this interview was conducted over email from December 2020 to February 2021 as part of a project to document literary publishing. see my list of interviews and bibliographies of literary publications past and present here
Suzanne Zelazo is a writer, editor, and educator. She holds a PhD in English
with a specialty in female modernism and avant-garde poetry and performance.
Her projects seek to integrate creative expression and the body. She is the
author two collections of poetry, Lances All Alike and Parlance
from Coach House Press, and is editor or co-editor of several books on female
artists.
Q: How did Queen Street Quarterly get started?
SZ: I had been volunteering as the photography
editor (which was the only position open) at my college literary mag (The Trinity Review). The journal was as formally traditional as the campus. Although I
found that limiting, I got to see a little of what went into such an
enterprise. Most importantly, I got to see how and where it was printed, which
was around the corner at Coach House Press. The singularity of that press with
its commitment to the book as an art object was absolutely crucial to how I
conceived of the QSQ. What they do as printers made it very clear to me
that I wanted to produce a periodical that would showcase the materiality of
the text, specifically by including sound and visual poetry. But, as a lover of
much lyric work as well, I wanted a venue that would integrate the traditional
and the avant garde. I believed and still do in the power of reciprocal exchange
between different genres. One way I saw of enabling that was by according the
ephemerality that characterizes much experimental work the weighted presence of
a proper bound text and to have it appear on zephyr laid paper that would do
much to fix the fleeting in place for the benefit of extended engagement.
Additionally, I believed the less experimental material in this configuration
would take on a different charge featured alongside seemingly incongruous work.
Looking back, part of the impetus to start the QSQ
was no doubt youthful arrogance—I did not see any magazines at that time to
which I wanted to submit work, or more precisely, which reflected the kind of
work I was writing and interested in, so I figured I’d make one.
Q: What were your models when starting out? Were
you basing the journal on anything specific, or working more intuitively?
SZ: I wasn’t basing it on anything specific but
discovering older copies of Between C and D: Neo-Expressionist Lower East
Side Fiction Magazine, edited by Joel Rose and Catherine Texier (1983-1990)
made a huge impact on me. I read every one I could get my hands on. Printed and
“bound” as it was, or rather, computer-printed accordion-style and packaged in
zipped plastic bags, cultivated my understanding of the periodical as art object.
The entire print run is stunning and the magazine’s commitment to the avant
garde scene was so inspiring to me. Tish was the same for me in terms of
prioritizing generic experimentation.
Q: At the time you began the journal, had you
been writing for long? Were you attending readings? How were you engaging with your
immediate community?
SZ: I wrote poetry at that time for sure, but I
was so young! I was very involved in the literary scene in Toronto at that time
and I took learning the ins and outs of it very seriously. I went to as many
readings and book launches as I could, often hitting more than a few on a
single night. The Toronto poetry community in the 1990s was so vibrant and
exciting! We had a lot of fun. You were very much a part of that too rob!
Q: It is true. I remember doing a reading with
you at the University of Toronto’s Hart House, where I think we might have first
met, and I have a recollection of you hanging out with Darren Wershler and
Christian Bök. After the reading, Jack Illingsworth solicited you to review for
Books in Canada, prompting me to jump in with a “me too!”
I’m wondering: what was the process of putting
together those first few issues? Did you have an open call for submissions, or
were you soliciting work?
A: I remember that! It was a great night and that
crew always made those events celebratory. Jack Illingsworth is wonderful. He
has done so much for writing and writers in Canada both behind scenes and in
front.
For the inaugural issue of QSQ I solicited
work with the generous help of Mike O’Connor of Insomniac Press. I’m not even
sure he’d remember this, but he put me in touch with a list of writers I then
approached. That gesture—helping a young writer he didn’t know but was
introduced to over the phone through a mutual friend—speaks to his kindness and
dedication to all things literary, but it also underscores just how important
community is to such undertakings. Many people in the community helped make the
QSQ what it was. I will never forget that gesture of Mike’s though, and
I try to reciprocate in my own engagement with younger writers and the
community at large.
Q: That is very cool. I wasn’t aware of any
connection between Insomniac and QSQ. How were you first in contact with
Mike? Apart from geographic location, I wouldn’t imagine much overlap between
the aesthetics of those first years of Insomniac Press and QSQ.
A: It’s true, there is not much of an aesthetic
overlap. But, as a Toronto publisher and very lovely guy, Mike is in touch with
many writers in the community even beyond the Insomniac authors. A very close
friend of mine at the time was also friends with Mike so he put us in touch and
then Mike helped me reach out to a list of authors. It was a fortuitous
connection for which I am forever grateful.
Q: One element of the journal I immediately
admired was that I was able to see work by certain writers that I don’t think I’d
actually seen in journals up to that point. What were you working to achieve with
your editorial, and how well do you feel you achieved those initial goals?
SZ: Yes, I do think we achieved our goal of publishing
new and emerging experimental writers alongside more established writers and
more traditional work. Associate editors Stephen Cain and Natalee Caple, and
for a time Neil Hennessy, Jay Millar and Karen McCormack, were all instrumental
in soliciting cutting-edge work. We often invited contributions from authors
without a long publishing history but whose work we admired and knew of from
readings or from their own self-publishing ventures.
Q: What was the process of originally involving Stephen
Cain and Natalee Caple? The masthead originally has you as editor, but after a
couple of issues, a number of people were brought on to assist, including Cain,
Caple and Michael Trussler. How did they get involved, and what were their
roles?
A: I have always believed in collaboration and it
was very important to me that the magazine reflected the very best of what was
happening at that moment. To do that I wanted and needed multiple perspectives.
Having an editorial board helped ensure that. Natalee, Stephen, and my brother
Phil were the longest standing members and their contributions were enormous.
Not only did they read and vet submissions, but they also helped identify new
work and solicit contributions, as did the shorter-term members. All of them
were absolutely crucial to what the magazine became. The process of getting
them involved was fairly straightforward. They are all writers and readers I
admire and who were doing something different than me and each other. I invited
them to join us and they all graciously volunteered their time and beautiful
minds.
When Stephen Cain became my then, long-time
partner, he also did a lot of behind the scenes practical, administrative work with
me. His commitment to the small press, his encyclopedic understanding of its history,
his ear for sumptuous sounds, and his belief in the QSQ was critical on
so many levels.
Q: What was the response to Queen Street
Quarterly? And how do you feel the journal developed as you went along? What
do you feel you achieved?
A: The QSQ was very much a writer’s
magazine and the response to it reflected that—it was a well-known unknown.
Being a “little magazine,” its lack of commercial status made it both accessible
and somewhat inaccessible and that was perfect. We wanted to reflect the literary
landscape not just the literary market sweethearts (which we did feature as
well). An enthusiastic community grew around the QSQ over the years. It
became a place of exchange and in so being, a place of creative generativity.
In particular it was a community of LANGUAGE poets, concrete poets, intermedia
artists—writers working innovatively between genres, including writers of
fiction who were testing out new forms. It was an eclectic, inspired, and
inspiring community dedicated to the word. Cultivating that community was
definitely an aim I feel we achieved.
Q: How did you manage to pay for the journal? Had
you funding? Sales? Were you holding launches?
A: As with most small press endeavours, the
finances were always lean. The funding structures are such that you can’t apply
for provincial or federal arts grants without proof of viability as an
enterprise—you need to have put out a certain number of issues to qualify. As a
result, (and I would never recommend this to a young publisher!) I paid for the first few issues with my
student loans at the time. After putting out the requisite number of issues to
be eligible to apply, we received OAC and Canada Arts Council support which was
invaluable. We were distributed by what used to be called the Canadian Magazine
Publishers Association (now Magazine’s Canada), so sales plus semi-regular
launches brought in some revenue. We also had a loyal list of subscribers. We always
just made it. We didn’t have much overhead because it was produced in my
various apartments and after hours in the work spaces of our wonderful layout
manager Judith Parker, and as mentioned, the editors volunteered their time.
Q: Were there any submissions that surprised you?
Any writers you wouldn’t have thought might have submitted anything to you but
did? Who were the “discoveries” you feel you were able to make?
A: I was regularly surprised! I wouldn’t want to
claim to have discovered any writer, but I loved being able to provide a forum
for writers at early stages of their career like Emily Schultz and Seyward
Goodhand. I loved publishing the sonic visual work of W. Mark Sutherland and
poems by Karen Mac Cormack alongside the stories we got from Andrew Pyper and
Russell Smith. I think those kinds of juxtapositions enacted their own kinds of
discoveries.
Q: The journal had a remarkable run. In your
editor’s note as part of the final issue (Volume 7, No. 4), you wrote: “I began
Queen Street Quarterly because I believe in creative action. I wanted to
create a place that would unite the many different voices that were and are
Canadian literature. At the time most magazines were singular–exclusively
traditional and lyric, or exclusively avant-garde and characteristically
ephemeral. Having always believed in the capacity for reciprocity between the
most seemingly disparate things, I thought it was important to put the street
in the museum and the museum in the street–wherein sound scores, concrete poems,
and surrealist games in all of their ephemeral brilliance could be preserved,
proper bound and anchored in heavy, zephyr laid paper, and where the narrative
and the lyric could be un-mired–refreshed by a proximity to newer forms. At the
time, nothing existed which fostered such relationships so I, perhaps naively
and perhaps arrogantly, took it upon myself to create such a space.” How do you
feel about that statement now? What, in the end, was behind the decision to fold
the journal?
A: It is always strange to revisit heartfelt
statements from one’s past but despite that, I would say the overall message is
still apt. It was a very difficult decision to fold the QSQ—I didn’t
make it lightly. Behind it was a number of overlapping reasons, the most practical
of which was that I was trying to finish my doctoral dissertation. At that
time, however, there was a shift in the industry more generally with
independent bookstores folding under the weight of big box bookstores. This had
many repercussions on writers and publishers who were not mainstream including
a sense of malaise and the need for new strategies for engagement and
production.
Although I thought about handing over the
editorial responsibilities to someone else, I elected to preserve the history
of what it was—to bookend the literary energy of a particular time period and
make room for new ideas and directions. Indeed, there were a number of cool
publishing venues about to emerge like ditch, and The Puritan.
Queen Street Quarterly
bibliography:
Volume 1, No. 1. Spring 1997. Editor: Suzanne Zelazo.
Associate Editor: Phil D. Zelazo. Visual Arts Editor: David Moos. Contributing Editors:
Richard Preiss, Zöe Renard. Layout: Neil McDonald. Contributions by: bill bissett,
Richard Preiss, John M. Currid, George G. Murray, Christian Bök, Natalee Caple,
David Urban, Lee Gotham, Jill Battson, Diana Tregenkamp, Matt R. Yeldon, Clare
Bermingham and Michael Kirkham. Cover photo: shwa.
Volume 1, No. 2. Summer 1997. Editor: Suzanne Zelazo.
Associate Editor: Phil Zelazo. Visual Arts Editor: David Moos. Contributing Editors:
Natalee Caple, Michael Trussler. Layout: Judith Parker. Contributions by: Matthew
Remski, Herb Jackson, Darren Wershler-Henry, Shannon Bramer, Lara Aase, Stan
Rogal, Herb Jackson, Hal Niedzviecki, Gordon Marshall, Chris Doda, Stephen
Cain, Michelle Berry, George Murray and Priscila Uppal. Cover photo: Laurel
Bidwell.
Volume 1, No. 3, Autumn 1997. Editor: Suzanne Zelazo.
Associate Editor: Phil Zelazo. Visual Arts Editor: David Moos. Contributing Editors:
Natalee Caple, Michael Trussler. Layout: Judith Parker. Contributions by: Lise
Downe, John Barlow, Matthew Firth, Jay MillAr, Christian Bök, Alana Wilcox, Nancy
Dembowski, Marc Bechara, Gérald Audet, Matt Santateresa, Brian Panhuyzen, Michael
Bryson, Christina Francisco, Natalee Caple and Beatriz Milhazes. Cover: Beatriz
Milhazes.
Volume 1, No. 4, Winter 1997/Volume 2, No. 1, Spring
1998. Editor: Suzanne Zelazo. Associate Editor: Phil Zelazo. Visual Arts Editor:
David Moos. Literary Editor: Natalee Caple. Copy Editor: Stephen Cain. Layout: Judith
Parker. Public Relations Manager: Wendy Morgan. Contributions by: A.F. Moritz,
Mark Sutherland, Paul Dutton, Patrick Friesen, Tatiana Freire-Lizama, Paul
Vermeersch, Lindsay Tabah, rob mclennan, Simon Archer, Brooke Clark, Fred
Gaysek, Louise Bak, Julie Moos, R.M. Vaughan, Steve Venright, Darren
Wershler-Henry, Catherine Jenkins, Tom Raworth, Peter Jaeger, Joāo Agapito,
Nihad Hasanovic, Jill Larill and Vern Smith. Cover: Catherine Jenkins.
Volume 2, No. 2, Summer 1998. Editor: Suzanne Zelazo.
Associate Editor: Phil Zelazo. Visual Arts Editor: David Moos. Literary Editor:
Natalee Caple. Copy Editor: Stephen Cain. Layout: Judith Parker. Public Relations
Manager: Wendy Morgan. Editorial Intern: James Arthur. Contributions by: Jeff
Derksen, Michael Trussler, Peter McPhee, j.a. LoveGrove, Nancy Bullis, Scott
Pound, Jesse Huisken, Alexandra Leggat, Janine Guay, Michelle Berry, John
Barlow, Sarah Dearing, Jonathan Bennett and Victor Coleman. Cover: Christian
McLeod.
Volume 2, No. 3, 1998. Editor: Suzanne Zelazo. Associate
Editor: Phil Zelazo. Visual Arts Editor: David Moos. Literary Editor: Natalee Caple.
Copy Editor: Stephen Cain. Layout: Judith Parker. Public Relations: Wendy
Morgan. Contributions by: Peter Jaeger, Tom Orange, Rabindranath Maharaj,
Gordon Michael Allen, Michael Kelleher, Helen Tsiriotakis, Beth Learn, Peter
Darbyshire, Stephen Cain, Monika Burkhardt, William Howe, Simmone Howell, Ann
Shin, Patrick Roscoe and Suzanne Zelazo. Cover: Jennifer Walton.
Volume 2, No. 4/Volume 3, No. 1, Winter/Spring
1999. Editor:
Suzanne Zelazo. Associate Editor: Phil Zelazo. Visual Arts Editor: David Moos. Literary
Editors: Stephen Cain, Natalee Caple, Wendy Morgan. Production: Judith Parker. Contributions
by: Ken Babstock, John Barlow, Derek Beaulieu, bill bissett, Randy Boyagoda,
George Bowering, Graham Foust, Steve Hayward, Jim Larwill, Alexandra Leggat, damian
lopes, rob mclennan, Ingo Meller, David O’Meara, Brian Panhuyzen, Matt
Santateresa, Royston Tester, Paul Vermeersch, Anne F. Walker and Marnie Woodrow.
Cover art: Ingo Meller.
Volume 3, No. 2. Summer 1999. Editor: Suzanne Zelazo. Associate
Editor: Phil Zelazo. Visual Arts Editor: David Moos. Literary Editors: Stephen
Cain, Natalee Caple, Wendy Morgan. Production: Judith Parker. Contributions by:
Charles Bernstein, Christian Bök, Jordan Broadworth, Holly Borgerson Calder, Frank
Davey, Christopher Dewdney, Sky Gilbert, Neil Hennessy, j.a. LoveGrove, Andrew
King, Esther Mazakian, Esta Spalding, Kate Sutherland, Sherwin Tija and tmuir. Cover
art: Jordan Broadworth.
Volume 3, No. 3. Fall 1999. Editor: Suzanne Zelazo. Associate
Editor: Phil Zelazo. Visual Arts Editor: David Moos. Literary Editors: Stephen
Cain, Natalee Caple, Wendy Morgan. Production: Judith Parker. Contributions by:
Gary Barwin, Darryl Berger, Tony Burgess, Cora Cluett, Lauren Davis, Beth
Follett, Graham Foust, Michael Holmes, Andrew Pyper, Trish Salah, Emily
Schultz, W. Mark Sutherland and Carleton Wilson. Cover art: Cora
Cluett.
Volume 3, No. 4. Winter 2000. Editor: Suzanne Zelazo. Associate
Editor: Phil Zelazo. Visual Arts Editor: David Moos. Literary Editors: Stephen
Cain, Natalee Caple. Production: Judith Parker. Additional Design: Jay MillAr. Contributions
by: Paul Anderson, Jesse Craig Bellringer, Victor Coleman, Bill Griffiths, Hal
Niedzviecki, Karen Mac Cormack, Esther Mazakian, Steve McCaffery, David
McGimpsey, Jay MillAr, Mary Nyguist, Robert Priest, Matt Robinson, W. Mark
Sutherland, Scott Wallis and Andy Weaver. Cover art: Scott Wallis.
Volume 4, No. 1. Spring 2000. Editor: Suzanne Zelazo. Associate
Editor: Phil Zelazo. Visual Arts Editor: David Moos. Literary Editors: Stephen
Cain, Natalee Caple, Neil Hennessy. Production: Judith Parker. Additional
Design: Jay MillAr. Contributions by: Ken Babstock, Derek Beaulieu, Mike
Barnes, Daniel f. Bradley, Kate Brown, Kyle Buckley, Clint Burnham, André Carpentier,
Maggie Helwig, M.G. Hesse, bill kennedy, Jonathan Lasker, Erín Moure, Jed
Rasula, Stan Rogal, Jeremy Sigler, Marnie Woodrow and Jacob Wren. Cover art:
Jonathan Lasker.
Volume
4, No. 2. Summer 2000. Editor: Suzanne Zelazo. Associate Editor: Phil Zelazo. Visual
Arts Editor: David Moos. Literary Editors: Stephen Cain, Natalee Caple.
Production: Judith Parker. Additional Design: Jay MillAr. Contributions by:
James Arthur, Kemeny Babineau, Michelle Berry, George Bowering, Jason Christie,
Jeramy Dodds, Maria Gould, Janine Guay, Noah Leznoff, Billy Mavreas, Esther
Mazakian, rob mclennan, lucas mulder, Ken Norris, a. rawlings, Karen Rosenberg,
Erin Soros, Lori Waxman, Zoe Whittall, Julia Williams and Aaron Williamson. Cover
art: Lori Waxman.
Volume
4, No. 3, 2000. Editor: Suzanne Zelazo. Associate Editor: Phil Zelazo. Visual Arts
Editor: David Moos. Literary Editors: Stephen Cain, Natalee Caple, Neil
Hennessy. Production: Judith Parker. Additional Design: Jay MillAr. Contributions
by: Mike Barnes, Jesse Craig Bellringer, Matthew Firth, Stephen Henighan, Paul Kelley,
Robert Lake, Howard Lonn, Esther Mazakian, Nichole McGill, Amanda Mekhael, John
Riddell, matt robinson, Timothy Rogers, Emily Schultz, Spencer Selby, Lytle
Shaw, natalie stephens, Paul Vermeersch and Anne F. Walker. Cover art: Howard
Lonn.
Volume
4, No. 4, 2001. Editor: Suzanne Zelazo. Associate Editor: Phil Zelazo. Visual Arts
Editor: David Moos. Literary Editors: Stephen Cain, Natalee Caple, Neil
Hennessy. Production: Judith Parker. Additional Design: Jay MillAr. Contributions
by: Bruce Andrews, derek beaulieu, Caroline Bergvall, Gillian Best, Taylor
Brady, John Degen, Chris Doda, Michael Holmes, Adrian Liu, Michael Mahy, Billy
Mavreas, jeremy mcleod, Ken Norris, Clemente Padin, Jay Ruzesky, Rick/Simon and
Jessica Smith. Cover art: Rick/Simon.
Volume
5, No. 1, Spring 2001. Editor: Suzanne Zelazo. Associate Editor: Phil Zelazo. Visual
Arts Editor: David Moos. Literary Editors: Stephen Cain, Natalee Caple, Neil
Hennessy. Production: Judith Parker. Additional Design: Jay MillAr and Rick/Simon.
Contributions by: Louis Cabri, Margaret Christakos, Jason Christie, Tim Conley,
jwcurry, Michael deBeyer, Bill Howell, Jake Kennedy, Robert Lake, Wendy Lu, Rob
Read, Michael Redhill, David Rodgers, Stuart Ross and William Woodruff. Cover art:
jwcurry.
Volume
5, No. 2, Summer 2001. Editor: Suzanne Zelazo. Associate Editor: Phil Zelazo. Visual
Arts Editor: David Moos. Literary Editors: Stephen Cain, Natalee Caple, Neil
Hennessy. Production: Judith Parker. Additional Design: Jay MillAr. Contributions
by: Josh Auerbach, Mike Barnes, Terrence Chiusano, Margaret Christakos, Kelly
Dignan, Jon Paul Fiorentino, Loss Pequeño Glazier, Maria Gould, Ihor Holubizky,
Coral Hull, Eva Jacek, G.P. Lainsbury, Donato Mancini, Sharon McCartney, rob
mclennan, Blaise Moritz, Ken Norris, Kent Nussey, Jennifer M. Paquette, Alex
Pugsley, Jean-Paul Riopelle, matt robinson and Karen Woodman. Cover art: Jean-Paul
Riopelle.
Volume
5, No. 3, 2001. Editor: Suzanne Zelazo. Associate Editor: Phil Zelazo. Visual Arts
Editor: David Moos. Literary Editors: Stephen Cain, Natalee Caple, Neil
Hennessy. Copy Editor: Ava Kwinter. Production: Judith Parker. Additional Design:
Rick/Simon. Contributions by: Darryl Berger, Tony Burgess, Bob Cobbing, Stephen
Brockwell, Victor Coleman, Tim Conley, Jason Christie, Richard Deming, Jason LeHeup,
Shawna Lemay, Gustave Morin, Jessica Smith, W. Mark Sutherland, Royston Tester
and J. Ryan Wade. Cover art: Tony Burgess.
Volume
5, No. 4/Vol. 6, No 1, Spring 2002. Editor: Suzanne Zelazo. Associate Editor:
Phil Zelazo. Visual Arts Editor: David Moos. Literary Editors: Stephen Cain,
Natalee Caple, Neil Hennessy. Copy Editor: Ava Kwinter. Production: Judith
Parker. Additional Design: Rick/Simon. Contributions by: Christian Bök, George
Bowering, derek beaulieu, daniel f. bradley, kyle buckley, Stephen Cain, Jason Christie,
Janieta Eyre, Beth Follett, Susan Glickman, Jesse Huisken, Sarah Hurd, Bill Kennedy
jeremy mcleod, David McGimpsey, rob mclennan, Jay MillAr, Gustave Morin, Blaise
Moritz, Carol Parikh, Andrew Pyper, Meredith Quartermain, Rob Read, matt
robinson, Lytle Shaw, J. Mark Smith, W. Mark Sutherland, Alice Teichert, Betsy
Trumpner and Darren Wershler-Henry. Cover art: Jenieta Eyre.
Volume
6, No. 2, Summer 2002. Editor: Suzanne Zelazo. Associate Editor: Phil Zelazo. Visual
Arts Editor: David Moos. Literary Editors: Stephen Cain, Natalee Caple, Neil
Hennessy. Production: Judith Parker. Additional Design: Rick/Simon. Contributions
by: Greg Betts, Geoff Hlibchuk, Michael Holmes, Peter Jaeger, W.B. Keckler, Karen
Mac Cormack, Steve McCaffery, Garry Morse, a. rawlings, Steve Savage, Emily Schultz,
Natalie Simpson, Chris Turnbull, Martin Turenne and Susana Molinolo. Cover art:
Rick/Simon.
Volume
6, No. 3, Fall 2002. Editor: Suzanne Zelazo. Associate Editor: Phil Zelazo. Visual
Arts Editor: David Moos. Literary Editors: Stephen Cain, Natalee Caple, Neil
Hennessy, Karen Mac Cormack. Production: Judith Parker. Contributions by: Guy
R. Beining, Jonathan Bennett, Jason Camlot, Tim Conley, Andréas Embiricos, Grev
Evanson, Allen Fisher, Alan halsey, Jesse Huisken, Jesse Lee Jennison, Evan
Jones, Sophie Levy, Jay MillAr, Jeff Musgrave and Alex Porco. Cover art:
William Wegman.
Volume
6, No. 4, 2003. Editor: Suzanne Zelazo. Associate Editor: Phil Zelazo. Visual Arts
Editor: David Moos. Literary Editors: Stephen Cain, Natalee Caple, Neil
Hennessy, Karen Mac Cormack. Production: Judith Parker. Additional Design: Jay
MillAr and Rick/Simon. Contributions by: Stephen Brockwell, Kyle Buckley, Abigail
Child, Adrian Clarke, Tim Conley, John Delacourt, Jill Hartman, Steven
Heighton, Paul Hegedus, Kevin Irie, Brian Jungen, Cory Lavender, Donato
Mancini, Barry McKinnon, Jeremy McLeod, Geraldine Monk, Gustave Morin, Alex
Porco, Nikki Reimer, Trevor Speller, Lesley Trites, Michael Trussler, Reese
Warner, Elena Wolff and Karen Yacobucci. Cover art: Brian Jungen.
Volume
7, No. 1, 2003. Editor: Suzanne Zelazo. Associate Editor: Phil Zelazo. Visual Arts
Editor: David Moos. Literary Editors: Stephen Cain, Natalee Caple, Neil Hennessy.
Production: Judith Parker. Additional Design: Rick/Simon. Contributions by:
Gavin Babstock, Elizabeth Ben-Ishai, Caroline Bergvall, Bill Boletis, Stephen
Brockwell, Natalee Caple, Tim Conley, Pat Cull, Bill Howell, Jake Kennedy, Larissa
Kostoff, Mark Laliberte, Drue Langlois and Michael Dumontier, Pasha Malla, Shelby
Matthews, Ken Norris, Tamás Prágai, Alexandra Preto, Stan Rogal, Jessica Smith,
Linda Spalding, Tamiae Squibb and Moez Surani. Cover art: Drue Langlois and
Michael Dumontier.
Volume
7, No. 2, 2004. Editor: Suzanne Zelazo. Associate Editor: Phil Zelazo. Visual Arts
Editor: David Moos. Literary Editors: Stephen Cain, Natalee Caple, Neil
Hennessy, Karen Mac Cormack. Production: Judith Parker. Additional Design: Jay
MillAr and Rick/Simon. Contributions by: Charles Alexander, Michael deBeyer,
Gabe Foreman, Seyward Goodhand, Paul Hegedus, Steven Heighton, Peter Jaeger,
Kevin Killian, Derek McCormack, Blaise Moritz, Anne Nettles and Russell Smith. Cover
art: Edward Burtynsky.
Volume
7, No. 3, 2004. Editor: Suzanne Zelazo. Associate Editor: Phil Zelazo. Visual Arts
Editor: David Moos. Literary Editors: Stephen Cain, Natalee Caple, Neil
Hennessy, Karen Mac Cormack. Production: Judith Parker. Additional Design: Jay
MillAr and Rick/Simon. Contributions by: Louise Bak, Michael Basinski, derek
beaulieu, Charles William Boyes, Jason Christie, Tim Conley, Ryan Fitzpatrick,
Kenneth Goldsmith, Sharon Harris, rob mclennan, Jay MillAr, Gustave Morin, Jeff
Musgrave, Hugh Thomas, Martin Turenne and Reese Warner. Cover art: Derek Beaulieu.
Volume
7, No. 4, 2005. Editor: Suzanne Zelazo. Associate Editor: Phil Zelazo. Visual Arts
Editor: David Moos. Literary Editors: Stephen Cain, Natalee Caple, Neil
Hennessy, Karen Mac Cormack. Production: Judith Parker. Additional Design: Jay
MillAr and Rick/Simon. Contributions by: Douglas Barbour, derek beaulieu, Gregory
Betts, Frank Davey, Ray Ellenwood, Paul Hegedus, Ailsa Kay, Blaise Moritz,
Sheila E. Murphy, Alessandro Porco, a. rawlings, Emily Schultz, Paul
Vermeersch, Anne E. Walker and Bruce Whiteman. Cover art: Rick/Simon.
