asks – everyone wanted me to be on their board or committee, there were public events and trips and media things, and just so many e-mails. It wasn’t sustainable; I ran myself into the ground. The year after Girls Will Be Girls was published, I experienced two big bereavements, and my partner dumped me. I shifted into first gear and stayed there for a while. The second book for Hachette never materialised. I tried, hard. But I was all out of things to say, and my writing voice felt forced.

Girls Will Be Girls remains the thing I’m proudest of from that intense period of my life. I re-read it about two years ago before a talk I gave on creative non-fiction, and I hope I won’t sound conceited if I say that I think it holds up. There’s stuff I’d write differently now, of course. There are parts I wish I’d researched more fully and personal sections that I’d choose not to share if I were doing it over again. The process was quite rushed, and that definitely shows in the writing. All the same, I think Girls Will Be Girls offers a way of thinking about gender that remains unusual and valuable in popular culture, and, even now, a decade later, I get e-mails from readers for whom it has been important. And Girls Will Be Girls is fun. I think it’s fun, anyway.

I wrote Girls Will Be Girls on a deadline with a significant advance from a major international publishing conglomerate and the promise of lots of media attention. I’d get home from the university in the evening, make dinner, and then write late into the night, with a readership in mind, and a team of professionals reading chapter drafts.

Comparatively, I wrote my novel Do It Yourself when my little boys were babies and toddlers. There was no deadline, no deal, no guarantee it would ever be read at all. It took seven years from the first words on the page to the book on shelves. It’s a very different beast. But it’s still fun. I think it’s fun, anyway.

2 - How did you come to non-fiction first, as opposed to, say, poetry or fiction?

I fell into it. I blogged from the early days of the internet, and found my writing voice that way. Near the end of my PhD, I contributed to a feminist group blog edited by Rhiannon Lucy Cosslet and Holly Baxter called The Vagenda – it was a whip-smart, hilarious platform by and for women who’d grown up with media instructing them in bad body image and casual misogyny. A piece I wrote for The Vagenda on body hair went viral, and my writing got picked up by The Guardian. From there, I got a great UK agent, who encouraged me to write a creative non-fiction feminist book. Voilà. Girls Will Be Girls was born.

Fiction is my first love and I’ve always wanted to write creatively. It feels magical to have a novel published, finally, in my 40s.

3 - How long does it take to start any particular writing project? Does your writing initially come quickly, or is it a slow process? Do first drafts appear looking close to their final shape, or does your work come out of copious notes?

Depends what I’m writing. With newspaper columns, I can comfortably go from having a pitch for an 800-word column accepted to having the column researched and written in about 8 hours. (Or I could before I had children!) With academic projects, the research takes a lot longer, of course – you need to compile a bibliography of what already exists in the field, then figure out what you’re going to study deeply, then actually do the reading, then write. I don’t enjoy the process of academic writing very much, although I do love having written something. With both columns and academic articles, I usually over-write and then chop back.

With creative non-fiction, a lot of it happens in my head before I sit down. I need less structure. I trust my voice to find the melody. Writing can be a flow-state activity for me – I look up at the clock and can’t believe I’ve spent hours on a few paragraphs, re-positioning petals, moving sprigs of baby’s breath about. I’ll tend to edit yesterday’s work, which warms me up, then write fresh stuff. I make editing less painful by transferring my darlings to a document entitled “snippets” rather than outright murdering them.

Fiction is alchemy, isn’t it? My characters appear from God knows where. Like, I can hear their voices yabbering away, and sometimes I have a pretty good visual on them. Then I have to figure out where they are, and what’s happening to them, and why they won’t leave me alone. Every piece of fiction I’ve published has gone through multiple drafts. Do It Yourself is a fifth draft and is unrecognisable from draft one.

4 - Where does a work of prose usually begin for you? Are you an author of short pieces that end up combining into a larger project, or are you working on a "book" from the very beginning?

I’m learning from these questions that I have multiple author personalities. I work in all these ways. Girls Will Be Girls was a book project from the outset. I thought Do It Yourself might be a novella, but it had other ideas. And I’m currently pulling some short stories together into a larger project.

5 - Are public readings part of or counter to your creative process? Are you the sort of writer who enjoys doing readings?

I’m a theatre kid.

6 - Do you have any theoretical concerns behind your writing? What kinds of questions are you trying to answer with your work? What do you even think the current questions are?

With Girls Will Be Girls, I was trying to make academic gender theory accessible to a general audience, and also figure out how much agency we might have over our genders within the cultural systems that have formed us, and which reward and punish certain types of expression. With Do It Yourself, I was interested in questions of the performance of self in the age of the internet, and of the ways in which the private and public spheres have been changed by online spaces.

7 – What do you see the current role of the writer being in larger culture? Do they even have one? What do you think the role of the writer should be?

Well, funny you should ask. Why not pick up a copy of my riveting best-selling block-buster academic monograph Contemporary Irish Theatre and Social Change: Activist Aesthetics, and read the introductory chapter, in which I wrestle with questions of the cultural, social, and political utility of the artist for approximately 50 theory-dense pages! No? You don’t want to? Fine.

Essentially, I think that artists, including writers, can (and evidentially do) involve themselves in wider cultural issues, sometimes with activist intent, and this is just great; however, it is also fine for writers to privilege art for art’s sake, to lean into the aesthetic autonomy of their craft, to refuse to be mouthpieces, and to make things happen in fictional worlds that we would not condone in real life. I think it’s wrong to hold art to the cultural standards of the real, or to expect that artists toe some kind of line. There are lots of different types of writers out there, and there is no one writer’s role.

8 - Do you find the process of working with an outside editor difficult or essential (or both)?

I love working with editors, readers, and advisors. I am always so grateful for an eye on the work. That’s not to say that my immediate emotional reaction to criticism is always pleasant, but it is always information, and there’s nothing more valuable for a writer than a reader who isn’t afraid to offend them.

9 - What is the best piece of advice you've heard (not necessarily given to you directly)?

Margaret Atwood’s advice: “Read, Write, Read, Write, Read, Write.”

10 - What kind of writing routine do you tend to keep, or do you even have one? How does a typical day (for you) begin?

Nope, no routine, just moments wherever I can snatch ‘em.

My day begins with little feet running to my bed, usually far earlier than I would prefer, it begins with breakfasts and packed lunches and school bags, with confiscating pirate swords, then confiscating the chopsticks that have replaced the pirate swords, with begging people to please, please put on their shoes, before somehow, miraculously, leaving the house.

11 - When your writing gets stalled, where do you turn or return for (for lack of a better word) inspiration?

I let it sit. I go work on some other thing. It helps that I always have fingers in a few pies.

12 - What fragrance reminds you of home?

Coal fires in the cold night air.

13 - David W. McFadden once said that books come from books, but are there any other forms that influence your work, whether nature, music, science or visual art?

Theatre and film for sure. My fiction is dialogue heavy. I love trying to capture certain rhythms or cadences of speech.

14 - What other writers or writings are important for your work, or simply your life outside of your work?

How long you got? Here, in no particular order, is an inexhaustive list of writers who have shaped me: Octavia Butler, Leo Tolstoy, Toni Morrison, Ursula K Le Guin, George Saunders, Thomas Hardy, Samuel Beckett, Mona Awad, Eugène Ionesco, Ali Smith, Lisa McInerney, Oscar Wilde, Salman Rushdie, Hilary Mantel, Edna O’Brien, Kevin Barry, Fyodor Dostoevsky, George Eliot, Agota Kristof, Doris Lessing, Joanna Russ.

15 - What would you like to do that you haven't yet done?

I would like to travel to India.

16 - If you could pick any other occupation to attempt, what would it be? Or, alternately, what do you think you would have ended up doing had you not been a writer?

I can’t imagine not being a writer. Who would I even be?

I love my two jobs – theatre professor and writer – and I have very little desire to attempt any other (harder) occupation.

17 - What made you write, as opposed to doing something else?

Well, I do other things! You’re not interviewing George RR Martin here – the HBO Specials have yet to start paying my mortgage.

I write. I always wrote. What made me like this? Um, I am going to blaaaame, let’s see… astrology? Or maybe we’re living in a computer simulation and I was coded this way.

Anthony Burgess once said, “To some of us, the wresting of beauty out of language is the only thing in the world that matters.”

My children also matter to me, obviously. Those guys aside, I’m with Burgess.

18 - What was the last great book you read? What was the last great film?

Last great book: George Saunders’ Vigil – about phantoms attending to the immortal spirit of a soon-to-be-deceased oil baron.

Last great film: Ariane Louis-Seize’s Humanist Vampire Seeking Consenting Suicidal Person – about… well, the title is doing a lot of heavy lifting here.

19 - What are you currently working on?

Three things!

1.     A short story collection centred around my hometown, Galway.

2.     A second novel about the allure and cultural creep of the far right

3.     A series of performance lectures from the perspectives of Irish animals.

12 or 20 (second series) questions;

book launch: rob mclennan + Garth Martens (w Jennifer Baker + Margo LaPierre) : Oct 21, Perfect Books, Ottawa

hey, Ottawa! come out on Wednesday, October 21 to Perfect Books on Elgin Street to catch Victoria poet Garth Martens and myself launching new poetry titles! alongside Ottawa poets Jennifer Baker and Margo LaPierre.

hosted by David O'Meara, Ottawa (English language) Poet Laureate
Wednesday, October 21, 7-8pm, Perfect Books (258A Elgin Street)

Garth Martens, launching Who Else in the Dark Headed There (Biblioasis, 2026)
rob mclennan, launching edgeless (Caitlin Press, 2026)

Garth Martens is the author of Prologue for the Age of Consequence and Who Else in the Dark Headed There. For his first book, he was a finalist for the Governor General’s Literary Award for Poetry. He is also a past winner of the Bronwen Wallace Award for Emerging Writers. His poetry appears in Dark Mountain Project, Poetry Ireland, Hazlitt, This Magazine, Vallum, Fiddlehead, and Best Canadian Poetry. He is also a member of Palabra Flamenco, a literary flamenco ensemble that joins traditional flamenco dance and music with poetry and oral storytelling. He lives in Victoria, BC.

Born in Ottawa, Canada’s glorious capital city, rob mclennan currently lives in Ottawa, where he is home full-time with the two wee girls he shares with Christine McNair. His most recent titles include the poetry collections the book of sentences (University of Calgary Press, 2025) and edgeless (Caitlin Press, 2026), the book-length essay A river runs through it: a writing diary, collaborating with Julie Carr (Spuyten Duyvil, 2026), On Beauty: stories (University of Alberta Press, 2024), and the anthology groundworks: the best of the third decade of above/ground press 2013-2023 (Invisible Publishing, 2023). The current Artistic Director of VERSeFest: Ottawa’s International Poetry Festival, he spent the 2007-8 academic year in Edmonton as writer-in-residence at the University of Alberta.

Margo LaPierre is a freelance book editor and poet. Her second poetry collection, Ajar, was published by Guernica Editions, and is currently nominated for the 2026 Ottawa Book Award for Fiction. She has won national awards for her editing, fiction, and poetry and seeks to destigmatize bipolar disorder and psychosis.

Jennifer Baker is a Professor of English Literature and Creative Writing at the University of Ottawa, and the author of four chapbooks: Abject Lessons (above/ground press, 2014), Groundling (Trainwreck Press, 2021 & above/ground press, 2023), Memento Mishka (with David Currie, Apt. 9 Press, 2023) and Wee Walk (above/ground press, 2026). She is interested in interdisciplinary approaches to experimental poetics, and her material poetics appears in Delisted Project (Third Thing Press, 2026). She is the former Poetry Editor of Arc Poetry Magazine from 2023-2025, including a special Winter 2025 guest issue on The New Material Ecopoetics.

dusie : the tuesday poem

The Tuesday poem is more than thirteen years old, with new poems by more than seven hundred different authors since April 9, 2013. For those unaware, I've been curating this weekly poem series over at the dusie blog, an offshoot of the online poetry journal Dusie (http://www.dusie.org/), edited/published by American poet and publisher Susana Gardner.

http://dusie.blogspot.ca/

The series aims to publish a mix of authors from the dusie kollektiv, as well as Canadian and international poets, ranging from emerging to the well established. Over the next few weeks and months, watch for new work by dusies and non-dusies alike, including Dan Beachy-Quick, Zoé Mahfouz, Andy Butter, Katherine DeCoste, Joe Hall, Lori Lubeski, Rob Budde, Sean G. Meggeson, Jacob Braun, Maighread Medbh, Kimberly Ann Southwick and Jesse DeLong, among many others.

And submissions to this series remain open: send poem(s) and bio as .doc w photo to rob_mclennan (at) hotmail (dot) com with subject line: "tuesday poem submission"

A new poem will appear every Tuesday afternoon, Central European Summer Time, just after lunch (which is 8am in Central Canada terms).

If you wish to receive notices for poems as they appear, send me an email (rob_mclennan (at) hotmail (dot) com) to join the weekly email list.

So far, the Tuesday poem series has featured new writing by Elizabeth Robinson, Megan Kaminski, Marcus McCann, Hoa Nguyen, Stephen Collis, j/j hastain, David W. McFadden, Edward Smallfield, Erín Moure,Roland Prevost, Maria Damon, Rae Armantrout, Jenna Butler, Cameron Anstee, Sarah Rosenthal, Kathryn MacLeod, Camille Martin, Pattie McCarthy, Stephen Brockwell, Rosmarie Waldrop, Nicole Markotić, Deborah Poe, Ken Belford, Hugh Thomas, nathan dueck, Hailey Higdon, Stephanie Bolster, Jessica Smith,Mark Cochrane, Amanda Earl, Robert Swereda, Colin Smith, Sarah Mangold, Joe Blades, Maxine Chernoff,Peter Jaeger, Dennis Cooley, Louise Bak, Phil Hall, Fenn Stewart, derek beaulieu, Susan Briante, Adeena Karasick, Marthe Reed, Brecken Hancock, Lea Graham, D.G. Jones, Monty Reid, Karen Mac Cormack, Elizabeth Willis, Susan Elmslie, Paul Vermeersch, Susan M. Schultz, Rachel Blau DuPlessis, K.I. Press,Méira Cook, Rachel Moritz, Kemeny Babineau, Gil McElroy, Geoffrey Nutter, Lisa Samuels, Dan Thomas-Glass, Judith Copithorne, Deborah Meadows, Meredith Quartermain, William Allegrezza, nikki reimer,Hillary Gravendyck, Catherine Wagner,Stan Rogal, Sarah de Leeuw, Tsering Wangmo Dhompa, Arielle Greenberg, lary timewell, Norma Cole, Paul Hoover, Emily Carr, Kate Schapira, Johanna Skibsrud, Joshua Marie Wilkinson, Richard Froude, Marilyn Irwin, Carrie Olivia Adams, Aaron Tucker,Mercedes Eng, Jean Donnelly, Pearl Pirie, Valerie Coulton, Lesley Yalen, Andy Weaver, Christine Stewart,Susan Lewis, Kate Greenstreet, ryan fitzpatrick, Amish Trivedi, Lola Lemire Tostevin, Lina ramona Vitkauskas, Nikki Sheppy, N.W. Lea, Barbara Henning, Chus Pato (trans Erín Moure), Stephen Cain, Lucy Ives, William Hawkins, Jan Zwicky, Rusty Morrison, Jon Boisvert, Helen Hajnoczky, Steven Heighton,Jennifer Kronovet, Ray Hsu, Steve McOrmond, Lily Brown, Daniel Scott Tysdal, Beth Bachmann, Harold Abramowitz, Sarah Burgoyne, David James Brock, Elizabeth Treadwell, Shannon Maguire, Mary Austin Speaker, Victor Coleman, Charles Bernstein, Jennifer K Dick, Eric Schmaltz, Kayla Czaga, Paige Taggart,Hugh Behm-Steinberg, Lillian Necakov, Liz Howard, Jamie Reid, Jennifer Londry, Rachel Loden, a rawlings, Jenny Haysom, Jake Kennedy, Beverly Dahlen, Kristjana Gunnars, Eleni Zisimatos, Pete Smith,Julie Carr, Natalee Caple, Anne Boyer, Alice Burdick, Buck Downs, Phinder Dulai, Bronwen Tate, Ashley-Elizabeth Best, Nelson Ball, Laura Sims, Cassidy McFazdean, Paul Zits, Geoffrey Young, Michael Sikkema,Renée Sarojini Saklikar, Emily Izsak, Michael Ruby, Kemeny Babineau, Mairéad Byrne, Amy Bagwell, Jamie Sharpe, Dina Del Bucchia, Endi Bogue Hartigan, Claire Lacey, George Bowering, Muriel Leung,Michael Lithgow, Brynne Rebele-Henry, Kate Hargreaves, Carrie Hunter, Jennifer Baker, Rita Wong, Kristina Drake, Sonnet L’Abbé, Montana Ray, Farid Matuk, Michael Cavuto, Mark Truscott, Virginia Konchan, Christine Stewart and Ted Byrne, Chris Martin, Jason Christie, Marie Buck, George Stanley, Sean Braune, Natalie Lyalin, Donato Mancini, Shannon Bramer, Anne Cecelia Holmes, Kiki Petrosino, Emily Abendroth, Melissa Bull, Barbara Langhorst, Suzanne Zelazo, Aaron McCollough, Éireann Lorsung, Alexandra Oliver, Klara du Plessis, Daphne Marlatt, CAConrad, Sarah Dowling, Sara Renee Marshall, Sarah Fox, Nyla Matuk, Cody-Rose Clevidence, Brian Henderson, Adrienne Gruber, bp sutton, Laura Walker, Jessica Popeski,Collier Nogues, Mark Goldstein, Zach Savich, Jacqueline Valencia, Gerry Shikatani, Jennifer Stella, Matthew Henriksen, Sharon Thesen, Sarah Cook, Eryk Wenziak, 신선영 Sun Yung Shin, Ander Monson, Carrie Etter, Sarah Moses, Julia Polyck-O’Neill, Aimee Herman, Christine Stoddard, Aaron Boothby, John Barton, Shazia Hafiz Ramji, Steve Venright, natalie hanna, Melissa Eleftherion, Adam Clay, Jennifer Zilm, Michelle Detorie, Kyle Flemmer, Biswamit Dwibedy, Rebecca Salazar, Ryan Eckes, Kate Siklosi, Lissa McLaughlin, Ashleigh Lambert, Shane Book, Anna Gurton-Wachter, James Meetze, Conor Mc Donnell, Jake Syersak, Domenica Martinello, Stephanie Grey, Christy Davids, Jay Ritchie, Katie Fowley, Emily Sanford, Geoffrey Nilson, Simina Banu, Marty Cain, Chelene Knight, Madhur Anand, Matthew Johnstone, Chia-Lun Chang, Andrew Wessels, Michael Martin Shea, Kimberly Quiogue Andrews and Sarah Blake, Lance La Rocque, Callie Garnet, Kerry Gilbert, Laura Theobald, Felicia Zamora, Eléna Rivera, Christian Schlegel, Janet Kaplan, Stuart Ross, Beth Ayer, Laressa Dickey, Beni Xiao, Annick MacAskill, Jenna Lyn Albert, John Phillips, MC Hyland, Di Brandt, Anthony Etherin, M.H. Vanstone, Sommer Browning, Melanie Dennis Unrau, Madeleine Stratford, Liz Countryman, Jamie Townsend, nina jane drystek, Nicole Steinberg, Lauren Haldeman, Catherine Cafferty, Cath Morris, Kristi Maxwell, Shira Dentz, Taryn Hubbard, Joan Naviyuk Kane, Joel Robert Ferguson, Jane Virginia Rohrer, Elisha May Rubacha, Noah Falck, Rebecca Rustin, Seth Landman, Marvyne Jenoff, Mikko Harvey, Erin Emily Ann Vance, Michael Turner, Heather Sweeney, Tanis MacDonald, Evan Gray, Conyer Clayton, Laynie Browne, Timothy Otte, Tim Atkins, Erin Bedford, Alex Manley, Jen Sookfong Lee, Kirby, Emma Bolden, Ruth Daniell, Lindsay Turner, Brenda Brooks, Rob Winger, Jordan Davis, Avonlea Fotheringham, Winston Le, Diana Arterian, Manahil Bandukwala, Samuel Ace, Zane Koss, J.I. Kleinberg, Luke Bradford, Sadie McCarney, Shelly Harder, Ariel Dawn, Arisa White, Ian Martin, Charles Rafferty, Andrew Cantrell, Terese Mason Pierre, Guy Birchard, Kimberly Campanello and Léonce Lupette, Franco Cortese, Dale Tracy, Lucy Dawkins, Shannon Quinn, Tom Snarsky, Aja Moore, Paul Perry, Erin Lyndal Martin, Alice Notley, katie o’brien, Chad Sweeney, Nicole Raziya Fong, Emily Lu, Henry Israeli, Jónína Kirton, MLA Chernoff, Wren Hanks, Catherine Graham, Geoffrey Olsen, Jami Macarty, David Groulx, Emmalea Russo, Kyle Kinaschuk, James Hawes, Anne Lesley Selcer, Amelia Does, Franklin Bruno, Matea Kulić, Breanna Ferguson, émilie kneifel, David Bradford, Trish Salah, Astra Papachristodoulou, Amy Parkes, K.B. Thors, JoAnna Novak, Jean Van Loon, Brandon Krieg, Jennifer Wortman, Kim Fahner, Cameron Gearen, Hamish Ballantyne, Diana S. Adams, Bill Carty, Khashayar Mohammadi, Allyson Paty, Mia Ayumi Malhotra, Eli Tareq El Bechelany-Lynch, Ginny Threefoot, Mahaila Smith, Lloyd Wallace, Nicole McCarthy, Jérôme Melançon, Jessica Q. Stark, Jaime Forsythe, SJ Fowler, Emma Tilley, Jake Byrne, Kimberly Alidio, William Vallières, Cecilia Tanburri Stuart, Michael Edwards, Julia Drescher, James Lindsay, Edric Mesmer, Kat Cameron, Brandon Brown, kevin mcpherson eckhoff, Courtney Bates-Hardy, Barry Schwabsky, Tom Prime, Jennifer Falkner, luna ray hall, Endre Farkas, Gregory Betts, Kate Angus, Ren Pike, Helen Robertson, Jack Jung, Nate Logan, Natalie Rice, Emily Brandt, Christina Shah, David Buuck, Ellen Chang-Richardson, Benjamin Niespodziany, Katie Jean Shinkle, Ken Norris, Howie Good, Lesle Lewis, Jaclyn Piudik, Alexander Joseph, Alina Pleskova, Christopher Patton, Nathanael O’Reilly, AM Ringwalt, Allison Pitinii Davis, Carla Harris, Adam O. Davis, Camille Guthrie, Paul Pearson, Andrew Dubois, Trevor Wilkes, Liam Siemens, Saba Pakdel, Moira Walsh, Natalie Jane Edson, Monica Mody, Grant Wilkins, Maw Shein Win, Jade Wallace, Wayne Miller, Meghan Kemp-Gee, Katie Naughton, Julian Day, Evan Nicholls, Therese Estacion, Jessica Laser, Matt Robinson, Ayaz Pirani, Elizabeth Clark Wessel, Sue Bracken, Gregory Crosby, Roxanna Bennett, Jessie Janeshek, Leah Sandals, Lindsey Webb, Robert Hogg, Daniel Owen, Kimberley Orton, Colin Martin, Michael Boughn, Kate Bolton Bonnici, Joey Yearous-Algozin, James Yeary, Ellie Sawatzky, Sharmila Cohen, df parizeau, Shane Kowalski, Rose Maloukis, Andrew Gorin, Vivian Vavassis, Micah Ballard, Angeline Schellenberg, Robbie Chesick, Douglas Piccinnini, Sue J. 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