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This article was created based on a talk given by Canisia Lubrin with the Black Canadian Studies Association (BCSA) for their 2022 conference, "Black Solidarities, Thought and the Quest for Black Freedom." It engages with the theme of Black solidarities, thought, and the quest for Black freedom, in the interest of recognizing the complexities of its range. In this era of new forms of Black dispersement, the author offers this as a care work in the core character of Blackness. It is a wish for a kind of respite from the ontological over-determinism that bares down on us from all directions, from the restlessness that forms the tenor of our being in this world. [ABSTRACT FROM AUTHOR]

The 1979 Writing in Our Time series became Vancouver's most attended reading series, bringing light to the viability and international status of the city's literary scene. While it has largely been remembered as a celebration of Vancouver's literary culture, more marginalized voices of Vancouver's literary communities have highlighted the series' implications for gay male and female writers in the city. This article considers whose time was actually represented by the Writing in Our Time series. I suggest that while it gave gay men the opportunity to be onstage and speak about their concerns, including the homophobic attacks against bill bissett in the House of Commons that prompted the series, Writing in Our Time provided women limited opportunities to publicly share their work while relying upon their invisible labour to succeed. Through the production of a new socio-cultural history of the series, including an analysis of printed publications, oral histories, and audiovisual documentation of the events, this article demonstrates that Writing in Our Time was catalyzed by attacks on a gay writer, relied on women's invisible labour, showcased the androcentric relations of Vancouver's literary scene, and sparked resistance from feminists to women's peripheral position in the series. I argue that, due to their proximity to or distance from heterosexual white males in power within the scene, the series simultaneously supported gay writers in Vancouver's literary scene and further marginalized women by reinforcing sexist social hierarchies. The effects of these androcentric relations led to greater dialogue about issues affecting gay men within the series and by women about sexism within and outside of the series at that time. [ABSTRACT FROM AUTHOR]

Long dismissed as a "critical error" (Booth 2016) and still capable of inciting "embarrassment palpable" (Watson 2006) among scholars otherwise happy to emphasize the material contexts that inform the circulation of texts, literary tourism has recently become the focus of serious academic inquiry. Recent work has begun to disaggregate the various forms of literary tourist sites (Fawcett and Cormack 2001), but continues to have a methodological gap surrounding the specifically literary aspects of the practice itself, and—with the notable exception of Green Gables (Squire 1992; Devereux 2001)—has left Canada predictably unexamined. This essay begins with a brief introduction to literary tourism in Canada before moving into a comparative analysis of two National Historic Sites associated with Canadian literary authors: the Robert Service cabin in Dawson City, Yukon, and the John McCrae House in Guelph, Ontario. The sites offer a compelling comparison as the former homes of two of the best-known Canadian poets of the early twentieth century whose works have become popularly synonymous with two of Canada's most heavily mythologized eras. The enduring popularity of poems like "The Cremation of Sam McGee" reflect not only Service's central role in mythologizing Canada's north but also a strategic "cultural commoditization" of the area's gold rush heritage (Jarvenpa 1994; Grace 2001), while McCrae's "In Flanders Fields" retains its status not only as the "most popular poem" of the First World War in Canada and beyond (Fussell 2000), but also as a primary example of the ideological function of Great War literature within Canada (Holmes 2005; Gordon 2014). Although the two author houses may initially appear a study in contrasts, I draw on recent work in literary tourist studies to argue they are linked in their function as "materialized fictions" (Hendrix 2008), or concrete interpretative frames that aim to offer tangible evidence of the Canadian myths their former inhabitants helped to fashion. [ABSTRACT FROM AUTHOR]

Long dismissed as a "critical error" (Booth 2016) and still capable of inciting "embarrassment palpable" (Watson 2006) among scholars otherwise happy to emphasize the material contexts that inform the circulation of texts, literary tourism has recently become the focus of serious academic inquiry. Recent work has begun to disaggregate the various forms of literary tourist sites (Fawcett and Cormack 2001), but continues to have a methodological gap surrounding the specifically literary aspects of the practice itself, and—with the notable exception of Green Gables (Squire 1992; Devereux 2001)—has left Canada predictably unexamined. This essay begins with a brief introduction to literary tourism in Canada before moving into a comparative analysis of two National Historic Sites associated with Canadian literary authors: the Robert Service cabin in Dawson City, Yukon, and the John McCrae House in Guelph, Ontario. The sites offer a compelling comparison as the former homes of two of the best-known Canadian poets of the early twentieth century whose works have become popularly synonymous with two of Canada's most heavily mythologized eras. The enduring popularity of poems like "The Cremation of Sam McGee" reflect not only Service's central role in mythologizing Canada's north but also a strategic "cultural commoditization" of the area's gold rush heritage (Jarvenpa 1994; Grace 2001), while McCrae's "In Flanders Fields" retains its status not only as the "most popular poem" of the First World War in Canada and beyond (Fussell 2000), but also as a primary example of the ideological function of Great War literature within Canada (Holmes 2005; Gordon 2014). Although the two author houses may initially appear a study in contrasts, I draw on recent work in literary tourist studies to argue they are linked in their function as "materialized fictions" (Hendrix 2008), or concrete interpretative frames that aim to offer tangible evidence of the Canadian myths their former inhabitants helped to fashion. [ABSTRACT FROM AUTHOR]

This article presents a framework for identifying and analyzing the Newfoundland master narrative, a narrative that is powerful and persistent in Newfoundland literature, its marketing, and its popular and critical reception. This master narrative problematically positions Newfoundlanders as timeless and authentic but also moving inexorably toward loss and disappearance. As a representative case, this narrative is shown to be fundamental to the novels, public persona, and reception of Michael Crummey, one of Newfoundland's most popular and acclaimed writers, focusing on his 2009 novel Galore. Through an analysis of Galore and Crummey's framing authorial comments, the figures, structures, and perspectives that are fundamental to the Newfoundland master narrative are identified. While Crummey's novel does contain diverse characters, and while he has publicly affirmed the diversity of the Newfoundland population, we show that his depiction of diversity ultimately affirms the exclusionary master narrative. And, in this, he is part of a wider tendency, even among those who explicitly critique the Newfoundland master narrative, to overlook its presence, underestimate its power, or use it despite themselves. This interpretive framework is thus intended to expose and to critically engage with the often hidden workings of the Newfoundland master narrative. [ABSTRACT FROM AUTHOR]

The article presents an introduction to this issue of the journal that focuses on French-Canadian literatures.

This article examines how contemporary Québécois literature is worlding itself. The term "worlding" being problematic, its use in this article departs from that of David Damrosch and other scholars who consider literature to be "worlded" when it has been integrated into a canon of literary works from around the world that ought to be, and sometimes are, read. In this study, I focus on the works of literature themselves in order to analyze how they inscribe the "world" through a problematization of history, identity, languages, and, in Wajdi Mouawad's theatre in particular, of time and space. The four plays that make up Mouawad's Sang des promesses cycle are connected through overarching themes such as war and conflict, ruptured family lines, death, and blurred identities, but, more importantly, they are preoccupied with historical and political events suggesting that, regardless of how distant they may be (in time and in space), they nonetheless shape the world now. Thus, the plays show that events such as the Franco-Prussian War of 1870 or the Lebanese Civil War of the 1970s and 1980s have an impact now, even on readers or spectators in Quebec. Mouawad's tetralogy highlights how Quebec is inextricably connected to global concerns and urges that we share the ethical responsibility in creating a world that is less violent. [ABSTRACT FROM AUTHOR]

The objective of the present article is to analyze the representation of Quebec literature in four literary blogs: Littérature du Québec, Passion chronique, le fil rouge and Page par Page. In light of the claims made by the authors of the manifesto "Pour une 'littérature-monde' en français" (Le Bris et al. 2007), we will examine the extent to which the writers of these blogs perceive Quebec literature as a component of the world literary landscape, characterized by esthetic and stylistic diversity beyond the political and ethnocultural compartmentalization of writers. We will also attempt to examine the role of literary blogs, one of the contemporary forms of literary criticism, in promoting and legitimizing literary works in the Quebec literary field, one of the most advanced in the use of new technologies in the service of literature. [ABSTRACT FROM AUTHOR]

The goal of this research is to empirically analyze the constitution of the subsystem of French-Canadian literatures, its inscription in Canadian literature and its relations with the literatures of the world, particularly those geographically and linguistically related to it. Theoretically, it is based on Pierre Bourdieu's concept of a field (1992), on polysystems theory developed by Itamar Even-Zohar (1990) and on scientometrics (de Solla Price 1963). From the methodological viewpoint, we have retrieved from the most important literary database, the Modern Language Association International Bibliography, references that correspond to the different literatures analyzed. The compilation and the analysis of the metadata of these references allowed us, firstly, to map French-Canadian literatures and to describe the diffusion of the critical bibliography. Secondly, we elaborated several indicators in order to study the relations of French-Canadian literatures to, on the one hand, literatures of the Americas, and, on the other hand, francophone literatures. We observed that French-Canadian literatures are characterized by their vitality, their youth, and their relative independence from other systems. We consider that this paper constitutes an illustration of the potentiality of the new observable resources of the digital age, as they may increase our understanding of the configuration and the evolution of the literary systems. [ABSTRACT FROM AUTHOR]

Although Canadian literature was virtually unknown in the USSR during the Cold War era (1945-1991), although few works by Canadian authors were published in Russian translation in the Soviet Union, and there were no critical reviews of these books before the Perestroika period of the 1980s, the Soviet press at times referred to Canadian authors in order to serve its own objectives or rather the objectives of the ruling Communist Party. This article explores how Canadian literature was received in the USSR during the Cold War, what purposes this reception served, and which projected images of Canada can be found in the reviews of Canadian books and articles on Canadian literature published in the Russian language in magazines and newspapers of the time. The monographs on Canadian literature published in the USSR in Russian are also discussed here, to see, among other reasons, if Soviet critics made a distinction between English-Canadian literature and French-Canadian (or Québécois) literature. Finally, this article sets out to examine not only the representations of Canadian literature and Canadian society as conveyed by the Soviet press but also those put forward by Russian researchers of the period in their scholarly monographs. [ABSTRACT FROM AUTHOR]

This essay recuperates Brian Moore's mostly forgotten classic of Canadian immigrant fiction, The Luck of Ginger Coffey (1960), in a reading of its protagonist as a study in the necessary self-renovation of a new Canadian. Employing the scholarly work that has been done on the Irish in Canada over the past few decades, this essay contextualizes its reading of Moore's mid-century novel in a mildly corrective history of Irish immigration to that point. Ginger Coffey will also be seen to prefigure--on the eve of Canada's officially becoming the much-admired multicultural nation it is today--the central question facing Canadians respecting immigration. The unaccommodating setting of Ginger Coffey, its historical contexts, and its compromising immigrant's (Ginger Coffey's) hard-won promise of eventual integration into Canadian society challenge readers to entertain questions about the extent of Canada's tolerance of immigrants' tenaciously mistaken dreams. [ABSTRACT FROM AUTHOR]

This essay demonstrates that, in developing the plot outline and male protagonist of his last novel, Maria Chapdelaine (1914), Louis Hémon repeatedly evoked Pierre Loti's then-popular narrative about Breton fishermen and their community, Pêcheur d'Islande (1886). A Breton himself, Hémon seems to have evoked Loti's male protagonist, Yann Gaos, repeatedly in presenting his own, François Paradis, because such intertextualization allowed him to deal in a new way with the question of a perceived decline of masculinity, an issue that he had treated in several of his previous narratives and that was occupying Western European thought at the time. Such intertextualization also allowed him to address an issue that had been of personal significance to him since his adolescence: the importance of finding a way to be free of the constraints that he believed modern society was trying to impose on men. [ABSTRACT FROM AUTHOR]

Paul Quarrington's novel King Leary utilizes a late-life perspective in a way that questions prevailing ideals of masculinity in the culture of Canadian hockey. Leary's reminiscences of his past athletic prowess betray an abiding appreciation for forms of bodily movement associated with the feminized spheres of figure skating and dance, complicating his attempts to narrate a stable identity that conforms to the ideal of the tough, aggressive hockey player. Leary's ongoing affinity with these forms of movement suggests the possibility of sustaining his identity as an athlete into old age in a way that departs from his customary drive to dominate others. Foregrounding the body as an important site of identity in late life, the text challenges persistent cultural narratives of aging--particularly when accompanied by dementia--as a loss of self. [ABSTRACT FROM AUTHOR]

This essay explores aspects of passion in three Acadian poems, Herménégilde Chiasson's "Rouge" ("Red") which first appeared in Mourir à Scoudouc in 1974, Henri-Dominique Paratte's "Rouge Sang" ("Blood Red") which first appeared in Éloizes: Revue de l'Association des écrivains acadiens in 1984, and " La petite sorcière rouge..." (The little red witch), an excerpt from Dyane Léger's L'incendiaire, published in 2008 in collaboration with Paul Savoie. Although there is a period of 34 years between the publication of the first and last work, and they range in form from the prose poem to lineated free verse, ail three share the leitmotif of the passionate colour red with its many, often opposing, symbolic, historical, and literary associations; the list as a poetic device that incorporates past and present, real and surreal, poetic and political; and finally the love story, which aspires towards a happy ending, however elusive. The red of fire and blood that marked Le Grand Dérangement of 1755 is a testament to the passion o f a people determined to endure. [ABSTRACT FROM AUTHOR]

In 2008, an anthology of Quebec poetry titled 15 Poetas de Quebec came out in Mexico, coedited by Écrits des Forges and Mantis Editores. Two years later, the same anthology was retranslated in Argentina, this time coedited by Leviatân. Of course, the fact that Écrits des Forges circulates the same selection twice in Spanish within such a short time span contributes to establishing a certain canon of Quebec poetry. It remains to be seen however, whether the two Spanish versions present this canon in a similar light or project two different images of it. On the one hand, this essay attempts to identify the characteristic features of Quebec identity as it is portrayed by the poems selected by Écrits des Forges; on the other hand, by analyzing the translation of distinct markers of Quebec French within the selection, the essay explores how the two Spanish versions rendered this image in the target language. [ABSTRACT FROM AUTHOR]

Louis Riel has received much study as a man of politics but little to date as a man of letters. Indeed, only since the publication in 1985 of volume 4 of "The Collected Writings of Louis Riel," under the direction of Glen Campbell, have researchers had access to the founder of Manitoba's entire body of poetic work. The interest in studying the poetic writings of Riel resides primarily in the unique character of a poetic universe in which a temporal world and a spiritual world both coexist and collide. The temporal world was inspired by the difficult circumstances of the Métis people and the personal problems of Louis Riel, while the spiritual one had its roots in Catholic traditions. The poet worked to legitimize his vocation as a prophet by appropriating certain characteristics of the priesthood. [ABSTRACT FROM AUTHOR]

Halfway through Suzette Mayr's 2004 novel "Venous Hum," a number of the central characters are revealed to be cannibalistic vampires, some of whom are reformed and loveable while others are violent and villainous. The novel is funny and satirical with connections to cult horror films and canonical Canadian literature. By reading "Venous Hum" in terms of magic realism and literary cannibalism, this essay focusses on the ways in which Mayr's evocations of vampires and cannibals lead readers towards a politicized questioning of the relationship between perceived differences and official nation-state discourse. This essay thus examines the novel's magic realist monster imagery in relation to racialization and the politics of interpellation, visibility, inclusion, and assimilation in multicultural Canada. Mayr makes ironic use of the colonial resonances of cannibalistic discourse in order to critique the relationship between the nation-state and its varied citizens, and between official multicultural policy and the lived experience of racialization. [ABSTRACT FROM AUTHOR]

The recent inclusion of English-language texts in Quebec literature owes much to the work of Gail Scott and its resonance with the French-language corpus. To date, three of Scott's novels have been published in French translation, which has facilitated their inclusion. Published at approximately 10-year intervals, by a different translator and publisher each time, these translations have employed opposing strategies. Their treatment of multilingualism, Quebec French, and stylistic experimentation has assumed changing forms. Above and beyond the translators' subjectivity, these differences take on greater clarity when related to some trends (and conceptions of translation) specific to Franco-Québécois literature at the time each translation was published. Although these translations do in part reflect the evolution of Scott's work, they shed greater light on the evolution of Franco-Québécois literature. They also show the complementary—and insufficient—role that each existing translation has played in Quebec readers' perceptions of Scott's work. [ABSTRACT FROM AUTHOR]

There exists a preconceived notion that the works of Mordecai Richler have, in francophone Quebec, been tainted by his various essays and articles on linguistic issues and nationalism; however, a review of the history of Richlerian criticism in Quebec yields a better understanding of how existing argumentative mechanisms, articulating the relationships between "us" and the nation, were only strengthened by such polemics. The runaway criticism of the 1980s and 1990s had the paradoxical effect of projecting Richler to the forefront of debates as an antagonistic figure, a role that his defenders subsequently used to attack a restrictive vision of national membership. Rather than resulting from a hybridization or meeting of cultures, the reappropriation of Richler's work by a portion of Quebec critics serves to frame a new conception of what it means to be Québécois. [ABSTRACT FROM AUTHOR]

This essay is a reflection on the essays, articles, prefaces, and interviews of three contemporary anglophone writer-translators from Quebec: Philip Stratford, David Homel, and Gail Scott. Based on the premise that writer-translators maintain a privileged relationship with the space between languages and cultures, which they are bound to explore through translation and writing, the question is to determine the extent to which Stratford, Homel, and Scott have contributed to building an Anglo-Québécois identity and literature since the early 1980s. Their respective discourses on literature and translation, being symptomatic of three different intellectual approaches, reveal, on the one hand, the unstable, plurivocal, and evolving nature of this identity and literature and, on the other, a striking homology between these objects and the translation processes. It is this homology that the essay strives to emphasize. The accent is on the images of multiculturalism and forms of creativity that flow from writer-translators' knowledge of the languages-cultures with/between which they work and the modalities according to which they negotiate the difficult passage separating these two entities. [ABSTRACT FROM AUTHOR]

This essay brings to the forefront the work by Joy Kogawa that preceded and followed her watershed novel "Obasan" (1981), which privileges the perspective of a traumatized child to narrate the internment of Japanese Canadians during and after the Second World War. The objective of the essay is to address an overlooked pattern of repetition and revision that can be traced across these multiple texts—a sequel, "Itsuka / Emily Kato"; a revision for children, "Naomi's Road"; and a thematic follow-up, "The Rain Ascends"—all of which were revisited by Kogawa after their initial publication. Drawing on pivotal work on trauma and memory, the essay considers to what extent Kogawa's larger story of oppression, dispersal, and forgetting is unconcludable. [ABSTRACT FROM AUTHOR]

This essay argues that "As for Me and My House" is very much in need of ecocritical approaches that resist the kinds of cultural marginalization that have long been a part of the Canadian experience. The essay offers a fresh approach to Ross's extensively analyzed novel, beginning with comments about the under-representedness of Canadian regional literature in the burgeoning field of ecocriticism (a field itself robustly American) and then developing a case that the distinctively Canadian context and traditions to which this slightly queer novel responds require a criticism that both differs from the American nature-celebration mode often associated with ecocriticism and addresses the novel's complex representations of social responses to sexuality and to the natural environment. Such an approach reveals that the unpredictability of the land on the one hand and the compulsions of Philip on the other share a kind of theoretical alliance; an ecocritical approach allows us to hear the silenced voices of the land and of Philip, while affirming the importance of continued readings of this very central morsel of Canadian literature. [ABSTRACT FROM AUTHOR]

This essay proposes a new critical approach to modern prairie fiction through a reading of Edward McCourt's self-contradictory criticism and novels. The author re-evaluates McCourt's literary significance and locates his book, "The Canadian West in Fiction," at the beginning of a formative and enduring prairie-realist "school" of criticism with geographical, thematic, and regionalist emphases. This essay suggests that these same theses, ironically, are partly responsible for the neglect of McCourt's own significant fiction, which resists them. These established and influential theses have disconnected prairie writing from larger modern movements and its rarely acknowledged international, psychological, and experimental aspects. [ABSTRACT FROM AUTHOR]

Aritha van Herk's writing—fiction and non-fiction—constitutes one of the defining aspects of Canadian western letters of the last 20 years. Of the multiple Wests at work in her oeuvre, her playful reimaginings of the mythic West / American Wild West (e.g., the romancing of force and violence at the celebrated Calgary Stampede chuckwagon races or her "deconstruction" of the Marlboro Man) have, however, received scant attention from critics. This article will attempt to remedy this critical oversight by exploring the representation of this mythic West as it appears in four of her most recent performance pieces and short stories: "A Fondness for the Bay" (1998), "Washtub Westerns" (2004), "Shooting a Saskatoon (Whatever Happened to the Marlboro Man?)" (2005), and "Leading the Parade" (2006). The author's purpose here is thus to examine the intersection of gender and the West in these less-studied texts, but also to use them as an inspiration for "the poetics of the crossing"—that is, the development of a specifically North American approach to Canadian literature that posits the Canadian imaginary not in deference to but in relation to the American. [ABSTRACT FROM AUTHOR]

The term "Canadian literature" was popularized by early Canadian anthologists who viewed their collections as evidence of the country's coming of age. These editors were driven by a mix of evangelical nationalism, political allegiance, literary alliances, and the desire to profit from shifting perceptions of the country and its literature as Canada moved towards the twentieth century. The representation of Canada that emerges in these formative collections is intimately linked to the conditions surrounding their production, which impacted the anthologies as much as the editor's religious, political, or aesthetic values. These conditions influenced the representation of nation and affected the ways in which readers came to understand the meaning of "country" as a textually constructed ideal. This essay examines seven anthologies of English-Canadian literature published in the nineteenth century in an attempt to determine the kind of values they promoted, the tensions their editors faced, and the extent to which they established canonical norms that would be inherited by their twentieth-century successors. [ABSTRACT FROM AUTHOR]

This essay revisits some of Canada's constitutional and literary history, taking as its starting point the view that the development of Canadian law and literature has been an ongoing process of national self-contemplation. It explores the disjointed nature of both projects, comparing the Privy Council's leading constitutional cases from the turn of the twentieth century with the writings of the same era's leading Canadian literary figure, Stephen Leacock. It observes that Canada's constitutional jurisprudence has historically been characterized more by its fractured quality than its rational synthesis, while its literary output has been characterized more by incompleteness and diversity than by stylistic or thematic unity. In short, it asks whether we can ever really know Mariposa—whether Canadians are capable of a coherent national discourse, or whether they are, as Robertson Davies put it, "just too divided in attitudes and feelings and climates and everything else to have a single outlook that would work in a [constitution/novel] of the whole country." [ABSTRACT FROM AUTHOR]

The author considers literary archives in English Canada today from the points of view of writers, archivists, and scholars. The concept of creative writers as writers of intention is introduced with the suggestion that archivists should adapt archival tools to incorporate writers' intention and capture their relationship to their documents. [ABSTRACT FROM AUTHOR]

The essay will explore the influence of archival selection on the construction of the Canadian literary canon. The author will discuss her experience acquiring the papers of twentieth-century author and journalist Wilfrid Eggleston for Library and Archives Canada. Amongst the Eggleston material were manuscripts by his wife, Magdalena. Writing from the 1940s to the 1970s, Magdalena achieved little critical notice or publishing success. When the Eggleston fonds came to Library and Archives Canada, however, the decision was made to keep her writing as an example of an unsuccessful author's work. This essay will attempt to answer some of the questions raised by this archival selection: does Magdalena's inclusion in Library and Archives Canada's holdings, alongside such prominent authors as Robertson Davies and Carol Shields, change her importance to Canadian literature? Will she one day be "reclaimed" as a great talent by virtue of her work being archived and available for researchers? Finally, does a national heritage institution hold any responsibility in the documentation of the careers of unknown writers? [ABSTRACT FROM AUTHOR]

This article discusses literary archives and Canadian literature in the 21st century. It mentions about the lecture of Jacques Derrida, French literary critic and philosopher, on interest in archives, archival research and archival theory. The article also presents the views of scholars and archivist concerning the area where law and singularity intersect in privilege. It was believed that the use of archives is appropriate to enhance the understanding of Canadian literary culture.

CBC Radio One's "Canada Reads," which aims to select a work of Canadian literature "that all of Canada should read together," was first broadcast as a network special in 2002. This essay undertakes an ideological analysis of the cultural work that "Canada Reads" performs, focussing on the first three series and drawing upon original interviews with the show's producers, listeners, and cultural workers. The authors conceptualize the show as both a mass reading event and a media spectacle that reinforces the "blockbuster culture" of contemporary Canadian literary publishing. They also contend that the model of nation "imagined" by the content of "Canada Reads" is problematically, if predictably, conservative (bilingual and uncritically multicultural); however, the authors position this ideological limitation against the potential for creative resistance produced by the show's multiple modes of delivery. [ABSTRACT FROM AUTHOR]

Focuses on the literary criticisms over the writings of women authors in Canada. Emphasis on the country landscape and populations; Concerns over the use of vernacular speech in the works; Impact of the literary works on politics; Viability of literary influences; Creation of authoritative poetry and fiction.

Examines the revised Canadian literary cartography She Tries Her Tongue, Her Silence Softly Breaks by M. Nourbese Philip. Identification of Western epistemologies; Re-visions of Philip on Greek myth, Christianity, and the English language; Impact of the English language on the social construction of bodies.

Focuses on the work done by the nineteenth-century Canadian writer Sara Jeannette in the 1880s. Reference to her work; Information on her novel `The Imperialist'; Background information on Duncan.

Focuses on how authors Susanna Moodie and Catherine Parr Traill represented First Nations Canadian women as `noble savages' in their works. Description on their accounts; Reference to the contents of their essays; Background information on both authors.

Studies problems of representation and questions about essentialism, social construction, appropriation, voice and agency and implications referring to the work of Sneja Gunew, Edward Said, Francesco Loriggio, Linda Hutcheon and Frank Lentricchia. Authority and authentic voice; Narratives of minority experiences; Problems of representation; Conventions of realism.

Focuses on the linkage of black and Quebecois subjectivities. Nationalist versus liberal debate; Political use of racialized metaphor; marginality of blackness and proletarianized francite in North America; Expedient of demonizing and reifying the range of color on a palette; Chain of verbs supported by the eroticized repetition of the first-person direct and indirect object.

Examines Soviet translations of Canadian writing, concentrating on the translation of English-Canadian literature. Survey of a wide range of authors; Soviet use of the work of Ernest Thompson, Farley Mowat, and David Adams Richards; Evolving history of Soviet discussion of Canadian culture and literature.

Opinion. Focuses on the aspect of writing and culture in the nineteenth-century Canada with reference to the scholar, Mary Lu Macdonald. Lamentation of Macdonald; Information on the authors concerns on the issue on nineteenth-century Canadian writing and culture; What do several essays provide.