Articles



Writing a Home for Prairie Blackness
Abstract: In the late s, the deteriorating log cabin of Alberta’s best-known black pioneer, the cowboy John Ware, was relocated from ...

Writing Dislocation
Abstract: Ven Begamudré has published a novella, Sacrifices (The Porcupine’s Quill, 1986); a short story collection, A Planet ofEccentrics (Oolichan, 1990); ...

Writing of the Decade
Abstract: W H E N Canadian Literature began in 1959, Canada was happily ex- periencing a traumatic publishing season. All at ...

Writing of the Decade
Abstract: AROUND 1955 there arose among Canadian writers a creative quest for new approaches to literary expression. A gradual but firm ...

Writing of the Decade
Abstract: THE FACT THAT Canadian Literature has flourished during the last ten years suggests that criticism in Canada has also flourished. ...

Writing Paintings and Thinking Physics
Abstract: Born in Toronto, raised in Burlington, Anne Simpson has lived in Nova Scotia for 15 years. Her first collection of ...

Writing Quebec City in Andrée Maillet’s Les Remparts de Québec and Nalini Warriar’s The Enemy Within
Abstract: Part of a larger project on literary representations of Québec’s secondary cities and exurban spaces, this article looks at mappings of Quebec City in Andrée Maillet’s Les Remparts de Québec (1965) and Nalini Warriar’s The Enemy Within (2005). Quebec City’s status as ‘founding city’ is a significant part of its importance within the francophone imaginary. It is key, too, to its touristic appeal, with traces of its architectural heritage attracting large crowds every year. As a provincial capital, the city might be expected to be somewhat conservative. This assumption is challenged, however, in cultural practices such as Robert Lepage’s high-tech performance company, Ex Machina, and strong graffiti and bande-dessinée cultures. Critics often highlight the dual nature of Quebec City. This piece explores the plays around appearance and reality in the selected novels to consider the ways in which these engage with questions around ethnic diversity and Québécois identity.

Writing the Montreal Mountain
Abstract: A city, Michel de Certeau argues in his chapter “Walking in the City” from The Practice of Everyday Life, is ...

Writing the Pacific War in the Twenty-First Century: Dennis Bock, Rui Umezawa, and Kerri Sakamoto
Abstract: The Unwritten War The Pacific War began in 1931, with Japan’s invasion of Manchuria, and ended in August of 1945, ...

Writing the Tripple Whammy: Canadian-Jewish Québécois Identity, the Comedy of Self-Deprecation, and the Triumph of Duddy Kravitz
Abstract:

Mordecai Richler, as a Jewish-Quebecer-Canadian, was a member of a despised minority, living in a province alienated from and marginalized within the dominant national culture, in a country forever looking enviously, anxiously over its shoulder at its more illustrious, more powerful neighbour. As a writer and satirist, however, this triple whammy was a blessing rather than a curse. This article explores some of the ways in which Mordecai Richler’s status as a member of three different stigmatized groups provided material for the self-deprecating humour that characterizes his work. I argue that Richler’s trebly-displaced protagonists, exemplified by Jake Hersh, tend to turn their comedy inward, punishing themselves for their perceived inferiority both to ‘other interlopers’ and to the (non-Canadian) arbiters of culture. In contrast, I suggest that Duddy Kravitz is Richler’s greatest creation because he both embodies and transcends the comic stereotype of the Jew on the make, exploiting but finally rejecting the masochism and internalized anti-Semitism of his relatives and his peers.