Articles

Abstract: Téa Mutonji’s short story collection, Shut Up You’re Pretty (2019), follows the coming-of-age process of Loli, a Black Canadian woman from a Congolese immigrant family living in contemporary Scarborough, a low-income, multicultural district of Toronto. Relying on the frameworks of Black feminist geography and narratology, I discuss how Loli’s racialized and gendered body interacts with the urban landscape. After tracing the significance of places and spaces of various scales—from the intimate to the global—in the stories, I demonstrate the interrelatedness of the collection’s ubiquitous narratives gaps with emotional and material landscapes in Shut Up You’re Pretty to argue that the sparseness of narration—what I term undernarration—and the volume’s conspicuous focus on places function as symptoms of the protagonist’s disrupted emotional landscape and comment on Black women’s presence in Canada.

Abstract: Mlous VIVONS, dans cette seconde partie du vingtième siècle, une époque de synthèse. La traduction dans les principales langues de ...

Abstract:   UNE POESIE  D’EXIL  Gilles Marcotte  L  LECTEUR FRANÇAIS n’éprouvera généralement, de-  vant la poésie canadienne-française d’aujourd’hui, aucune impression de  ...

Abstract: This essay is situated at the intersection of nineteenth-century literary history, women’s literature, and print culture. It opens by resolving an admittedly minor debate about the identity of a contributor to the Canadian nineteenth-century journal, The Literary Garland. However, as a result of this resolution, a series of previously unnoted literary connections between Canadian authors and a single U.S. periodical is revealed; networks of Canadian literary women—both as writers and editors—are explored and our understanding of them expanded; and lost writings by Canadian authors are identified. Those covered include Harriet Vaughan Cheney, Eliza Lanesford Cushing, Catherine Parr Traill, and Emma Donoghue Grant.

Abstract: Some lives are only seen through windows beyond which the appearance of laughter and of screaming is the same. .. ...

Abstract: Since its foundation during the Second World War, the Canadian comics industry has championed a settler nationalism that has prioritized whiteness, appropriated Indigeneity, and omitted representations of racialized minorities—including Jews—almost entirely. However, creators from these marginalized groups are reclaiming the comics form. I examine this process from the perspective of a comics researcher and creator. By exploring the devices used in David Alexander Robertson’s The Ballad of Nancy April and The Scout and John Olbey’s anti-racist comics published in NOW Toronto, I establish the contours of a movement of comics makers restorying Canadian history outside of the confines of the white-settler national narrative. My central case study, an autoethnographic reflection of the techniques used in creating Christie Pits, offers insights into the making process and comics specific techniques that may be valuable to other creators writing back against dominant readings of history.

Abstract: W’HATEVER YOU MAY make of it, I think you have to admit that one of the more astonishing features of ...

Abstract: I”UST AS HAROLD CARDINAL’S The Unjust Society (1969) re- sisted Trudeau’s vision of the “Just Society,” so Jeannette Armstrong’s narrator, ...

Abstract: I believe that the question of disarmament is the most pressing practical, moral, and spiritual issue of our times. I’m ...

Abstract: This paper reads Kim Barry Brunhuber’s novel Kameleon Man as an important exploration of different heterotopian spaces offering a reflection of our contemporary society in terms of the production and consumption of culture, racialization and identity. Stacey Schmidt, a twenty-one year-old black student, appears as a modern flâneur moving in urban landscapes from one heteretopia to the next in his quest for success in the fashion industry as a mixed-race model. He is also acutely aware of his own shifting positionality hinging on the ambiguous sign and site of the hyphen, which has been described by Fred Wah as that marked (or unmarked) space that both binds and divides. This heno-poetic (Grk heno-, one) punct, this flag of the many in the one, yet 'less than one and double' (Bhabha 177), is the operable tool that both compounds difference and underlines sameness (Faking 72-73). Using an interdisciplinary methodology, I will draw from the European philosophical tradition of Foucault and Benjamin as well as from urban studies, and will put these in conversation with some recent Canadian critical mixed-race theory in order to bring into view the specificity of Stacey’s experience as an urban, racialized, mixed-race Canadian man.