The Art of Nothingness: An Approach to Appreciating Chinese Art

The elaborate polyphony and ornamentation of Baroque music. The innumerable strokes and saturated colours of an oil painting. The meticulous turn of argument in a sonnet’s volta. This is perhaps what makes up the European “sublime” that, mesmerically and almost overwhelmingly, leaves us frozen in awe.

So perhaps you may wonder, what is there to listen to in a piece of music with only a single melody line? To see in a painting that is only a few strokes in monotonous ink? To read in a poem composed of short, standalone lines of simple imagery?

And yet, these artworks are praised to might as well be the epitome of Chinese art.

Reading Bogotá, Colombia as an Apocalipsis by Mario Mendoza

The tricky aspect about loving your hometown is that it’s difficult to explain why. You are more than willing to defend your homeplace when someone else takes a hit against it, but you are also its harshest critic—or, at least, that is the case for me.

Introducing Terminally Online Lovecraftian Comedy

I experience the existential horror of sci-fi literature in a strange, almost counterintuitive way. While it seems that I’m immune to Lovecraft’s insidious neuroticism, I experience unbound dread and awareness of my own minuteness when I read the sprawling space operas of Isaac Asimov. I always read the former casually tearing through an increasingly decrepit anthology of stories my mother bought me for my birthday one year, but I shudder at the thought of ever touching anything written by H.G. Wells. For me, Lovecraft’s At the Mountains of Madness is a romantic romp through Antarctica’s ancient past, but narratives of intergalactic empires and cyborgs grim reminders that time is running out and everything returns to dust. In my relatively uncreative mind, I used to implicitly assume that these two sides of fiction were never bound to intersect; that changed when I was sifting through shitposts one day and came across, alas, a serious post from Instagram user @theclockspider!

A Few Words About Blowjobs

I could tell he was over it. I could tell that my once-endearing traits had become a nuisance — could practically hear the internal pep talks he’d give himself in anticipation of playing the field again. When Max Freeman finally dumped me three months later, I asked, “why’d you spend the summer with me only to bail come September?” Although Max did not reply, I suspect an honest answer would include “blowjobs.”There’d been a time when Max Freeman thought the world of me. A time when everything I said was so clever and amusing, a time when the sound of my voice was something like silk, but my time would soon be up. He’d begun to drift, and I intended to suck him back into my orbit.

More Pride than Prejudice: Queering Jane Austen in Joel Kim Booster’s Fire Island

As with many Austen retellings, the first line of narration in Joel Kim Booster’s romantic comedy Fire Island (2022) echoes the instantly recognizable first line of the novel to which it owes its plot. “It is a truth universally acknowledged that a single man in possession of a good fortune must be in want of a wife,” quotes the narrator and protagonist, the feisty and outspoken Noah, played by Booster himself. “Well, no offence to my girl Jane Austen,” he adds, “But that sounds like some hetero nonsense.” Obviously, Pride and Prejudice’s heroine Elizabeth Bennet, to whom Noah serves as a parallel, would have no idea what that means.


It is only as an aesthetic phenomenon that existence and the world are eternally justified

– Friedrich Nietzsche,

Die Geburt der Tragödie aus dem Geiste der Musik

Recent Supplements


There is a garden in my belly / with a snowy glass-bottle ground


I thought I saw / two horses riding each other / under a double moon


I carry the morning on my back / like a mother carries three children at once

canada’s oldest literary journal

Acta Victoriana

Acta Victoriana is the literary journal of Victoria College and the longest running university student publication in Canada. Since its founding in 1878, it has maintained a legacy of artistic excellence and boasts alumni such as Margaret Atwood, George Elliot Clarke, and E. J. Pratt.


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