First issue: April 2022
Published quarterly in January, April, July and October.
Founder & Editor:
Erin Bedford is a poet and novelist. After completing an Honours B.A with a Specialist in History at the University of Toronto, she attended the Humber School for Writers and was later mentored by poet Betsy Warland through Vancouver Manuscript Intensive. She is a member of the League of Canadian Poets with stories and poetry appearing or forthcoming in Catamaran Literary Reader, EVENT magazine, Contemporary Verse 2, The Fiddlehead, Best Canadian Poetry 2025 (Biblioasis), Prism, and others. Her debut collection, one by means of two will be published by Guernica Editions.
Editorial Assistant & First Reader :
Luminitza Manea
Luminitza Manea is a 4th year undergraduate student at the University of Guelph majoring in English and minoring in Creative Writing and Studio Art. They are the co-editor-in-chief of Kaleidescope Magazine and have been published by Acta Victoriana, Footnotes (University of Guelph Academic Undergraduate Journal), and Arrival Literary Magazine. You can find them listening to their readings on 2x speed and making a third mug of instant coffee.
Assistant Editor, chapbooks :
Rob Madden
Rob Madden is a writer living in the city of Hamilton, Ontario, situated on the territories of the Erie, Neutral, Huron-Wendat, Haudenosaunee, and Mississaugas. His work has appeared in Grain, Prairie Fire, SubTerrain and other literary magazines and anthologies. His chapbook, second hand smoke, was published in 2024 with Pinhole Poetry,
Pinhole Poetry uses the Montserrat typeface, a geometric sans serif. Its designer, Julieta Ulanovsky, describes the inspiration behind it:
“I live and work in a traditional neighborhood of Buenos Aires called Montserrat. The old posters and signs in this place inspired me to design a typeface that rescues the beauty of urban typography from the first half of the twentieth century. The goal is to rescue what is in Montserrat and set it free, under a free, libre and open source license, the SIL Open Font License.
As urban development changes this place, it will never return to its original form and loses forever the designs that are so special and unique. To draw the letters, I rely on examples of lettering in the urban space. Each selected example produces its own variants in length, width and height proportions, each adding to the Montserrat family. The old typographies and canopies are irretrievable when they are replaced.
There are other revivals, but those do not stay close to the originals. The letters that inspired this project have work, dedication, care, color, contrast, light and life, day and night! These are the types that make the city look so beautiful.”