post truth

Send Natalie Wee submissions and pitches on creativity in the post-truth world

Six times a year, The Town Crier hands itself over to a guest editor. Curators are free to publish for a month on any literary topic of their choosing. This March, Natalie Wee will be curating a month called “Post-Truth Politics and the Creative Craft.”

What implications does a post-truth world have on the creative arts—especially when the latter has so often been upheld as the bastion of political and artistic resistance?

What are the differences and similarities between “alternative facts” and the creation of cultural arts? Does this new political era hold new responsibilities for those who make a living from creating art, and if so, what are they? What does post-truth mean for the future of the English language and the ways in which we communicate?

This is a call for those who are most at risk in this era—people of marginalized identities—to contribute articles on this theme. Give us your essays, interviews, opinion pieces, non-fiction, etc. (word count: 500-2000 words). Be as bold, creative, and loud as you wish. We’re listening. Get in touch at


Allegra Colletti

I have a BIG problem with the assumption that we are living in any sort of Post-Truth. There is an attempt to make that happen, but we don’t acquiesce. We raise our voices, loud and clear, in SONG! We Sing Out against that untenable notion. We will Not accept a post-truth reality. NO! No. No. We #Resist ! Carry on.

Sharon Goodier

This is a fascinating and intriguing question, also an important one. Postmodernism eschews the notion of “Truth”. I am not a fan of postmod. “Alternative facts” can be lies or assumptions, suppositions and a lack of critical thinking. People think “critical thinking” means criticizing everything. Real art is not merely “criticizing”
but is an engaged process of critical thinking: who said it, to whom, why, who benefits from this, on what basis is the piece of art made. If it reflects people’s experience, gives words to it, makes them see it differently, provokes discussion, then it is art and it is true. All the rest is propaganda. This is a time for artists to be on the front lines, to be a fly on the walls of boardrooms and bars telling us what they heard be it as reportage or fiction of poetry. We are walking on thin ice. We need to hold hands and be careful. Sharon Goodier, Toronto poet and co-founder of The Art Bar Poetry Series


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