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This study highlights the significance of literature to Expo 67 and the tradition of world exhibitions. Like the world's fairs before it, the Montreal exhibition promoted literature as a technology of national progress. Yet Expo 67 reflected simultaneously the contemporary anxieties about technology and nationhood expounded by George Grant in the 1960s in contrast with the celebration of nationalism and technological progress bound together in the tradition of world's fairs. Though world's fairs had depicted the educational utility of literature throughout their tradition, Expo 67 emphasized literature more than any world exhibition had to that point. Its theme, Terre des hommes, drawn from Antoine de Saint-Exupéry's autobiographical narrative, its literature conferences and poetry performances, and the broader textuality of Expo 67 as a "total environment" were intended to deploy texts in promotion of the ideals of universal humanism. However, I find that poetry performances by Michèle Lalonde, George Clutesi, and Duke Redbird contradicted the event's stated ideals by spotlighting the negative effects of technology and ongoing colonial violence. I argue further that large-scale literature exhibits at Expo 67 resisted the humanist ideals of the event by continuing the world exhibition convention of treating literary works as an educative technology of national progress. As a result, I find that Canadian literature at Expo 67 complicates the Canadian collective memory of the event and the 1967 Centennial Year. [ABSTRACT FROM AUTHOR]

The article provides an overview of Canadian fiction that challenge readers to expand their understanding of pertinent issues and contemplate new ways of telling stories. Topics include how emerging authors are experimenting with pathos and tragicomedy, theorization of romance and speculative forms, and the romanticization of analogue technology and urban settings.

The article offers information on various books on drama. Some of the drama books include "Redheaded Stepchild," by Johnnie Walker; "Black Dog: 4 Vs the Wrl," by Matthew Heiti; "I Am for You," by Mieko Ouchi; "Sultans of the Street," by Anusree Roy; and "My Family and Other Endangered Species," by Ellen Close and Braden Griffiths.

The article informs presents critical review of featured texts organized into sections on literary experiments, feminist fiction and literary short fiction. It also analyzes broader patterns in emerging Canadian fiction and suggest how texts contribute to an emerging experimentalism. It is evident that heightened thematic interest was demonstrated by authors in feminism and many writers pursued creative means to take issues associted with patriarchy.

The article informs that five novels were published in 2016 from all areas of Canada. It is noted outstanding novel of this year is Madeleine Thien's third novel, "Do Not Say We Have Nothing." It also discusses several other novels of Thien and their theme of Thine. It is stated that second novel of Thine "Dogs at the Perimeter" deals with the Cambodian genocide of the 1970s and long periods of Chinese unrest.

The article discusses the literary movement in Canada and its impact on its poetry and literature category. Topics include work done in books "The Winds of War," "Roots" and "The Thorn Birds"; work done by authors such as Anne Carson's "Short Talks," Michael Crummey's "Hard Light," and Marilyn Dumont's "; and work of John Thompson in "Collected Poems and Translations."

The article offers information on the trend in literary translations in Canada. Topics discussed include the Governor General's Literary Awards for translations, the lack of literary translators in the country, and the francophone translators in the country. Also mentioned are several translators such as Sheila Fischman, Donald Winkler, and Linda Gaboriau.

The article deals with the use of the short story form in Canadian literature. According to the author, there is an inherent moral and epistemological subversiveness to the short story form in which everything counsels or seeks completion and closure. An effective short story sequence features a texture based on silhouetting instead of repetition. The author claims that Ireland's interest in oral tradition and Canada's love for the hybrid and aversion to the ideological and monolithic are possible causes that strengthen the short story form.

Presents a literary criticism of Canadian fiction. Themes of fiction; Overview of Nancy Histon's fiction "Dolce Agonia"; Narrator of Jane Barker Wright's "The Understanding"; Collection of short fiction of Tama Dobozy in "When X Equals Marylou"; Exploration of the alien in the lived experience in Uma Parameswaran's "Mangoes on the Maple Tree."

Focuses on the translation of Canadian literature. Canadian literature translators; Several novels and their translations; Comparison of several literary translations.

Discusses the trend that English-Canadian fiction authors are frequently having their work translated and published in France where they have gained critical recognition and a wide readership. Directions in French-to-English translation in Canada, particularly in the area of fiction; Observations of Francine Bordeleau concerning English-to-French translation which merits further attention in that, by way of contrast, they highlight the significance of the volume and range of French language works translated and published in Canada.

Discusses how false dichotmies abound in Canadian poetry, which is neither dual nor monolithic, but offers a variety of strategies, options, and resources to the poet. How these options most appeal to an individual writer is probably more dependent on the make-up of the writer's psyche than it is on allegiance to critical theory; Suggestion that perhaps the best poetry being written today is that which, whatever the direction towards which it is inclined, fully relinguishes none of its poetic resources.