Editorial 7: Wound

Ethical Butcher: Cutting the Round by Ally Picard

We’re happy to say we are celebrating our one-year anniversary here at the NMP headquarters. One year of absolutely amazing contributions—thank you to everyone who made this possible.

Merci, sincèrement, à nos contributrices et nos contributeurs de 2009. If you’ve missed out on some of the action—not to worry—you can buy your print copies directly from the publishers online.

Also, our Dykes on Mykes podcasts are updated! Thanks Dayna. Listen to this:


In case you are wondering, we chose the theme of WOUND for this special issue as an opportunity to declare our future directions. We’re post-wound. By post-wound we mean and strive to get past the discourse of the duped, the victim, the target, to instead incorporate history, struggle, trauma, and resistance into a new political voice. This voice pays respect to the past by showing what we have learned (and continue to learn) and by making use of these new tactics in an embodied, artistic, and experiential way. Think post-wound: think less like the gaping hole from Cronenberg’s Crash scenes and more like the scar on Sharon Stone’s neck.

WOUND as in: injury, a torn surface, an opening into the body. Une déchirure, plaie. It is the path inside, the mark it leaves behind. A scar, gash, lesion, or laceration. Parlant de gale, Massime Dousset aime les arracher. Blessure affective : trauma, choc, douleur, offense, affront, torture, détresse, deuil, tourment, angoisse, chagrin, pincement au cœur, perte.

À la suite d’une blessure, les mécanismes corporels doivent travailler de concert au rétablissement du corps. Read as a healing project, Liz Singer explains the process as bittersweet cure: “this video, is where in part, I become able again.” I almost cried when I read Anna Camilleri’s piece. I’ve been thinking about the three lessons she learned from her mother—on repeat in my brain—for the past few days.

Jolene Pozniak writes about Tamar Tembeck’s Auto/pathographies, a multi-media multi-artist exhibition exploring head-on, the complex nature of illness, its relation to medicine and the body, the role and limitations of empathy, and the notions of normal and healthy. In ANPO, acclaimed documentary maker Linda Hoaglund demonstrates the growing tensions due to Japanese resistance to U.S. military bases, and the cultural legacy of those protests.

In conversation with Kim Sawchuk, Shannon Bell talks about fast feminism, fucking with the signs of aging, and speed and accidents.

Gracia Dyer Jalea and Liz Miller’s project Mapping Memories invites youth with refugee experience to share their personal stories with a greater public–an opportunity that they are rarely afforded.

Jules Pidduck’s Poly asks the reader to reconsider the underpinnings of feminism in the context of December 6 1989 events at the École Polytechnique in Montreal, and its memorializing. In The Kenney Doctrine: Temporary Workers Trump Refugees in Canada

Harsha Walia outlines the problems with the fundamental realignment in Canadian immigration policy. Working with “video, poetry, and a queer equation to fathom the uncanny process” Roewan Crowe’s digShift project is drawn from a site-specific artistic exploration and performance of digging into the shifting layers of meaning at an abandoned gas station in Elstow, Saskatchewan.

Aurore nous présente le collectif Urban Porn, qui, à l’occasion du festival de cinéma Pink Screens à Bruxelle, ont fait une intervention DIY agit prop… des touffes en situ ! Ecouter l’émission sonore de Aurore ici.

NMP’s Dayna McLeod chats with cover photographer Ally Picard as she describes her practice, process and the importance of community in her work. Regular contributor, Nicholas Little’s article addresses the ‘two solitudes’ of French and English.

This month’s Illustrated Gentleman by Elisha speaks to our general discomfort for shopping.

Also, be sure to listen to an audio recording and read 3 poems and by Neil Eustache. Amazing.

Special thank you to Miriam Ginestier and all the Meow Mixers for the incredible support at the Meow Mix in Montreal in December. The funds raised at this event will allow us to live on, for at least another year. If you would like to contribute to NMP, please donate even a small amount. Every little bit helps, and we love bringing you amazing content 6 times a year!

Thank you to copy editors for this issue: Tamara Shepherd, Jenn Clamen, Lindsay Shane, and Renuka Chaturvedi. Thank you for an amazing year of NMP: m-c MacPhee, Dayna McLeod, Gabriel Chagnon, Fabien Rose, Lukas Blakk, Nicholas Little, Elisha Lim, Mathilde Géromin, Andrea Zeffiro, Jeff Traynor, Deirdre Logue, Allyson Mitchell, Gigi Basanta, Granny Boots, and Kim Sawchuk.

Welcome Momoko Allard—our new publishing assistant! Thank you to Stephen Harris for your insightful comment. Be sure to purchase your print copy, or download the PDF. This issue will also be available in the free and open ePub format in the next few weeks. I do believe we are the first arts journal in Canada to offer online, print-on-demand, and soon, ePub, versions of the publication. You may also subscribe to NMP for a mere 30 dollars a year. When you think of it, this is only 2 dollars and 50 cents per issue. Subscribe now: it’s easy and fast.

As always, do comment on the articles—contributors are always grateful for this. Dear readers, we are still and always committed to bringing forward a wild and wayward magazine bimonthly.

Mél Hogan