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This collection of essays studies the cultural and literary contexts of narrative texts produced in English Canada over the last forty years. It takes as its starting point the nationalist movement of the 1960s and 70s, when the supposed absence or weakness of a national sense became the touchstone for official discourses on the cultural identity of the country. That type of metaphor provided the nation with the distinctive elements it was looking for and contributed to the creation of a sense of tradition that has survived to the present.
In the decades following the 1970s, however, critics, artists, and writers have repeatedly questioned such a model of national identity, still fragile and in need of articulation, by reading the nation from alternative perspectives such as multiculturalism, environmentalism, (neo)regionalism, feminism, or postcolonialism. These contributors suggest that the artistic and cultural flowering Canada is experiencing at the beginning of the twenty-first century is, to a great extent, based on the dismantlement of the images constructed to represent the nation only forty years ago. Through their readings of representative primary texts, their contextual analysis, and their selected methodological tools, the authors offer a tapestry of alternative approaches to that process of dismantlement. Together, they read as an unruly Penelopiad, their unravelling readings self-consciously interrogating Canada’s (lack of) ghosts.

Unsettled Remains: Canadian Literature and the Postcolonial Gothic examines how Canadian writers have combined a postcolonial awareness with gothic metaphors of monstrosity and haunting in their response to Canadian history. The essays gathered here range from treatments of early postcolonial gothic expression in Canadian literature to attempts to define a Canadian postcolonial gothic mode. Many of these texts wrestle with Canada’s colonial past and with the voices and histories that were repressed in the push for national consolidation but emerge now as uncanny reminders of that contentious history. The haunting effect can be unsettling and enabling at the same time.
In recent years, many Canadian authors have turned to the gothic to challenge dominant literary, political, and social narratives. In Canadian literature, the “postcolonial gothic” has been put to multiple uses, above all to figure experiences of ambivalence that have emerged from a colonial context and persisted into the present. As these essays demonstrate, formulations of a Canadian postcolonial gothic differ radically from one another, depending on the social and cultural positioning of who is positing it. Given the preponderance, in colonial discourse, of accounts that demonize otherness, it is not surprising that many minority writers have avoided gothic metaphors. In recent years, however, minority authors have shown an interest in the gothic, signalling an emerging critical discourse. This “spectral turn” sees minority writers reversing long-standing characterizations of their identity as “monstrous” or invisible in order to show their connections to and disconnection from stories of the nation.

Children’s books seek to assist children to understand themselves and their world. Unsettling Narratives: Postcolonial Readings of Children’s Literature demonstrates how settler-society texts position child readers as citizens of postcolonial nations, how they represent the colonial past to modern readers, what they propose about race relations, and how they conceptualize systems of power and government.
Clare Bradford focuses on texts produced since 1980 in Canada, the United States, Australia, and New Zealand and includes picture books, novels, and films by Indigenous and non-Indigenous publishers and producers. From extensive readings, the author focuses on key works to produce a thorough analysis rather than a survey. Unsettling Narratives opens up an area of scholarship and discussion—the use of postcolonial theories—relatively new to the field of children’s literature and demonstrates that many texts recycle the colonial discourses naturalized within mainstream cultures.

Selected by Choice as one of the outstanding publications for 1991.

Are risk debates disputes between those who accept the findings of science and those who do not? Between good and bad science? Or is it possible that opposing assessments of risk, by scientific experts as well as ordinary citizens, reflect and are guided by dominant values held by the assessors? The following analysis of one of these debates supports the latter view. In it we suggest what those dominant values are, how they work within a risk assessment, and some implications of reconceiving risk debates as primarily debates about values.

One of the most widely read German authors in the world, Hermann Hesse (1877-1962) won the Nobel Prize for Literature in 1946. After his death, his novels enjoyed a revival of popularity, becoming a staple of popular religion and spirituality in Europe and North America.
Veneration and Revolt: Hermann Hesse and Swabian Pietism is the first comprehensive study of the impact of German Pietism (the religion of Hesse’s family and native Swabia) on Hesse’s life and literature. Hesse’s literature bears witness to a lifelong conversation with his religious heritage despite that in adolescence he rejected his family’s expectation that he become a theologian, cleric, and missionary.
Hesse’s Pietist upbringing and broader Swabian heritage contributed to his moral and political views, his pacifism and internationalism, the confessional and autobiographical style of his literature, his romantic mysticism, his suspicion of bourgeois culture, his ecumenical outlook, and, in an era scarred by two world wars, his hopes for the future. Veneration and Revolt offers a unique perspective on the life and works of one of the twentieth century’s most influential writers.

Verse and Worse: Selected and New Poems of Steve McCaffery 1989–2009 presents texts from the last two decades of work by Steve McCaffery, one of the most influential and innovative of contemporary poets. The volume focuses on selections from McCaffery’s major texts, including The Black Debt, Theory of Sediment, The Cheat of Words, and Slightly Left of Thinking, but also features a substantial number of previously ungathered poems. As playful as they are cerebral, McCaffery’s poems stage an incessant departure from conventional lyrical and narrative methods of making meaning. For those encountering McCaffery’s work for the first time as well as for those who have followed the twists and turns of his astonishingly heterogeneous poetic trajectory over the past four decades—this volume is essential reading.

When the video camera first appeared on the market, artists hailed the newly available equipment as the new pencil, the better canvas, the best eye of all. The medium was exciting and revolutionary: low-cost and low-tech; “everybody” was curious as galleries and museums hastened to program new video works in festivals and exhibitions. However, little aesthetic or critical material was available on either artists or issues: it was generally assumed that artists’ video was just some kind of wannabe television — its concerns and achievements, and its relationship to the visual arts generally were too often undervalued. But video artists continued to explore and advance in the medium and works produced in the seventies are strikingly different from those of today.
Videotexts is an invaluable collection of essays — a comprehensive guide to Canadian video artists and their works. The essays focus on important individual tapes and artists and on the development of narrative forms: to construct meaning and confirm memory. Revised and updated, they offer a “present-tense” assessment of key works from the last twenty-five years, and of artists’ ideas and processes as they were unfolding. Everyone interested in video and contemporary art and culture will want to read them.

On the morning of April 9, 1917, troops of the Canadian Corps under General Julian Byng attacked the formidable German defences of Vimy Ridge. Since then, generations of Canadians have shared a deep emotional attachment to the battle, inspired partly by the spectacular memorial on the battlefield. Although the event is considered central in Canadian military history, most people know very little about what happened during that memorable Easter in northern France.

Vimy Ridge: A Canadian Reassessment draws on the work of a new generation of scholars who explore the battle from three perspectives. The first assesses the Canadian Corps within the wider context of the Western Front in 1917. The second explores Canadian leadership, training, and preparations and details the story of each of the four Canadian divisions. The final section concentrates on the commemoration of Vimy Ridge, both for contemporaries and later generations of Canadians.

This long-overdue collection, based on original research, replaces mythology with new perspectives, new details, and a new understanding of the men who fought and died for the remarkable achievement that was the Battle of Vimy Ridge.

Co-published with the Laurier Centre for Military, Strategic and Disarmament Studies

Violence against Indigenous women in Canada is an ongoing crisis, with roots deep in the nation’s colonial history. Despite numerous policies and programs developed to address the issue, Indigenous women continue to be targeted for violence at disproportionate rates. What insights can literature contribute where dominant anti-violence initiatives have failed?

Centring the voices of contemporary Indigenous women writers, this book argues for the important role that literature and storytelling can play in response to gendered colonial violence. Indigenous communities have been organizing against violence since newcomers first arrived, but the cases of missing and murdered women have only recently garnered broad public attention. Violence Against Indigenous Women joins the conversation by analyzing the socially interventionist work of Indigenous women poets, playwrights, filmmakers, and fiction-writers. Organized as a series of case studies that pair literary interventions with recent sites of activism and policy-critique, the book puts literature in dialogue with anti-violence debate to illuminate new pathways toward action.

With the advent of provincial and national inquiries into missing and murdered Indigenous women and girls, a larger public conversation is now underway. Indigenous women’s literature is a critical site of knowledge-making and critique. Violence Against Indigenous Women provides a foundation for reading this literature in the context of Indigenous feminist scholarship and activism and the ongoing intellectual history of Indigenous women’s resistance.

Vladimir Solov’ev and the Knighthood of the Divine Sophia tells how at the turn of the century an intimate alliance of philosophers, poets and theologians discovered the incarnation of their aspirations for a spiritually transformed world in the symbol of Sophia, the Divine Wisdom of God.

Under her various aliases as the Divine Feminine, the Wisdom Clothed in the Sun and the Beautiful Lady, this feminine archetype usurped the traditional role of Christ as the mediator between heaven and earth. She was, however, primarily the inspiration of the Russian philosopher-poet, Vladimir Solov’ev (1853–1900), who created of her the cornerstone for both his metaphysical and aesthetic systems.

This spiritual courtship of the Divine Sophia deeply patterned the literary works and interrelationships not only of such prominent symbolist writers as Aleksandr Blok and Andrej Belyj, but brought to light religious eccentrics like Anna Schmidt in a scandalous fashion. Sophia’s influence ranged far beyond the narrower confines of literature and eventually provoked one of the most fascinating debates within the modern émigré Russian Orthodox Church through the offices of Sergej Bulakov, an apparent student of Solovev’s Sophiology.

“Every time we raise our voices, we hear echoes.” Jo-Anne Elder, from the Foreword
Through short stories, journal entries and poetry, the women in Voices and Echoes explore the changing landscape of their spiritual lives. Experienced writers such as Lorna Crozier, Di Brandt and Ann Copeland, as well as strong new voices, appear to speak to each other as they draw from a wealth of personal resources to find a way to face life’s questions and discover meaning in their lives.
There is something familiar about these stories and poems — they echo those we’ve heard before and those we’ve half forgotten. Whether they search for a voice in a world where men monopolize or journey into painful memories to free the self from the past, they do not despair, they do not end. Individual entries become the whole story — an unending story of rebirth and reaffirmation.
The book begins with an illuminating foreword that introduces readers to the cultural and philosophical background of many of the stories, and concludes with the reflections of scholars, writers and artists that are intended to provoke further discussion.

Co-published with the Institute of Communication Agencies

Every few years, business is galvanized by a new concept. Accountability is the latest idea in the spotlight. It’s a huge topic, and in the broadest sense embraces ethics, corporate governance, and all the issues spawned by the recent spate of business scandals. Vulcans, Earthlings and Marketing ROI deals with a more pragmatic aspect: the accountability behind the question “Are our investments in marketing and advertising sensible and successful, short and long term, from a business point of view?”

In Part 1 the authors establish that finance, marketing, and advertising share common ground in the value of brands. Part 2 reviews the evidence for the business impact of marketing and advertising, summarizing key research and practical experience. Part 3 outlines what it takes to build an accountability culture and profiles some techniques that are useful for framing and measuring the business impact of marketing and advertising investment. The book is intended for anyone with an interest in accountability as it applies to short- and long-term marketing effort.

“The most we can hope for is that we are paraphrased correctly.” In this statement, Lenore Keeshig-Tobias underscores one of the main issues in the representation of Aboriginal peoples by non-Aboriginals. Non-Aboriginal people often fail to understand the sheer diversity, multiplicity, and shifting identities of Aboriginal people. As a result, Aboriginal people are often taken out of their own contexts.

Walking a Tightrope plays an important role in the dynamic historical process of ongoing change in the representation of Aboriginal peoples. It locates and examines the multiplicity and distinctiveness of Aboriginal voices and their representations, both as they portray themselves and as others have characterized them. In addition to exploring perspectives and approaches to the representation of Aboriginal peoples, it also looks at Native notions of time (history), land, cultures, identities, and literacies. Until these are understood by non-Aboriginals, Aboriginal people will continue to be misrepresented—both as individuals and as groups.

By acknowledging the complex and unique legal and historical status of Aboriginal peoples, we can begin to understand the culture of Native peoples in North America. Until then, given the strength of stereotypes, Native people have come to expect no better representation than a paraphrase.

Can war ever be just? By what right do we charge people with war crimes? Can war itself be a crime? What is a good peace treaty?
Since the Cold War ended in the early 1990s, many wars have erupted, inflaming such areas as the Persian Gulf, Central Africa and Central Europe. Brutalities committed during these conflicts have sparked new interest in the ethics of war and peace.
Brian Orend explores the ethics of war and peace from a Kantian perspective, emphasizing human rights protection, the rule of international law and a fully global concept of justice. Contending that Kant’s just war doctrine has not been given its due, Orend displays Kant’s theory to its fullest, impressive effect. He then completely and clearly updates Kant’s perspective for application to our time.
Along the way, he criticizes pacifism and realism, explores the nature of human rights protection during wartime, and defends a theory of just war. He also looks ahead to future developments in global institutional reform using cases from the Persian Gulf War, Somalia, Bosnia, and Rwanda to illustrate his argument.
Controversial and timely, perhaps the most important contribution War and International Justice: A Kantian Perspective makes is with regard to the question of justice after war. Orend offers a principled theory of war termination, making an urgent plea to reform current international law.

Lexi, a young Mennonite woman from Saskatchewan, comes to work as housekeeper and nanny for a doctor’s family in Waterloo, Ontario, during the Great Depression.

Dr. Gerald Oliver is a handsome philanderer who lives with his neurotic and alcoholic wife, Cammy, and their two children. Lexi soon adapts to modern conveniences, happily wears Cammy’s expensive cast off clothes, and is transformed from an innocent into a chic urban beauty. When Lexi is called home to Saskatchewan to care for her dying mother, she returns a changed person.

At home, Lexi finds a journal written by her older brother during the family’s journey from Russia to Canada. In it she reads of a tragedy kept secret for years, one hat reconciles her early memories of her mother as joyful and loving with the burdened woman she became in Canada. Lexi returns to Waterloo, where a crisis of her own, coupled with the knowledge of this secret, serves as the catalyst for her realization that, unlike her mother, she must create her own destiny.

Watermelon Syrup is a classic bildungsroman: the tale of a naive young woman at the crossroads of a traditional, restrictive world and a modern one with its freedom, risks, and responsibilities.

We All Giggled tells the stories of two families that came together when the author’s parents met and married in 1945. The Hüglins had lost most of their fortune in the course of two world wars, and the Wachendorff s had survived the Nazi years despite their Jewish ancestry. The families’ roots are traced back to a vineyard in southern Germany, a jail in Geneva, the Conservatory in St. Petersburg, and the hometown of a Jewish merchant in Silesia.

This engaging book centres on the author’s recollections of his grandparents, his parents, and his own growing up in postwar Germany in an environment of bourgeois stability and comfort. As the author chronicles his family’s ups and downs and abiding love for music, food, and art across several generations, a rich tapestry of anecdotes unfolds—about opera singers, restaurants, and travels, and about family relations, romance, and the kind of “impromptu reactions to people, places, and situations that often result in uncontrollable giggles.”

Loretta Czernis applies her sociological training in document analysis to study one government prescription for what ails Canadians. The Report of the Task Force on Canadian Unity rewrote Canada by reinventing patriotism, essentially inviting Canadians to imagine a new Canada. The Report itself is the product of what she calls the “federal writing machine” which exists to continually rewrite and thus reinvent Canada. Czernis’ contextual reading of the Report occurs on two levels: reading technically, she examines the Report’s anonymous writing style that asks readers to imitate its own conclusions (be patriotic, buy a flag, shop at home). Gestural reading invites reading as performance. Canadians are invited to participate in reshaping Canada by reading Canada allegorically, as a social body, capable of changing its form. What a document may intend is not always the same as what is read into it. Mistakes can and do occur in the reading. Czernis suggests that these “mistakes” constitute a significant form of resistance to the anonymous writing machine. Weaving a Canadian Allegory will be of special interest to Canadianists, sociologists and to those involved in cultural, political and textual studies.

Weaving Relationships tells the remarkable, little-known story of a movement that transcends barriers of geography, language, culture, and economic disparity.
The story begins in the early 1980s, when 200,000 Maya men, women, and children crossed the Guatemalan border into Mexico, fleeing genocide by the Guatemalan army and seeking refuge. A decade later, many of the refugees returned to their homeland along with 140 Canadians, members of “Project Accompaniment”. The Canadians were there, by their side, to provide companionship and, more significantly, as an act of solidarity.
Weaving Relationships describes the historical roots of this solidarity focusing on the Maya in Guatemala. It relates the story of “Project Accompaniment” and two of its founders in Canada, the Christian Task Force on Central America and the Maritimes-Guatemala “Breaking the Silence” Network. It reveals solidarity’s impact on the Canadians and Guatemalans whose lives have been changed by the experience of relationships across borders. It presents solidarity not as a work of charity apart from or “for” them but as a bond of mutuality, of friendship and common struggle with those who are marginalized, excluded, and impoverished in this world.
This book speaks of a spirituality based on community and justice, and challenges the church to move beyond its preoccupation with its own survival to solidarity with those who are suffering. It is a book about hope in the face of death and despair.

First comprehensive study of John Weinzweig (1913–2006), the pre-eminent Canadian composer of his generation, with essays by composers, theorists, and musicologists. Includes a CD of extracts.

Influenced by European modernists such as Stravinsky, Berg, and Webern, Weinzweig was the first Canadian composer to employ serialism, thereby bringing a spirit of innovation to mid-twentieth-century Canadian music. A forceful advocate for modern Canadian composition, Weinzweig played a key role in the founding of the Canadian League of Composers and the Canadian Music Centre during a buoyant and expansive period for the arts in Canada. He was an influential force as a teacher of composition, first with the Royal Conservatory of Music and later with the University of Toronto’s music faculty.


This first comprehensive study of Weinzweig since his death consists of new essays by composers, theorists, and musicologists. It deals with biographical aspects (the social context of early-twentieth-century Toronto, his activism, his teaching, his early scores for CBC Radio dramas), analyzes his compositional processes and his output (his approach to serialism, his instrumental practice, the presence of jazz elements, the vocal works, the divertimenti), and examines various evaluations of his music (his own – in letters, interviews, talks, and writings – plus those of critics and scholars, of listeners, and of performers). The essays are framed by the co-editors’ portrait/assessment of Weinzweig and a brief personal memoir. Much of the content draws on new research in the extensive Weinzweig Fonds at Library and Archives Canada in Ottawa.


Included at the end of the book are a List of Works by John Weinzweig by Kathleen McMorrow and a Discography by David Olds. Supplementing the volume is an audio CD of extracts (some in their first public release), ranging from a 1937 student work to a song cycle of 1994.

Sonja Boon’s heritage is complicated. Although she has lived in Canada for more than 30 years, she was born in the UK to a Surinamese mother and a Dutch father. An invitation to join a family tree project inspired a journey to the heart of the histories that have shaped her identity, as she sought to answer two questions that have dogged her over the years: Where does she belong? And who does she belong to?

Boon’s archival research—in Suriname, the Netherlands, the UK, and Canada—brings her opportunities to reflect on the possibilities and limitations of the archives themselves, the tangliness of oceanic migration, histories, the meaning of legacy, music, love, freedom, memory, ruin, and imagination. Ultimately, she reflected on the relevance of our past to understanding our present.

Deeply informed by archival research and current scholarship, but written as a reflective and intimate memoir, What the Oceans Remember addresses current issues in migration, identity, belonging, and history through an interrogation of race, ethnicity, gender, archives and memory. More importantly, it addresses the relevance of our past to understanding our present. It shows the multiplicity of identities and origins that can shape the way we understand our histories and our own selves.

Sonja Boon’s heritage is complicated. Although she has lived in Canada for more than 30 years, she was born in the UK to a Surinamese mother and a Dutch father. An invitation to join a family tree project inspired a journey to the heart of the histories that have shaped her identity, as she sought to answer two questions that have dogged her over the years: Where does she belong? And who does she belong to?

Boon’s archival research—in Suriname, the Netherlands, the UK, and Canada—brings her opportunities to reflect on the possibilities and limitations of the archives themselves, the tangliness of oceanic migration, histories, the meaning of legacy, music, love, freedom, memory, ruin, and imagination. Ultimately, she reflected on the relevance of our past to understanding our present.

Deeply informed by archival research and current scholarship, but written as a reflective and intimate memoir, What the Oceans Remember addresses current issues in migration, identity, belonging, and history through an interrogation of race, ethnicity, gender, archives and memory. More importantly, it addresses the relevance of our past to understanding our present. It shows the multiplicity of identities and origins that can shape the way we understand our histories and our own selves.

Examines computer hackers, phone phreaks, urban explorers, calculator and computer collectors, “CrackBerry” users, whistle-blowers, Yippies, zinsters, roulette cheats, and chess geeks. The dangers and joys of struggles for autonomy are underlined in studies of RIM’s BlackBerry and Julian Assange’s WikiLeaks website.
When Technocultures Collide provides rich and diverse studies of collision courses between technologically inspired subcultures and the corporate and governmental entities they seek to undermine. Gary Genosko analyzes these practices for their remarkable diversity and their innovation and leaps of imagination. He assesses the results of a number of operations, including the Canadian stories of Mafiaboy, Jeff Chapman of Infiltration, and BlackBerry users.
The author provides critical accounts of highly specialized attributes, such as the prospects of deterritorialized computer mice and big toe computing, the role of electrical grid hacks in urban technopolitics, and whether info-addiction and depression contribute to tactical resistance. Beyond resistance, however, the goal of this work is to find examples of technocultural autonomy in the minor and marginal cultural productions of small cultures, ethico-poetic diversions, and sustainable withdrawals with genuine therapeutic potential to surpass accumulation, debt, and competition. The dangers and joys of these struggles for autonomy are underlined in studies of RIM’s BlackBerry and Julian Assange’s WikiLeaks website.

“Where do you come from?”
When Vijay Agnew first immigrated to Canada people would often ask her “Where do you come from?” She thought it a simple, straightforward question, and would answer in the same simple, straightforward manner, by telling them where she had been born and where she grew up.
But over the years she learned that many so-called third-world people resent being asked this question, because it implies that having a different skin colour (which is what usually prompts the question) makes a person an outsider and not really Canadian. This realization inspired her to look more closely at the question — and the answer. The result is this book.
Where I Come From is a reflective memoir of an immigrant professor’s life in a Canadian university. It covers the period from 1967, when Canada was opened up to third-world immigrants, to the present. The book illustrates the ways in which identity is socially constructed by tracing some of the labels that were applied to the author at various stages during her thirty years in Canada — “foreign student,” “Indian woman,” “immigrant,” “Indian feminist,” and “third-world woman.” She shows how each of these names has affected her relationships with other people and contributed to making her the woman she is now perceived to be: a feminist, anti-racist, activist professor. This multilayered story reveals the complex ways in which race, class, and gender intersect in an immigrant woman’s life, and engages readers in a conversation that narrows the distance between them, showing not only what is different, but what is shared.

Tens of thousands of people around the world die each day from causes that could have been prevented with access to affordable health care resources. In an era of unprecedented global inequity, Cuba, a small, low-income country, is making a difference by providing affordable health care to millions of marginalized people.
Cuba has developed a world-class health care system that provides universal access to its own citizens while committing to one of the most extensive international health outreach campaigns in the world. The country has trained thousands of foreign medical students for free under a moral agreement that they serve desperate communities. To date, over 110,000 Cuban health care workers have served overseas.
Where No Doctor Has Gone Before looks at the dynamics of Cuban medical internationalism to understand the impact of Cuba’s programs within the global health landscape. Topics addressed include the growing moral divide in equitable access to health care services, with a focus on medical tourism and Cuba’s alternative approach to this growing trend. Also discussed is the hidden curriculum in mainstream medical education that encourages graduates to seek lucrative positions rather than commit to service for the marginalized. The author shows how Cuba’s Escuela Latinoamericana de Medicina (ELAM) serves as a counter to this trend.
An acknowledgement of Cuba’s tremendous commitment, the book reveals a compelling model of global health practice that not only meets the needs of the marginalized but facilitates an international culture of cooperation and solidarity.

The figure of Jesus has fascinated Western civilization for centuries. As the year 2000 approaches, eliciting connections with Jesus’ birth and return, excitement grows — as does the number of studies about Jesus. Cutting through this mass of material, Whose Historical Jesus? provides a collection of penetrating, jargon-free, intelligently organized essays that convey well both the centrality and the complexity of deciphering the historical Jesus.
Contributors include such eminent scholars as John Dominic Crossan, Burton L. Mack, Seán Freyne and Peter Richardson. Essays range from traditional to modern and postmodern and address both recent and enduring concerns. Introductions and reflections augment these lucid essays, provide context and help the reader focus on the issues at stake. Whose Historical Jesus? will be of interest to all who wish to understand the current controversies and historical debates, who want insightful critiques of those views or who would like guidance on the direction of future studies.

Part survey of the field of Indigenous literary studies, part cultural history, and part literary polemic, Why Indigenous Literatures Matter asserts the vital significance of literary expression to the political, creative, and intellectual efforts of Indigenous peoples today.

In considering the connections between literature and lived experience, this book contemplates four key questions at the heart of Indigenous kinship traditions: How do we learn to be human? How do we become good relatives? How do we become good ancestors? How do we learn to live together? Blending personal narrative and broader historical and cultural analysis with close readings of key creative and critical texts, Justice argues that Indigenous writers engage with these questions in part to challenge settler-colonial policies and practices that have targeted Indigenous connections to land, history, family, and self. More importantly, Indigenous writers imaginatively engage the many ways that communities and individuals have sought to nurture these relationships and project them into the future.

This provocative volume challenges readers to critically consider and rethink their assumptions about Indigenous literature, history, and politics while never forgetting the emotional connections of our shared humanity and the power of story to effect personal and social change. Written with a generalist reader firmly in mind, but addressing issues of interest to specialists in the field, this book welcomes new audiences to Indigenous literary studies while offering more seasoned readers a renewed appreciation for these transformative literary traditions.

Awarded the NAISA Award Best Subsequent Book, 2018, PROSE Award, 2019, and shortlisted for ACQL Gabrielle Roy Prize for Literary Criticism, 2018.

Wider Boundaries of Daring: The Modernist Impulse in Canadian Women’s Poetry announces a bold revision of the genealogy of Canadian literary modernism by foregrounding the originary and exemplary contribution of women poets, critics, cultural activists, and experimental prose writers Dorothy Livesay, P.K. Page, Miriam Waddington, Phyllis Webb, Elizabeth Brewster, Jay Macpherson, Anne Wilkinson, Anne Marriott, and Elizabeth Smart. In the introduction, editor Di Brandt champions particularly the achievements of Livesay, Page, and Webb in setting the visionary parameters of Canadian and international literary modernism.
The writers profiled in Wider Boundaries of Daring are the real founders of Canadian modernism, the contributors of this volume argue, both for their innovative aesthetic and literary experiments and for their extensive cultural activism. They founded literary magazines and writers’ groups, wrote newspaper columns, and created a new forum for intellectual debate on public radio. At the same time, they led busy lives as wives and mothers, social workers and teachers, editors and critics, and competed successfully with their male contemporaries in the public arena in an era when women were not generally encouraged to hold professional positions or pursue public careers.
The acknowledgement of these writers’ formidable contribution to the development of modernism in Canada, and along with it “wider boundaries of daring” for women and other people previously disadvantaged by racial, ethnic, or religious identifications, has profound implications for the way we read and understand Canadian literary and cultural history and for the shape of both national and international modernisms.

Will Gorlitz: nowhere if not here examines the art, background, and theoretical concerns of contemporary Canadian artist Will Gorlitz. Appreciated especially for his painting and drawing, Gorlitz produces imaginative and highly visual artwork that is further distinguished by its fundamentally restructured and critically extended approach to representational painting. With differing emphases from several contributing writers, this book identifies the contexts, methodologies, and motivations that comprise the artist’s practice over the past 25 years.

The book is published in conjunction with a major circulating survey exhibition of Gorlitz’s work organized by Allan MacKay for the Kitchener-Waterloo Art Gallery in partnership with the Macdonald Stewart Art Centre.

Co-published with the Kitchener-Waterloo Art Gallery

With Children and Youth provides a snapshot of emerging theories and perspectives in the field of child and youth care across North America. Well-known scholars and researchers present new and innovative critical perspectives, written in a provocative manner and reflecting outside-the-box thinking.
The book examines from scholarly and practical viewpoints the purpose of child and youth care practice, relational practice, post-modern approaches to thinking about theory and practice, and new and innovative thinking about the professionalization and accreditation of the discipline itself. Some chapters merge thinking about child and youth care with esoteric and literary prose; others use humour and satire as a way to represent both foundational and entirely new directions in the field.
With Children and Youth provides no set conclusions or findings about the field; instead, it guides the reader to spaces of controversy, contention, and opportunities for innovation and change. Child and youth care practice and theory, it is argued, is based fundamentally on engagement across generations, cultures, and social positions, and this book exemplifies precisely that.

This original and insightful book establishes a reciprocal relationship between Ludwig Wittgenstein’s notion of ethics and the experience of war. It puts forth an interpretation of Wittgenstein’s early moral philosophy that relates it to the philosopher’s own war experience and applies Wittgenstein’s ethics of silence to analyze the ethical dimension of literary and artistic representations of the Great War.

In a compelling book-length essay, the author contends that the emphasis on “unsayability” in Wittgenstein’s concept of ethics is a valuable tool for studying the ethical silences embedded in key cultural works reflecting on the Great War produced by Mary Borden, Ellen N. La Motte, Georges Duhamel, Leonhard Frank, Ernst Friedrich, and Joe Sacco. Exploring their works through the lens of Wittgenstein’s moral philosophy, this book pays particular attention to their suggestion of an ethics of war and peace by indirect means, such as prose poetry, spatial form, collage, symbolism, and expressionism.

This cultural study reveals new connections between Wittgenstein’s philosophy, his experience during the First World War, and the cultural artifacts produced in its aftermath. By intertwining ethical reflection and textual analysis, Wittgenstein’s Ethics and Modern Warfare aspires to place Wittgenstein’s moral philosophy at the centre of discussions on war, literature, and the arts.

Woldemar Neufeld (1909–2002) emigrated with his Mennonite parents from Ukraine to Canada in 1924. By the late 1920s, he had begun his lifelong project as documentarist, responding especially to the built environment, whether close to his home in southern Ontario or farther afield: northern Ontario, the prairies and the west coast, the Maritimes and Quebec. His work passed through a number of styles, from the coolly abstract to the vividly “realistic.” Although he never abandoned oils, he produced a substantial body of watercolours and block prints—the latter influenced by German Expressionist and Japanese printmaking approaches.
Woldemar Neufeld’s Canada, a record of Neufeld’s Canadian paintings and block prints, explores influences that shaped Neufeld’s career as it developed in Canada during the 1920s and 1930s and came to fruition from 1940s to the 1990s. Early on, Neufeld came into contact with leading Canadian artists, from Homer Watson to members of the Group of Seven. During the 1930s, he began to participate in group and solo exhibitions, including a one-man show at the Vancouver Art Gallery. After studies in Cleveland, he settled in New York City (1945) and New England (1949). Until the 1990s, however, he continued to work in Canada, returning especially to document, in various media, urban and rural landscapes in southern Ontario.

The early Salvation Army professed its commitment to sexual equality in ministry and leadership. In fact, its founding constitution proclaimed women had the right to preach and hold any office in the organization. But did they?
Women in God’s Army is the first study of its kind devoted to the critical analysis of this central claim. It traces the extent to which this egalitarian ideal was realized in the private and public lives of first- and second-generation female Salvationists in Britain and argues that the Salvation Army was found wanting in its overall commitment to women’s equality with men. Bold pronouncements were not matched by actual practice in the home or in public ministry.
Andrew Mark Eason traces the nature of these discrepancies, as well as the Victorian and evangelical factors that lay behind them. He demonstrates how Salvationists often assigned roles and responsibilities on the basis of gender rather than equality, and the ways in which these discriminatory practices were supported by a male-defined theology and authority. He views this story from a number of angles, including historical, gender and feminist theology, ensuring it will be of interest to a wide spectrum of readers. Salvationists themselves will appreciate the light it sheds on recent debates. Ultimately, however, anyone who wants to learn more about the human struggle for equality will find this book enlightening.

Words of the Huron is an investigation into seventeenth-century Huron culture through a kind of linguistic archaeology of a language that died midway through the twentieth century.
John L. Steckley explores a range of topics, including: the construction of longhouses and wooden armour; the use of words for trees in village names; the social anthropological standards of kinship terms and clans; Huron conceptualizing of European-borne disease; the spirit realm of orenda; Huron nations and kinship groups; relationship to the environment; material culture; and the relationship between the French missionaries and settlers and the Huron people.
Steckley’s source material includes the first dictionary of any Aboriginal language, Recollect Brother Gabriel Sagard’s Huron phrasebook, published in 1632, and the sophisticated Jesuit missionary study of the language from the 1620s to the 1740s, beginning with the work of Father Jean de Brébeuf. The only book of its kind, Words of the Huron will spark discussion among scholars, students, and anyone interested in North American archaeology, Native studies, cultural anthropology, and seventeenth-century North American history.

What comes to mind when we hear that a friend or colleague is studying unpublished documents in a celebrated author’s archive? We might assume that they are reading factual documents or, at the very least, straightforward accounts of the truth about someone or some event. But are they?
Working in Women’s Archives is a collection of essays that poses this question and offers a variety of answers. Any assumption readers may have about the archive as a neutral library space or about the archival document as a simple and pure text is challenged.
In essays discussing celebrated Canadian authors such as Marian Engel and L.M. Montgomery, as well as lesser-known writers such as Constance Kerr Sissons and Marie Rose Smith, Working in Women’s Archives persuades us that our research methods must be revised and refined in order to create a scholarly place for a greater variety of archival subjects and to accurately represent them in current feminist and poststructuralist theories.

The essays in Writing between the Lines explore the lives of twelve of Canada’s most eminent anglophone literary translators, and delve into how these individuals have contributed to the valuable process of literary exchange between francophone and anglophone literatures in Canada.
Through individual portraits, this book traces the events and life experiences that have led W.H. Blake, John Glassco, Philip Stratford, Joyce Marshall, Patricia Claxton, Doug Jones, Sheila Fischman, Ray Ellenwood, Barbara Godard, Susanne de Lotbinire-Harwood, John Van Burek, and Linda Gaboriau into the complex world of literary translation. Each essay-portrait examines why they chose to translate and what linguistic and cultural challenges they have faced in the practice of their art. Following their relationships with authors and publishers, the translators also reveal how they have defined the goals and the process of literary translation.
Containing original, detailed biographical and bibliographical material, Writing between the Lines offers many new insights into the literary translation process, and the diverse roles of the translator as social agent. The first text on Canadian translators, it makes a major contribution in the areas of literary translation, comparative literature, Canadian literature, and cultural studies.

The essays in Writing between the Lines explore the lives of twelve of Canada’s most eminent anglophone literary translators, and delve into how these individuals have contributed to the valuable process of literary exchange between francophone and anglophone literatures in Canada.
Through individual portraits, this book traces the events and life experiences that have led W.H. Blake, John Glassco, Philip Stratford, Joyce Marshall, Patricia Claxton, Doug Jones, Sheila Fischman, Ray Ellenwood, Barbara Godard, Susanne de Lotbinire-Harwood, John Van Burek, and Linda Gaboriau into the complex world of literary translation. Each essay-portrait examines why they chose to translate and what linguistic and cultural challenges they have faced in the practice of their art. Following their relationships with authors and publishers, the translators also reveal how they have defined the goals and the process of literary translation.
Containing original, detailed biographical and bibliographical material, Writing between the Lines offers many new insights into the literary translation process, and the diverse roles of the translator as social agent. The first text on Canadian translators, it makes a major contribution in the areas of literary translation, comparative literature, Canadian literature, and cultural studies.

Writing in Dust is the first sustained study of prairie Canadian literature from an ecocritical perspective. Drawing on recent scholarship in environmental theory and criticism, Jenny Kerber considers the ways in which prairie writers have negotiated processes of ecological and cultural change in the region from the early twentieth century to the present.

The book begins by proposing that current environmental problems in the prairie region can be understood by examining the longstanding tendency to describe its diverse terrain in dualistic terms—either as an idyllic natural space or as an irredeemable wasteland. It inquires into the sources of stories that naturalize ecological prosperity and hardship and investigates how such narratives have been deployed from the period of colonial settlement to the present. It then considers the ways in which works by both canonical and more recent writers ranging from Robert Stead, W.O. Mitchell, and Margaret Laurence to Tim Lilburn, Louise Halfe, and Thomas King consistently challenge these dualistic landscape myths, proposing alternatives for the development of more ecologically just and sustainable relationships among people and between humans and their physical environments.

Writing in Dust asserts that “reading environmentally” can help us to better understand a host of issues facing prairie inhabitants today, including the environmental impacts of industrial agriculture, resource extraction, climate change, shifting urban–rural demographics, the significance of Indigenous understandings of human–nature relationships, and the complex, often contradictory meanings of eco-cultural metaphors of alien/invasiveness, hybridity, and wildness.

Process poetics is about radical poetry — poetry that challenges dominant world views, values, and aesthetic practices with its use of unconventional punctuation, interrupted syntax, variable subject positions, repetition, fragmentation, and disjunction.
To trace the aesthetically and politically radical poetries in English Canada since the 1960s, Pauline Butling and Susan Rudy begin with the “upstart” poets published in Vancouver’s TISH: A Poetry Newsletter, and follow the trajectory of process poetics in its national and international manifestations through the 1980s and ’90s.
The poetics explored include the works of Nicole Brossard, Daphne Martlatt, bpNichol, George Bowering, Roy Kiyooka, and Frank Davey in the 1960s and ’70s. For the 1980-2000 period, the authors include essays on Jeff Derksen, Clare Harris, Erin Mour, and Lisa Robertson. They also look at books by older authors published after 1979, including Robin Blaser, Robert Kroetsch, and Fred Wah.
A historiography of the radical poets, and a roster of the little magazines, small press publishers, literary festivals, and other such sites that have sustained poetic experimentation, provide context.

In Writing Surfaces, derek beaulieu and Lori Emerson present a collection of John Riddell’s work. Riddell’s poems and short stories are a remarkable mix of largely typewriter-based concrete poetry mixed with fiction and drawings. Riddell’s oeuvre fell out of popular attention, but it has recently garnered interest among poets and critics engaged with media studies (especially studies of the typewriter) and experimental writing.
Riddell is best known for his short fiction pieces “H” and “Pope Leo: El Elope,” a pair of graphic fictions written in collaboration with, or dedicated to, bpNichol. However, his work moves well beyond comic strips into a series of radical fictions.
Riddell’s work embraces game play, unreadability and illegibility, procedural work, non-representational narrative, photocopy degeneration, collage, handwritten texts, and gestural work. His self-aware and meta-textual short fiction challenges the limits of machine-based composition and his reception as a media-based poet.
With media studies increasingly turning to “media archaeology” and the reading and study of antiquated, analogue-based modes of composition (as typified by the photocopier and the fax machine as well as the typewriter), Riddell is a perfect candidate for further appreciation and study by new generations of readers, authors, and scholars.

Biblical tradition asserts that the revelation of God to Moses in the burning bush involved also a declaration of the divine name, the Tet (represented by the letters Y, H, W, H), and its meaning. There are indications that the divine name was known prior to the time of Moses, although ultimate questions of origin and precise meaning are shrouded in obscurity. IN fact, even the exact pronunciation of the name (usually pronounced YAHWEH) is by no means certain.


The author of The Divine Name in the Bible surveys the immense literature on this subject, and traces the use of various names for deity in Israel from patriarchal times onwards, with special attention to the significance of the Tetragrammaton, which in course of time, became the name by which the God of Israel was known. Various aspects of the theological meaning of the name in the Old Testament writings are explored. The Dead Sea Scrolls, the Jewish Talmudic literature, and later mystical writings are also examined. The translators of the Old Testament into Greek used Kyrios as the equivalent for YHWH—with implications for the New Testament understanding of the person of Jesus Christ, reflected also in subsequent Christological formulations.

Youth, Education, and Marginality: Local and Global Expressions is a close examination of the lives of marginalized young people in schools. Essays by scholars and educators are complemented by youth poetry, prose, and visual art.

The book includes insights from Australia, United Kingdom, Polynesia, United States, and Canada and is grounded in educational and community practice and policy. The content covers the range and intersections of marginalization: poverty, Aboriginal cultures, immigrants and newcomers, gay/lesbian youth, rural–urban divides, mental health, and so forth. Presenting challenges faced by marginalized youth alongside initiatives for mitigating their impact, the contributors critique existing systems and engage in a dialogue about where to go from here.

A history of Chinese immigrants encounter with Canadian Protestant missionaries, “His Dominion” and the “Yellow Peril”: Protestant Missions to Chinese Immigrants in Canada, 1859-1967, analyzes the evangelizing activities of missionaries and the role of religion in helping Chinese immigrants affirm their ethnic identity in a climate of cultural conflict.
Jiwu Wang argues that, by working toward a vision of Canada that espoused Anglo-Saxon Protestant values, missionaries inevitably reinforced popular cultural stereotypes about the Chinese and widened the gap between Chinese and Canadian communities. Those immigrants who did embrace the Christian faith felt isolated from their community and their old way of life, but they were still not accepted by mainstream society. Although the missionaries’ goal was to assimilate the Chinese into Anglo-Saxon Protestant culture, it was Chinese religion and cultural values that helped the immigrants maintain their identity and served to protect them from the intrusion of the Protestant missions.
Wang documents the methods used by the missionaries and the responses from the Chinese community, noting the shift in approach that took place in the 1920s, when the clergy began to preach respect for Chinese ways and sought to welcome them into Protestant-Canadian life. Although in the early days of the missions, Chinese Canadians rejected the evangelizing to take what education they could from the missionaries, as time went on and prejudice lessened, they embraced the Christian faith as a way to gain acceptance as Canadians.

Four cases in which the legal issue was “race” — that of a Chinese restaurant owner who was fined for employing a white woman; a black man who was refused service in a bar; a Jew who wanted to buy a cottage but was prevented by the property owners’ association; and a Trinidadian of East Indian descent who was acceptable to the Canadian army but was rejected for immigration on grounds of “race” — drawn from the period between 1914 and 1955, are intimately examined to explore the role of the Supreme Court of Canada and the law in the racialization of Canadian society. With painstaking research into contemporary attitudes and practices, Walker demonstrates that Supreme Court Justices were expressing the prevailing “common sense” about “race” in their legal decisions. He shows that injustice on the grounds of “race” has been chronic in Canadian history, and that the law itself was once instrumental in creating these circumstances. The book concludes with a controversial discussion of current directions in Canadian law and their potential impact on Canada’s future as a multicultural society.