Articles

Abstract: I knew I wanted to teach Green Grass, Running Water but didn’t think first-year students could really handle it, so ...

Abstract: Introduction to "Thinking Together: A Forum on Jo-Ann Episkenew’s Taking Back Our Spirits: Indigenous Literature, Public Policy, and Healing."

The original live forum on Jo-Ann Episkenew’s Taking Back Our Spirits: Indigenous Literature, Public Policy, and Healing brought together the author of only the second monograph by an Indigenous literary critic in Canada with three critics, who discussed her recently published work in front of members of the Canadian Association of Commonwealth Literature and Language Studies (CACLALS) and the Association of Bibliotherapy and Applied Literatures (IABAL). Following the live event, the panelists submitted written versions of their contributions to the convenors of the forum, allowing all centrally involved to reflect further on the thoughts of the other panelists and of those in the audience who offered further ideas.

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Abstract: IN THE ESSAY WHICH stands first in this issue of Canadian Literature, Christine Welsh writes of a legacy received on ...

Abstract: Prevented by geographical distance and carceral containment from enacting a traditional role as provider for his community, Inuvialuit author Anthony Apakark Thrasher invokes tales of “the legendary… Eskimo past” (323) in his prison writings as a way of making meaning out of imposed immobility. Cultural precedence for such translation of restricted movement into communal purpose can be found in Inuk elder Ivaluardjuk’s “Cold and Mosquitoes,” which depicts the speaker’s metamorphosis through age from hunter of game to hunter of words who contributes to the cultural rather than material survival of his people. While celebrating Thrasher’s creative resistance to state-imposed restrictions, this article worries about the possible danger of overemphasizing prison writing’s emancipatory potential. We consider how Thrasher’s imaginative identification with a mythic Inuvialuk hunter who bears witness to the colonial containment of his people offers a means of accounting for authorial agency without allowing that agency to become unmoored from unjust power relations that restrict both prison inmates and the Inuvialuit community.

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Abstract: This article discusses the rich but neglected body of Filipino Canadian comics. After discussing some of the historical conditions that have given rise to this neglect, the article explores four Filipino Canadian graphic novels: Emmanuelle Chateauneuf’s Queen Street (2017); Lorina Mapa’s Imelda Marcos, Duran, and Me (2017); Allan Matudio’s Kasama (2021); and J. Torres and Elbert Or’s Lola: A Ghost Story (2020). These very different texts engage, to varying degrees, shared themes and tropes. Many of them discuss diasporic experience through a transnational turn to the Philippines through the trope of return travel. Some use Filipino folklore to structure discussions of diaspora and authenticity. The article concludes by discussing forms of Filipino Canadian comics other than the graphic novel and suggesting future research possibilities.

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Abstract: O? FIRST READING Jack Hodgins’ The Invention of the World one is not sure whether Hodgins is saying that myth ...

Abstract: I: Essay I have always had more sympathy for Nick Kazlik, in Margaret Laurence’s A Jest of God, and Nate ...

Abstract: I? SEEMS GROSSLY CONTRADICTORY to associate a vigorous and volatile enfant terrible of Canadian letters with the subject of death ...

Abstract: MONTREAL IS A GOOD MOTHER for mystics. She presents essences: serenity, brassiness, squalor; slum, cathedral, suburb; glare of neon, gloom ...

Abstract: I, One such project at the Churchill Avenue Public School in North York, Ontario lasted six weeks and the staff ...