For almost twenty years, TRANSverse has pushed the boundaries within the sphere of student-run publications. In my time with the journal, I have witnessed its continued growth and have seen how the challenges presented by its ever-changing editorial board also contribute to its unique approach to the publication of both rigorous academic essays as well as rich works of creative writing. Unique to Issue 18, which takes up Nostalgia as its theme, is the inclusion of multi-media and visual artworks, a step forward that I am sure subsequent issues will continue.
The 18th issue was made possible due to on-going support from the administrative staff at the Centre for Comparative Literature. I would like to acknowledge the support received from Bao Nguyen, who designed the journal’s initial poster to promote the Call for Paper and helped plan our screening event to premiere our first film and interactive media works in July 2019. I would also like to recognize the support that the Centre in general provides for the journal as our administrative home, and in particular the efforts of Dr. Ann Komaromi, Dr. John Ricco, and Aphrodite Gardener. At the end of the day, it is thanks to them that we can undertake any project.
Facing the same stifling reality of financial strain as all graduate journals, TRANSverse survives due to the generosity of numerous external organizations and associates. For this reason, it is necessary to thank Dr. Paul D. Morris from the Canadian Comparative Literature Association (CCLA), the University of Toronto’s Comparative Literature Student Union, as well as Dr. Irene Sywenky from The Canadian Review of Comparative Literature.
I’d like to dedicate Issue 18 to this year’s incredible editorial team (we were a small group, but we were mighty!): Amelia Bailey, Jonathan Cimon-Lambert, Arianne Des Rochers, and Paula Karger. They were always present and willing to help create and complete this issue despite the heavy distributed workload. On that note, I’d like to thank Joshua Dawson who willingly offered his time to create the issue’s layout for printing. The combination of the editorial team and external support made it possible to complete Issue 18, as well as set forth new journeys for TRANSverse.
This year’s collection of works serves as an exemplar for how interpretations of nostalgia have not progressed through history linearly. Among other reasons for the haphazard development of nostalgia over time is the fact that, striking as it might seem, nostalgia can itself be nostalgic. Nostalgia, as a concept, inevitably circles back to its roots only to unfurl outwards and onwards towards new unknown spaces. This image of nostalgia is similar to the vision I had for TRANSverse’s 18th issue. I wanted the journal to face new and challenging ideas, and to broaden its horizons through visual components and French submissions. We have, in addition, published for the first time a film as well as an interactive fiction game. While my time as editor in chief has come to a close, I hope that the journal continues to engage in new, interdisciplinary approaches to graduate publishing. Finally, I hope that this issue serves to lead you, the reader, towards a deeper understanding of the complexities of nostalgia.
In solidarity,
Vanessa Cimon-Lambert
Editor in Chief
