CategoryIssue 15.1

As the year rolls to an end, we couldn’t be more thrilled to have had such a great term for The Garden Statuary. We received a total of 125 submissions for this edition, including 33 academic, 59 poetic, 19 prose and nonfiction, and many more beautiful pieces. It’s safe to say that selecting our final pieces

Poetry by Vivian Bruce Art by Paula Mohar   My cheeks brush the cloth baubles that warn against the squatness of the door to my Oma and Opa’s cabin. I crept into the shelter like the rabbits whose footprints we slid past   under snow-dolloped fir and lodgepole pine. The sputtering Christmas candles  dance in

Poetry by Mathew Fu Art by Keira Innes Like a pair of inverted lungs, your bronchioles are searching for air. The sky is vacant save for the budding moss on your branches: all those arborescent alveoli—unearthed and breathing. It is just the silhouette of your vasculature perforated on a dying day: the chest X-ray came

Essay by Anika Islam Art by Paula Mohar In the English literary canon, the shift into modernism attempted to explain the questions that arose twice over when the dust cleared from each World War. But for a few, it seemed modernity was a mistake, and the answers to their questions lay in the past. This

Poetry by Mathew Fu Art by Alanna Wu Flash of years lost to aberration: of you cradling a camera, the lens smooth but sodden in your palm for a fifth-grade photography project. Flash of stepping-stone aperture: the grass fields grainy in resolution, dusted with daisies, water-balloon skins and the memories of footprints in snow. I

Poetry by Millicent Sharman Art by Adela Lynge on certain days you hold my hand a little tighter than usual. this I always remember, though there is much I tend to forget.   years ago, I read a poem in which Neruda describes the moon as teeth against the gums of the night. in the

Essay by Anika Islam Art by Nicole Ma The problem with Trojan fanfiction manifests in the way characters have been shaped by each writer whose pen they pass through, deciding what kind of a lens with which to portray them. The histories of these characters can be forever changed by the writers who create their

Essay by Amy Norris Art by Adela Lynge In The Masqueraders, or Fatal Curiosity, Eliza Haywood oscillates between public and private space to set up two distinct sites for self-expression, communication, and agency. Within the masquerade—a public space rhetorically predicated on promiscuous acts and obscuring the identity—women have the opportunity to either make themselves available

Multimedia by Juliana Pombo Year: 2024 Medium: Acrylic on canvas Size: 24″ x 36″ This piece alludes to the deep feelings of self-consciousness and intense ‘aliveness’ people tend to experience while underwater. Being suspended in a space where barely any sound can reach your ears, when your body is in contact with nothing other than

Prose by Dalia Currie Art by Alex Hoang My God smelled of beer and salami, and carved my world with his paint knife. He would ignore me for months, he knew I would wait. Then, he would spend sleepless days and nights ravaging me so deeply that his breath became my body heat, pressing his

Essay by Maya Brown Art by Monica Feng Wade Compton’s speculative collection of stories interrogates Vancouver’s landscape as a violent, historical, and internal site of confrontation. The Outer Harbour, as a collection, illustrates how Vancouver’s coasts serve as a reminder of colonial histories, thereby inhabiting a role as a catalyst of radicalization. Compton depicts this

Essay by Natalia Mohar Art by Linda You When Charlotte Brontë criticized Jane Austen’s ignorance of “the Passions” in an 1850 letter (414), she conveyed more than personal preference. These authors’ differing views on the nature of romantic love indicate that its meaning changes over time, as illuminated by the adaptive relationship between Austen’s 1813

Multimedia by Eva Chaudhary Medium: Oil Paints, Acrylic Paints, Charcoal, Turmeric, Watercolour, Gouache on Canvas, Crayons, Pencil Colours, Graphite, Ink  Size – 40 inch x 54 inch  The work explores the fluidity of personality within a colonized self, a body in flux and in conversation with the natural world. I am drawn to the multiplicity

Prose by Sydney Sanscartier Art by Linda You She wore the dress only once. It still shimmered faintly in the dark, the gold embroidery catching in the fading light, hidden from prying eyes. Folded in cedar and silence, the dress held the memory of a love spoken softly and answered only by distance. Lián Bǎo,