The Capilano Review is a triannual journal of contemporary writing and visual art based in Vancouver, Canada. Dedicated to experimentation across boundaries, forms, and contexts—with particular emphasis on promoting dialogue between the literary and visual arts—each issue of the Review features innovative poetry, fiction, essays, interviews, criticism, art sections, and artists’ projects by both emerging and established writers and artists working at the leading edge of their fields.

The work collected in each issue is critically and socially engaged, playful and language-oriented, and rigorously interdisciplinary. Originally founded in 1972 at Capilano College in North Vancouver, The Capilano Review has operated as an independent, not-for-profit publication since 2015. Its award-winning literary contributors include Jordan Abel, D.M. Bradford, Dionne Brand, Liz Howard, Canisia Lubrin, Daphne Marlatt, Erín Moure, Cecily Nicholson, Michael Ondaatje, Fred Wah, and Ian Williams, among many others. 

Digital-only subscriptions can be purchased below. Print subscriptions are available for $35 CAD per year (plus shipping) through The Capilano Review’s web shop.

Marking the start of our fourth series, Issue 4.1: Anti-Monuments dismantles the spectacular monumentality that is bound up with capitalist innovation, colonial extraction, and accelerated growth, instead focusing on how we can slow down, care for, and strengthen existing relationships across time.

Featuring new poetry and prose by Judith Copithorne, Rhys Edwards, Tawhida Tanya Evanson, Kaie Kellough, Danielle LaFrance, D.S. Marriott, Tracie Morris, and Samantha Marie Nock; an artist project by and accompanying interview with Maggie Groat; a special section on the work of Hope Anderson (including an introduction by Jenny Penberthy, a conversation with Wayde Compton, and poems by Hope Anderson, both old and new); a 1975 conversation between Roy Kiyooka and Gladys Maria Hindmarch on friendship, faith, and pain; and an image folio of works by Qian Cheng, Aubin Soonhwan Kwon, Jenine Marsh, Eunice Luk, and Cadence Planthara, with a poetic response by Zoe Imani Sharpe, meditating on slowness and craft.