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Publish On3dmn $2.00 per copy CANADIAN PUBLISH ON3DMN Articles BY WYNNE FRANCIS, IAN MONTAGNES, ANNE WOODSWORTH, MAX DORSINVILLE, DAVE GODFREY, ROY MAC SKIMMING, SARAH MCCUTCHEON, GEORGE WOODCOCK Answers on Publishing BY SHIRLEY JACKSON, MICHAEL MACKLEM, DENNIS LEE, DAVID ROBINSON, JAMES LORIMER, VICTOR COLEMAN, MEL HURTIG Review Articles BY MORRIS WOLFE, MARGARET ATWOOD, DOUG FETHERLING, JAMES POLK A QUARTERLY OF CRITICISM AND R€VI€W PUBLISHING PRESENT Six YEARS ago (No. 33, Summer, 1967) we devoted the pages of Canadian Literature to a survey of publishing in Canada. There was not then much to choose from. Quebec publishing being considered apart in an article by Nairn Kattan, there was in English Canada a landscape of big commercial presses and non-commercial little presses, and it was on this basis that the issue was arranged. Wynne Francis (who appears again in this symposium) wrote on the little presses. Presenting various views on the established houses, John Morgan Gray of Macmillan wrote as publisher, John Robert Colombo — with experience at the University of Toronto Press and McClelland & Stewart — wrote as editor, Bill Duthie — with experience as sales representative of two leading publishers — wrote as bookseller. Finally, a panel of writers, magazine editors and reviewers expressed their views on the current state of publishing; it was mainly a dim view, with most of its scanty light focussed on McClelland & Stewart, who then seemed to offer all that was hopeful in Canadian publishing. The present collection differs from the past in more respects than it resembles it, and thus reflects the changes that have taken place over such a brief period in the Canadian publishing situation. The little presses are there again, joined in sep- arate articles by the little magazines and the underground or alternative press, so that three times as much space is devoted to counter-cultural publication, which I think faithfully reflects the momentum of a change I already sensed when, in my editorial in 1967, I pointed out a sixfold increase in the produc- tion of poetry by little presses between 1959 and 1966. The little press, the little magazine and the alternative press have ceased to be a delicately ephemeral fringe of publishing in general; indeed, not only have such ventures vastly in- EDITORIAL creased in numbers, activity and audacity, but they have also grown in durabil- ity, and several of the presses which Wynne Francis mentioned in 1967 — not- ably Coach House, Weed/Flower, Quarry and Fiddlehead — are even more active today than they were then. In addition, however, there has appeared a new category of small and on the whole intensely Canadianist publishers who have shifted the whole balance of publication in this country. Their emergence has largely counterbalanced one other crucial development during the past six years — the conversion of im- portant native Canadian houses (Ryerson and Gage) into branch plants of American publishing corporations — and it has run parallel with an unprece- dented governmental interest in publishing, exemplified by the Ontario Royal Commission on Book Publishing and by the activities of the federal government in subsidizing Canadian publishers through the Canada Council and the Depart- ment of State. In the present survey, devoted to publishing in 1973, it was obviously these radical changes that needed most attention, and this will explain what some read- ers may first regard as a certain imbalance in the contents. Once again, publish- ing in Quebec is discussed, this time by Max Dorsinville, but in a piece com- menting mainly on the changes there in recent years that have paralleled those in anglophone Canada. University press publication, whose contribution to the number of Canadian books in print has rarely been fully acknowledged, is dealt with in a special article by Ian Montagnes. There is the group of three essays on counter-cultural publishing. There is also a group of items dealing with the new small presses which attempt to combine the commercial and the experimental; they include essays by two leading participants in this movement, while the ques- tionnaire — unlike that in CL 33 — is based not on the views of critical out- siders, but on the motivations of committed participants in the current expan- sion of publishing. Finally, there is a critique by the journalist Morris Wolfe, a regular contributor to Saturday Night, of the Ontario Royal Commission's re- port on publishing. This has left the established larger publishers virtually unexamined, except for my own essay on the reprint phenomenon, which necessarily stresses their contri- bution to this further phase in the recent expansion of Canadian publishing — in my view one of its most important phases. This is not from any intent to be- little their contribution in recent years. Quite apart from the university presses, McClelland & Stewart and Clarke Irwin among Canadian publishers, and the two leading subsidiaries of British firms ( M a c m i l l a n over most of this period and EDITORIAL Oxford still), have published during these years many important volumes of Canadian poetry and fiction, history and biography, though it must be added that they have neglected Canadian drama and left the field open for the timely endeavours of New Press and Talonbooks among the small publishers and the University of Toronto Press among the academic houses. Nevertheless, in planning this survey and referring back to its predecessor in 1967, I cannot help reflecting on the change in the comparative standing of Mc- Clelland & Stewart then and in 1973. In 1967 McClelland & Stewart concen- trated the hopes of most people who were concerned for the future of writing in Canada; they were more enterprizing than other large publishers, more willing to take a gamble, more perceptive — through their editors — of emergent talent, and one appreciated the immense effect Jack McClelland's energy had at that time in opening the horizons of Canadian publishing. Evidently, however, he did not open them far enough, for it was very shortly after the summer of 1967 that the existing little presses, who catered frankly to small minorities, were sup- plemented by the whole new galaxy of small presses which revealed not only authors and subjects with which the existing presses -—• even McClelland & Stew- art — could not cope adequately, but also substantial readerships who seemed to have been waiting in unconscious eagerness for the books that New Press and Anansi and Jim Lorimer and Mel Hurtig and Talonbooks had to offer them. Ob- viously Canadian publishing needed an expansion outside either the existing big presses or the existing little presses. G.w. THE EXPANDING SPECTRUM Literary Magazines Wynne Francis A FEW YEARS AGO it was still possible to group Canada's literary magazines into loose categories labelled university quarterlies, small inde- pendent reviews and little magazines. Since 1967 an explosion of publishing ac- tivity has blasted the categories. So many and so various are the literary maga- zines in Canada today that it is easier now to speak of an expanding spectrum the bands of which blend into each other like the colours of a rainbow. At the extremes of the spectrum are the academic journals and the alternate press periodicals. In between range many kinds of university-based journals, numerous independents large and small and a great variety of little magazines. Each band of the spectrum has expanded year by year and though many of the magazines are short-lived, new ones appear at an astonishing rate. An exact count at any one time is impossible ; but it is safe to say that close to one hundred literary magazines are currently being published in Canada. For perspective it is worth remembering that in the early Sixties, when liter- ary outlets in Canada numbered under twenty, the founding of a new magazine was regarded as a great risk. Doomsters were quick to say that the reading public was not large enough, not enough talent existed, standards would surely fall. During the mid-Sixties it seemed that the nay-sayers were right. It was a drab period and few magazines survived it. Since 1966, however, the number of new and successful magazine ventures has confounded all the prophets. Before survey- ing these development, a word about the fortunes of those magazines founded prior to the mid-Sixties. Notable among the magazines which nourished and died in the Sixties are Yes (1956-70), Delta (1957-66), Alphabet (1960-71), Evidence (1960-67), THE EXPANDING SPECTRUM Edge (1963-69). The short unhappy life of Parallel (1966-67) should be noted; a successor to Exchange (1961-62), it represented the second failure by Mon- trealers within a decade to establish a national "quality" magazine. The long life of Culture — founded in 1931 and for many years the only bilingual scholarly review in Canada — came to an end in 1971- Some magazines died because their work was done; others failed in the competition for grants. A few enjoy a ghostly or phoenix existence: Tish, for example, which thrived in the early Sixties, is being reprinted in toto by Talon Books; Island (1965-68) gave way to Is which has been transformed from a tiny magazine devoted to the "occasional" poem into a handsome serial anthology of new poets. Open Letter ( 1965-) is in its third of a series of incarnations. Begun as an in-group poetry newsletter, it now appears as a sober triquarterly review dedicated to changing the course of criticism in Canada. Of those magazines which survived the Sixties, the established university quart- erlies are the most stable. The University of Toronto Quarterly retains its position as the most scholarly and continues to offer its valuable annual review supple- ment "Letters in Canada".
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