Prose by Elaine Nichols Art by Keira Innes Florian saw the boy, who was supposed to have already left, just as he was about to pass from the suburban area into the main part of town on the way to his cousin’s. He was sitting on the low wall outside the run-down, leaf-covered play park
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Nowhere Man
Prose by Elaine Nichols Art by Monica Feng He’d have asked her to lunch sometime if she hadn’t walked into the food court and queued up in front of the char siu fan place perhaps ten metres in front of his table, pretending not to see him, whilst he coughed into his ramen in a
Monstrous Liminality: The Threat of the Indeterminate Vampire in Le Fanu’s Carmilla
Essay by Natalia Mohar Art by Alex Hoang Monstrosity can be defined as “[s]omething repulsively unnatural, an abomination; a thing which is outrageously or offensively wrong” (OED, monstrosity 2a), but how does something come to be considered so abnormal and wrong as to become monstrous? Jack Halberstam claims that “[t]he monster functions as a monster
Iphis on E
Prose by Hawthorne Nyberg Art by Nicole Ma (A Bending of the Metamorphoses after Ali Smith) I. Iphis woke late Wednesday, cast her eye around for her glasses, found them on the floor between the nightstand and the Durex box, laid back down. Bed was a tangle of blanket, legs, a discarded sweater scrawled over
The Great Long Crawl Towards Wormwood
Poetry by Samantha Chan Art by Brian Lee As kids we all used to kneel around snails and ants and worms. We rummaged in school bags for bottle caps, mini smarties boxes, pencil cases–– any little container to collect little creatures, because while the concrete prickled our already scabby knees, a thing being alive was
A Haibun for June
Poetry by Millicent Sharman Art by Maxine Gray In the freshly felt air there is a weight of warm humidity, thicker than the tiredness, thinner than the lifelong string holding us four together. I see everything in orange: the ice cream in the airport vending machine; the fifty-yen coin pinched between my fingers; time, though
The Intricacies of Indian Experience: A Survey of Post-Colonial Commentary through Transpositional Adaptation in Gurinder Chadha’s Bride and Prejudice
Essay by Sim Deol Art by Margaret Xun In her Bollywood-inspired Austen adaptation, Gurinder Chadha’s Bride and Prejudice reveals that even the most English of narratives can be transformed in order to celebrate cultures that have been affected by British colonization. Austen’s original text, Pride and Prejudice, is deeply entrenched in a colonial context, even
The Feeble Feminine: Cleopatra’s Transformation into a Passive Woman and the Defense of Louise de Kérouaille in John Dryden’s All for Love
Essay by Sim Deol Art by Adri Marcano Cleopatra has come to be a figure often regarded in popular culture as beautiful, intelligent, and above all, powerful. This understanding of her character is consistent with her representation in Shakespeare’s tragedy Antony and Cleopatra. On the other hand, Dryden’s adaptation of Shakespeare’s narrative, All for Love,
Traversing the Temporal and Celestial Realms: Parentheses as a Device in Milton’s Paradise Lost
Essay by Nicole Sobolewski Art by Paula Mohar Crafting a religious narrative while accurately capturing its complexity in regards to time and space can be a difficult endeavour. How does a writer articulate the depth of the Christian God in a manner that is understandable for humans and aligns with earthly understandings of temporality? In
About Our Team
Thank you again to everyone on the TGS team for making this issue happen! Here is our team from the 2024/2025 year: Co-Editors in Chief Amy Ng is a fifth-year undergraduate studying English language and literature and minoring in Anthropology. She is also the Editor-in-Chief for the UBC undergraduate journal of Anthropology, The Ethnograph. When she isn’t obsessively
About our 14.1 issue + contributors
As the year rolls to an end, we couldn’t be more thrilled to have had such a great term for The Garden Statuary. Again and again we were delighted, awed and challenged by our peers’ submissions. We received a total of 120 submissions for this edition, including 50 academic, 44 poetic, 15 prose, and many
on change and dimethylsulfoxide
Prose by Sheena Jiang Art by Brian Lee i’m often angry at the idea that anything can be changed. that life changes–that i change–whether it is in the blink of an eye, or slowly, piece by piece, over a number of years. of course, there is nothing inherently evil about change. from common knowledge (and
on executive (dys)function
Nonfiction by Sheena Jiang Art by Alex Hoang I’ve often bemoaned how bizarre it is to lack (or more realistically, have a large deficit in) such an essential neuropsychological function. But, if I’m being honest, I rarely ever think about what I’m missing out on. Biologically, executive function is not so necessary. That’s why it’s
anchor
Poem by Millicent Sharman Art by Monica Feng My mother hands me cong you bing and I learn to take the layers for granted. Half-hearted punch thrown at my playground bully and I panic to wonder if my back was ever forced against her door, Baseless threats on her breath and I’m smelling burnt sugar;
An Age of Consent: Wor(l)ds to/for This Strange Body
Nonfiction by Olivia McNeill Art by Margaret Xun “But I do feel strange, almost unearthly. I’ll never get used to being alive. It’s always a mystery. Always startled to find I’ve survived.” (Steinbeck 378) “So now, here, I give you my own text-body-tissue-hymen-map to touch/be touched-by, in the real. Now, here, I give you this