Here and Now: A Note and an Index

by Bruce Whiteman

In the history of the little magazines in Canada since the second World War, Here and Now has a place of distinction as perhaps the most ambitious literary publication of any undertaken. The intention of its editors was not merely to publish good work — all editors in principle have that intention — but to produce a magazine in which close attention was given to design, illustration and typography. In this respect, Here and Now is unique among Canadian little magazines, for little expense was spared to make it look and feel aesthetically superb. Earle Birney was quite right when he called it "the handsomest literary baby this country has ever seen,"1 and his excitement was shared by others such as Ralph Gustafson and Alan Crawley.

     The magazine was founded and edited by Paul Arthur and Catherine Harmon, who were both students at the University of Toronto in 1947 when Here and Now was launched. Arthur was largely responsible for the design and layout, but editorial duties were shared and help of various kinds came from several other people. These additional staff members changed with almost every issue, but included Alan Brown and Anne Wilkinson as literary editors, and Paul Duval as art editor. The American poet Carrol T. Coates, who at the time was working at the New York Public Library, worked with Ralph Gustafson to find material in the United States and also to place Here and Now in the important New York bookstores. Robert Weaver and Dorothy Cameron (former owner of the Here and Now Gallery) both helped to launch the magazine, though neither appeared on the masthead.

     The first issue was announced for the fall of 1947. It is in fact dated December 1947, but a printers' strike held up the issue at the pageproof stage and it did not appear until late February or early March, 1948. The University of Toronto Press printed 1,000 copies, and Paul Arthur reported to Earle Birney that "within 2 weeks of publication the 1st issue . . . was completely exhausted."2   Already, however, that bugbear of all little magazines — money — was beginning to be a problem, and in the same letter Arthur noted that the deficit for the year would be about $3,000.00. One need only look at Here and Now to see how expensive it must have been to print,3 and at 75$ per copy (slightly less through subscription rates) it is clear that the editors could not have hoped to break even. The second issue (dated May 1948, but published in July) contains a letter of appeal from Walter Herbert, the director of The Canada Foundation, in which he notes that, "[d]espite the generosity of its patrons, the magazine has incurred, with these first two issues, expenses which it is unable to meet unless there is some immediate financial aid from the readers of the magazine."4  The price of the magazine was raised with the second issue, as it was also with the third (dated January 1949, but published in late February). It is not surprising, then, that the folding of Here and Now after only four issues was due largely, though not exclusively, to lack of funds. In 1950, when a settlement for outstanding debts was made, approximately $2,700.00 was owed to the printers, engraver and landlord.5  At one point, McClelland and Stewart expressed interest in acquiring the magazine, a move which would have released the editors from financial worry and allowed them to concern themselves solely with editing and production. But this possibility came to nothing.6

     Earle Birney has noted the problems which he encountered in soliciting subscriptions for Here and Now because of "increasing rumours that Arthur was resigning to go to EngIand."7  Arthur in fact postponed his proposed trip three times, not wishing to leave "until the magazine [was] on sound financial ground."8  In the fall of 1949 both he and Harmon left for England, where they made arrangements for English distribution, met poets and other writers, and propagandized on behalf of Canadian writing. They left Here and Now in the control of Langford Dixon, then the Business Manager; but as Alan Crawley foresaw in a letter to Anne Wilkinson, "the prospect of running Here and Now with the two gyuding [sic] hands and indominable spirits so far away for so long from the press and counter [seemed] terribly hazardous and fifficult [sic]."9  A fifth issue (devoted to the short story in Canada) had been compiled before their departure, and Catherine Harmon worked in England on issue #6, for which she commissioned an article on Patrick Anderson from Cyril Connolly.10   But neither of these issues ever went to press; by the end of 1949 the magazine had closed down permanently.

     When Here and Now began, there were relatively few places in Canada where writers could publish their work. Northern Review and Contemporary Verse were well established, and the Canadian Forum published a limited amount of poetry and fiction. Ronald Hambleton's Reading lasted for a few months during 1946, and Harold Horwood's Protocol endured somewhat longer. The Canadian Poetry Magazine was propelled unwillingly into the twentieth century during Earle Birney's term as editor from 1946-1948, but before and after those years the magazine was not a place where the Canadian modernists could feel comfortable publishing their verse. The editors of Here and Now quite rightly felt that there was a need for a literary magazine of good quality and substantial size which would publish mostly (but not entirely) Canadian work, which would "unearth, encourage and project the truly native in our literature and art," to quote an advertising leaflet. At the same time, the Canadian work, though it predominated, shared space with several well-known British and American writers (Stephen Spender, Howard Nemerov and Ruthven Todd among others), making Here and Now among the first self-consciously international-minded Canadian little magazines."11

     Here and Now was not a cénacle magazine, largely because its editors were not primarily writers or members of any particular literary group. The magazine had no regional bias; contributors resided in every part of Canada.12  Work was published by both established writers such as Birney, Gustafson and Klein, and by relative neophytes such as James Reaney and Colleen Thibaudeau (who, like the editors, were still undergraduates at the University of Toronto at the time). This is to say that Here and Now was an eclectic little magazine, and the unprogrammatic approach to editorial policy gave it a variety and breadth of inclusiveness that little magazines commonly lack. In retrospect, this eclecticism ultimately diluted its impact on the furthering of any particular aspect of Canadian modernist literature, and several magazines which wholly lacked Here and Now's visibility (its size and beauty, as well as its relatively large print-run) have had a greater influence in this respect — First Statement, Contact, or Tish for example. Had it lasted longer, Here and Now might have played a more important role in the development of Canadian writing and art. Its demise after only two years, however, confined it in part to the symptomatology of that breakdown of excitement and achievement in the years following World War II which several critics have commented on, and which John Sutherland and Raymond Souster, among others, felt keenly.13 Nevertheless, Here and Now was a unique achievement. It published some fine work and set a standard for appearance which few magazines in Canada, if any, have matched.14


  1. Earle Birney to the editors of Here and Now, letter of April 2, 1948 (Birney Papers, University of Toronto Libraries).[back]

  2. Paul Arthur to Earle Birney, letter of April 6, 1948 (Birney Papers).[back]

  3. In a letter of December 18, 1949 to Ralph Gustafson, John Sutherland quoted Robert Weaver as saying that an issue of Here and Now cost slightly more than $1,700.00 to produce (Ralph Gustafson Papers, University of Saskatchewan Library).[back]

  4. Here and Now 1, 2 (May 1948), p. [2].[back]

  5. Fleming, Smoke and Mulbolland to the Macmillan Company of Canada Limited, letter of March 17, 1950 (Macmillan Archive, McMaster University Library).[back]

  6. Catherine Harmon to Ralph Gustafson, letter of August 2, 1948 (Gustafson Papers).[back]

  7. Earle Birney, Spreading Time: Remarks on Canadian Writing and Writers, Book 1: 1904-1949 (Montréal: Véhicule Press, 1980), p. 150.[back]

  8. Paul Arthur to Earle Birney, letter of October 15, 1948 (Birney Papers).[back]

  9. Alan Crawley to Anne Wilkinson, letter of March 1, [1949?] (Anne Wilkinson Papers, University of Toronto Libraries).[back]

  10. Catherine Harmon to Ralph Gustafson, letter of September 14, 1949 (Gustafson Papers).[back]

  11. Earle Birney rather wryly took note of this fact in a CBC review of Here and Now. The magazine's literary standards, he said, "are, inevitably, up and down. The "downs" are most noticeable in the material pried from distinguished non-Canadians in an attempt to supply international chic without being able to pay for it" (Spreading Time, p. 143).[back]

  12. It is thus rather curious to find Hilda Vanneste calling the magazine "a vehicle for the new Toronto school" and "an early meeting-place of the poets who were assigned to the mythopoeic school" in her history of Northern Review (Northern Review: 1945-1956: A History and an Index (Ottawa: Tecumseh Press, 1982), pp. 122 and 149). No particular group of poets dominated the magazine, and work by Birney and Souster is as much in evidence as that by Reaney or Wilkinson.[back]

  13. See, for example, Raymond Souster, "Poetry Canada 1940-45," Impression #4 (Spring 1952), p. 69: "When I returned after V-J Day there could be no doubt that the sparkling spring of poetry which had only begun to reach its full power had almost ceased flowing. Only a bare trickle still ran across the Canadian literary soil, which looked more like The Wasteland than ever. So that when John Sutherland's anthology of the new poetry, Other Canadians, appeared the next year, it was like an epitaph."[back]

  14. I am grateful to Cathy Harmon Arthur for responding in detail to many questions which I had about Here and Now. Permission to quote from their unpublished correspondence was kindly granted by Catherine Harmon Arthur, Paul Arthur, and Earle Birney.[back]


Items are entered under both author and title. Book reviews are also collected under "Book Reviews" by author of the book. The following abbreviations have been used to categorize items: F (fiction), P (poem), A (article), R (review), and I (illustrative material). A series of sixteen paintings, mostly non-Canadian, reproduced to illustrate Paul Duval's article "The Origins of Canadian Painting" has not been individually indexed by painter or title of painting. Citations are by number as follows: #1 (Vol. 1, No. 1, December 1947), #2 (Vol. 1, No. 2, May 1948), #3 (Vol. 1, No. 3, January 1949), and #4 (Vol. 2, No. 4, June 1949).

"Afternoon Moon," by James Reaney. #2, pp. [38]-46. (F)
"The Age of Ice," by P.K. Page. #4, pp. 66-7. (P)
"Age Shall Not Wither Thee," by Earle Birney. #3, pp. 86-7. (A)
"Alexander Calder," by Rutliven Todd. #2, p. 69. (P)
"And the Mome Raths Outgrabe," by A.M. Klein. #4, pp. 3 1-7. (A)
ANDERSON, Patrick. "Passages of Winter." #1, pp. 58-9. (P)
"The Antagonist," by Thomas Cole. #2, p. 65. (P)
"Aphrodisiac," by J. Colombson. #3, p. 73. (P)
"Art in Canada," by John K.B. Robertson. #1, pp. [76]-77. (A)
ARTHUR, Paul. "In Silk and Scarlet Walks Many a Harlot." #3, pp. [17]-22. (A).
_______. "[Review of Modern Publicity 1942-1948, ed. by F.A. Mercer]." #4,
     pp. 80-2. (R)
_______. "[Review of The Novel Library, gen. ed. Alan Hodge]." #4, p. 82. (R)
"Autumn Campion," by Ruthven Todd. #1, p. 66. (P)
AVISON, Margaret. "The Coward." #3, pp. 68-9. (P)
________ "Omen." #3, p. 68. (P)

BAILEY, Alfred G. "The Traveller." #4, p. 78. (P)
"Ballet Here and Now," by C[atherine] H[armon]. #1, pp. 77-8. (A)
BIRNEY, Earle. "Age Shall Not Wither Thee." #3, pp. 86-7. (A)
_______. "Images in Place of Logging." #4, p. 76. (P)
_______ "Prairie Counterpoint." #1, pp. 68-70. (P)
_______ "The Strange Smile of Thomas Turvey." #4, pp. [38]-45. (F)
"The Birth of Venus," by James Reaney. #1, p. 72. (P)
BLACKBURN, Robert H. "Germany 1947." #1, p. 75. (P)
"The Blue Sun-Glasses," by Tatuo Isida. #2, pp. [21]-25. (F)
       da Vinci, Leonardo. Paragone: A Comparison of the Arts. Trans. Irma A.
              Richter. #4, p. [88].
       Frost, Honor. How A Ballet Is Made. Rev, by C[atherine] L. H[armon]. #4,
              p. [79].
       Hodge, Alan, gen ed. The Novel Library. Rev, by P[aul] R. A[rthur]. #4, p. 82.
       Mercer, F.A., ed. Modern Publicity 1942-1948. Rev, by P[aul] R. A[rthur]. #4,
               pp. 80-2.
       Robsjohn-Gibbings, T.H. Mona Lisa's Mustache: A Dissection of Modern Art.
               Rev, by Ruthven Todd. #2, pp. [36]-37.

CAHOON, Herbert. "On His Twenty-Fifth Birthday." #1, p. 73. (P)
________ "To a Lover." #1, p. 73. (F)
CALDER, Alexander. "[Design]." #2, p. 69. (I)
"Canadian Composing," by Godfrey Ridout. #1, pp. 78-80. (A)
"The Canadian Idiom," by Lister Sinclair. #4, pp. [16]-18. (A)
"The Case of the Missing Face," by Hugh Kenner. #2, pp. [74]-78. (A)
"Catch-Colt," by Christine van der Mark. #2, pp. [26]-35. (F)
"Charles Baudelaire," by Ruthven Todd. #2, p. 61. (P)
"Cbez L'Ame," by Anne Wilkinson. #4, p. 73. (P)
CHOQUETTE, Robert. "Suite Marine." #3, pp. 74-5. (P)
CIRVENTE, M. "[Editorial]." #2, pp. 5-6. (A)
"Coal and Diamonds," by Reid MacCallum. #2, pp. [1311-20. (A)
COATES, Carrol T. "Three: A Little Conventional Play." #1, pp. 62-4. (P)
COCTEAU, Jean. "The Grand Split [Part 2]." Trans. Hyman Swetzoff. #4,
        pp. 45-53. (F)
_______. "The Great Split [Part 1]." Trans. Hyman Swetzoff. #3, pp. 8-16. (F)
_______. "[An Illustration]." #3, p. [9]. (I)
COLE, Thomas. "The Antagonist." #2, p. 65. (P)
_______. "The Whore." #2, p. 65. (P)
COLLIN, W.E. "The Literary Renascence of 1934 in French Canada." #4,
        pp. [7]-12. (A)
COLOMBSON, J. "Aphrodisiac." #3, p. 73. (P)
________. "Jet-Plane." #3, p. 72. (P)
________. "Steam-Shovel." #3, p. 72. (P)
________. "Top." #3, p. 73. (P)
"Conte de l'Existence," by Francois Peladeau. #1, pp. [25]-26. (F).
"Cotton Mather," by W.W.E. Ross. #1, p. 61. (P)
"The Coward," by Margaret Avison. #3, pp. 68-9. (P)
COX, E.B. "[Sculpture]." #1, pp. [41-8]. (I)
"The Crucible," by John Nerber. #2, p. 62. (P)

DANIELLS, Roy. "Epithalamium in Time of Peace." #3, p. 77. (P)
________. "Overture." #3, pp. [5]-8. (F)
________. "Sick With the Long Displeasure." #1, p. 71. (P)
"David Milne: An Appreciation," by Northrop Frye. #2, pp. [47]-48. (A)
"The Dead Rainbow," by James Reaney. #2, pp. 66-5. (P)
"[Design]," by Alexander Calder. #2, p. 69. (I)
"Displaced," by E.J. Pratt. #4, p. 77. (P)
DIXON, Langford. "The Toronto Season." #4, pp. 82-4. (A)
"Does Lord Calvert Love You?," by Ruthven Todd. #2, pp. [36]-37. (R)
"Down at English Bay," by Ethel Wilson. #2, pp. [71-12. (F)
"[Drawings and Paintings]," by Alfred Pellan. #3, pp. [56-64]. (I)
DUDEK, Louis. "Mi Wumin Es Leep." #3, p. 75. (P)
________. "Out of My Sleep Rise Dreams." #4, p. [65]. (P)
________. "The Pool of Night." #3, p. 76. (P)
DUVAL, Paul. "The Origins of Canadian Painting." #4, pp. [54]-[64]. (A)
________. "Poor-Relation." #2, pp. 78-9. (A)
________. "The Work of Alfred Pellan." #3, [53]-55. (A)

"The Eastern Kingdom," by Frederick Stein. #1, pp. [27]-35. (F)
"[Editorial]," by M. Cirvente. #2, pp. 5-6. (A)
"Editorial," by [Catherine Harmon]. #1, p. [6]. (A)
"Editorial," by [Catherine Harmon]. #2, pp. [4]-5. (A)
"Epithalamium in Time of Peace," by Roy Daniells. #3, p. 77. (F)
"[Etching]," by Joan Miro. #1, p. 66. (I)
"[Etching]," by Joan Miro. #1, p. 67. (I)
"The Eternal Tramp," by Northrop Frye. #1, pp. [8]-11. (A)
EWANCHEW, Nadia. "Mr. Cranley's Housekeeper." #1, pp. [12]-13. (F)

"Fanfare for Living," by Ralph Gustafson. #3, pp. 70-1. (P)
"Feeling in Painting," by David Milne. #2, pp. 57-8. (A)
FINCH, Robert. "Liege." #3, p. 71. (P)
________. "The Prunus." #3, p. 71. (P)
"For an Immigrant Grandmother," by Edwin Honig. #4, p. 71. (P)
"For Certain Musicians," by Ruthven Todd. #1, p. 65. (P)
FORD, R.A.D. "The Golden Grove." #3, p. [65]. (P)
FRYE, Northrop. "David Milne: An Appreciation." #2, pp. [47]-48. (A)
________. "The Eternal Tramp." #1, pp. [8]-11. (A)
________. "[On Book Reviewing]." #4, pp. [19]-20. (A)

GARROW, A.B. "The Golden Age of English illustration." #1, pp. [49]-56. (A)
"Germany 1947," by Robert H. Blackburn. #1, p. 75. (A)
"The Golden Age of English illustration," by A.B. Garrow. #1, pp. [491-56. (A)
"The Golden Grove," by R.A.D. Ford. #3, p. [65]. (P)
"The Grand Split [Part 2]," by Jean Cocteau. Trans. Hyman Swetzoff. #4,
      pp. 45-53. (F)
"The Great Split [Part 1]," by Jean Cocteau. Trans. Hyman Swetzoff. #3, pp. 8-16.
"The Great Winds," by Anne Wilkinson. #3, p. 78. (P)
"A Greeting," by E.J. Pratt. #1, p. 7. (A)
GUSTAFSON, Ralph. "Fanfare for Living." #3, pp. 70-1. (P)
________. "Nebraska." #1, p. 74. (P)
________. "Optimistic Argument." #2, p. 63. (P)
________. "The Thicket." #3, pp. 48-52. (F)

"Hai-Kai," by Francois Peladeau. #2, p. 70. (P)
HALL, John. "The Work of E.B. Cox." #1, pp. [39]-40. (A)
"Hamlet," by Edwin Honig. #4, p. 72. (P)
H[ARMON], C[atherine]. "Ballet Here and Now." #1, pp. 77-8. (A)
________. "Editorial." #1, p. [6]. (A)
________. "Editorial." #2, pp. [4]-5. (A)
________. "Here and Now Criticism Issue." #4, pp. [5]-6. (A)
________. "[Review of How a Ballet Is Made by Honor Frost]." #4, p. [79]. (R)
"Here and Now Criticism Issue," by [Catherine Harmon]. #4, pp. [5]-6. (A)
"History and Industrial Design," by H.A. Nieboer. #3, pp. 79-86. (A)
HONIG, Edwin. "For an Immigrant Grandmother." #4, p. 71. (P)
________. "Hamlet." #4, p. 72. (P)
________. "In Divided and Distinguished Worlds." #4, p. 71. (P)

"[An Illustration]," by Jean Cocteau. #3, p. [9]. (I)
"Images in Place of Logging," by Earle Birney. #4, p. 76. (P)
"In Divided and Distinguished Worlds," by Edwin Honig. #4, p. 71. (P)
"In Silk and Scarlet Walks Many a Harlot," by Paul Arthur. #3, pp. [17]-22. (A)
"In the Cerebral House," by Joseph Joel Keith. #4, p. 75. (P)
"Index to Volume 1." #4, pp. 86-7.
ISADA, Tatuo. "The Blue Sun-Glasses." #2, pp. [21]-25. (F)

"Jack-in-the-Green," by Philip Murray. #4, p. 74. (P)
"Jet-Plane," by J. Colombson. #3, p. 72.

KEITH, Joseph Joel. "In the Cerebral House." #4, p. 75. (P)
________. "Woman Telephoning." #4, p. 75. (P)
KENNER, Hugh. "The Case of the Missing Face." #2, pp. [74]-78. (A)
KLEIN, A.M. "And the Mome Raths Outgrabe." #4, pp. 31-7. (A)
________. "Lone Bather." #3, p. 76. (P)
________. "The Oxen of the Sun." #3, pp. [28]-48. (A)
KOMAI, Gloria. "Poeme." #2, p. [59]. (P)

"Lake Song," by Anne Wilkinson. #4, p. 74. (P)
"Liege," by Robert Finch. #3, p. 71. (P)
"The Literary Renescence of 1934 in French Canada," by WE. Collin. #4,
       pp. [7]-12. (A)
"Lone Bather," by AM. Klein. #3, p. 76. (P)
"The Lung," by Colleen Thibaudeau. #3, p. 69. (P)

MacCALLUM, Reid. "Coal and Diamonds." #2, pp. [13]-20. (A)
________. "The Waste Land After Twenty-Five Years." #1, pp. [16]-24. (A)
MacKAY, L.A. "Virgil's Second Eclogue." #4, pp. 67-9. (P)
"Mi Wumin Es Leep," by Louis Dudek. #3, p. 75. (F)
MILNE, David. "Feeling in Painting." #2, pp. 57-8. (A)
________. "[Paintings]." #2, pp. [49-56]. (I)
MIRO, Joan. "[Etching]." #1, p. 66. (I)
________. "[Etching]." #1, p. 67. (I)
"Mr. Cranley's Housekeeper," by Nadia Ewanchew. #1, pp. [12]-13. (F)
"Mr. Whur: A Metamorphosis," by James Reaney. #1, pp. [14]-15. (F)
MURRAY, Philip. "Jack-in-the-Green." #4, p. 74. (P)
________. "The Womb and the Web." #4, p. 74. (P)

"Native Theatre," by Vincent Tovell. #2, pp. 81-4. (A)
"Nebraska," by Ralph Gustafson. #1, p. 74. (F)
NEMEROV, Howard. "Two Sonnets." #2, p. 64. (P)
NERBER, John. "The Crucible." #2, p. 62. (P)
NIEBOER, H.A. "History and Industrial Design." #3, pp. 79-86. (A)
"Nocturnal Visit to One Who Is a Chiropractor By Day," by Colleen Thibaudeau.
       #1, p. 60. (P)

"[Obituary of H.R. MacCallum]." #4, p. [4].
"Omen," by Margaret Avison. #3, p. 68, (F)
"[On Book Reviewing]," by Northrop Frye. #4, pp. [19]-20. (A)
"[On Book Reviewing]," by Malcolm Ross. #4, pp. 20-1. (A)
"[On Book Reviewing]," by James Scott. #4, pp. 21-2. (A)
"On His Twenty-Fifth Birthday," by Herbert Cahoon. #1, p. 73. (F)
"Optimistic Argument," by Ralph Gustafson. #2, p. 63. (P)
"The Origins of Canadian Painting," by Paul Duval. #4, pp. [54]-[64]. (A)
"Out of My Sleep Rise Dreams," by Louis Dudek. #4, p. [65]. (P)
"Overture," by Roy Daniells. #3, pp. [5]-8. (F)
"The Oxen of the Sun," by A.M. Klein. #3, pp. [28]-48. (A)

PAGE, P.K. "The Age of Ice." #4, pp. 66-7. (F)
________. "Portrait." #2, p. 60. (P)
________. "Sleepers." #1, p. [57]. (P)
________. "The Woman." #1, pp. [36]-38. (F)
"[Paintings]," by David Milne. #2, pp. [49-56]. (I)
"Passages of Water," by Patrick Anderson. #1, pp. 58-9. (P)
"Paysage," by Francois Peladeau. #2, p. 70. (P)
PELADEAU, Francois. "Conte de L'Existence." #1, pp. [25]-26. (F)
________. "Hai-Kai." #2, p. 70. (P)
________. "Paysage." #2, p. 70. (P)
PELLAN, Alfred. "[Drawings and Paintings]." #3, pp. 156-64]. (I)
"Poem," by Stephen Spender. #2, p. 73. (P)
"Poem," by Ruthven Todd. #1, p. 67. (P)
"Poeme," by Gloria Komai. #2, p. [59]. (P)
"The Pool of Night," by Louis Dudek. #3, p. 76. (P)
"Poor-Relation," by Paul Duval. #2, pp. 78-9. (A)
"Portrait," by P.K. Page. #2, pp. 60. (P)
"Post-War Poetry in Canada," by Harry Roskolenko. #4, pp. [23]-31. (A)
"Posting a Letter," by Colleen Thibaudeau. #1, p. 60. (P)
"Prairie Counterpoint," by Earle Birney. #1, pp. 68-70. (P)
PRATT, E.J. "Displaced." #4, p. 77. (P)
________ "A Greeting." #1, p. [7]. (A)
"The Prunus," by Robert Finch. #3, p. 71. (P)

REANEY, James. "Afternoon Moon." #2, pp. [38]-46. (F)
________. "The Birth of Venus." #1, p. 72. (P)
________. "The Dead Rainbow." #2, pp. 66-8. (P)
________. "Mr. Whur: A Metamorphosis." #1, pp. [14]-15. (F)
RIDOUT, Godfrey. "Canadian Composing." #1, pp. 78-80. (A)
ROBERTSON, John K.B. "Art in Canada." #1, pp. [76]-77. (A)
ROSKOLENKO, Harry. "Post-War Poetry in Canada." #4, pp. [23]-31. (A)
________. "The Torch." #3, p. 67. (P)
________. "Trauma." #3, pp. 22-7. (F)
_______ "Two Tribal Conventions." #3, p. 67. (P)
ROSS, Malcolm. "[On Book Reviewing]." #4, pp. 20-1. (A)
________. "Tangential." #4, p. 70. (P)
ROSS, W.W.E. "Cotton Mather." #1, p. 61. (P)

SCOTT, James. "[On Book Reviewing]." #4, pp. 21-2. (A)
"[Sculptures]," by E.B. Cox. #1, pp. [41-481. (I)
"The Serpent," by Hyman Swetzoff. #3, p. 66. (P)
"Sick With the Long Displeasure," by Roy Daniells. #1, p. 71. (P)
SINCLAIR, Lister. "The Canadian Idiom." #4, pp. [16]-18. (A)
________. "Ye Who Have Ears." #1, pp. 81-3. (A)
"Sir Osbert Sitwell." #3, p. 86.
"Sleepers," by P.K. Page. #1, p. [57]. (P)
SMITH, A.J.M. "Souvenir du Temps Perdu." #2, p. 72. (P)
________. "Tree." #2, p. 72. (P)
SOUSTER, Raymond. "To the Crows Outside My Window." #2, p. 71. (P)
________. "The Urge." #2, p. 71. (P)
"Souvenir du Temps Perdu," by A.J.M. Smith. #2, p. 72. (P)
"A Sociological Approach to Canadian Fiction," by Robert Weaver." #4, pp. 12-15.
SPENDER, Stephan. "Poem." #2, p. 73. (P)
"Steam-Shovel," by J. Colombson. #3, p. '72. (P)
STEIN, Frederick. "The Eastern Kingdom." #1, pp. [271-35. (F)
"Strange Glance," by Hyman Swetzoff. #3, p. 66. (P)
"The Strange Smile of Thomas Turvey," by Earle Birney. #4, pp. [38]-45. (F)
"Suite Marine," by Robert Choquette. #3, pp. 74-5. (P)
SWETZOFF, Hyman, trans. "The Grand Split [Part 2]," by Jean Cocteau. #4,
       pp. 45-53. (F)
________. "The Great Split [Part 1]," by Jean Cocteau. #3, pp. 8-16. (F)
________. "The Serpent." #3, p. 66. (P)
________."Strange Glance." #3, p. 66. (P)
________. "The Toy Gun." #3, p. 66. (P)

"Tangential," by Malcolm Ross. #4, p. 70. (P)
"Theatre in Canada," by Vincent Tovell. #1, pp. 80-1. (A)
THIBAUDEAU, Colleen. "The Lung." #3, p. 69. (P)
________. "Nocturnal Visit to One Who Is a Chiropractor By Day." #1, p. 60. (P)
________. "Posting a Letter." #1, p. 60. (P)
"The Thicket," by Ralph Gustafson. #3, pp. 48-52. (F)
"Three: A Little Conventional Play," by Carrol T. Coates. #1, pp. 62-4. (P)
"To a Lover," by Herbert Cahoon. #1, p. 73. (P)
"To the Crows Outside My Window," by Raymond Souster. #2, p. 71. (P)
TODD, Ruthven. "Alexander Calder." #2, p. 69. (F)
________. "Autumn Campion." #1, p. 66. (P)
________. "Charles Baudelaire." #2, p. 61. (F)
________. "Does Lord Calvert Love You?" #2, pp. [36]-37. (R)
________. "For Certain Musicians." #1, p. 65. (P)
________. "Poem." #1, p. 67. (P)
"Top," by J. Colombson. #3, p. 73. (F)
"The Torch," by Harry Roskolenko. #3, p. 67. (F)
"The Toronto Season," by Langford Dixon. #4, pp. 82-4. (A)
TOVELL, Vincent. "Native Theatre." #2, pp. 81-4. (A)
________. "Theatre in Canada." #1, pp. 80-1. (A)
"Toward Canadian Opera," by Arnold Walter. #2, pp. 79-81. (A)
"Tower Lullaby," by Anne Wilkinson. #4, p. 73. (F)
"The Toy Gun," by Hyman Swetzoff. #3, p. 66. (P)
"Trauma," by Harry Roskolenko. #3, pp. 22-7. (F)
"The Traveller," by Alfred G. Bailey. #4, p. 78. (P)
"Tree," by A.J.M. Smith. #2, p. 72. (P)
"Two Sonnets," by Howard Nemerov. #2, p. 64. (P)
"Two Tribal Conventions," by Harry Roskolenko. #3, p. 67. (P)

"The Urge," by Raymond Souster. #2, p. 71. (F)

van der MARK, Christine. "Catch-Colt." #2, pp. [26]-35. (F)
"Virgil's Second Eclogue," by L.A. MacKay. #4, pp. 67-9. (F)

WALTER, Arnold. "Toward Canadian Opera." #2, pp. 79-81. (A)
"The Waste Land After Twenty-Five Years," by H. Reid MacCallum. #1,
       pp. [16]-24. (A)
WEAVER, Robert. "A Sociological Approach to Canadian Fiction." #4, pp. 12-15.
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WILKINSON, Anne."Chez L'Ame." #4, p. 73. (P)
________. "The Great Winds." #3, p. 78. (F)
________. "Lake Song." #4, p. 74. (P)
________. "Tower Lullaby." #4, p. 73. (P)
WILSON, Ethel. "Down at English Bay." #2, pp. [7]-12. (F)
"The Woman," by P.K. Page. #1, pp. [36]-38. (F)
"Woman Telephoning," by Joseph Joel Keith. #4, p. 75. (P)
"The Womb and the Web," by Philip Murray. #4, p. 74. (P)
"The Work of Alfred Pellan," by Paul Duval. #3, pp. [53]-55. (A)
"The Work of E.B. Cox," by John Hall. #1, pp. [39]-40. (A)

"Ye Who Have Ears," by Lister Sinclair. #1, pp. 81-3. (A)