Why James Reaney is a Better Poet
Abstract: BY NOW IT is APPARENT that the mainstream of today’s Canadian poetry (in English) flows in the same river-system as ...
Why Profess What is Abhorred: The Rescue of Poetry
Abstract: i As I gathered up my papers at the end of class, a young man approached my desk. I was ...
Wiebe & Religious Struggle
Abstract: W. j . KEITH HAS CLAIMED that Rudy Wiebe’s The Blue Mountains of China is “among the finest novels written ...
Wiebe’s Sense of Community
Abstract: MOST CONTEMPORARY CANADIAN NOVELISTS are writ- ing within an urban context. To be more precise, their concerns are generally those ...
Wilderness No Wilderness
Abstract: We have had to wait until the middle of this century for the crossing of long separated paths: that which ...
Wilfred Campbell Reconsidered
Abstract: ?HE ART OF WILLIAM WILFRED CAMPBELL cannot be sep- arated from his life.1 CIHaEmpbell believed that only social thought was ...
Wind Dog
Abstract: Someone let the wind into the City in the night like a big old Dog that usually has to stay ...
Wind, Sun and Dust
Abstract: ?LWENTY-FOUR YEARS AGO what is perhaps the best Canadian novel was writtenI:WSEinclair Ross’s As For Me and My House. Up ...
Winter and the Night-People
Abstract: ?IHE FIRST SIXTY PAGES of Return of the Sphinx are among ?HE the worst that Hugh MacLennan has written. A ...
Without Togetherness: The Intersectional Impasse of Syd Zolf’s Collaborative Poetics1
Abstract: In order to open up the possibility for a radical genealogy of feminist poetics in and beyond contemporary Canadian writing, I introduce the successes and failures of: radical citation, the proliferation of intersectionality, and the reproductive capabilities of cyborgs. The transformative potential of innovative and conceptual poetry practices and the ways in which they illuminate the productive flailing of feminist critique is demonstrated through attention to the collaborative and appropriative poetics of contemporary Canadian poet Syd (formerly Rachel) Zolf. In order to approach a situation—a praxis of feminist critique and theory—in which “the errors of face-to-face ethical recognition” (Janey’s Arcadia 116) can be rendered readable, I position Zolf’s innovative strategies alongside the interventions in genre of Lisa Robertson and M. NourbeSe Philip. The paper seeks to address how feminist critics can productively address the ethical discomfort of our entanglements in issues of racialized and gendered violence, Indigenous sovereignty, and experimental cultural production.