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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 article focuses on the chapter "The Future(s) of Indigenous Horror: Moon of the Crusted Snow" from open access resource CanLit Guides which focuses on horror of Indigenous with examination of novel of author Waubgeshig Rice. Topics discussed include book "Moon of the Crusted Snow" by Rice which discusses Indigenous genre fiction, pedagogy of the chapter focused on indigenous scholarship and knowledge, and prominence gained by Indigenous fiction in Canadian literary pedagogy.

In the article, the author discusses the Western genre in the Canadian literary market in the 21st century. Other topics include the importance of cultural studies like literature and films in influencing how to protect the environment and how to shift away from plastics and fossil fuels, and the focus on some novels like "The Outlander," "The Sisters Brothers," and "Saltwater Cowboys."

As defined by Georg G. Iggers and promoted by Hayden White, the postmodern challenge of historiography calls into question the objective enquiry and truth value of history writing. Many works of fiction have embodied this trend, embracing the challenge by exploring objectivity and the retrievability of the past. In contemporary Canadian literature, such cases are also to be found. The novel Weird Sister (1999) by Kate Pullinger thematizes history and history writing, utilizes Gothic elements, and employs the elements of historiographic metafiction, e.g. as characterized by Linda Hutcheon. The book features characters representing the so‐called silent voices whose testimony had remained lost in the official historical record. This paper aims to show that the depiction of the impossibility of uncovering the truth about the past represents a significant contribution by contemporary fiction authors to the postmodern challenge of historiography, with Pullinger’s novel emerging as a notable contribution to this discourse. [ABSTRACT FROM AUTHOR]

This paper reads Black Canadian literary fiction for what it reveals about the ironic place of blackness in Canadian universities. It weaves together this literary analysis with the author's first-person account of classroom practice in order to illuminate the risks involved for Black scholars and students currently teaching, learning, and producing knowledge within Canadian institutional structures. [ABSTRACT FROM AUTHOR]

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.

Diaries imply true confessions, and readers wish to believe Daisy Flett’s life story in Carol Shields’s Pulitzer Prize-winning novelThe Stone Diaries(1994), but her layered narration, alternating first- and third-person narrative, proves problematic. “Death,” the final chapter, is particularly puzzling, as third-person accounts of Daisy’s demise are punctuated by her comments, such as, “I’m still in here” (320). But how does a first-person narrator relate her own death? The secret to Daisy’s death narrative, as David Williams observes, is the correspondence between Shields’s postmodernist gem,The Stone Diaries, and Laurence’s modernist masterpiece,The Stone Angel(1964), published three decades earlier, as Shields’s title clearly references Laurence’s. Two decades after Williams’s insightful essay, we can extend the parallels (and delineate the differences) between the two—and explore their implications. Such intertextual resonance illustrates Shields challenging the borders between fiction and biography and parodying canonical texts. [ABSTRACT FROM PUBLISHER]

This essay examines the phenomenon of crossover fiction, that is, fiction that crosses from child to adult or adult to child audiences. Crossover literature may be addressed to a mixed-age audience by the author and / or publisher, or it may initially be written and / or published for a particular audience and subsequently appropriated by another in a process of 'cross-reading.' Various types of crossover fiction are examined : adult-to-child crossover fiction, rewritings for a different audience and child-to-adult crossover fiction. In addition, this article looks at the significant role that publishers and marketing strategies play in what is largely a marketing phenomenon. Crossover fiction has been seen by some as an essentially European phenomenon, but it is in fact an important, widespread and expanding global trend, as demonstrated in the author's book Crossover fiction: global and historical perspectives (2009). This essay uses examples from a Canadian corpus to explore the global phenomenon of crossover fiction. [ABSTRACT FROM AUTHOR]

This article explores the nature of nationalistic identity and its effect on international literature translations. The translating errors of Hannah Josephson seen in "The Tin Flute," based on the book "Bonheur d'occasion," by Gabrielle Roy, are analyzed. The author suggests that through translating language, the national ideals and worldviews of the writer and translator come to effect each other and the work.

This article explores the depictions of the Canadian urban poor and the effects of negative capitalist "progress," in the novel "La Rivière sans repos," by Gabrielle Roy. The central focus of the Inuit population and their portrayal as being fatigued and impoverished is examined from a literary and economic perspective.

This article explores the literary depictions of urban life and community interaction in a defined social space, particularly in the mountains of Montreal, Quebec. The metaphorical paradigm put forth by writer Michel de Certeau in his book "The Practice of Everyday Life," describing urban space as an "invisible text," is applied to several other examples of Canadian fiction.

This article focuses on the work of Canadian writer Guy Vanderhaeghe. The author discusses ways that Vanderhaeghe has used themes from the Bible in his works of fiction. The article presents passages from several of Vanderhaeghe's work and mentions an interview with the author that was conducted in 1984 in which Vanderhaeghe mentioned the influence of the Bible on his literary work.

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 literature in Western Canada. Distinction between fictions of the Canadian West by Canadian and British writers; Analysis on the construction of work; Construction of masculinist vision texts.

Discusses the interest of critics in Canada on stories about animals. Views about animal stories made by Margaret Atwood; Comment of Atwood on the traits of animal stories by writers in Canada.

Discusses the impact of the reprinting of the novel `As for Me and My House,' by Sinclair Ross in 1957 to the literature in Canada. Comments on the characters of the novel; Theme of the novel.