Con­trib­u­tors’ Notes

The Walrus - - EDITOR’S LETTER -

san­dra martin “The New Old Age,” p. 46

“We put ag­ing into some nether cat­e­gory un­til it hap­pens to us or to some­body we know, and then, sud­denly, we con­front it. As I ap­proached this es­say, I thought it was re­ally im­por­tant that we talk about ag­ing in all its man­i­fes­ta­tions: per­sonal, fi­nan­cial, med­i­cal. If you don’t think about your fu­ture and if you don’t start mak­ing choices, you’re go­ing to run into the dan­ger of other peo­ple mak­ing choices for you, and that’s some­thing I want to avoid.” San­dra Martin is a con­trib­u­tor to the Globe and Mail. Her mostre­cent book is A Good Death: Mak­ing the Most of Our Fi­nal Choices.

rob macin­nis Pho­tog­ra­phy, “Very Im­por­tant Pig,” p. 28

“When I went to the an­i­mal sanc­tu­ary to take pho­tos of Es­ther, the fa­mous pig, she was dead asleep for four straight hours. There’s an enor­mous amount of pa­tience that comes with shoot­ing an­i­mals; they’re not reg­i­mented the same way that hu­mans are, and you wouldn’t want them to be. When you try to reg­i­ment them, like when we’re farm­ing them, their per­son­al­i­ties just close up.” Rob Macin­nis has done work for the New York Times and Toronto Life.

me­hdi m. kashani “Movie Night in Tehran,” p. 66

“I was in­spired to write about how I used to ob­tain and watch films back in Iran be­cause I’m in­ter­ested in how peo­ple’s ex­pe­ri­ences shape the way they con­sume art. When I was grow­ing up, the qual­ity of films was poor: some­times, for ex­am­ple, there were hor­i­zon­tal white lines across the screen. But we didn’t re­ally care, be­cause we didn’t have a frame of ref­er­ence—we thought that ei­ther you had that ver­sion or you had noth­ing.” Me­hdi M. Kashani moved to Van­cou­ver from Tehran in 2004 and now lives in Toronto. His work has ap­peared in The Mala­hat Re­view and The Rum­pus. This is his first pub­li­ca­tion in The Wal­rus.

ja­son guriel “For­got­ten Work,” p. 38

“I started writ­ing a long poem about a fic­tional band, then re­al­ized it needed to be set twenty years from now. I wanted to pay homage to writ­ers, like Wil­liam Gib­son, who’ve imag­ined in­ter­est­ing fu­tures for me­dia—but I wanted to do so in a seem­ingly anachro­nis­tic form: rhyming cou­plets. In fact, nos­tal­gia cour­ses through the poem. It’s a work of sci­ence fic­tion, but it’s also about the past, about the lost, ne­glected writ­ers and mu­si­cians who’ve been con­fined to obliv­ion.” Ja­son Guriel’s writ­ing has ap­peared in Slate, The At­lantic, and Elle. He is the au­thor of sev­eral poetry col­lec­tions and a book of es­says.

cather­ine dean “Stu­dio Visit,” p. 54

“On the way to Cape Dorset, Nu­navut, to pho­to­graph the com­mu­nity’s new cul­tural cen­tre, I got stuck in Iqaluit due to bad weather. It meant I only got to spend two and half days in Cape Dorset, and there is so much of the town I never even saw. Vis­i­bil­ity was so poor that you couldn’t see any­thing past the build­ings on the other side of the road from the ho­tel. It’s in­ter­est­ing to be in a re­ally small town and still have only scratched the sur­face of what it’s like. Yet when I came home, I had dreams about Cape Dorset for a month.” Cather­ine Dean is a pub­lic-art of­fi­cer for the City of Toronto. She is cur­rently work­ing with Tony Ro­mano on an art project for the Toronto Sculp­ture Gar­den.

Newspapers in English

Newspapers from Canada

© PressReader. All rights reserved.