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Summer 2019 · Vol. 42 No. 1
The writers in this edition of CV2 capture many truths: that the seasons do not often finish on their designated end dates, nor begin when we are ready for them to; and that the emotions elicited by the fickle tools we use to measure our lives can always seep from one compartment to the next, and the next.
There is a yearning to this issue, and a reckoning, as well. Claire Brnjac evokes for us the fleeting nature of relationships, human or otherwise, writing, “All hymns have been stammered, the well of blood has dried. It’s almost like / you are the night sky, and I have sung all the songs I know.” Meanwhile, Daniel Scott Tysdal summons the tragedy of Colten Boushie’s death to remind us never to forget the events of past seasons, even and especially as the cycle comes full circle once again, and the earth that hosted an August killing — covered, for a time, with winter’s blanketing snows — emerges once more, deceptively clean and dry.
We visit the minds of our poets in more explicit terms, as well. Interviews with Lori Cayer, Dallas Hunt, and Benjamin Hertwig — each accompanied by poetry from the writers — highlight the process of writing a subject that is part human and part myth, uncover quests for understanding and for language, and dive into the transmutable nature of experience. Later on, our Young Buck Poetry Prize winners provide further insights into events that bleed into the collective consciousness of a people or a place; in “Garbage Takeout,” contest winner Joseph Kidney evokes the effects of a “hand-me-down catastrophe” that glides across space and time, permeating the poet’s home, and his writing.
Spring 2019 · Vol. 41 No. 4
This is an issue reserved exclusively for poetry, but we’re breaking the rules to bring you a conversation between Doyali Islam and Anne Michaels. Islam discusses the two-column poem, as well as the variations she creates within this form, including “parallel poems,” “split sonnets,” and “double sonnets.”
Also in this issue, you will find new work from Alexei Perry Cox, who undresses the sonnet, and tears into the glosa. Ashley Hynd, who works with prose poems and uses them to both create and critique narrative: “there is a story and in the story he sits across the table writing the story about the problem in your bones.” Jessica Woolford demonstrates what control it takes to cascade madly down a page. Marlene Grand Maitre, in her poem “Cocoon,” discusses breath — the held breath, the stolen one.
Winter 2019 · Vol. 41 No. 3
The Winter 2019 issue features poems and reviews by thirty-two captivating writers, including the winners of the 2018 2-Day Poem Contest. The writers in this issue invite us to contemplate love and loss, life and death, endings and beginnings. In the Winter 2019 issue you will find new reviews by Karen Quevillon, Douglas Walbourne-Gough, and Aaron Boothby (just to name a few) as well as new poetry by Lara Bozabalian, A. F. Moritz, Jill Talbot, and many others. Their words leave us remembering, aching, and longing for home. Yet the writers also provide us with a sense of relief/resurfacing; they remind us to emerge from a winter’s sleep at our own pace, coming back into the warmth of our bodies slowly and comfortably. Hanna Reimer’s cover artwork, “Pillow,” is evocative of the themes that course through this issue: comfort and connection, remnants of home, and the snowy season.
Fall 2018 · Vol. 41 No. 2
“Miyoonakishkatoohk, Tawâw, Biindigen. Welcome to the territories of ndncountry, our collection of Indigenous stories, poems and nonfiction writing from many parts of this beautiful land. We write to you from the centre of the turtle’s back, where for the last several months we have been gathering and arranging these gifts of imagination and craft that our relatives have sent to us. It has been our great honour to take part in this project and we are so proud to share this extraordinary writing with the world. When we sent out our call for submissions last year, we didn’t know what to expect, but we were absolutely overwhelmed by the number, and especially the quality, of the submissions we received. We had of course known that Indigenous literature is thriving these days, but our work on ndncountry revealed that we had underestimated the vitality and richness of this literature. Emerging writers sent us stunning work that made us re-evaluate literary categories, and established writers sent us submissions that took their work in new directions. It was very difficult to narrow down our choices to fit the parameters of this volume, and we had to leave out some excellent writing, but we are thrilled with these pieces we were able to include.
While this special issue contains a great diversity of voices, styles and genres, all of the work is representative of what we envisioned when we first thought of calling this collection ndncountry. To us, ndncountry is not a singular place. It is a territory of the imagination, but it is also profoundly rooted in the land and in the living energy of Indigenous languages. It is not about borders or real estate or extractive infrastructures; instead it is about the relationships that sustain us and connect us. It is a collective term for the nations that have existed for many centuries on this continent and that continue to thrive here. It is non-hierarchical, gender-fluid, respectful of diversity, open to experimentation, and always, always, fascinating. And as the stories and essays and poems collected here can teach us, ndncountry is literally everywhere, if you know how to look. It is a way of being, a way of seeing, and perhaps especially a way of listening—to the land, to one another, and to the generations. It is a deep and active acknowledgment of Indigenous belonging in this land, all of this land.”
–Katherena Vermette and Warren Cariou, editors of ndncountry
ndncountry is published collaboratively by Prairie Fire and CV2, and replaces CV2’s fall 2018 issue. This issue is a 256-page book and also includes work from the Winnipeg Art Gallery’s historic INSURGENCE/RESURGENCE exhibition.
CV2 subscribers will receive this book in place of their fall 2018 issue. Single copies are $15 each.
Summer 2018 · Vol. 41 No. 1
In this issue we are pleased to feature three outstanding Canadian poets in conversation. First up, award-winning poet, literary critic and physician Shane Neilson (featured on the cover) talks with CV2 about his two newest publishing projects set for publication in 2018. Next up, Garry Thomas Morse, author of four collections of poetry — two shortlisted for the Governor General’s Poetry Award—talks with CV2’s new Editorial Assistant and poet, Chelsea Peters, about his newest collection Safety Sand, his second since moving to Manitoba five years ago. Third up, Angeline Schellenberg — whose first poetry collection Tell Them It Was Mozart won three awards at the Manitoba Book Awards in 2017 — talks with critic, poet and publisher Sharon Caseburg about the collection, a work that centres on her experience of her two children’s autism diagnosis.
Spring 2018 · Vol. 40 No. 4
We waited for thaw and found thirty-three fired-up voices circumnavigating “the bottom of winter”: D.A. Lockhart, Noah Cain, James Lindsay, Mollie Coles Tonn, Chelsea Coupal, Alyda Faber, and Anuradha Vijayakrishnan, to name a few. Ice or meltwater? An opening or a closing? Breakdown or repair? These poets ask us to read through the damage to the complexity of the task at hand, the healing available within and beyond the page.
Winter 2018 · Vol. 40 No. 3
This issue opens with a conversation between well-known Canadian poet and philosopher Jan Zwicky—author of several collections of poetry including Songs for Relinquishing the Earth (Brick Books), which won the Governor General’s Award—and Ben Ladouceur, whose first collection of poems, Otter (Coach House Books), received the 2016 Gerald Lampert Memorial Award for best debut poetry (in addition to other notable mentions). This first interview underscores the second conversation you will find – Clarise Foster’s talk with Richard Osler. Poets in this issue include Anouk H. Henri, Celina Silva, Claire Caldwell, Mark Silverberg and many others.
Fall 2017 · Vol. 40 No. 2
In this issue, readers will find three feature interviews. The first is with Indigenous poet, arts journalist, activist and host of CBC’s popular broadcast program, Unreserved, Rosanna Deerchild. Rosanna talks with Sharanpal Ruprai — poet, editor and assistant professor of Women’s and Gender Studies at the University of Winnipeg — about mothers, reconciliation and the legacy of residential schools. Rosanna’s acclaimed collection of poetry, calling down the sky (Bookland Press, 2015), has recently been translated and released in Cree. Co-written with her mother, calling down the sky relates Rosanna’s mother’s experience of residential school and the resonating impact of that experience for her personally, for Rosanna, her family and for so many Indigenous people and their families in this country.
The second conversation featured in this issue is Red Rising Magazine collective member Sadie-Phoenix Lavoie and two of the magazine’s contributing poets, Jacq Pelland and Jordyn Pepin, in discussion with CV2’s former student intern, Perry Reimer. Beautiful, bold and all kinds of savvy, Red Rising is one of Winnipeg’s and Canada’s newest literary ventures, with its magazine, website and social media presence dedicated to supporting and promoting Indigenous writing, poetry, journalism, art and action, especially to a younger audience.
Our third interview features an in-depth conversation with poet Mallory Tater about, as interviewer Hannah Green puts it, the “gritty and raw” approach to femininity in her soon to be released first poetry collection, This Will Be Good, from BookThug. They also talk about Mallory’s new blog feature, Glamato: Stiff Drinks and Strong Women and her new Vancouver-based chapbook venture, Rahila’s Ghost Press.
In addition to selected Cree translations of poems from calling down the sky and work from Mallory Tater’s forthcoming new collection, readers will also find a review of calling down the sky by Di Brandt and new work from poets Kate Cayley, Kristian Enright, and much more.
Summer 2017 · Vol. 40 No. 1
For over ten years, núna (now) Iceland Canada Art Convergence has been bringing Icelandic and Icelandic-background artists of all disciplines to Manitoba, as a way of maintaining the cultural bridge between the two places. It is a “bridge” created over 140 years ago when the first Icelandic migrants arrived at Nýja Ísland or New Iceland, a parcel of land along the southwest shores of Lake Winnipeg.
Produced in partnership with núna (now), this issue of CV2 features work on survival, cross-cultural exchange and legacy, as well as interviews with a rawlings, the members of Ós Pressan and Jeramy Dodds.
Spring 2017 · Vol. 39 No. 4
This Poetry Only issue features poetry about hair. The thirty-six voices collected in this issue offer a fantastical tangle of the tresses: Tracy Hamon tests relational trimmings and partings in “Examination”; Tanis MacDonald’s “Shornography” texturizes with edge; Chloë Catán cuts with teeth. From the fine, almost imperceptible hairs in Donna J. Gelagotis Lee’s “Hot Breath” to the grainy snares in Seren Gagne’s “Porcelain Clown,” hair is both process and memory, barrier and passage. These are poems that listen across bodies and botanies, creatures and lands, teasing the cultural through to the elemental and back again.