Articles



Why James Reaney is a Better Poet
Abstract: BY NOW IT is APPARENT that the mainstream of today’s Canadian poetry (in English) flows in the same river-system as ...

Why Profess What is Abhorred: The Rescue of Poetry
Abstract: i As I gathered up my papers at the end of class, a young man approached my desk. I was ...

Wiebe & Religious Struggle
Abstract: W. j . KEITH HAS CLAIMED that Rudy Wiebe’s The Blue Mountains of China is “among the finest novels written ...

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 ...

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.