This anniversary edition of FUSE brings together a selection of thirty pieces: articles, interviews, reports and reviews from the past twenty years. Contributors include heavy hitters Dot Tuer, Bruce Barber, John Greyson and Sara Diamond.
In this issue of FUSE we encourage oozing. Some may see us as victims of our own hedonistic wound-licking. In this issue, writers, performers, comic artists, and students indulge in confessional narratives, licking to their hearts’ content.
This issue of FUSE is in keeping with our attempts to pay special attention to Canada, while not being limited by any too easy assertions of national borders.
Antonia Zerbisias’ rant in the June 1998 issue of Masthead thrashed not only FUSE, but Geist and Borderlines, threatening the already tenuous position that alternative magazines hold in relation to government granting agencies. The decision by the OAC to limit funding to periodicals that only address and include poetry, fiction and visual art commentary, precariously and narrowly envision ways that art and culture are defined.
In this issue, most of the texts share concern, anxiety or frustration with the limits and borders of collective identity. Such contested terrain is the location of some of the most pressing concerns of this new decade, and is prime FUSE territory. As usual, our writers don’t hesitate to ask hard questions, revealing not only vexing problems of identity, but provocative alternatives to conventional models.
One thing that sets FUSE apart from other magazines covering similar territory is its consistent, continuous attention to issues that get short shrift elsewhere. One case in point is the pleasant overlap between the last issue and this one. Adrienne Lai’s essay in vol. 23, no. 1, “Renegotiating the Terms of Inclusion,” is a thought-provoking critical analysis of Jin-me Yoon’s A Group of Sixty-Seven.
Last summer, before the events of September 11, Francis Coppola’s famous film about the Vietnam war, Apocalypse Now, was re-released. Despite its confused and often offensive politics, the film has a quality that is rare among American war pictures. This is not simply because it is a war film played as a horror movie. It is that what we fear throughout the film is not so much what will happen to the central characters, but what terrible things they might do and become.