Welcome to Lemon Hound 3.0.3. This iteration of Lemon Hound is the third and final volume of a year-long trial association of the magazine with a course at Concordia University in Montreal. Given this, it seems impossible not to acknowledge the unwinding of recent events and the wider problems in our literary communities which led to them. While trying to do so, we realized how impossible it is to express a collective reaction to these events because of the intensely personal reactions they have excavated.
Rather than continuing to dig up the past, we sent out a call asking for work that has the future in mind; work that intends to smash, upend, rally against, dream of, reclaim, and redefine literary communities. We are amazed and grateful that in the span of a little more than a week we received work that embodied our desire to forge a creative, empathetic resistance.
I am a claxon
blaring I object
I dare. —Tanis Macdonald, “Sybill Elegies”
Poems flooded our inbox as if they had been lying in wait, ready to strike. These poems are daring. They’re vulnerable. They embody a generative anger that gives us hope for rewriting the prescribed narratives about what it means to exist within a literary community and/or institution.
We were also deeply moved by many of the fiction submissions. We chose pieces that fiercely respond to this moment in time with bravery and tact. They present characters who defy the status quo, who challenge and reject the societal norms of their world in search of something new. And their search is itself an answer to the longing we expressed in our call, a desire for some kind of hope, or meaning, or action.
I was sexually attractive, which is highly valued in college and art circles as well as in other hierarchical scenes mimicking the structure of capitalism wherein older men with large hands finger younger women who read novels and possibly write or paint or play an instrument and make declarative statements such as, “If I had to work at an office in Midtown nine to five I’d jump off the George Washington Bridge” or “I’ve never been out of the country.” —Jen George, The Babysitter at Rest
We have been at work on reviews. You will find in our table of contents links to a variegated wealth of thinking about thinking. Among them is novelist Liz Harmer’s expansive and invested consideration of Zadie Smith’s latest collection of nonfiction, Feel Free. Malaea and Hannah, two members of our editorial collective, have been working on a joint review of Daphne Marlatt’s titanic Intertidal: The Collected Earlier Poems, 1968-2008, an equal parts biographical and bodily exploration of a poet’s corpus that “evokes the sensation of a lyrical ‘spilling.’”
The blazing, acerbic voice you see in the quotation above this paragraph is from the debut of a writer likened to a more tilted, uncompromising Clarice Lispector; “anti-life while living”; and whose prose our own Emily in a separate grappling describes as “nearly tipping into unreadably toxic, and this is the point.” In dialogue, two reviews of Erín Moure’s Planetary Noise. Three short takes from members of our editorial group. We have much to offer, and we hope you enjoy your time here.
But don’t take our word for it. This work speaks for itself, eloquently giving voice to the feelings we have struggled so hard to express these last few months. Without further ado, allow us to present Volume 3.0.3 of Lemon Hound, full of that reactive energy. As we urged in the callout for this issue: Break the rules. Rewrite them. Reclaim the architecture. Don’t apologize.
Erín Moure “Hope Stories”
Phoebe Fregoli and Will Aitken
“Facts about Xanthippe” Bart Vautour
“and now famine, friend” by Canisia Lubrin
from Are you thinking what I’m thinking? by Danica Evering
“Cattle of the Sun” by Domenica Martinello
“Momentum exchange tether (a dance score)” by Erin Robinsong
from The Purpose Pitch by Kathryn Mockler
from Hyperbarren by Jes Dolan
“To the Extent a Tradition Can Be Said to Be Developed” by Karen Solie
“Lao Tzu Applies for a University Teaching Position” by Laura Broadbent
“If” by Oana Avasilichioaei
“Tentaculum Sonnets” by Sarah Burgoyne
“Sailor Garbage” by Tanis Franco
“Sybill Elegies” by Tanis MacDonald
Hannah Karpinski on Billy-Ray Belcourt’s This Wound is a World
Katie Troyer on Danielle Dutton’s Margaret the First
Malaea Ergina and Hannah Karpinski on Daphne Marlatt’s Intertidal
Tatum Howey on Erín Moure’s Planetary Noise
Eli Burley on Erín Moure’s Planetary Noise
Alexei Perry Cox on Jen George’s The Babysitter at Rest
Emily Zuberec on Jen George’s The Babysitter at Rest
Kyla Kaplan-Chinard on Kathryn Mockler’s Purpose Pitch
Eli Burley on Mary Hickman’s This Is the Homeland
Liz Harmer on Zadie Smith’s Feel Free
ML on Karen Solie’s The Road In Is Not the Same Road Out
KT on Lisa Pasold’s The Riparian
KAL on Will Aitken’s Antigone Undone
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