The direction changes in several magazines of literary creation in Quebec

Photo: Pedro Ruiz The Duty
The duo at the head of “Moebius”: the director, Marie-Julie Flagothier (left), and the editor-in-chief, Karianne Trudeau Beaunoyer

A young author, requesting anonymity, tells have already learned that the news that he had submitted to a journal of creative writing had been used in discovering the journal in their mailbox. Its text, should we conclude, then, not know no editorial work (it would have seriously benefited from that). It was eleven years ago.


Translation : if the history of the journals of literary creation in Quebec is inseparable from that of some of the houses of the most influential of his world editorial — The Herbs Red is born in the form of a review in 1968 — some of them seemed to have yielded for some time to the deadly call of habit and comfort.

Others have shifted completely to the final point : ink-Jet, a magazine associated with the University of Sherbrooke, is printing its last page in 2014, while the franco-ontarian Turns drew to an end in 2016, after 75 numbers, citing a lack of subscriptions and rising costs of production. Launched in 2015 by Groupe Ville-Marie Littérature, the magazine The Pigeon gave up on his ambition to create a dialogue between the francophone literature of north America, Europe and Africa after only two numbers.

Therefore, is it for love of lost causes that a new generation is being renovated currently the building is damaged, several publications claiming nevertheless a story admirable ? “A magazine, it is above all a community of reading and writing “, explains the poet, and a new literary director of the Estuary, Michael Trahan, 33 years old. Founded in 1976, the important poetry magazine dropped in 2015 the traditional book format to look more magazine, changed the team and most completely his bill chart.


“Since I published my first book in 2013, I can understand better at what point the commitment literature is in the first place a commitment to human scale, to what extent it is important to read each other,” he continues. We live in a world where market logic, the logic of the spectacle and look of the virtual in our social lives contribute to keep us away. The journals, it is something that creates the true link. I remember, when I published my first text in The Writings [journal supported by the Academy of letters of Québec], I couldn’t believe I find myself in the company of writers experience that I admired and that may be were going to read me. “


No funds of the drawers !

Moebius knows, since its acquisition by the Group Nota bene in 2015, a similar and salutary resurrection, thanks to its director, Marie-Julie Flagothier, and its editor-in-chief, Karianne Trudeau Beaunoyer, both in their twenties. In addition it also changed its cover and its format, the magazine once linked to the Triptyque editions will now place numbers under the aegis of a quote from a famous writer (or not), rather than a theme.


“The journals, it is both a test-bed for authors who have never published and an important place for projects of a short form that could not see the light of day otherwise,” explained the duo, who admits to having tightened up considerably to the editorial work on the texts selected (as with Estuary).


“It is a stage of dialogue with the authors — just about a month of email exchanges — to which we care a lot “, points out Karianne Trudeau Beaunoyer. Care contributing without doubt to the effect of coherence found in journals to which writers could once be tempted to rely in order to prune their fund-of-drawers (say the languages sales).


The women in magazines

Review the beauty of which reminds us that the taste and elegance, are not a matter of means, the very artisanal Sadness saw the light of day in November, driven by a desire that, finally, the feminine prevails over the masculine.


“Collaborators “, will you review the executive summary, although some authors found. The only immutable rule directing the editorial choices of the team of founders (!) formed by Julie Delporte, Rosalie Lavoie, Catherine Ocelot, Mary Saur, and David Turgeon : that women remain a numerical advantage. The editorial board of Moebius — five women to three men — are also said to be very sensitive to these “blind spots” (although the manuscripts are evaluated blindly).


“Feminism is currently the best place to renew his thinking,” suggests Mary Saur about the magazine between the pages of which several artists go by the side of the new or trial, and where an intellectual such as Laurence Côté-Fournier book a text of a tone surprisingly intimate. Of choice showing a desire to play out from the shackles of the literary genres that also share Moebius, open to fiction as poetry, and Estuary, less tied than ever to a settled idea of what should be poetry.


The kind of uplifting conversation that present themselves in Sadness Julie Delporte and Daphne B. about their most recent books is also in the context of a wave of literary criticism in major national media. A relative silence binding writers and women writers, can one think, to launch themselves in the dialogue around their works.


And then the digital ?

A review, it is above all a community of reading and writing
Michael Trahan, literary director of the Estuary

“If you go back seven or eight years, the question of the complete transition to digital had more to ask, answers Michaël Trahan about the avenue of the dematerialization. I think we are back to an intermediate solution, that is to say, the reviews have understood that it is important to have Web presence the highest possible, to the extent of their means and of their structures humble. “


He also stated that ” the work of the poetry makes good use of the plastic dimension of the space of the page “, and that the linearity of the reading of a digital book allows for less easily the foraging which invites a literary journal.


Or looks like Mary Saur : “A review, it leaves you hanging out on the table. “

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