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Issue 7, Volume 17 | July 2020

Issue 209, Winter 2019

Upcoming Issue

Featuring Novella Prize contest winner "Yentas" by Rebecca Păpucaru, and cover art by Sharona Franklin. Poetry by Chris Banks, Ronna Bloom, Alisha Dukelow, Paul Vermeersch, Ron Riekki, Daniel Sarah Karasik, Sarah Venart, Sarah Tolmie, Matthew Hollett, Alamgir Hashmi, and Mike Alexander. Fiction by Xaiver Campbell, Theressa Slind, and Kate Felix. Creative nonfiction by Daniel Allen Cox, Sarah Lord, and more!

Spring Issue Book Review

Treaty #

Armand Garnet Ruffo’s newest collection of poetry, Treaty #, is arranged in a tripartite structure: the first, “Impetus Ungainly,” charts some of the book’s driving themes, while the second, “Travelogue Sightline,” catalogues a speaker (most likely Ruffo himself) travelling throughout the world, commenting upon what they witness; the third section, “Boreal Investigative,” finds middle ground between the two, staying within the intimate pockets Ruffo has carved out in the first section, as well as journeying outward, as the speaker does repeatedly in the second section.

Read the full review by Dallas Hunt on our website.

CanLit for Your Reading List

New and Noteworthy

Review space may be limited in our quarterly magazine, but we’re delighted to share this list of new Canadian books. *Please note that inclusion on the list does not necessarily preclude a print review. 

Read the full list of new and noteworthy Canadian titles.

Only 4 Weeks 'til Deadline!

Novella Prize 2020

Send us your personal essays, memoirs, narrative nonfiction, social commentary, travel writing, historical accounts, biography, and more! Deadline is August 1, 2020 at 11:59pm PDT. One winner will take home the $1000 (CAD) prize.

Entry fee (comes with a one-year print subscription):
$35 CAD for Canadian entries
$40 USD for entries from the USA
$45 USD for entries from elsewhere

Additional entries cost $15 CAD from anywhere, no limit!

This year's judge is Rowan McCandless. Read an interview with her to find out what she's looking for.

Full contest guidelines available on TMR's website.


Interview with 2020's Novella Prize Winner, Rebecca Păpucaru

Rebecca PăpucaruMalahat Review creative nonfiction board intern Anne Hung talks with the Novella Prize winner about her story, “Yentas,” which appears in our upcoming summer issue #211.


AH: The judges describe “Yentas” as “a nostalgia-free portrait of girlhood.” How did you first react to that comment? What made you decide to take this raw approach to the coming-of-age story?

RP: I don’t really have any nostalgia for that era so I wasn’t surprised. It wasn’t a conscious decision, however. Ultimately, the point of my story is that if you are taught to hate yourself and others like you, at some point you’re going to crack up, which is what happens to Karen and Brandy. In the 1980s no one really questioned the J.A.P. [Jewish American Princess] stereotype, let alone considered the harm it could do. So no, I’m not nostalgic for that era, which happens to be the context of my own coming-of-age, too.

Read the rest of Rebecca's interview on TMR's website.


Summer Issue Interview with Daniel Sarah Karasik on Poetry

Daniel Sarah KarasikMalahat Review screener Quinn Stacey talks with the summer issue #211 contributor about formal vs. colloquial language, the ideological work of a poem, and the various processes of translation involved in writing their poems, “Against the Law” and “hustle.”


QS: Your poems very effectively employ language that is both literary, or scholarly, and colloquial (e.g., "phallic / in its sophistries, its stern Socratic certainties / about the weight of argument / in settling or discerning right" and "I took some pretty selfies in tight panties"). How do you manage the different approaches to word choice, and how do you know when the balance is such that your tone is how you intended?

DSK: I think I mix those registers more or less unconsciously, though I guess there's a part of me that's anxious about elevated diction, worried it'll alienate or feel like some weird claim to dogmatic authority, and wanting to subvert it a bit. In "Against the Law" in particular, I'd say those shifting registers in the language sort of reflect what the poem is thinking through: the law's claims to authority, how the law legitimizes colonial, cishet-patriarchal power through a formalism that can seem orderly and rational but disguises brute domination. The poem's playful moments of undercutting its own formality can be read as part of its larger critique of the law's violent self-seriousness.

Read the rest of Daniel Sarah's interview on TMR's website.


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