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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."

The article discusses the topics of transnationalism and Christianity in early Canadian Western literature and films. Other topics include the modern axis of colonialism in North America, the portrayal of symbolic law enforcers in Canadian Westerns, and the symbolism of the image of the cross based on genre, geography, and religion in Canadian and American films and literature.

This paper engages selected moments in Austin Clarke's literary journey to argue that in spite of his involvement in the development of Canadian literature (CanLit) during the 1960s and 1970s, the Canadian literary establishment continues to pay little critical attention to his contributions. This lack of recognition is specifically evident in recent writings about Canadian literature and the literary figures who spearheaded its development after Canada's Multiculturalism policy of 1971. Canada's becoming officially multicultural required a new narrative of Canada and new literary depictions of Canadians in their national literature, as ethnically diversified but of a single citizenship. I argue that Clarke's legacy as a Black writer should be given more prominence in Canadian institutions because today this legacy is under threat of erasure as the number of Canadian Black voices telling mainstream stories about Black people's experiences is evidently in decline. [ABSTRACT FROM AUTHOR]

An introduction is presented in which the editor discusses about the articles in the issue including essay studies on Robert Kroetsch works like "Gone Indian and New World Myth", "What the Crow Said" and "Alibi and The Puppeteer."

A literary criticism is presented for the book "Alias Grace" by Margaret Atwood. Topics discussed include the epigraphs that precede the novel, which are taken from works by authors William Morris, Emily Dickinson, and Eugene Marais, the role of murder in the novel, and the use of hypnosis in the novel.

Missionaries played a significant role in presenting China to a French Canadian audience. Whatever the "heritage" missionaries in French Canada left before 1960, China was undoubtedly their greatest effort and it did leave a historical legacy. Despite the cultural gap, French Canadian literature focused on China because of the historic Jesuit links, the Sainte-Enfance [Holy Childhood], and missionaries who brought two distant cultures into contact. Even though Quebec secularized during the 1960s, the China endeavor maintained avid French Canadian interest in China to the present day. [ABSTRACT FROM AUTHOR]

In The T.E. Lawrence Poems (1982), the Canadian poet Gwendolyn MacEwen writes in the voice of the man also widely known as Lawrence of Arabia to consider the extent of her identification with him and to raise questions about their relative cultural standing. Identifying with Lawrence both as a fan and as a celebrity of lesser degree, she implies in the end that both of them owe their celebrity to appropriation of Middle Eastern culture. She accomplishes her critique through artistic passing. She could not pass as Lawrence in the flesh, but by imitating his voice so accurately, and by using many uncredited phrases from the historical Lawrence in her book, MacEwen begins to pass for him. When she modifies his descriptions, the extent of her identification with him becomes more apparent than it was. Ultimately, she asserts her difference from him in a postcolonial feminist critique related to her identity as a Canadian poet in the 1970s, when some Canadian poets had recently emerged as celebrities. [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 examines one aspect of Canada's early cultural diplomacy. During the late 1940s, the Department of External Affairs frequently received requests for Canadian books from foreign libraries. At the same time, many officials were eager to promote Canadian culture abroad. The Annual Book Presentation Programme was inaugurated with the intention of creating “repositories of Canadiana” which might stimulate interest in Canada among foreign readers. Although the budget for the program was always modest, over the years the department's book gifts did fulfill their aim, creating a basis for the later growth of Canadian studies in universities abroad. [ABSTRACT FROM AUTHOR]

Drawing upon recent anthropological scholarship for a general theory of production, exchange, and valuation, this essay seeks to understand cultural appropriation, in a consequential but not exclusive way, as an ambivalent process whereby the norms and practices of imperialist society may be challenged by modern writers whether of Native or non-Native heritage. The examples of Emily Cart, Marius Barbeau, and Pauline Johnson (Tekahionwake) here illuminate a basic set of relationships between modernism, imperialism, and nationalism.

The article draws on research conducted in Britain and Canada into representations of the Inuit in juvenile non-fiction. Through the examination of text and pictorial representations in reference books, and geographical and historical non-fiction, attention is drawn to the continuing prevalence of a wide range of stereotypes. With the help of a discussion group of Inuit and other residents of the Arctic, key issues are confronted and strengths and weaknesses of a variety of representations identified. The article concludes by recommending various approaches that would result in a more balanced image of the Inuit, and by analogy, of other indigenous people worldwide. [ABSTRACT FROM AUTHOR]

Discusses the place of Canadian literature in the 21st century. Details on Canadian literature in the latter part of the twentieth century; Technological developments that influenced the production of literature in the late twentieth century; Characteristics of Canadian literature as an academic field.

Introduces a series of articles on Canadian literature.

Talks about the bad multiplicity in Canadian literature. Assumption in critical practice regarding Canadian literature; Definition of bad multiplicity; Analysis of the history of Canadian sociability.

Focuses on the Canadian obsession with the North, which informs its literature and criticisms alike. Canadian literature's resistance to Romanticism; Reference to Wiebe's work `A Discovery of Strangers'; Technologies often brought to the fore in accounts of the North; Reason why northern expeditions continually emphasize technology.

This editorial discusses the author's belief that good writing will reflect good listening. There was an absence of Canadian literature in the author's childhood and public school education. Her only exposure to a Canadian author was when her sixth-grade teacher would read to them a bit of Ernest Thompson Seton. Writing is meant to be a listening experience. A reader "listens" to what an author is saying, and, then learns from that information. She continues by discussion the goals of the journal.

Presents the author's comparison of the American, British and Canadian literary fiction. Author's description of American fiction, her fears and frustration; Analysis on Canadian literature as being different from American.