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 ...
Women in Canadian Literature
Abstract: Most women don’t even live lives of quiet desperation. (Quiet desperation is far too dramatic.) Most women live lives like ...
Canadians – Conscious or Self-Conscious? Spec. issue of Canadian Literature 62 (Autumn 1974): 69-78.
Wondering into Country: Dionne Brand’s A Map of the Door of No Return
Abstract: Drawing on theories of affect and reterritorialization, this article examines Dionne Brand's interrogation of national belonging in A Map to the Door of No Return. Brand's reflections, in Map, on her experiences as a black woman and diasporic subject repeatedly exceed the boundaries of Canada as she explores the possibilities of diasporic community, political community, and artistic community. Nevertheless, as she muses on the possibility of a "country" where she might belong, Brand remains keenly attentive to the country she calls "home," repeatedly engaging in creative, provisional reterritorializations of spaces within the Canadian nation.
Word and Fact: Laurence and the Problem of Language
Abstract: “THEN, MERCIFULLY, THE WORD WAS REVEALED TO HER. After the momentary 1lHosEs] of her normally astonishing ability to speak — ...
Words & The World: “The Diviners” as an Exploration of the Book of Life
Abstract: СfRiTics HAVE ADEQUATELY ANALYSED Margaret Lau- rence’s last volume in the Manawaka cycle as an experiment in “voice and pic- ...
Working-Class Intruders: Female Domestics in Kamouraska and Alias Grace
Abstract: In the end, she said, we had the better of them, because we washed their dirty linen and therefore we ...
Write Me a Film?: A Symposium by Canadian Filmmakers
Abstract: INTRODUCTION Hugo McPherson WHAT ARE THE CONNECTIONS between writing and cinema in Canada? There is no authoritative answer to this ...
Writer’s Writer Revisits Authorship: Iteration in Anne Carson’s Decreation
Abstract: The poet stalks her subjects from oblique angles . . . —William Logan, Our Savage Art 1. Dialogism and Rewriting ...