About Us

Our focus at End of the Line Press is to support emerging & established artists who are trans, non-binary, & Two-Spirit.

Our mission is to promote the work of our artists, to connect them with a supportive editing team that suits their project, & to build relationships & networks that empower & compensate creative workers.

We are a non-profit organization registered with Corporations Canada & the Province of Ontario. 

Our Supporters

Our work is generously supported by an Emerging Projects Grant funded by the Queer and Trans Research Lab at the University of Toronto’s Bonham Centre for Sexual Diversity Studies.

  

Volunteer

The press is run by a few volunteers who provide their time and labour to managing its business, & we are always looking for more help, specifically:

• Writing grant applications
  
• Marketing & publicizing new releases
  
• Managing social media platforms
  
• Organizing events including launches and fundraisers

Many hands make for lighter work!

FAQ

Q: May I submit my work to your press even though I do not identify as trans or non-binary & I am not Two-Spirited?

A: The mission of ELP is to support writers who are gender non-conforming or gender-diverse. Thank you for your interest in the press, but we cannot accept your submission if you are not a member of our demographics. Please note that reading fees are non-refundable.

See more FAQs here.

Prétend follows a young translator from Montreal whose name and identity are in constant flux. Our protagonist begins the story as Jean, a woman trapped in an abusive marriage to a dangerous man named Konstantin. Isolated and alienated in London, Jean soon becomes John, and her relationship with Konstantin starts to unravel when he asks her to translate his poems from Russian. After she begins to uncover some of Konstantin’s deceits, she agrees to meet a reclusive artist in Canada named M., and leaves Konstantin, becoming Jeanne upon her return to Montréal.

Working with M. on a new translation is magical and restorative for Jeanne, as she learns for the first time in her life what it might be like to have a translator-author relationship free of dated ideas on fidelity, domination, and the invisibility of the translator.  Jeanne also starts to realize she has feelings for M. and wants more than just a business relationship together. But M. has a secret too, and just when it comes to light, Konstantin lands in Montréal and creates chaos. Jeanne uncovers Konstantin’s biggest secret and becomes determined to expose him, forcing him to leave her alone once and for all—but will he give in so easily? And will she find a way to work things out with M., or leave Montréal behind for a new city and a new identity?

$40 

Paperback, printed and bound by Coach House Press on 60 lb Rolland Natural paper.

Praise for Prétend:

“[Burgdorf] has written a clever, sexy, moving & playful novel about literary translation, control, language, & selfhood.”

Jen Calleja, translator, publisher at Praspar Press and author of Vehicle, Dust Sucker, and I’m Afraid That’s All We’ve Got Time For

“As its protagonist cycles through names, cultures and countries in a journey of self and soul, Burgdorf’s passion for language itself is a beautiful lodestar, a letimotif woven into the fabric of the story. Like a knife to a whetstone, Prétend gives off sparks.”

Alex Manley, author of The New Masculinity and translator of Made-Up

Using 17th-century court records of the Salem Witch Trials as a sounding board, A/An mines the archives to uncover the power and violence residing within the language of the legal system. As state-legislated violence, witch hunts were constitutive to the colonial order, reinforcing what was normal and what aberrant. Rather than regarding the witch hunts as historical curiosity or speculating to fill the gaps, A/An considers the court examination as poetic form, a hybrid of legal language and lyric utterance. In these poems, English becomes foreign to itself, having distorted through time and slipped through the sieve of law, through the inevitable erasures of matter and the ideological erasures of the archive: the gaps marked “[illegible due to fold in paper],” and the silences that remain unmarked. In a poetics of the “[…]”, A/An engages with textual gaps as lacunae. In A/An, poetry and archive wrestle, shattering these legal documents that act as gravestones and spilling the voices caught therein.

$35 
Paperback, printed and bound by Coach House Press on 70 lb Sephyr Laid paper, typeset in Sabon, 12 pt.

Praise for A/An:

“Archival and speculative, Mandy Gutmann-Gonzalez’s A/An is a revisioning of the Salem Witch Trials into a portfolio of court ephemera, converging them thematically despite and through its divergent forms. It’s precisely what we haven’t escaped of the Trials that blooms here: the spectacle of adjudication, the self-righteousness of the law and legibility, coloniality’s self-exception. Sovereignty is haunted: an invisable hande pushes us forthe. Gutmann-Gonzalez deftly summons the past and present’s continuity through this possible lyric alternative. A/An is a distillation, a reduction, a tincture of the ever-renewable past. Handle cautiously--this is yr book.”

Jos Charles, author of feeld, a Year & other poems, and Safe Space