Telling Trauma: Generic Dissonance in the Production of Stolen Life
Abstract: Stolen Life by Rudy Wiebe and Yvonne Johnson is the life story of a young Cree woman presently serving a ...
Ten Years at Play
Abstract: I STARTED OFF writing plays at a desk in an office, one of the English Department offices at Acadia University, ...
Ten Years’ Sentences
Abstract: A EXACTLY TEN YEARS ago I was sitting in the study of our house in Vancouver, filled with the black ...
Text and Context: Some Reflections on Translation with Examples from Poetry
Abstract: TO TRANSLATE A POEM, I say to myself, I must first discover its meaning and then translate that into my ...
Textile Tropes in The Afterlife of George Cartwright
Abstract: John Steffler’s TheAfterlife of George Cartwright exam- ines relations between the British Empire and its colonial holdings. Steffler recognizes the ...
That Also Is You: Some Classics of Native Canadian Literature
Abstract: 0,”NCE UPON A TIME there was one small island, nothing more. The gods were clinging to it, clustered together like ...
That Fool of a Fear: Notes on “A Jest of God”
Abstract: MMANITOBA was taken from the Cree, and the name means God’s country. Neepawa means land of plenty. Margaret Laurence sets ...
The “Canadian Bookman” and Literary Nationalism
Abstract: BUY CANADIAN GOODS is the phrase which most readily comes to mind whenever the Canadian Bookman is mentioned. Which is ...
The “complex map” of Home in Liquid Modernity: Re-thinking Mobility and Stability in Nicolas Dickner’s Nikolski
Abstract: I examine how Nicolas Dickner’s Nikolski re-frames a static approach to home and the figure of the mobile home-maker in an era characterized by flux and fluidity, which Zygmunt Bauman calls liquid modernity. Bauman also suggests a binary of the tourist and vagabond “life strategies” as emblematic of the era, and posits that mobility is an emerging means of social stratification. I argue that Dickner explores alternate “life strategies” as well as different kinds of networks and communal connections possible in liquid modernity through his alternately immobilized and itinerant characters. More specifically, Dickner conjures new means of representing and understanding the idea of home through what he calls a “complex map,” a map that I suggest is less a template and more a multi-scalar and multi-sensory composite of points of reference and unique legends or codes which, ultimately, functions as an important identity anchor amidst the flows of liquid modernity.
The “retinal-world” of Roy Kiyooka’s Wheels
Abstract: i’d hazard the guess that photography is nothing if not the phenomenologist’s dream-of- the irrefutable thing-ness of thing/s: all comprising ...