Articles

Abstract: R ARTHUR DOUGLAS FORD has lived two lives, one as a poet and oneas a diplomat. Twenty-one years of this ...

Abstract: one point in Leonard Cohen’s 1963 novel The Favourite Game,the protagonist, Lawrence Breavman, is contemplating the possibility of a timeless ...

Abstract: Transcribed at Skidegate in October 1900 by John Swanton Edited & Translatedby Robert Bringhurst Introduction Haida is one of the ...

Abstract: It is within the context of living in Hesquiaht traditional territories, of being a part of the House of Kinquashtacumlth ...

Abstract: This article proposes to analyse Nalo Hopkinson's novel The Salt Roads (2003). It looks at how its intersections with gender, sexuality, and race adds new, unexplored dimensions to the spec-fic genre. More specifically, it examines how the use of the Afro-Caribbean supernatural and of the black female body in the novel, creates a redefinition of Afro-diasporic subjectivities. In many respects this novel departs from the Eurocentric concept of the diaspora and from received epistemologies in the understanding of culture and history. Instead, it creates an alternative set of routes, the salt roads, that relies on a female water spirit as unifying thread. A focus on the enslaved female black body and on relationships of solidarity among the main characters implies a subversion of the traditional heterosexual male roles that dominate works of speculative fiction. Moreover, it creates an imaginative space that redresses traditional, Western readings of Caribbean history and identity.

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Abstract: I, I N T R O D U C T I O N S A RE I M P O ...

Abstract: The handmill gives you society with the feudal lord; the steam mill, society with the industrial capitalist. KARL MARX, The ...

Abstract: RLOCH CARRIER’S “The Nun Who Returned to Ireland” (“La Religieuse qui retourna en Irlande”) concerns a young French boy learning ...

Abstract: The three versions of Chelsea Vowel’s (Métis) “âniskôhôcikan” contest settler colonial temporalities and grammar. I discuss how Cree/Métis epistemologies, queer and intergenerational kinship structures as well as language are integrated in the story. Both “âniskôhôcikan” and other current language revitalization efforts such as podcasts, language camps, or TV shows, can be understood as Indigenous futurisms. Prominently represented in the creative practices discussed in this article is land—the interconnection between languages and land, the kinship relations toward the land, and language revitalization taking place on the land. While language is the focus of “âniskôhôcikan,” Vowel also envisions queer and deaf future imaginaries. In consequence, the story addresses the role of language in community-building and shaping technology to be more reflective of diversity.

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Abstract: Carol Shields's Unless centres upon a moment of racialized and gendered violence that is paradoxically absent from the novel. This pivotal scene of violence, tenuously offered as an explanation for what has happened to the narrator Reta's teenaged daughter, Norah, appears only as a self-consciously mediated and discursively framed event: characters read about it in newspapers or witness it on serendipitously acquired security footage, but the only character who could speak of it directly remains silent. This paper offers a reading of Unless as a novel about the unrepresentability of violence itself. Drawing on Judith Butler’s recent work on the power of discursive frames to shape the recognizability and grievability of the lives of others, I argue that the novel denies readers access to “the truth” of what happened to Norah, instead providing a literary space that reproduces the ethical imperative to relate to the other without indulging in fantasies of comprehension.

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