Articles

Abstract: IT IS PERHAPS NATURAL that Dorothy Livesay should write about houses, for the identity of woman has always been tied ...

Abstract: THE CREATIVE INDIVIDUAL often is torn by internal emo- IHE tional strife. Perhaps such conflict is an indispensable ingredient for ...

Abstract: QNE OF THE THINGS THAT MAKES any discussion of local and national culture difficult is the elusiveness of the terms ...

Abstract: One of the most persistent European settler-colonizer mythologies is that North America will be the new Camelot, and that it hides the Holy Grail. Such stories gained popularity in the late nineteenth century, prompted in part by the transatlantic enthusiasm for Arthuriana following the publication of Tennyson’s Idylls of the King. Some, including John Reade’s 1870 collection The Prophecy of Merlin, and Other Poems, responded to the visit of Prince Arthur to the new Dominion of Canada as a convenient way of placing the legendary King Arthur in Canada. A parallel form of placing Camelot in Canada arose cartographically, as urban planners and property developers named streets and buildings after Arthur’s court. This essay examines the ways in which these literary and cartographic practices interact through lived experience, and how they simultaneously reinforce and destabilize the Canadian settler state.

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Abstract: This essay analyzes three poetries of place that seek a sense of locatedness, a sense of place that finds ‘here’ defined by elsewhere, and ‘now’ defined by manifold movements. Looking closely at work by Wayde Compton, Peter Culley and Meredith Quartermain, the essay explores the dialectical sense of address in each. Compton negotiates a sense of locatedness that can register particular historical and geographical conditions at the same time as recognising the homelessness of black experiences of place. Culley, meanwhile, interrogates address to explore location as a marginal site of ephemera defined above all as a relation between places. Quartermain’s work, moving through the city while reaching back into its past, simultaneously articulates historical layers and the forces occluding them. Finally, the essay makes a claim for the politics of this poetry as, in important senses, post-avant-garde: concerned with constructions of relation rather than direct enactments of destruction and interruption.

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Abstract: In August 1990,1 returned to London, Ontario, for the first time in at least ten years. The occasion was a ...

Abstract: M CALLAGHAN’S best book for a quarter of a century is that which he probably wrote with the least effort ...

Abstract: “There’s always room for beginnings.” —Chorus of MushroomsTeaching Without KnowingHow do we learn if we don’t understand? This question loomed ...

Abstract: In the context of the climate crisis and the rise of the far right, scholars have warned of a "nascent fossil fascism" that combines far right authoritarian politics with fossil fuel boosterism (Daggett). In Canada, this conjuncture expresses itself, in part, through extractive populism, a reactionary political project to counter the environmental left (Gunster et al.). Low Class Oil Trash stands out among other extractive populist entities for its foray into cultural production, having written and produced an original song, "Gassed Up," an "anthem for the oil and gas industry." This article does a close reading of "Gassed Up" and Low Class Oil Trash's social media posts. I use Andreas Malm and the Zetkin Collective's terms "fossilized proletariat," "fossilized whiteness," and "fossilized masculinity" to analyze these petrocultural products, exploring why some members of the working class, despite the threat of climate change, cling to fossil fuels. 

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Abstract: HIALF-WAY THROUGH Ultramarine (1933) the novel’s adolescent hero confesses that the desire to write is a disease like any other ...