The Capilano Review

The Capilano Review is excited to be participating in the 2026 Vancouver Art Book Fair, taking place this weekend! Come say hello, browse our issues, and snag some merch. We can't wait to see you there! Dates: Friday, May 15 – 5:00pm to 9:00pm Saturday, May 16 – 11:00am to 6:00pm Sunday, May 17 – 11:00am to 5:00pm Location: Roundhouse Community Arts & Recreation Centre Entry: Free, no registration required *** 📷 Exhibitors and attendees at Vancouver Art Book Fair 2025. Photo by Dennis Ha. Courtesy of Vancouver Art Book Fair. #VABF2026 #vancouverartbookfair

We are delighted to announce our upcoming Spring 2026 issue. love bends / the mover: The Roy Miki Issue celebrates the work and legacy of Roy Miki. The texts and artworks in this issue come together within and across many of Miki’s varied communities: artistic, activist, academic, and Asian Canadian among all of these, considering subjects like asiancy, archives, and, crucially, Miki’s imperative to action. Issue 4.6 (Spring 2026) features reflections on Miki’s friendship, teachings, and influence by Michael Barnholden, Larissa Lai, Nicole Markotić, and Fred Wah; a textual and visual response to Miki’s poem “Flow Nation” by Cindy Mochizuki; new artwork by Sena Cleave; biotextual writing and art by Tiziana La Melia and Echo Quan; reflections through poetry across archives by Carolyn Nakagawa and Yoriko Gillard; and new writing by Gloriah Amondi, Ranbir K Banwait, Wayde Compton, Khashayar “Kess” Mohammadi, Daphne Marlatt, Carolyn Nakagawa, Vivek Sharma, Yilin Wang, Rita Wong, and shō yamagushiku. 📬 Pre-order a single copy by May 20th for 25% off, or subscribe to receive Issue 4.6 along with our forthcoming Fall 2026 issue. Links are in our bio. *** Cover image: Cindy Mochizuki, sound of Carpenter Creek, 2026, pen and ink on paper. Courtesy of the artist.

We are grateful to remember G. Maria Hindmarch through her words in the pages of The Capilano Review. "From the Archives / Remembering G. Maria Hindmarch," a reflection by Sharon Thesen, is now available on our website.

Tuesday May 12, 1:30-4pm & Tuesday May 19, 1-3:30pm In-person at Museum of Vancouver, 1100 Chestnut Street (Sen̓áḵw Village) Registration Fee: $45 / Free for Indigenous participants / PWYC What does it mean to sense our histories to the lands we live with, in the present? This workshop will take place over two sessions at Sen̓áḵw, where we will spend time listening to/with place and connecting that experience through writing to our own histories and positionalities. In response to Lee Maracle’s short story “Goodbye, Snauq,” we will write through a sequence of continuing arrivals, hellos, landings, and visitations, as attempts at naming our relationships to Coast Salish lands. Dylan Robinson is a xwélmexw (Stó:lō / Skwah First Nation member) artist, curator, and professor based at the University of British Columbia. Robinson’s curatorial work includes the international touring exhibition Soundings (2019–2025) co-curated with Candice Hopkins, and his book Hungry Listening (University Minnesota Press, 2020) examines Indigenous and settler colonial practices of listening. His current research focuses on public art’s role in the interpellation of Indigenous and settler subjectivities. ASL interpretation is available. If you would benefit from ASL interpretation at the workshop, please indicate so in your registration form when prompted. Further accessibility information can be found here: https://museumofvancouver.ca/museum-hours-and-admission Learn more and register through the link in our bio. 🗓️ Register by April 28, 2026.

The Capilano Review is pleased to invite submissions to our Spring 2026 Writing Contest, “And what would you say if you could?,” guest-judged by Bhanu Kapil. Submissions are open from April 1 – 30, 2026. "And what would you say if you could? When I was invited to select the theme for this contest, this was the phrase that immediately filled my mind. I’ve carried this question for a long time, answering it in my own way, and I’m so curious to know what your response might be. I welcome writing (poetry, hybrid works) that responds to this question, that lives this question as an aspect of content or form. How does this other kind of language appear on the page, scored for the attempt to do so? Is the poem that place, or is another kind of writing necessary now? Also, how will you navigate questions of vulnerability and exposure that might accompany this writing that is also a speaking up/out/with/to? Can you place something in your writing that protects it even as it’s being written?" —Bhanu Kapil Learn more and submit your work through the link in our bio. There is a $25 submission fee, which includes a one-year digital subscription to The Capilano Review. The fee is waived for all Indigenous entrants and anyone for whom the fee poses a barrier. Please email [email protected] for alternate instructions to submit your work.

Saturday, May 2, 2-4pm PST & Sunday, May 3, 2-4pm PST In-person at Maplewood Flats (2649 Dollarton Highway, North Vancouver) Registration Fee: $45 / Free for Indigenous participants / PWYC We are excited to present the second workshop in our 2026 interdisciplinary workshop series: Water Keeps Us Honest, with Rita Wong As Lee Maracle wrote, “the water owns itself.” When we focus on respecting the waters enabling our lives, how might we shift our language and our practices? How might we learn from and with the waters flowing through us, or the plants and creatures that water enlivens? Alongside the səlilwətaɬ inlet that is the origin and beloved grandmother of the Tsleil-Waututh people, we will walk together and practice listening to the place that holds us up, stretching towards healthier relationships than colonization allows. We’ll aim to learn from friends like fireweed how to outgrow fascism and stay dedicated to life, in all its vulnerabilities, fierce love, and surprises. Bring a poem to share for these times, a notebook to write in, and a heart open to learn from one another — human and more-than-human companions. Guided by questions of respect for water, collective health, and just relationship, Rita Wong has written several books of poetry attending to the intersections of life, language, and land, and co-edited the anthology Downstream: Reimagining Water with Dorothy Christian. She is dedicated to collective action to address both the climate crisis and systemic inequities through an economy of care and solidarity. Wong has received the Latner Griffin Writers’ Trust Poetry Prize, the Dorothy Livesay Poetry Prize, and the Asian Canadian Writers Workshop Emerging Writer Award. From the Burrard inlet to the Gitxsan lax’yip, we are all endangered by the TMX and PRGT pipelines, which we cannot afford if we want a livable planet. ASL interpretation is available. If you would benefit from ASL interpretation at the workshop, please indicate so in your registration form when prompted. Learn more and register through the link in our bio. 🗓️ Register by April 17, 2026. *** Photo by Hiromi Goto.

Saturday, April 18, 11am-2pm PST Saturday, April 25, 11am-2pm PST Online (Zoom) Registration Fee: $45 / Free for Indigenous participants / PWYC We are excited to present the first workshop in our 2026 interdisciplinary workshop series: Writing is Reading and Returning, with Nasrin Himada. How do we write through what we love? How do we make space for language to rise to the moment? At the centre of our conversation will be a commitment to not let writing become decorative. We’ll look closely at writers from Gaza who continue to publish and create in the face of ongoing genocide. We’ll ask what it means for us to pay attention, to centre Palestinian voices and their words, and to understand writing as something we owe to life. Participants are invited to bring one piece of writing they have come back to repeatedly: a poem, a piece of prose, a short text that has offered guidance, comfort, or a way through. Together, we’ll read, discuss, and write, exploring how the language we love shapes the language we make. Bring your text, bring your questions, bring your pen. Nasrin Himada is a Palestinian curator and writer. Their practice is heavily influenced by their long-term friendships and by their many ongoing collaborations with artists, filmmakers, and poets. They currently hold the position of Associate Curator at Agnes Etherington Art Centre, Queen’s University. Register through the link in our bio. *** Photo by Liz Cooper.

We are excited to present Lines into the Air, a year-long series of interdisciplinary writing workshops that take up the communal practice of writing as an urgent means of being and thinking together — across boundaries, fields, and forms. Highlighting the myriad ways in which writing practices not only exist but flourish outside of disciplinary and institutional bounds, this series brings together facilitators and participants from diverse backgrounds and areas of expertise to reposition creative writing as expansive community inquiry, offering, and exchange. Each generative, two-session writing workshop will take place either online or in-person across a number of venues located throughout Vancouver’s Lower Mainland. ✏️ Registration is now open for our Spring 2026 season, featuring workshops with Nasrin Himada, Rita Wong, and Dylan Robinson. Follow the links in our bio for full workshop and registration details.

For this year’s Art Writing Mentorship, program participants will receive a free subscription to one of Canada’s foremost art magazines, thanks to our friends at @thecapilanoreview . We’re excited to connect a new generation of art writers with the interdisciplinary conversations, community and experimentation that find home in this important publication. The 2026 Art Writing Mentorship is a summer writing intensive with a focus on contemporary art. The program is accepting applications from Asian-identified youth between the ages of 19-29 residing in Metro Vancouver, until March 31st at 11:59 PM. For over fifty years, The Capilano Review (TCR) has supported and been sustained by a vibrant community of readers, writers, and artists committed to experimentation in writing and art. Since 1972, TCR has published work by more than 1,500 contributors and has been a vital gathering space for creative practitioners and cultural critics in Vancouver, British Columbia, and across Canada. Editorially, TCR is committed to articulating the view from here and seeking out new work from the wider world of our national, international, and post-national networks. We believe a space to experiment, play, challenge, upend, and subvert is essential to the creation of art and writing that has the capacity to redefine, reimagine, and subtly remake our world. Subscribe today to support a network of writers, artists, and arts workers, while also ensuring the viability of literary and art publishing.

The Capilano Review is pleased to announce the winner of our 2025 Fall Writing Contest as selected by guest judge Hari Alluri. The winning work is “At Washington D.C, a Black Boy drank Borders” by Nnadi Samuel. “The necessary dissonances and moving harmonics of this poem embody its devastations, trouble and surprise. This piece, which moves through layered resonances that emanate, had me returning to it: the way it honours its lineages, the way it decries inheritances and instances of harm. And more: its affect lingers, between its parts and pivots, and after. In the air.” – Hari Alluri About the winner: Nnadi Samuel (he/him/his) holds a B.A in English & Literature from the University of Benin. He is the author of Nature knows a little about Slave Trade, selected by Tate N. Oquendo (Sundress Publication, 2023), and a three-time Best of the Net and eight-time Pushcart Prize Nominee. His third micro-chapbook “Biblical Invasion, BC” was published through Bywords (Ottawa, CA) in 2024. He tweets @Samuelsamba10 . The winning work will be published in The Capilano Review’s Fall 2026 issue. The Capilano Review would like to extend additional congratulations to the finalists and shortlisted writers: *Hajer Requiq for “Ra Meets Nepit” *Kevin Madrigal for “we do this until we’re free like pollen” *phin for “Transcript of LAST MEMORY AS DAUGHTER” Kandala Singh for “Seedling Song” Hajer Requiq for “Inheritance” Adriana Onita for “Girl / Gârla”

The Capilano Review sends warmest wishes to Colin Browne, our beloved ally and friend, board member and contributor, on his 80th birthday! Our art & literature magazine is exceptionally lucky to be a beneficiary of Colin’s restless, inventive, and provocative attentions. Colin of boundless accomplishment as poet, art historian, filmmaker, librettist, archivist, teacher, and more, has appeared often in the pages of The Capilano Review, though rarely on his own behalf. More typically, his work turns outward. He looks for others – artists, poets, marginal or overlooked practices – and makes a case for their urgency. The title of one of his pieces, “Translating Vancouver,” could stand in for his TCR presence altogether. He translates Vancouver and BC, makes the familiar strange, reminds us that place is never settled or singular. Vancouver and British Columbia emerge through his work as layered and contested, always in the process of being re-viewed and re-read. Through interviews, reviews, and essays, Colin has expanded our sense of what and who belongs in our pages. Visit our website for a small sample of his his TCR pieces through the link in our bio.

We are so excited to share a new see to see— review by Maliv Khondaker, now available on our website. Khondaker offers a deeply thoughtful and attentive review of Rehab Nazzal’s "Driving in Palestine." "Driving In Palestine," presented by Vines Art Society and SAW in conjunction with the 11th Annual Vines Art Festival, was on view at Vines Den from August 9 to August 30, 2025 in Vancouver. "Time expands in the sway of Palestinian flowers while moments become sensations that exceed the duration of a checkpoint line, an apartheid wall, an eye meeting the end of a gun." – Maliv Khondaker Follow the link in our bio to read the review. Image: Rehab Nazzal, "Mural of George Floyd on the Apartheid Wall" in Bethlehem, 2020, digital photograph on paper. Photo by Rylee Taje.