The managing editor works closely with the editor-in-chief to help steer the magazine forward. The successful candidate will support and coordinate the editorial team in all aspects of production and promotion of three issues per year. In particular, they will oversee logistical matters relating to the successful and timely publication of every issue. This includes maintaining correspondence with authors, drafting author contracts and ensuring they are signed, managing submissions on Submittable, and uploading and formatting content for each issue. Read more →
Having entered the professional writing community slightly later in life, outside of an academic environment, and in a province that still felt new to me, I would have felt adrift if it wasn’t for Montreal’s literary scene. The sheer number of cultural events happening at any given time makes it nearly impossible not to engage with, and therefore, finding a community doesn’t become an insurmountable task. Read more →
Borders. They can separate and define geographical locations and boundaries. Borders can be literal or invisible to the eye. Politics, language, ideology, philosophy, poetics, religion, family, sexuality, culture, all of these ideas exist within and without borders. What happens when we cross a border? When we step outside our comfort zones or are made to check a box? Read more →
I find myself stuck on nineteen words these days, repeating in my mind, filling every last inch of space. They have bonded themselves to my TO-DO LIST, like cloud to sun, blocking out encroaching deadlines, commitments, the need to buy milk on my way home. They have raised themselves like a wall around my mind… a blockade between me and my own words.
Nineteen words said Wednesday night by a very dear friend, over dinner in this broken city:
We’re doing it again! carte blanche and the Creative Nonfiction Collective Society (CNFC) have teamed up to bring you a Canada-wide creative nonfiction contest.
The winner will receive $750 and have their text published in carte blanche. The winner will be announced in May 2018 at the CNFC 14th Annual Conference in Toronto, Ontario. .
We’re delighted to announce that the finalists of this year’s 3Macs will be selected by poet Liz Howard. The winner will be announced at the Quebec Writers’ Federation Gala in Fall 2017.
Matthew Forsythe has worked as an animator, a children’s book illustrator, and a graphic novelist. He has two books coming out in the near future. The Gold Leaf (Enchanted Lion Books) with Kirsten Hall is out on May 26th. The Bad Mood & The Stick (Little Brown) with Lemony Snicket will be in stores this fall.
Brad de Roo caught up by phone with Matthew just as he arrived in his hometown of Port Colborne for a library talk. They chatted about teaching, comics, visual culture, narrative structure, work, and the improbability of artistic satisfaction.
Last summer I pitched a small essay to carte blanche because I wanted to write about an out-of-print novel that I had discovered several years before. The author has long since passed away, and the book itself has been all but forgotten: with the exception, perhaps, of a handful of people, most of whom are outside of the literary community and who were interested in the life of the writer, who was a scientist. The novel received lukewarm reviews following its publication in the 1960s. After a small print run, it seems to have disappeared altogether, besides a handful of copies from online used bookstores, and one I found in a book saleroom tucked behind a torn Atlas and a Baby-Sitters Club boxed set.
Stephen Henighan is a novelist, short-story writer, journalist, and professor of Hispanic Studies at the University of Guelph. Most recently, he was written the novels The Path of the Jaguar (Thistledown Press, 2016) and Mr. Singh Among the Fugitives (Linda Leith Publishing), which is available on March 25. Brad de Roo chatted with Stephen about multiculturalism, literary nepotism, satire, Victorianism, performativity, and cultural appropriation.
“One of the reasons I find Seth and his contemporaries’ works so interesting is because it and they ask the reader to use a very different rubric when they are experiencing – reading – the art. For me, the critical debates in the visual arts seemed to dead end when the voices of anti-skilling, self-reference demanded that analysis always trumped emotion and humanity when confronting a work of art to determine significance. For me, there was always a whiff of intolerance toward visual art that explored humanity as a wide-spectrum project.”