Wiebe’s Sense of Community
Abstract: MOST CONTEMPORARY CANADIAN NOVELISTS are writ- ing within an urban context. To be more precise, their concerns are generally those ...
Wilderness No Wilderness
Abstract: We have had to wait until the middle of this century for the crossing of long separated paths: that which ...
Wilfred Campbell Reconsidered
Abstract: ΤHE ART OF WILLIAM WILFRED CAMPBELL cannot be sep- arated from his life.1 CIHaEmpbell believed that only social thought was ...
Wind Dog
Abstract: Someone let the wind into the City in the night like a big old Dog that usually has to stay ...
Wind, Sun and Dust
Abstract: ΤLWENTY-FOUR YEARS AGO what is perhaps the best Canadian novel was writtenI:WSEinclair Ross’s As For Me and My House. Up ...
Winter and the Night-People
Abstract: ΤIHE FIRST SIXTY PAGES of Return of the Sphinx are among ЖHE the worst that Hugh MacLennan has written. A ...
Without Togetherness: The Intersectional Impasse of Syd Zolf’s Collaborative Poetics1
Abstract: In order to open up the possibility for a radical genealogy of feminist poetics in and beyond contemporary Canadian writing, I introduce the successes and failures of: radical citation, the proliferation of intersectionality, and the reproductive capabilities of cyborgs. The transformative potential of innovative and conceptual poetry practices and the ways in which they illuminate the productive flailing of feminist critique is demonstrated through attention to the collaborative and appropriative poetics of contemporary Canadian poet Syd (formerly Rachel) Zolf. In order to approach a situation—a praxis of feminist critique and theory—in which “the errors of face-to-face ethical recognition” (Janey’s Arcadia 116) can be rendered readable, I position Zolf’s innovative strategies alongside the interventions in genre of Lisa Robertson and M. NourbeSe Philip. The paper seeks to address how feminist critics can productively address the ethical discomfort of our entanglements in issues of racialized and gendered violence, Indigenous sovereignty, and experimental cultural production.
Witness, Signature, and the Handmade in Rahat Kurd’s Cosmophilia
Abstract: Rahat Kurd’s witness poetry examines the poet’s mark and proposes that this mark differs from the more easily recognizable signature. The poet’s mark is essential to witness as that aspect of the poem (a different aspect in every poem) that demonstrates the relationships among poem, poet, reader, and tradition. In Cosmophilia, Kurd writes about the traditions she inherits through her familial connections to Kashmir and Pakistan and through her Muslim identity. Her poems witness political conflict and violence alongside the beauty of cultural creations, including Persian script and Kashmiri embroidery. Cosmophilia means “love of ornament,” and Kurd’s collection suggests such loving looking is implicated in witness. I pursue this argument with Carolyn Forché’s defining comments on the genre of poetry of witness, Paul E. Losensky’s study of the ghazal, and Jonathan Culler’s and Peggy Kamuf’s engagements with the concept of the signature.
Woman as Object, Women as Subjects, & the Consequences for Narrative: Hubert Aquin’s Neige noire and the impasse of post-modernism
Abstract: NEAR THE END OF HUBERT AQUIN’S final novel Neige noire,1 which is written as a film scenario, appears the following ...
Woman/Body/Landscape: Imaginary Geographies in the Writing of Karen Connelly
Abstract: Karen Connelly’s poetry and non-fiction belong not only to the genre of travel writing but also to a continuing project ...