Anne Hébert: A Pattern Repeated
Abstract: IN LES CHAMBRES DE BOIS,1 Anne Hébert tells a simple story with few characters, little action, an uncomplicated plot. Amid ...
Anne Hébert: Les Invites au proces
Abstract: LES INVITÉS AU PROCÈS, a “poème dramatique et radio- phonique” by Anne Hébert, was broadcast July 20, 1952 by Radio-Canada, ...
Anne Hébert: Story and Poem
Abstract: ANNE HÉBERT’s story, Le Torrent, and its relation to the rest of French-Canadian literature takes on the same significance as ...
Anne Wilkinson in Michael Ondaatje’s In the Skin of a Lion: Writing and Reading Class
Abstract: in the Skin of a Lion is a richly intertextual novel, invok- ing the works of writers as diverse as ...
Announcing New CanLit Guides Chapter: “The Future(s) of Indigenous Horror: Moon of the Crusted Snow,” by Gage Karahkwí:io Diabo
Abstract: We are thrilled to announce an exciting new CanLit Guides chapter, “The Future(s) of Indigenous Horror: Moon of the Crusted ...
Another Country
Abstract: 0,NE EVENING, NOT LONG AGO, I came into the possession of an envelope — plain, brown, 8×12 —-on which two ...
Anti-imperialism and Feminism in Margaret Laurence’s African Writings
Abstract: Margaret Laurence’s anti-imperialist and feminist impulses have common origins. As she indicates in her 1978 essay “Ivory Tower or Grassroots?: ...
Anxious Speculation: Vancouver(ism), Indebtedness, and Everyday Urban Affect
Abstract: This paper will chart out this particular anxiety as it emerges within the fantasy, and reality, of Vancouver as both a city and a model for urban planning. As this investigation was provoked by the 2011 Stanley Cup Riot, a moment that marked a rupture in the image of Vancouver as an exceptional site and that is discussed in the paper’s final pages, my exploration of Vancouver’s particular anxiousness begins in the history, and its attendant affective promise and future fantasy, that preceded this riot. The first part of this paper (Post-political plans (and charts, and diagrams, and lists, and books, and . . .)) will explore the relationship between the “communicative turn” in urban planning discourse, the increasing number of comparative and quantified metrics for understanding the city, and the development of a post-political image of the city. The following section (Mapping Vancouver(ism)s) considers how Vancouverism, as a model for urban planning, has come to be understood as a commodity within this post-political realm. In the next part, (Entrepreneurial Resonances/Material Remainders) I argue that this particular commodified and imagetic form of Vancouver is felt in the city as an anxious structure. Here, I will consider the relationship between Vancouver’s fantastic image in relation to both the city’s “Empty Condo Syndrome” and the ongoing indebtedness of a city where speculative real estate investment continues to dominate an already expensive housing market. Finally, by combining these discursive, ideational, and material realities, this paper concludes with a close reading of Douglas Keefe and John Furlong’s review report of the June 15th riots to consider the affective forces of both the riot and the response to the riot. Read as a moment where the anxiety of the subject is snapped into a present material reality, this paper concludes by considering the events of that night as a particular affective worlding; as a moment when the image of the city disappeared and a moment when the subject encountered the violent reality of present day Vancouver.
Anything but Reluctant: Canada’s little magazines
Abstract: HISTORICALLY, LITTLE MAGAZINES have sprung up when- ever new, animated, and serious writing cannot find a market. Thus these maga- ...
Appropriate Appropriations?: Reading Responsibility in Joan Crate’s Pale as Real Ladies
Abstract: This paper engages certain sets of reading challenges posed by Alberta Métis writer Joan Crate’s 1991 collection of poems, Pale as Real Ladies: Poems for Pauline Johnson, a text which re-visions/re-works the life and oeuvre of nineteenth-century Six Nations poet and performer, Emily Pauline Johnson. I work to understand how Crate’s text forces readers to confront their place(s) in the scene of reading, to engage questions of identity and difference—and of appropriation—and their articulation in relation to particular operations of canonical value and cultural power, in order, I argue, to better understand not Johnson’s life, identity, and work expressly but the conditions of their production. With close study of Pale as Real Ladies and brief treatment of the later collection, Foreign Homes (2001), I ultimately argue that Crate’s texts exhort of readers a confrontation with what we can think of as the violence of representation itself.