“A couple of years ago, my grandmother passed down some of her possessions to me. I wondered, ‘If I don’t have children, what will happen to all of my family heirlooms?’ That’s when I began thinking about women’s legacies and how they’re defined by motherhood. We’re less celebrated for the things we might do for ourselves.”
— Lauren Mckeon (“Here’s Looking at No Kids,” p. 20) is the digital editor at The Walrus. Her first book, F-bomb, was published in 2017 by Goose Lane Editions.
“When people react on Facebook or Twitter to images of Indigenous people I’ve pulled from archives, they’ll say, ‘That’s my grandma,’ or ‘That’s my uncle.’ That’s the exciting thing. The exchange forms a dialogue between the photos and the people who are reclaiming them.”
— Paul Seesequasis (“Photographic Memories,” p. 58) is a nêhiyawi (Cree) writer and cultural activist living in Saskatoon. Blanket Toss Under Midnight Sun, a book of archival photos he curated, will be published by Knopf Canada in 2019.
“It’s been years since I went to Mexico City in search of artist Leonora Carrington, but writing about the fractured, messy journey still tears through me—almost in the way I think of being a teenager, how certain songs can just throw you, and how there is often both a sort of misery and a great beauty in a time when you feel so alive.”
— Heidi Sopinka (“Mother of Invention,” p. 66) has written for the Globe and Mail and The Believer. Her first novel, The Dictionary of Animal Languages, was published in February by Penguin Random House Canada.
Hanna Barczyk ( cover and illustrations, p. 20) is a New York City–based illustrator whose work has been featured in the New York Times, The New Yorker, and Vogue Australia. She is a former intern at The Walrus.
Gloria Dickie (“Bear Market,” p. 38) is a journalist based in British Columbia. She has written for Canadian Geographic, Outside, and Hakai Magazine.
Tallulah Fontaine ( illustrations, p. 10 and 66) is an illustrator whose clients include Allure, Vice Impact, and Them.
Jen Gerson (“Crashing the Party,” p. 13) is a Calgary-based journalist. She is a regular contributor to Maclean’s and the CBC, and she co-hosts Oppo, a podcast on politics.
Rachel Giese (“Lonely Boys,” p. 46) is an editor-at-large at Chatelaine and contributes reguarly to CBC Radio. Her book Boys: What It Means to Become a Man is out in May.
Sarah Giles (“Labour Gains,” p. 17) is an Ottawa-based emergency, family, and humanitarian physician. Her writing has appeared in the National Post, the Medical Post, and the Boston Globe.
Steven P. Hughes ( illustrations, p. 38) is an illustrator based in Bolton, Ontario. He has contributed art to ESPN, Scientific American, and the Globe and Mail.
Evan Jones (poem, p. 57) is based in Manchester, United Kingdom. He is currently translating the work of C.P. Cavafy, a Greek poet. His poetry has appeared in The Malahat Review, PN Review, and Poetry Ireland Review.
Michael Lapointe (“Candidate,” p. 52) has written essays for The Atlantic, The New Yorker, and The Paris Review.
Nimit Malavia ( illustration, p. 52) has illustrated for Marvel Comics and Variety. He belongs to the Royal Academy of Illustration and Design studio.
Alexandra Oliver (poem, p. 34) is a poet based in Burlington, Ontario. She recently contributed the libretto for From the Diaries of William Lyon Mackenzie King, a chamber opera that debuted in Toronto in 2017.
Joseph Rosen (“Left v. Right,” p. 30) is a Montrealbased writer whose work has appeared in Maisonneuve, the Montreal Gazette, and Shtetl Montreal. He is working on his first book.
Kyle Scott (illustration, p. 63) is an illustrator based in Vancouver. This is one of his first published works.
Ira Wells (“The New Life of Brian,” p. 63) teaches literature and cultural criticism at the University of Toronto. His work has appeared in The New Republic, the Los Angeles Review of Books, and The Puritan.