Articles

Abstract: M MOST VIVID RECOLLECTION OF FIRST HEARING a b o u t George Grant’s political philosophy and his views of ...

Abstract: SANDLER : It occurs to me that you’re a distant cousin of someone like Sir Walter Raleigh — an adventurer ...

Abstract: HOW DOES A CRITIC MAKE SENSE of another writer and critic who remains at once unsystematic and significant? Even stating ...

Abstract: ALTHOUGH MARGARET ATWOOD has stated that the problem with writing a novel is “sustaining your interest long enough to actually ...

Abstract: GÉRARD BESSETTE (b. Ste-Aime-de-Sabrevois, Quebec, 25 February 1920), the editor of three anthologies and the author of one volume of ...

Abstract: Many Indigenous and non-Indigenous peoples contend that the Canadian government has failed Indigenous peoples in addressing the crisis of missing and murdered Indigenous women and girls. This paper examines how two Indigenous-authored graphic novels—Deer Woman by Elizabeth LaPensée, Will I See by David A. Robertson et al.—circumvent the so-far minimal efforts of the Canadian government to respond to the completed Missing and Murdered Indigenous Women and Girls Inquiry, which itself experienced multiple delays in completion, by having their Indigenous female protagonists source strength from within their communities and cultures to “act-out” against targeted violence. I argue that in doing so, the protagonists enact resurgence, as defined by Leanne Simpson as an event that occurs through strength sourced from within Indigenous contexts. I then examine how resurgence is further practiced in the texts through conveying complex felt knowledges to readers, and through peopling the texts with missing and murdered Indigenous women. While pre-existing work has examined the ways in which Indigenous-authored comics reflect Indigenous spirituality and orature (Dudek) and Indigenous storytelling (Tiger), my paper is novel in considering the reflections of the authors on the crisis of missing and murdered Indigenous women and girls, and in examining the ways in which the graphic novels themselves depict and enact resurgence as a response.

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Abstract: Sound technologies enact cultural interventions and enable radical experiments of identity through the practice of stripping away, spinning, and splicing sounds—especially the sound of the human voice. This paper reads Black Canadian spoken word and turntable poetry for the symbolic use of sound technologies and other sonic schemas, focusing on Wayde Compton’s “The Reinventing Wheel” (2004) and Tanya Evanson’s “The African All Of It” (2013). In both of these works there is an emphasis upon the role of the body (and postbody) in the production of sound. I present both the spectral figure and sound recording technologies as postbody projections, and read the work of Compton and Evanson for transmissions that cross spatial, temporal, and body boundaries. The paper engages with posthumanist thought and the work of musicologist R. Murray Schafer to advance that sound technologies forge portals through time and space, as the dub plate reincarnates Compton’s disembodied, pre-recorded voice. Compton’s ghosts are quasi-material, zombies dancing in cargo holds—a reference to the Middle Passage—enacting a kinetic impulse capable of “moving the text” (103); Evanson’s acoustic experimentations with antiphony stress the kinetic and the sensory, and debinarize the relationship between speaker and audience. Finally, I argue that the ghostly emanation of postbody sounds from the turntable challenges culturally constructed binaries and forges a blended space for the celebration of plural, hybrid, and mobile identity formations, demolishing paradigms that work to enclose and encode Black Canada.

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Abstract: KM The first thing I want to ask you is about interviews. We’ve been seeing your picture on magazine covers, ...

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Abstract: IN FEBRUARY 1928 John Glassco had set off for Europe with his friend Graeme Taylor. Both lately of McGill University ...