No. 277 (Autumn 2018) 

Our first ever creative nonfiction issue sets side by side a broad collection of creative nonfiction works, ranging in subject matter from psych wards, spider games, and shootings. Reading this issue resembles the experience of sitting around a campfire recounting true stories to loved ones using literary techniques of storytelling, keeping everyone hooked on every word. There’s sometimes a personal attachment to each story, creating a deep connection between author and reader. It is an intense reading experience entangling heavy topics with the gripping literary techniques of fiction writing.  

What is creative nonfiction? Alicia Elliot attacks this question in the editorial. The issue is left unresolved; “there’s something about CNF that defies definition, that pushes against any box anyone tries to force it into.” There is no clear and concise answer that could fully incorporate all expressions of creative nonfiction writing.  It is what you want it to be and becomes apparent by the diverse forms of writing found in the issue. 

“The Lives of Milton Acorn” by Nicholas Herring reviews the life of Canadian poet Milton Acorn. Herring lists monumental moments throughout Acorn’s life but adds a realistic twist to the narrative. It demonstrates that writing a creative nonfiction piece does not have to be a personal project but can focus on a true story outside of oneself. Whereas “Garlic Pussy” by Zarrin Darnell-Martin juxtaposes an everyday life problem, having a yeast infection, with dealing with grief. It exemplifies an extremely intimate, almost voluntarily uncomfortable, form of creative nonfiction work.   

The cover is from a local artist, Braelyn Cyr. It depicts Chief Allan Polchies Jr., Atlantic Canada’s first two-spirit leader. This portrait, as well as six others, were auctioned off as a fundraiser for Rainbow Railroad, a charity protecting LGBTQ2+ refugees against state sanctioned violence.  

—Bailey Noiles
Intern, November 2021