Articles

Abstract: By analyzing Duffin’s Donuts in East Vancouver as a temporal-spatial landscape of afterwar, we suggest that refugee place-making entails racial taste-making—the labour and pleasures involved in producing sensorial, culinary, and aesthetic tastes that constitute the everyday experiences of imperial haunting. We argue that the donut shop’s 24/7 temporality indexes such a haunting: On the one hand, it marks the long duration and unrelenting conditions of labour exploitation under racial capitalism and transpacific imperialism, and, on the other, it fragments and suspends the linear chronology of multicultural inclusion and capitalist success. We conduct a close reading of the restaurant’s spatial aesthetics, signage, and menu in order to consider how the readymade—as a genre of art objects and as instant meals—traces lineages of transpacific imperialism and makes apparent the limits of neoliberalism’s promises of seamless production. We situate the intersection at Knight Street and 41st Avenue within the global circuits of supply chain capitalism. In doing so, we tell an alternative story of the Cambodian donut shop—one in which Duffin's serves as a hinge that links East Vancouver to larger, ongoing projects of just-in-time Empire, and allows us to see the possible survival strategies of, and opportunities for solidarities through, refugee place-making.

Abstract: IN HER SOCIAL POETRY of the 1930’s Dorothy Livesay is concerned principally with human fellowship and the poems call for ...

Abstract: V’ARKIOUSLY DESCRIBED as lurid, sensational, grotesque, and bizarre, John Richardson’s complex and intriguing novel The Monk Knight of St. John. ...

Abstract: THE CENTRAL TENSION in P. K. Page’s poetry arises from ??? the effort to mediate between the private world and ...

Abstract: LIA REVUE Liberté consacre son numéro 62 (mars-avril 1969) à douze nouvelles que la Société Radio-Canada commanda en 1967 à ...

Abstract:   DRAMA  ON THE AIR  George Robertson  ΤHE FIRST TIME I saw a script for a radio play, it seemed  ...

Abstract: In the heteronormative world of comics the existence of queer autobiographical and semi-autobiographical comics such as those by Leanne Franson and Ariel Schrag constitute acts of resistance.  Both artists explore issues of sexual identity and self-representation.  Both artists are also interested in the divisive nature of sexual identity politics in relation to issues such as homophobia and internalized homophobia.  Because they are richly visual texts comics provide an ideal medium to reveal the possibilities of changing looks and performing identities and the role of these performances in creating or maintaining community.  Schrag focuses on the exhaustive adolescent roller coaster of making meaning and forging identity from experience in high school, while Franson, through her more mature character, invites us to see the potential for seeing difference as spectrum rather than hierarchy.  Both Schrag and Franson, by writing and drawing their own lesbian or bisexual bodies, challenge both the dominant heteronormativity and the norms within their own subcultures.

Abstract: LrONGTEMPs IGNORÉE, l’oeuvre du conteur Albert Laberge fut tirée d’un oubli immérité grâce à l’intérêt que lui portèrent quelques critiques ...

Abstract: PERHAPS NOTHING WRITTEN during the three decades that Northrop Frye reigned as Canada’s most eminent literary figure expresses the spirit ...

Abstract: IN CONVERSATION WITH DONALD CAMERON, W. O. Mitchell stated: “To me the only justification for art is that this particular ...