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Ján Okáľ, a Slovak poet and political writer, was born on November 25th, 1915 in Hubová, Žilina (Slovakia). Upon the completion of his studies at Turčianske Teplice’s teachers’ college, he first worked as a teacher followed by a position at Matica slovenská in Bratislava. In additional to his employment, Ján Okáľ published his first two poetry collection Nehnem sa (I will not move) in 1942 and L’ubosť (Love) in 1944.
After the Second World War, Ján Okáľ fled Slovakia and first settling in Austria. Afterwards, je joined Assisi’s Slovak emigrant community in Umbria (Italy) consisting of Ján L. Doránsky and his family, Jozef Varinský, Andrej Cinčura and Jozef Martinka. After spending some years in Italy, Ján Okáľ finally settled in the United States, first living in Berwyn and then Chicago, where he resumed his studies in teaching at the University of Chicago. He eventually chose the United States and settled in Berwyn and finally in Chicago. All though his years in the United States, he exchanged with Slovak personalities in North America and abroad, among others, Ernest Žatko (pen name: Ján E. Bor), Imrich Kružliak (pen name: Marian Žiar), Gorazd Zvonický (pen name: Andrej Šandor), L’udovit Kandra (pen name: Peter Klas), Ignác Zelenska (pen name: Eugen Vesnin) and Ján L. Doránsky (pen names: JED, J.D. Harmonik, J.D. Oravec and J.O. Ravec).
In the North American Slovak community, Ján Okáľ was known for his editorial work for Slovak newspapers and periodical. Between 1951 and 1958, he was one of the editors of the newspaper Slovák v Amerike. From 1979 onwards, he became the editor of the Slovak World Congress (SWC)’s official publication Bulletin. During his tenure, Ján Okáľ brought to life several SWC events, among others, annual general meetings, the First, Second, Third, Fourth World Festival of Slovak Youth, the Canadian International Triennial of Slovak Art, the Slovak Graduation Ball and the 50th anniversary of Slovak Independence.
Ján Okáľ is most famous for his poetry on the emigration experience of Slovaks and his works various Slovak personalities. In exile, he wrote several poetry collections, some with Jozef G. Cincík’s illustrations, among others Voda a vino detailing Ján Okáľ’s experience in Italy and Velký kalendár kočura na roky. He also wrote memoirs on Slovak intellectuals, such as Jozef G. Cincík in the biography Dr. Jozef G. Cincík pútnik dvoch svetov (Dr. Jozef G. Cincik, a pilgrim of two worlds) in 1980, the books Leto na Traume (Summer at Traume) in 1986 and Výpredaj l’udkosti (The sale of humanity) in 1989. Ján Okáľ passed away on March 19th, 1990 in Chicago, Illiinois (United States).

Karol (Charles) Murín was born in 1913 in Slovakia. After obtaining his Doctorate of Law from the University of Bratislava, he studied in Paris. From 1939 to 1945, he was the personal secretary to Dr. Jozef Tiso, president of the wartime Slovak Republic.
In 1948, he arrived in Canada with his wife Isabella and daughter Janina. To his European degrees, he added a M.A. and a Ph.D. in philosophy from the University of Montréal. A few years after his arrival, he started teaching philosophy at the University of Montréal, where he taught until retirement.
A specialist on Nietzsche and Thomas Aquinas, Dr. Mikuš published Nitzsche problème: généalogie d’une pensée (Paris, 1979). In the French periodical Étude d’histoire littéraire et doctrine appeared his extensive study “De l’être moral dans l’œuvre de St. Thomas” (Paris, 1962). He also wrote Zahraničí matica slovenská (1987), later published under the new title Priatelia prezidenta Tisu (1991, 1992) and in English under the title "Remembrances and testimony: Dr. Jozef Tiso and the Slovak Republic, 1939-45)" (1992). His scholarly writings also include numerous articles and book reviews for Slovak newspapers such as Kanadský Slovák, Slobodné Slovensko and the English quarterly Slovakia. Professor Murín passed away on July 17th, 1998 at the age of 85.

Helen Fallding is a journalist and human rights advocate. She has an honors B.Sc. in biology and an MA in journalism. She was the first coordinator of the Women's Centre at the University of Toronto (1986-1988). She also coordinated the Women's Centre in Victoria, B..C.. She helped the Carcross-Tagish First Nation to negotiate a land claim. She co-founded Yukon's first organization and was founding manager of the University of Manitoba Centre for Human Rights Research in Winnipeg. She worked as a journalist for the Northern Native Broadcasting Yukon and Winnipeg Free Press. She won awards for feminist activism and for journalism such as with Amnesty International Canada and the Sidney Hillman Foundation for her reporting on First Nations drinking water issues.

Feminist and activist, Victorya Monkman had been involved since the 80s in the fight against violence against women. She studied political science, history, and women's studies. She worked in Timmins, Ontario in a Centre for women victims of violence. She wrote a guide and offered various presentations and workshops to help mostly French women victims of violence. She is the author of "Le Chemin du retour" published by the Ontario Action against Violence against Women in 1996.
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Feministe et activiste, Victorya Monkman est engagee depuis les annees 80 dans la lutte contre la violence faite aux femmes. Elle a étudié en sciences politiques, en histoire, en pédagogie et en études féministes. Elle a œuvré à Timmins dans le nord de l’Ontario, dans un centre d’aide aux femmes victimes de violence. Elle a rédigé des guides et offert des ateliers pour les survivantes francophones d'agressions à caractère sexuel. Elle a notamment écrit l’ouvrage de référence « Le chemin du retour » publié par l’Action ontarienne contre la violence faite aux femmes en 1996.

Nadia Rose Greschuk was born in July 13th 1945 in Saskatoon, Saskatchewan. Her parents, Katherine Kuszpit and Wasyl Greshuk, were immigrants from Ukraine in the 1930s. Nadia Greschuk married Ernest Campbell Reid in 1989. She was active with the feminist movement in Saskatchewan. She attended a speech given by Madeleine Parent at the Unitarian Centre in Saskatoon in 1971. She was impressed by one of her message on the importance of the Equal pay for work of equal value for improving the condition of working women. She also met Carole Geller who established the Saskatchewan Human Rights Commission and was her mentor. In 1975, she started working as a treasurer for a co-operative Day Care Centre. In 1976 to 1981, she worked as Executive Director for Planned Parenthood Saskatchewan. In 1982 to 1998, she was project officer at the Saskatoon Human Resource Centre (HRDC). The in 1999 to 2004, she worked as Workplace Equity Programs Advisor with a specialty in pay equity. She was member of various committee: Saskatoon Women’s Liberation (60s and 70s), Committee advising the Saskatchewan Minister of Labour on the role of the Women’s Bureau (1971), City of Saskatoon International Women’s Year Committee (1974), Saskatonian a community newspaper (1974), Legislative Committee of the Saskatchewan Council of Women (1977-1981), Saskatoon Community Clinic (1984-1987), Women’s Reference Group to the Saskatchewan Labour Force Development Board (1994-1995). During her career, she facilitated courses and workshops for women’s committees or at university, and chaired sessions in various union conferences (Saskatchewan Federation of Labour Pay Equity Conference, CEIU Western Region Women’s Conference, PSAC Regional Women’s Conference, PSAC National Women’s Conference).
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Nadia Rose Greschuk est née le 13 juillet 1945 à Saskatoon, en Saskatchewan. Ses parents, Katherine Kuszpit et Wasyl Greshuk, ont immigré d'Ukraine dans les années 1930. Nadia Greschuk a épousé Ernest Campbell Reid en 1989. Elle a participé activement au mouvement féministe en Saskatchewan. Elle assiste à un discours de Madeleine Parent au centre unitarien de Saskatoon en 1971. Elle a été impressionnée par l'un de ses messages sur l'importance du principe "Equal pay for work of equal value" pour l'amélioration de la condition des femmes qui travaillent. Elle a également rencontré Carole Geller, qui a créé la Commission des droits de l'homme de la Saskatchewan et a été son mentor. En 1975, elle commence à travailler comme trésorière pour une coopérative de garderie. De 1976 à 1981, elle travaille comme directrice exécutive de Planned Parenthood Saskatchewan. De 1982 à 1998, elle est chargée de projet au Centre de ressources humaines de Saskatoon (DRHC). De 1999 à 2004, elle a travaillé comme conseillère en matière de programmes d'équité sur le lieu de travail, avec une spécialisation dans l'équité salariale. Elle a été membre de divers comités : Saskatoon Women's Liberation (années 60 et 70), Committee advising the Saskatchewan Minister of Labour on the role of the Women's Bureau (1971), City of Saskatoon International Women's Year Committee (1974), Saskatonian a community newspaper (1974), Legislative Committee of the Saskatchewan Council of Women (1977-1981), Saskatoon Community Clinic (1984-1987), Women's Reference Group to the Saskatchewan Labour Force Development Board (1994-1995). Au cours de sa carrière, elle a animé des cours et des ateliers pour des comités de femmes ou à l'université, et a présidé des séances lors de diverses conférences syndicales (Conférence sur l'équité salariale de la Fédération du travail de la Saskatchewan, Conférence des femmes de la région Ouest du SEIC, Conférence régionale des femmes de l'AFPC, Conférence nationale des femmes de l'AFPC).

After undergraduate and graduate studies at the University of Alberta in the late 1940s and early 1950s, Raina Fyson (1929-2023) worked in the field of microbiology (mainly immunology and virology) for almost a half century, from the early 1950s until the mid-1990s. This included two decades teaching in the Faculty of Medicine of the UofO, plus a number of years in the Faculty of Science of the UofO and at Carleton. After obtaining her doctorate from the UofO in 1973, she was named an assistant professor in 1975, but despite repeated efforts on the part of colleagues in the Department of Microbiology and Immunology (notably the chair, her thesis supervisor Jock Westwood), she never obtained a tenure-track position. Her main research interest was in influenza, on which she ran several research projects, with a concentration on the immune response of elderly patients. After definitively quitting academia in the late 1980s, she acted as a consultant on several government projects up until the mid-1990s. She was also active in a wide range of professional organizations, both in Canada and abroad, and continued attending conferences, talks, meetings, etc. almost up until her death. After retirement, she also actively pursued continuing education, mainly though auditing university courses in a wide range of fields, from geology through linguistics to history and law. Her extensive professional archives reflect these diverse aspects of the career of a classic example of a marginalized (woman) academic active in the sciences from the 1950s to the 1990s and beyond.

Anne Molgat a vécu plusieurs années en Ontario, province dans laquelle elle a contribuer à l’épanouissement de la communauté franco-canadienne. Elle a travaillé dans plusieurs organismes non gouvernementaux où elle s’est impliquée notamment en communication et en développement communautaire. Anne Molgat s’est impliquée en particulier dans le domaine de la création littéraire, et en particulier dans la promotion d’écrits de la communauté francophone de l’Ouest. Elle a également été une militante du Comité National d’Action sur le Statut des Femmes / CNA (National Action Committee on the Status of Women / NAC). Elle a écrit un article avec Joan Grant-Cummings, une des présidentes du CNA, sur les 25 premières années du comité (Molgat, Anne with Joan Grant-Coummings, An Action That Will Not Be Allowed to Subside NAC’s First Twenty-Five Years, Second edition, Toronto, NAC). Elle a été un membre actif du collectif des Archives Canadiennes du Mouvement des Femmes (ACMF). De retour au Manitoba sa province natale, Anne Molgat est directrice administrative des Éditions du Blé, à Saint-Boniface, une maison d’édition communautaire fondée en 1974 et dont le mandat est de publier en français des œuvres de qualité, dans tous les genres, par des auteurs du Manitoba ou de l’Ouest.
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Anne Molgat lived for several years in Ontario, where she contributed to the development of the Franco-Canadian community. She has worked in several non-governmental organizations, in particular in communications and community development. Anne Molgat has been particularly involved in the field of literary creation, and especially in promoting the writings of the Canadian Western Francophone community. She has also been an activist with the National Action Committee on the Status of Women (NAC). She wrote an article with Joan Grant-Cummings, one of the NAC's presidents, on the NAC’s first 25 years (Molgat, Anne with Joan Grant-Coummings, An Action That Will Not Be Allowed to Subside NAC's First Twenty-Five Years, Second edition, Toronto, NAC). She was an active member of the Canadian Archives of the Women's Movement (CAWM) collective. Now back in Manitoba, Anne Molgat is Managing Director of Éditions du Blé, in Saint-Boniface, a community publishing house founded in 1974, whose mandate is to publish in French quality works in all genres by Manitoba and Western authors.

Fireweed was founded in Toronto, Canada, in 1978 by a 24 women collective. Originally called Fireweed: A Women’s Literary and Cultural Journal, the journal adopted the name Fireweed: A Feminist Quarterly of Writing, Politics, Art & Culture in 1980. The foreword to the first issue described Fireweed as a “feminist journal devoted to stimulating dialogue, knowledge, and creativity among women” and stated that the journal’s collective was “committed to an editorial policy of diversity.” Collective members have included Gay Allison, Lynne Fernie, Hilda Kirkwood, Liz Brady, Elizabeth Ruth, Makeda Silvera, Carolyn Smart and Rhea Tregebov. Issues of Fireweed usually focuses on a theme or topic, such as "Writing" (#10), "Fear & Violence" (#14), "Women of Colour" (#16), "Sex & Sexuality" (#37 & 38), and "Language" (#44/45), though there are frequent "open" issues. They published the first collection of Jewish feminist works (#35) to critical acclaim. Beginning in 1982, Fireweed invited guest collectives to edit issues of the journal. This was an opportunity for under-represented groups to define their own issues.
Fireweed was committed to an editorial Indigenous and immigrant communities. However, in the beginning of their history Fireweed did not completely adhere to this mandate. Most of their first issues included little or no works from writers of colour, Indigenous women, or immigrants. This exclusion created some adverse reactions from the community. By 1982, all but one woman resigned from the original collective and a new eight woman collective was formed. This collective, which included two women of colour, argued extensively about the aesthetics and contents of the journal. By the mid- to late-1980s and beyond, Fireweed began to paint a broader discussion of race, class, and sexuality. Several themed issues that gave voices to minority groups including two issues on Asian women’s writings, Lesbiantics: an issue for and by lesbian women, and a double issue on class. Even though they received letters about certain issues, themes, and writings, Fireweed never compromised their vision. The journal published fiction, poetry, reviews, essays, photographs, and drawings from women around the world. The collective encouraged women from every background to submit their works to the journal. They wanted women to articulate how they were perceived in popular culture. They had an extensive editorial system that involved a group consensus when considering submissions.
The Fireweed collective also wanted to encourage and support women to pursue writing and other arts. They continuously participated in the Ontario Arts Council’s Writer’s Reserve grant system that provided Fireweed the opportunity to recommend funding to writers for individual projects. Their continued work with the arts community created an annual Fireweed festival, which showcased various artists and works from the feminist community. The journal also showcased writing from a number of renowned Canadian artists including Margaret Atwood and Rina Fraticelli, the future head of Studio D at the NFB. Similarly to many other publications, the collective system was not entirely efficient or beneficial to the journal and began to show strain in 1983. By the mid-1990s a new organization was developed to better manage the publication of the journal. First, a 6-member editorial collective was responsible for the editorial direction especially with the development, solicitation, and selection of issue contents. The staff collective included coordinators for sales and marketing, editorials, office management, and the design of the journal itself. Finally the board collective as the legal entity was responsible for overall organizational and staff issues as well as all fiscal matters.
Fireweed was published from 1978 to 2002 with a final double issue on women, race, and war resistance. The quarterly's ISSN is 0706-3857.
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Fireweed a été fondé à Toronto, au Canada, en 1978 par un collectif de 24 femmes. Intitulé à l'origine Fireweed : A Women's Literary and Cultural Journal, la revue a adopté le nom de Fireweed : A Feminist Quarterly of Writing, Politics, Art & Culture en 1980. L'avant-propos du premier numéro décrivait Fireweed comme un "journal féministe destiné à stimuler le dialogue, la connaissance et la créativité entre les femmes" et précisait que le collectif du journal était "engagé dans une politique éditoriale de diversité". Parmi les membres du collectif figurent Gay Allison, Lynne Fernie, Hilda Kirkwood, Liz Brady, Elizabeth Ruth, Makeda Silvera, Carolyn Smart et Rhea Tregebov. Les numéros de Fireweed se concentrent généralement sur un thème ou un sujet, comme "l'écriture" (#10), "la peur et la violence" (#14), "les femmes de couleur" (#16), "le sexe et la sexualité" (#37 & 38), et "la langue" (#44/45), bien qu'il y ait fréquemment des numéros "ouverts". Ils ont publié la première collection d'ouvrages féministes juifs (#35), qui a été saluée par la critique. À partir de 1982, Fireweed a invité des collectifs à éditer des numéros de la revue. C'est l'occasion pour les groupes sous-représentés de définir leurs propres thèmes.
Fireweed s'est engagé dans une politique éditoriale de diversité et ne vise pas à représenter un style ou une esthétique particulière. Le collectif s'est également engagé à publier des auteurs féminins établis et nouveaux, y compris des œuvres de communautés autochtones et immigrées. Cependant, au début de son histoire, Fireweed n'a pas complètement adhéré à ce mandat. La plupart de ses premiers numéros ne contenaient que peu ou pas d'œuvres d'écrivains de couleur, de femmes autochtones ou d'immigrées. Cette exclusion a suscité des réactions négatives de la part de la communauté. En 1982, toutes les femmes sauf une ont démissionné du collectif original et un nouveau collectif de huit femmes a été formé. Ce collectif, qui comprend deux femmes de couleur, discute longuement de l'esthétique et du contenu de la revue. Entre le milieu et la fin des années 1980 et au-delà, Fireweed a commencé à aborder plus largement les questions de race, de classe et de sexualité. Plusieurs numéros thématiques ont donné la parole à des groupes minoritaires, notamment deux numéros sur les écrits de femmes asiatiques, Lesbiantics : un numéro pour et par les femmes lesbiennes, et un double numéro sur la classe. Bien qu'elle ait reçu des lettres sur certains sujets, thèmes et écrits, Fireweed n'a jamais compromis sa vision. La revue publie des œuvres de fiction, de la poésie, des critiques, des essais, des photographies et des dessins de femmes du monde entier. Le collectif a encouragé les femmes de tous horizons à soumettre leurs œuvres à la revue. Il voulait que les femmes expriment la façon dont elles étaient perçues dans la culture populaire. Il disposait d'un système éditorial complet qui impliquait un consensus de groupe lors de l'examen des soumissions.
Le collectif Fireweed souhaitait également encourager et soutenir les femmes dans la poursuite de l'écriture et d'autres arts. Il a participé en permanence au système de subventions Writer's Reserve du Conseil des arts de l'Ontario, ce qui lui a permis de recommander des financements à des écrivains pour des projets individuels. Leur travail continu avec la communauté artistique a permis de créer un festival annuel Fireweed, qui a présenté divers artistes et œuvres de la communauté féministe. La revue a également présenté les écrits d'un certain nombre d'artistes canadiens de renom, dont Margaret Atwood et Rina Fraticelli, la future directrice du Studio D de l'ONF. À l'instar de nombreuses autres publications, le système collectif n'a pas été entièrement efficace ou bénéfique pour la revue et a commencé à être mis à rude épreuve en 1983. Au milieu des années 1990, une nouvelle organisation a été mise en place pour mieux gérer la publication de la revue. Tout d'abord, un collectif éditorial de six membres était responsable de la direction éditoriale, en particulier du développement, de la sollicitation et de la sélection du contenu des numéros. Le collectif du personnel comprenait des coordinateurs pour les ventes et le marketing, les éditoriaux, la gestion du bureau et la conception de la revue elle-même. Enfin, le conseil d'administration, en tant qu'entité juridique, était responsable de l'ensemble des questions relatives à l'organisation et au personnel, ainsi que de toutes les questions fiscales.
Fireweed a été publié de 1978 à 2002, avec un dernier numéro double sur les femmes, la race et la résistance à la guerre. L'ISSN du trimestriel est 0706-3857.