Wilfrid Laurier University Press

The U.S. incarceration machine imprisons more people than in any other country. Music-Making in U.S. Prisons looks at the role music-making can play in achieving goals of accountability and healing that challenge the widespread assumption that prisons and punishment keep societies safe.

The book’s synthesis of historical research, contemporary practices, and pedagogies of music-making inside prisons reveals that, prior to the 1970s tough-on-crime era, choirs, instrumental ensembles, and radio shows bridged lives inside and outside prisons. Mass incarceration had a significant negative impact on music programs. Despite this setback, current programs testify to the potency of music education to support personal and social growth for people experiencing incarceration and deepen social awareness of the humanity found behind prison walls.

Cohen and Duncan argue that music-making creates opportunities to humanize the complexity of crime, sustain meaningful relationships between incarcerated individuals and their families, and build social awareness of the prison industrial complex. The authors combine scholarship and personal experience to guide music educators, music aficionados, and social activists to create restorative social practices through music-making.

Amie Souza Reilly bought an old house in the suburbs. She had just gotten remarried and was looking forward to a new start with her new husband and her six-year-old son. But immediately after moving in, the next-door neighbors began a crusade to push them out. The two brothers followed her, peered in her windows, stood in her yard, trapped her inside her car. As they broke boundary after suburban boundary, she found herself implicated in their violence.

Human/Animal merges personal narrative and cultural criticism to unleash the complicated relationship between instinct and action, violence and regret. This bestiary-in-essays wrestles American colonialism, horror films, feminism, and gender studies to confront the intrusive neighbors the author could not. Ultimately, this book asks larger questions about proximity, care, and the line between human and animal.

Illustrated with the author’s own sketches, Human/Animal: A Bestiary in Essays grapples not only with Reilly’s place in her neighborhood, but with America’s past and current political climate.

Deyohahá:ge:, “two roads or paths” in Cayuga language, evokes the Covenant Chain-Two Row Wampum, known as the “grandfather of the treaties.” Famously, this Haudenosaunee wampum agreement showed how Indigenous people and newcomers could build peace and friendship by respecting each other’s cultures, beliefs, and laws as they shared the river of life.

Written by members of Six Nations and their neighbours, this book introduces readers not only to the 17th-century history of how the Dutch and British joined the wampum agreement, but also to how it might restore good relations today. Many Canadians and Americans have never heard of the Covenant Chain or Two Row Wampum, but 200 years of disregard have not obliterated the covenant. We all need to learn about this foundational wampum, because it is resurging in our communities, institutions, and courthouses—charting a way to a future.

The writers of Deyohahá:ge: delve into the eco-philosophy, legal evolution, and ethical protocols of two-path peace-making. They tend the sacred, ethical space that many of us navigate between these paths. They show how people today create peace, friendship, and respect—literally—on the river of everyday life.

How do you tell the story of a feminist education, when the work of feminism can never be perfected or completed? In A Sentimental Education, Hannah McGregor, the podcaster behind Witch, Please and Secret Feminist Agenda, explores what podcasting has taught her about doing feminist scholarship not as a methodology but as a way of life.
Moving between memoir and theory, these essays consider the collective practices of feminist meaning-making in activities as varied as reading, critique, podcasting, and even mourning. In part this book is a memoir of one person’s education as a reader and a thinker, and in part it is an analysis of some of the genres and aesthetic modes that have been sites of feminist meaning-making: the sentimental, the personal, the banal, and the relatable. Above all, it is a meditation on what it means to care deeply and to know that caring is both necessary and utterly insufficient.
In the tradition of feminist autotheory, this collection works outward from the specificity of McGregor’s embodied experience – as a white settler, a fat femme, and a motherless daughter. In so doing, it invites readers to reconsider the culture, media, political structures, and lived experiences that inform how we move through the world separately and together.

Translated into English for the first time, Foundations of Modern Harmony, by composer and music theorist Karel Janec̆ek, addresses the analysis and composition of music not based on the tonal harmony that was common language until the early 20th century. Discussing this newer music requires a vocabulary in which all combinations of notes, or chords, can be named. Janec̆ek developed his theory of modern harmony over many years. In this book, he classifies chords according to their intervallic structure, their possible arrangements, and then based on their consonance and dissonance. His focus on what we hear leads to a discussion of “imaginary” pitches, those that are still heard after they are no longer sounding.

Dealing with such issues as harmonizing a melody, resolving dissonant chords, and the formation and extinction of a sense of the tonic, Janeček’s work is an exciting complement to the theories of Schoenberg and Hindemith. His discussion of harmonic motion leads to the consideration of harmonic function, of establishing the tonic, of modulation, of atonal composition, and of static and kinetic conceptions of harmony. First published in 1965, Janeček’s concerns are of continuing importance to music theorists and composers.

Indianthusiasm refers to the European fascination with, and fantasies about, Indigenous peoples of North America, and has its roots in nineteenth-century German colonial imagination. Often manifested in romanticized representations of the past, Indianthusiasm has developed into a veritable industry in Germany and other European nations: there are Western and so-called “Indian” theme parks and a German hobbyist scene that attract people of all social backgrounds and ages to join camps and clubs that practise beading, powwow dancing, and Indigenous lifestyles.


Containing interviews with twelve Indigenous authors, artists, and scholars who comment on the German fascination with North American Indigenous Peoples, Indianthusiasm is the first collection to present Indigenous critiques and assessments of this phenomenon. The volume connects two disciplines and strands of scholarship: German Studies and Indigenous Studies, focusing on how Indianthusiam has created both barriers and opportunities for Indigenous peoples with Germans and in Germany.

In Search of Alberto Guerrero is the first full biography of the influential Chilean-Canadian pianist and teacher (1886-1959), describing Guerrero’s long career as virtuoso recitalist, chamber music collaborator, concerto soloist, and teacher. Written by composer John Beckwith, who was a student of Guerrero, the book blends research and memoir to piece together the life of a man who once insisted he had no story.
Guerrero was part of the intellectual scene that introduced Chileans to Debussy, Ravel, Cyril Scott, Scriabin, and Schoenberg. He and his brother played an active role in founding the Sociedad Bach in Santiago. In 1918 Guerrero moved to Toronto, making the Hambourg Conservatory, and later the Toronto (now Royal) Conservatory, his new base. He soon became one of Canada’s most active pianists. In what was then a novel activity, he played regular radio recitals from the mid-1920s to the early 1950s. He was also deeply engaged with issues in piano pedagogy, and worked with young talents including Canada’s much-acclaimed Glenn Gould. But unlike the shadowy role Guerrero is assigned in Gould biographies, here he is given proper credit for his technical and aesthetic influence on the young Gould and on other notable musicians and composers.
Guerrero left few written records, and documentation of his work by others is incomplete and often erroneous. Aiming for a fuller and more accurate account of this remarkably influential and well-loved man, Beckwith’s In Search of Alberto Guerrero gives an insider’s story of the Canadian classical music scene in mid-twentieth-century Toronto, and pays homage to the influential musician William Aide has called an “unsung progenitor.”

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.

Arts of Engagement focuses on the role that music, film, visual art, and Indigenous cultural practices play in and beyond Canada’s Truth and Reconciliation Commission on Indian Residential Schools. Contributors here examine the impact of aesthetic and sensory experience in residential school history, at TRC national and community events, and in artwork and exhibitions not affiliated with the TRC. Using the framework of “aesthetic action,” the essays expand the frame of aesthetics to include visual, aural, and kinetic sensory experience, and question the ways in which key components of reconciliation such as apology and witnessing have social and political effects for residential school survivors, intergenerational survivors, and settler publics.
This volume makes an important contribution to the discourse on reconciliation in Canada by examining how aesthetic and sensory interventions offer alternative forms of political action and healing. These forms of aesthetic action encompass both sensory appeals to empathize and invitations to join together in alliance and new relationships as well as refusals to follow the normative scripts of reconciliation. Such refusals are important in their assertion of new terms for conciliation, terms that resist the imperatives of reconciliation as a form of resolution.
This collection charts new ground by detailing the aesthetic grammars of reconciliation and conciliation. The authors document the efficacies of the TRC for the various Indigenous and settler publics it has addressed, and consider the future aesthetic actions that must be taken in order to move beyond what many have identified as the TRC’s political limitations.

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.

A collection of correspondence from a Canadian literary master

Reading With My Grandmother is an analysis of a range of Chinese Canadian literature that deepens the scholarly engagement by using elements of the author’s family’s story—her grandmother’s letters and and photographs.
This engagement allows the author to simultaneously illustrate and participate in the varied ways Chinese Canadian literature has been imagined and produced in Canada in the last thirty-five years, examining texts such as Fred Wah’s poetry collection Diamond Grill (1996), Judy Fong Bates’ memoir The Year of Finding Memory (2010), and Paul Yee’s novel A Superior Man (2015). In keeping with recent calls within Asian Canadian studies for innovative creative-critical methods, the author establishes a scholarly style that embraces subjectivity and demonstrates a dynamic method of revealing linkages and discontinuities between past and present Chinese Canadian writing.
Drawing on literary works and inherited stories, the author considers how family narratives give voice to otherwise muted and traumatized experiences, and how they require readers to question dominant versions of Canada’s past to make room for more perspectives. The author also examines the ways such stories can be restricted by readerly expectations for narrative completeness. In navigating these concerns, she explores concerns of connection, community, and identity that have national, gendered, and racialized implications.

In the early twentieth-century, Canada’s theatres were mostly controlled by Americans. As variety shows flooded these stages, new forms of blackface, inspired by modern forms of amusements, changed the theatre. In this era marked by progressive social reforms, the stage embodied the modern ethos of imitation, mimicry, and change.

Staging Blackface in Canada covers a moment when Canadians did not produce professional theatre, but they built amusement parks, wrote songs, and produced records. As the stage (drama), and its variants (burlesque, light opera) adapted elements from the new stages (amusement parks, social dance, and film), the modern culture popularized forms of blackface that impacted white, Anglo-Protestant, and English-speaking audiences, and drew theatrical criticism.

This book explores a twenty-year period in Canada’s history when there was no media regulation, and no mandate to promote Canadian culture. Through an examination of theatrical reviews, images, and textual records, Staging Blackface in Canada locates how the Canadian stage became a playground for ethnic jokes, racial caricature, and women’s emancipation. It also locates some of the first Black musicals and operas to appear on Canadian stages.

Drawing from History brings to life the remarkable story of Toronto’s Central Technical School Art Department, a vibrant hub that inspired generations of Canadian artists.

Weaving together personal insights, first-hand accounts from students and teachers, and rare archival treasures, this book traces the department’s journey from its 19th-century beginnings to its enduring impact today. Through captivating storytelling and meticulous scholarship, it reveals how this distinctive program fostered creativity, artistic excellence, and a sense of community while navigating cultural upheavals, global conflicts, changing policies, and the persistent challenge of maintaining arts education in public schools.

Insightful and thought-provoking, Drawing from History illuminates an overlooked cornerstone of Canada’s artistic heritage and prompts readers to consider what is lost when the arts are marginalized. More than a local history, this book serves as a testament to how art education shapes lives, strengthens communities, and helps define a nation’s cultural identity. It is essential reading for educators, students, historians, artists, policymakers, and anyone who believes in the power of the arts to transform lives and foster a more creative society.

Unequivocal Magic speaks to the “quiet power” of photographs and their hidden creativity, bringing readers into the author’s own journey into the history of a 1910 portrait of iconic French actress, Sarah Bernhardt. What begins as a quest to recognize the work of her once renowned photographer, Walter Barnett, becomes a story about the female performer in the West, whose use of image to innovate, protest, and survive public scrutiny can provide an enduring agency.

Alex Bertram has always found old photographs intriguing, an interest augmented by her work as a picture researcher for a publisher. On a visit to the Victoria and Albert Museum in London, she saw a 1910 portrait of Sarah Bernhardt, the famous French actress whose career by then had spanned half a century. Beset with questions about this unidealized representation of the actress in her older age, she wondered what the photograph could tell us about Bernhardt, its photographer, or the circumstances surrounding the making of the portrait.

Structured around the day Bernhardt had her picture taken in that London studio, Unequivocal Magic traces the travel of the portrait on its life journey, with Bertram returning again and again to this single day in 1910. Bertram’s narrative likewise embraces her own creative response upon seeing the portrait for the first time, enveloping that moment into her engagement with and close examination of the lives and work of both Barnett and Bernhardt.

Unpacking the Personal Library: The Public and Private Life of Books is an edited collection of essays that ponders the cultural meaning and significance of private book collections in relation to public libraries.

Contributors explore libraries at particular moments in their history across a wide range of cases, and includes Alberto Manguel’s account of the Library of Alexandria as well as chapters on library collecting in the middle ages, the libraries of prime ministers and foreign embassies, protest libraries and the slow transformation of university libraries, and the stories of the personal libraries of Virginia Woolf, Robert Duncan, Sheila Watson, Al Purdy and others. The book shows how the history of the library is really a history of collection, consolidation, migration, dispersal, and integration, where each story negotiates private and public spaces.

Unpacking the Personal Library builds on and interrogates theories and approaches from library and archive studies, the history of the book, reading, authorship and publishing. Collectively, the chapters articulate a critical poetics of the personal library within its extended social, aesthetic and cultural contexts.

The image of the dusty, undisturbed archive has been swept away in response to growing interest across disciplines in the materials they house and the desire to find and make meaning through an engagement with those materials. Archival studies scholars and archivists are developing related theoretical frameworks and practices that recognize that the archives are anything but static. Archival deposits are proliferating, and the architects, practitioners, and scholars engaged with them are scarcely able to keep abreast of them. Archives, archival theory, and archival practice are on the move.

But what of the archives that were once safely housed and have since been lost, or are under threat? What of the urgency that underscores the appeals made on behalf of these archives? As scholars in this volume argue, archives—their materialization, their preservation, and the research produced about them—are moving in a different way: they are involved in an emotionally engaged and charged process, one that acts equally upon archival subjects and those engaged with them. So too do archives at once represent members of various communities and the fields of study drawn to them.

Moving Archives grounds itself in the critical trajectory related to what Sara Ahmed calls “affective economies” to offer fresh insights about the process of archiving and approaching literary materials. These economies are not necessarily determined by ethical impulses, although many scholars have called out for such impulses to underwrite current archival practices; rather, they form the crucial affective contexts for the legitimization of archival caches in the present moment and for future use.

A Kindly Scrutiny of Human Nature is a collection of essays honouring Richard (Dick) Slobodin, one of the great anthropologists of the Canadian North.

A short biography is followed by essays describing his formative thinking about human nature and human identities, his humanizing force in his example of living a moral, intellectual life, his discernment of people’s ability to make informed choices and actions, his freedom from ideological fashions, his writings about the Mackenzie District Métis, his determination to take peoples experience seriously, not metaphorically, and his thinking about social organization and kinship.

Contributors include Sam Ajzenstat, Michael Asch, David J. Damas , Harvey A. Feig, Kenneth Little, Antonia Mills, Richard J. Preston, Mary Black Rogers, and Robert Wishar. An unpublished paper about a 1930s caribou hunt in which he participated finishes the collection, giving Dick the last word.

Arthur Lipsett’s first film was nominated for an Academy Award in 1962, marking the arrival of an influential new voice. The film’s dark humour and dancing rhythms had captured the spirit of his times. When Lipsett died by suicide in 1986, the humour and joy of his work was eclipsed by that sardonic darkness. It all came to feel like an omen.

Secret Museums is a study in the life and work of Canadian collage filmmaker Arthur Lipsett, whose struggles with mental illness have overshadowed his vital and innovative work. Author Stephen Broomer explores the spiritual themes and formal challenges posed by Lipsett’s films and the artist’s absurdist, comic, beatnik sensibility. As a critical biography, Secret Museums follows the trajectory of Lipsett’s life through his years as a filmmaker (1960–1975) and after, with new interpretations and analysis of his eight completed films.

In Secret Museums, Lipsett’s films are recognized as riotous comedies that reflect the artist’s resilience. This study offers a new interpretation of Lipsett and his films, positioning him as both a visionary force and a holy fool, illuminating fresh pathways through his work that reflect his understandings of his sources and his world.

Most activities in our lives involve electricity. Yet, how often do we recall that even the simple act of turning on a light is supported by a long history of debates over group vs. individual rights, environmental impact, political agendas and technological innovations?
Using the image of cross-currents as the organizing metaphor, this book details the many and often turbulent interactions and interconnections that occurred among the various people and events during the building of the northeastern Ontario hydroelectric system. Special focus is on Native and non-Native interests; southern business and political elites; northern natural resources and the interactions between technology and the environment.
Manore concentrates on the co-operation that existed among the various interest groups during periods of expansion and amalgamation. In today’s environment of limited energy resources, respect for the rights of First Nations and ecological concerns, this book is a reminder that co-operation rather than conquest is a more realistic approach to development.

Using the journals of W. Norman Rudolf (1835-1886), a Victorian merchant, Evangelical Balance Sheet: Character, Family, and Business in Mid-Victorian Nova Scotia explores the important role of character ideals and evangelicalism in mid-Victorian culture. 

Rudolf’s diary, with its daily weather observations, its account of family matters, of social and business happenings, and of his own experiences, as well as occasional literary or naturalistic forays, attempts to follow a disciplined regime of writing, but also has elements of a Bildungsroman. The diary reveals an obvious and significant tension between his inner, spiritual search for meaning in his life (evangelical inwardness) and his outward stewardship duties. Rudolf’s concept of character, then, involved a type of balance sheet of his evangelical service record, to his God, his family, his business, and his community. Needing God’s help to transform his will and to interpret the world in a constructive, rational manner, the underlying intent of his daily journal writing was to keep his commitment to an ethic of benevolence and of the affirmation of the goodness of human beings.

Wood elucidates the cultivation of civic-minded masculinity in the context of Victorian Maritime Canada, analyzing the multiple facets of the character ideal and emphasizing its important role in Victorians’ understanding of their life experiences. In the process Wood reveals many underlying assumptions about social change and about civic discourse. The book also describes how the tremendous economic upheavals experienced by many entrepreneurs in the late 1860s to 1880s tempered their evangelical zeal and made it increasingly difficult for them to achieve a balanced and humane perspective on their own lives.

Evangelical Balance Sheet will appeal to a broad audience interested in social history, imperial studies, gender studies (especially changing ideas of masculinity and manhood), Atlantic Canada studies, and local history of the Pictou region.

Podcast Studies: Practice into Theory critically examines the emergent field of podcasting in academia, revealing its significant impact on scholarly communication and approaches to research and knowledge creation.

This collection presents in-depth analyses from scholars who have integrated podcasting into their academic pursuits. The book systematically explores the medium's implications for teaching, its effectiveness in reaching broader audiences, and its role in reshaping the dissemination of academic work. Covering a spectrum of disciplines, the contributors detail their engagement with podcasting, providing insight into its use as both a research tool and an object of analysis, thereby illuminating the multifaceted ways in which podcasting intersects with and influences academic life.

The volume provides substantive evidence of podcasting's transformative effect on academia, offering reflections on its potential to facilitate a more accessible and engaging form of scholarly output. By presenting case studies and empirical research, Podcast Studies: Practice into Theory underscores the originality of podcasting as an academic endeavor and its utility in expanding the reach and impact of scholarly work. It serves as a key resource for academics, researchers, and practitioners interested in the application and study of podcasting as a novel vector for knowledge creation and distribution.

Arab Techno for the People analyses electronic music soundscapes as a field site to explore the lived experiences of cosmopolitan, Arab individuals living in Toronto and Montreal, Canada. This book seeks to move readers—and Canadians more broadly—to a more nuanced understanding of the misinterpellation, discrimination, and racism faced by those perceived as Arab and/or Muslim in Canada.

Despite the expectation that they will conform to unified and reductive definitions of Arab and Muslim identities, Arab house and techno musicians who are understood as (or understand themselves as) Arab in Montreal and Toronto use their musical participation to define themselves in diverse ways contingent on their ethnic, religious, gender, and sexual identities. This book proposes that the Arab diaspora in multicultural Canada can be “sounded” by unveiling the experience of memory and nostalgia, presence and absence, racism and (mis)interpellation, and the various subtle realities that Arabs must consider when ethically navigating such cultural complexities.

This ethnography is a reflection of musical practices beyond the dancefloor as coping methods with systemic racism. Fulton-Melanson’s whiteness is vital to the conversation and reflection of decolonial and anti-racist methodology. The objective is that readers will recognize their own racist assumptions in the text and actively redress them.

For some outdoor enthusiasts, the word “wilderness” means “free of people”. This book shows that many beloved stories of outdoor adventure forget that people have lived in and with the natural spaces of North America since long before Europeans arrived. When we read Western narratives in partnership with Indigenous authored narratives, a new paradigm of human-nature relations begins to emerge.

Divided into three sections, the book creates a conversation between texts by non-Indigenous and Indigenous writers. Nature adventure stories by non-Indigenous writers can re-colonize space and perceptions of space whereas narratives from Indigenous writers demonstrate that “nature” (or land) is neither empty nor ownable—not an object but rather a relation. The first section, “Growing,” delves into literature for children and young adults about adventures in outdoor spaces. “Moving” explores the joy and struggle of outdoor athleticism, and “Dwelling,” examines stories of “being in place” to seek out how relationship with land is defined.

As Cree writer Harold Johnson has pointed out, stories define our inner worlds and then also come to define the outer world around us. This book brings together two very different approaches to nature writing to initiate a dialogue between Western and Indigenous literary responses to experiencing land. Ultimately, Decolonizing Wilderness Adventure Narratives aims to reorient the stories of the land (including its peoples) from one of ownership to one of respectful relationship.

The Contemporary Leonard Cohen is an exciting new study that offers an original explanation of Leonard Cohen’s staying power and his various positions in music, literature, and art.

The death of Leonard Cohen received media attention across the globe, and this international star remains dear to the hearts of many fans. This book examines the diversity of Cohen’s art in the wake of his death, positioning him as a contemporary, multi-media artist whose career was framed by the twentieth-century and neoliberal contexts of its production. The authors borrow the idea of “the contemporary” especially from philosophy and art history, applying it to Cohen for the first time—not only to the drawings that he included in some of his books but also to his songs, poems, and novels. This idea helps us to understand Cohen’s techniques after his postmodern experiments with poems and novels in the 1960s and 1970s. It also helps us to see how his most recent songs, poems, and drawings developed out of that earlier material, including earlier connections to other writers and musicians.

Philosophically, “the contemporary” also sounds out the deep feelings that Cohen’s work still generates in readers and listeners. Whether these feelings are spiritual or secular, sincere or ironic, we get them partly from the sense of timeliness and the sense of timelessness in Cohen’s lyrics and images, which speak to our own lives and times, our own struggles and survival. From a set of international collaborators, The Contemporary Leonard Cohen delivers an appreciative but critical examination of one of our dark luminaries.

Salomania and the Representation of Race and Gender in Modern Erotic Dance situates the 1908 dance craze, which The New York Times called “Salomania,” as a crucial event and a turning point in the history of the modern business of erotic dance. Framing Salomania with reference to imperial ideologies of motherhood and race, it works toward better understanding the increasing value of the display of the undressed female body in the 19th and early 20th centuries.

This study turns critical attention to cultures of maternity in the late 19th century, primarily with reference to the ways in which women are defined in relation to their genitals as patriarchal property and space and are valued according to reproduction as their primary labour. Erotic dance as it takes shape in the modern representation of Salome insists both that the mother is and is not visible in the body of the dancer, a contradiction this study characterizes as reproductive fetishism.

Looking at a range of media, the study traces the modern figure of Salome through visual art, writing, early psychoanalysis and dance, from "hootchie kootch" to the performances dancer Maud Allan called “mimeo-dramatic” to mid-20th-century North American films such as Billy Wilder's Sunset Boulevard and Charles Lamont's Salome, Where She Danced to the 21st-century HBO series The Sopranos.

Translation and Translating in German Studies is a collection of essays in honour of Professor Raleigh Whitinger, a well-loved scholar of German literature, an inspiring teacher, and an exceptional editor and translator. Its twenty chapters, written by Canadian and international experts explore new perspectives on translation and German studies as they inform processes of identity formation, gendered representations, visual and textual mediations, and teaching and learning practices.
Translation (as a product) and translating (as a process) function both as analytical categories and as objects of analysis in literature, film, dance, architecture, history, second-language education, and study-abroad experiences. The volume arches from theory and genres more traditionally associated with translation (i.e., literature, philosophy) to new media (dance, film) and experiential education, and identifies pressing issues and themes that are increasingly discussed and examined in the context of translation.
This study will be invaluable to university and college faculty working in the disciplines in German studies as well as in translation, cultural studies, and second-language education. Its combination of theoretical and practical explorations will allow readers to view cultural texts anew and invite educators to revisit long-forgotten or banished practices, such as translation in (auto)biographical writing and in the German language classroom.

Archetypes from Underground: Notes on the Dostoevskian Self uncovers archetypal imagery in Dostoevsky’s stories and novels and argues that archetypes bring a new dimension to our understanding and appreciation of his works. In this interdisciplinary study, Harrison analyzes selected texts in light of fresh research in Dostoevsky studies, cultural history, comparative mythology, and depth psychology. He argues that one of Dostoevsky's chief concerns is the crisis of modernity, and that he dramatizes the conflicts of the modern self by depicting the dynamic, transformative nature of the psyche. Harrison finds the language and imagery of archetypes in Dostoevsky’s characters, symbols, and themes, and shows how these resonate in remarkable ways with the archetypes of self, persona, and the shadow. He demonstrates that major themes in Dostoevsky coincide with Western esotericism, such as the complementarity of opposites, transformation, and the symbolism of death and resurrection. These arguments inform a close reading of several of Dostoevsky’s texts, including The Double, Notes from Underground, and The Brothers Karamazov. Archetypes inform these works and others, bringing vitality to Dostoevsky’s major characters and themes.
This research represents a departure from the religious and philosophical questions that have dominated Dostoevsky studies. This work is the first sustained analysis of Dostoevsky’s work in light of archetypes, framing a topic that calls for further investigation. Archetypes illumine the author’s ideas about Russian national identity and its faith traditions and help us redefine our understanding of Russian realism and the prominent place Dostoevsky occupies within it.

Mapping Canada’s Music is a selection of writings by the late Canadian music librarian and historian Helmut Kallmann (1922–2012). Most of the essays deal with aspects of Canadian music, but some are also autobiographical, including one written during retirement in which Kallmann recalls growing up in a middle-class Jewish family in 1930s Berlin under the spectre of Nazism.
Of the seventeen selected writings by Kallmann, five have never before been published; many of the others are from difficult-to-locate sources. They include critical and research essays, reports, reflections, and memoirs. Each chapter is prefaced with an introduction by the editors. Two initial chapters offer a biography of Kallmann and an assessment of his contributions to Canadian music.
The variety, breadth, and scope of these writings confirm Kallmann’s pioneering role in Canadian music research and the importance of his legacy to the cultural life of his adopted country. In the current climate of cuts to archival collections and services, the publication of these essays by and about a pre-eminent collector and historian serves as a timely reminder of the importance of cultural memory.

The Memory Effect is a collection of essays on the status of memory—individual and collective, cultural and transcultural—in contemporary literature, film, and other visual media. Contributors look at memory’s representation, adaptation, translation, and appropriation, as well as its mediation and remediation. Memory’s irreducibly constructed nature is explored, even as its status is reaffirmed as the basis of both individual and collective identity.
The book begins with an overview of the field, with an emphasis on the question of subjectivity. Under the section title Memory Studies: Theories, Changes, and Challenges, these chapters lay the theoretical groundwork for the volume. Section 2, Literature and the Power of Cultural Memory/Memorializing, focuses on the relation between literature and cultural memory. Section 3, Recuperating Lives: Memory and Life Writing, shifts the focus from literature to autobiography and life writing, especially those lives shaped by trauma and forgotten by history. Section 4, Cinematic Remediations: Memory and History, examines specific films in an effort to account for cinema’s intimate and mutually constitutive relationship with memory and history. The final section, Multi-Media Interventions: Television, Video, and Collective Memory, considers individual and collective memory in the context of contemporary visual texts, at the crossroads of popular and avant-garde cultures.

Where do children travel when they read a story? In this collection, scholars and authors explore the imaginative geography of a wide range of places, from those of Indigenous myth to the fantasy worlds of Middle-earth, Earthsea, or Pacificus, from the semi-fantastic Wild Wood to real-world places like Canada’s North, Chicago’s World Fair, or the modern urban garden.


What happens to young protagonists who explore new worlds, whether fantastic or realistic? What happens when Old World and New World myths collide? How do Indigenous myth and sense of place figure in books for the young? How do environmental or post-colonial concerns, history, memory, or even the unconscious affect an author's creation of place? How are steampunk and science fiction mythically re-enchanting for children?


Imaginative geography means imaged earth writing: it creates what readers see when they enter the world of fiction. Exploring diverse genres for children, including picture books, fantasy, steampunk, and realistic novels as well as plays from Canada, the United States, the United Kingdom, and Ireland from the early nineteenth century to the present, Children’s Literature and Imaginative Geography provides new geographical perspectives on children’s literature.

When Arthur Lipsett’s first film was nominated for an Academy Award in 1962, the event marked the arrival of an influential turn in cinema. The film’s dark humour and dancing rhythms had captured the spirit of his times. When Lipsett committed suicide in 1986, the humour and joy of his work was eclipsed by that sardonic darkness. It all came to feel like an omen.

Secret Museums is a study in the life and work of Canadian collage filmmaker Arthur Lipsett, whose struggles with mental illness have overshadowed his vital and innovative work. Author Stephen Broomer explores the spiritual themes and formal challenges posed by Lipsett’s films and the artist’s absurdist, comic, beatnik sensibility. As a critical biography, Secret Museums follows the trajectory of Lipsett’s life through his years as a filmmaker (1960-1975) and after, with new interpretations and analysis of his eight completed films.

In Secret Museums, Lipsett’s films are recognized as riotous comedies that reflect the artist’s resilience. It serves as a new interpretation of Lipsett and his films, positioning him as both a visionary force and a holy fool, illuminating fresh pathways through his work that reflect his understandings of his sources and his world.

The Weather and the Words: The Selected Letters of John Newlove, 1963-2003, gathers hundreds of never-before-seen letters from the poet John Newlove’s archives and sheds light on an author who was, to many Canadian writers, a literary master. Despite his stature during his lifetime, Newlove has been largely forgotten, and these letters remind readers of what an influential, compelling, and combative figure he was in Canadian literary history.

Newlove lived and wrote during a time when Canadian writers were well-funded, widely read, and members of thriving literary communities. By the time he died in 2003, that culturally prosperous era had ended. Something else had changed, too: the practice of letter writing began to disappear as email replaced mailed correspondence. Telling the story of Newlove’s life, The Weather and the Words pays tribute not just to this one remarkable poet, but also to a remarkable era in Canadian history and the lost art of letter writing, the medium through which writers, politicians, and other public figures fought, collaborated, conferred, and philosophized about art and culture throughout the twentieth century.

In Newlove’s correspondence readers will find a compelling story about the incredible difficulty of establishing a literary career and raising a family while struggling with poverty, addiction, and mental health issues. Through colourful letters Newlove exchanged with Canadian writers such as Margaret Atwood, Susan Musgrave, Michael Ondaatje, Al Purdy, and numerous others, The Weather and the Words gives readers a ground-level view of Newlove’s life and era. The book includes a foreword by Lorna Crozier, an introduction by editor J.A. Weingarten, and an afterword by Laura Cameron.

Canada and the Blackface Atlantic traces the origins of theatre, dance, and concert singing in Canada and their connection to British and American song and dance traditions. When theatrical acts first appeared in the late eighteenth century, chattel slavery had transformed into mass entertainment on minstrel stages across the Atlantic world.

As railroads and theatres were built, local blackface troupes emerged alongside touring British and American acts. By the 1850s, blackface theatre could be found in remote Western outposts to stages in Central and Maritime Canada. This is one of the first books to connect the rise of Canadian blackface minstrelsy with the emergence of Black singers, and choral groups. It describes how Black performers who assumed minstrelsy’s mask remapped plantation slavery on Canadian stages.

It begins with the conflicts that shaped North America – the American Revolutionary War, and the War of 1812. Next, it connects these origins with eighteenth-century British immigration, which brought folk dances and masking traditions to North America. From there, it unmasks when and how “Jim Crow” became an Atlantic world sensation, which set the stage for blackface to expand. Finally, it considers how Black acts reimagined the parameters of their own freedom.

The Taking of Vimy Ridge explores the life and works of William Ivor Castle, a Canadian official First World War photographer known for staging and manipulating his photographs.

Castle shot more than 1000 photographs during his time as official photographer attached to the Canadian Corps, and his iconic (though sometimes manipulated) scenes of war created a sensation at London’s Grafton Galleries during the war. But the remainder of his wartime oeuvre, and Castle himself, are less well-remembered today.

The Taking of Vimy Ridge analyzes the unique relationship between Castle and the Canadian War Records Office and distinguishes several of Castle’s never-before-identified manipulated works as he attempted to illustrate the Battle of Vimy Ridge—one of Canada’s most mythologized First World War battles—to audiences around the world.

Drawing from Canadian and British archival records, as well as Castle’s complete body of work from the Battle of Vimy Ridge, this richly illustrated book offers a much more expansive understanding of Castle's contribution to both war photography and our understanding of portrayals of the First World War, including a close interpretation of the technical choices he made in framing his images, and the context in which this oeuvre developed.

In 2004, settler scholar Emanuelle Dufour became aware of a “silence” with regard to residential schools and ongoing colonialism, systemic racism, inadequate curricular material in schools, and sought to find answers by meeting with community members, Elders, spokespeople, students, professionals, families, and many others.

Dufour is an artist at heart, and the product of her findings became a “carnet de rencontres,” a notebook of coming-togethers, in which her fifty+ interlocutors are rendered “speaking,” quite literally, on and within the pages, while advocating for the importance of Indigenous cultural security within the education system. Their presence is undeniable, and their voices carry the narrative.

Originally published as C'est le Québec qui est né dans mon pays!, this translation creates a bridge, from one colonial language to another, that will enable conversations across and beyond spaces and languages. It aims to shed light on colonial mainstream narratives in Canada and, more precisely, in Québec, by considering the politics of linguistic hegemony and the double exiguity that Indigenous peoples often find themselves in, calling for a better understanding of how the province’s specific colonial history has had a profound and continued impact on its 11 Indigenous Nations. This book’s unusual (academically-speaking) form as a “carnet”, or diary, becomes an anthology of statements of witnessing, which, coupled with the illustrative narrative, bears its decolonizing mission. Quebec Was Born in My Country! ultimately is about foregrounding common and collective experiences, with the crucial goal of furthering education.

Graphic Refuge is the first in-depth study of comics about refugees, asylum seekers, migrants, and detainees by artists from the Global North and South. Co-written by two leading scholars of nonfiction comics, the book explores graphic narratives about a range of refugee experiences, from war, displacement, and perilous sea crossings to detention camps, resettlement schemes, and second-generation diasporas.

Through close readings of work by diverse artists including Joe Sacco, Sarah Glidden, Don Brown, Olivier Kugler, Jasper Rietman, Hamid Sulaiman, Leila Abdelrazzaq, Thi Bui, and Matt Huynh, Graphic Refuge shows how comics challenge dominant representations of the displaced and bring a radical politics of refugee agency and refusal into view. Rather than simply affirming the “humanity” of the refugee, these comics demand that we apprehend the historical construction of categories such as “citizen” and “refugee” through systems of empire, settler colonialism, and racial capitalism.

Building on scholarship in critical refugee studies, architecture and infrastructure studies, and postcolonial theory, Davies and Rifkind argue that refugee comics move us through this wider recognition and towards more expansive ideas of refuge as a lived political relationship.

Podcast Studies: Practice into Theory critically examines the emergent field of podcasting in academia, revealing its significant impact on scholarly communication and approaches to research and knowledge creation.

This collection presents in-depth analyses from scholars who have integrated podcasting into their academic pursuits. The book systematically explores the medium's implications for teaching, its effectiveness in reaching broader audiences, and its role in reshaping the dissemination of academic work. Covering a spectrum of disciplines, the contributors detail their engagement with podcasting, providing insight into its use as both a research tool and an object of analysis, thereby illuminating the multifaceted ways in which podcasting intersects with and influences academic life.

The volume provides substantive evidence of podcasting's transformative effect on academia, offering reflections on its potential to facilitate a more accessible and engaging form of scholarly output. By presenting case studies and empirical research, Podcast Studies: Practice into Theory underscores the originality of podcasting as an academic endeavor and its utility in expanding the reach and impact of scholarly work. It serves as a key resource for academics, researchers, and practitioners interested in the application and study of podcasting as a novel vector for knowledge creation and distribution.

In Canada, social work—both the profession and the academic discipline—has given inadequate attention to individuals living with autism and intellectual and developmental disabilities. This is true regardless of whether the social work role is in a clinical capacity, community-based programs, academic research and educational endeavours, or an advocacy role or supporting self-advocacy for basic needs and rights to services and supports. Many people with autism and intellectual and developmental disabilities, and their supporters, value community involvement and integration, quality of life, and access to a wide range of services, so it is likely that social workers will encounter these clients in their careers. Consequently, the onus is on the social work profession to attend more fully and carefully to preparing students, practitioners, and researchers.

This peer-reviewed volume provides a range of perspectives, practices, and ideas relative to social work’s engagements with individuals living with autism, intellectual disabilities, and developmental disabilities. Contributors include social work practitioners, academic and community-based researchers, educators, activists, and self-advocates. Reflecting different ways of theorizing, speaking about, and working with people with autism, intellectual disabilities and developmental disabilities, it explores both tensions and possibilities for social work practice, research, education, advocacy, and policy development that better meet their needs and desires for their lives.

In Detachable Penis: A Queer Legal Saga, Elkin relates his bumpy journey from lesbian to transgender lawyer in the aftermath of the 2017 Australian marriage equality postal survey, which resulted in an amendment to the Marriage Act to enable same-sex marriage.

As the inaugural lawyer of Victoria’s queer law service, Elkin is quickly immersed in thorny debates around trans inclusion in sport, children’s access to puberty blockers, birth certificate law reform, and the Christian right’s demand for enhanced religious freedoms. Set against the backdrop of a growing moral panic about the "trans agenda," Elkin reflects on the double-edged sword of visibility post the "transgender tipping point."

Elkin offers an honest, unflinching account of chest surgery, phalloplasty, the emotional impact of cross-sex hormones and the perils of airport body scanners. Refreshingly open-minded, Elkin explores his ambivalence about aspects of his own transition, masculinity, and fears of lesbian erasure as he encounters a new world of gender-affirming psychologists, surgeons, and speech pathologists.

Through an examination of Elkin’s legal casework and law reform efforts, Detachable Penis offers a kaleidoscopic view of LGBTIQA+ communities living on the margins and a nuanced account of the lateral violence, poor mental health, and activist burnout that besets the contemporary LGBTIQA+ rights movement. Part love letter and part cautionary tale, Detachable Penis offers a darkly humorous glimpse into Elkin’s unique life in the law.

A collection of readings in Russian philosophical thought.

Molecular Cathedral is the first ever selection of the extraordinary poems of John Lent, renowned Okanagen-based writing instructor and poet.

Lent's work is restlessly experimental and yet always approachable especially as it remains dedicated to seeking clarities between the poet and the reader. These poems deepen Lent's legendary status by offering a selection of his dazzling, often genre-defying poems and covering nearly fifty years of Lent's poetry career. While these poems are regularly unexpected in terms of their luminous play with form they always—in their at once conversational and wildly sensual lyricism—reach for and care about their reader.

The volume includes an introduction by Jake Kennedy, "At the Junction of the Eye and Heart," and an illuminating, wide-ranging, and joyous afterword from Lent himself. Molecular Cathedral is a fascinating and accessible introduction to one of Canada’s most unique poets.

Part exploration of a key group of Black Canadian poets, part literary, cultural, and musical history, Soundin’ Canaan demonstrates how music in Black Canadian poetry is not solely aesthetic, but a form of social, ethical, and political expression.

Soundin' Canaan refers to the code name often used for Canada during the Black migration to Canada. The book analyzes the contributions of key Black Canadian poets, including their poetic styles and their performances. The book has several key objectives, including recuperating the collision of the historical and the Biblically derived figure of Canaan, the promised land of freedom and security for an African American population seeking to leave the shackles of slavery behind and the northern terminus of the underground railroad. Centering around the poetry of George Elliott Clarke, Dionne Brand, M. NourbeSe Philip, Wayde Compton, and rapper K’naan, it delves into how these poets draw inspiration from African American and Afro-diasporic musical genres, such as blues, jazz, reggae and dub, hip-hop, and remix, to reshape the notions of identity and citizenship. Soundin' Canaan asks: what does Canadian citizenship sound like, especially when voiced by Black Canadian poets who embrace a fluid and multicultural form of citizenship that moves between local and global spaces, much like music does?

Using a DJ Methodology, the author mixes in close readings of poetry, music, cultural and literary history, as well as various interviews with the poets. The book includes an accompanying soundtrack to further enhance the reading experience. Listening to the poets in this book—that is in listening closely to the poems, sounds, and musical samples they bring into the mix—constitutes “sonic citizenship.” This co-performative act of reading, listening, and sounding serves as a reminder of how citizens inhabit and negotiate life in Canada beyond the formal legal framework of the nation-state.

Ring Around the Maple is about the condition of children in Canada from roughly 1850 to 2000, a time during which “the modern” increasingly disrupted traditional ways. Authors Cynthia R. Comacchio and Neil Sutherland trace the lives of children over this “long century” with a view to synthesizing the rich interdisciplinary, often multi-disciplinary, literature that has emerged since the 1970s.

Integrated into this synthesis is the authors’ new research into many, often seemingly disparate, archival and published primary sources. Emphasizing how “the child” and childhood are sociohistoric constructs, and employing age analytically and relationally, they discuss the constants and the variants in their historic dimensions. While childhood tangibly modernized during these years, it remained a far from universal experience due to identifiers of race, gender, culture, region, and intergenerational adaptations that characterize the process of growing up.

This work highlights children’s perspectives through close, critical, “against the grain” readings of diaries, correspondence, memoirs, interviews, oral histories and autobiographies, many buried in obscure archives. It is the only extant historical discussion of Canadian children that interweaves the experiences of First Nations, Métis, and Inuit children with those of children from a number of settler groups.

Ring Around the Maple makes use of photographs, catalogues, advertisements, government publications, musical recordings, radio shows, television shows, material goods, documentary and feature films, and other such visual and aural testimony. Much of this evidence has not to date been used as historical testimony to uncover the lives of ordinary children. This book is generously illustrated with photographs and ephemera carefully selected to reflect children’s lives, conditions, interests, and obligations. It will be of special interest to historians and social scientists interested in children and the culture of childhood, but will also appeal to readers who enjoy the "little stories" that together make up our collective history, especially when those are told by the children who lived them.

What is the responsibility, or the task of the arts as we face environmental crisis?


Ecologies in Practice is an edited collection of dynamic and multi-formatted contributions that explore the ways in which cultural production informs perceptions, communications, and knowledge of environmental distress in a Canadian context, pointing to the significance of the arts in the creation and sharing of crucial counter narratives and alternative possibilities. Ecologies in Practice identifies the arts as an important mode of inquiry for reimagining, and for public engagement and understanding of pressing environmental and social concerns, while acknowledging the ways in which it contributes important work to the growing interdisciplinary field of Environmental Humanities.


Bringing together artistic perspectives from a range of lenses and voices, including artists, writers, scholars, activists, curators, theorists, and makers, Ecologies in Practice offers important tools for artists, scholars, students, and research-creators invested in arts and the environment. Contributors present artistic methods as alternative sites of understanding that contribute significant and affective work to environmental scholarship, while thinking outside of the disciplinary borders and confines of the artworld. Ecologies in Practice aims to initiate vital conversations among practitioners, and together with readers, consider what environmentally engaged arts lend differently to these conversations.

Who gets to write poetry? Whose voices are made public? Whose voices are heeded?


Erasing Frankenstein showcases a creative exchange between federally incarcerated women and members of the prison education think tank Walls to Bridges Collective at the Grand Valley Institution for Women in Kitchener, Ontario, and graduate and undergraduate students from the University of New Brunswick in Fredericton. Working collaboratively by long-distance mail, the artists and contributors made the first-ever poetic adaptation of Frankenstein, turning it into a book-length erasure poem, I or Us. An example of “found art,” an erasure poem is created by erasing or blacking out words in an existing text; what is left is the poem. The title reflects the nature of the project: participants have worked as “I”’s, each creating their own erased pages, but together worked as an “us” to create a collaged “monster” of a book.


Erasing Frankenstein presents the original erasure poem I or Us alongside reflections from participants on the experience.

To describe the writing of Marilyn Dumont is to call her a poet of reclamation and resurgence. Some thirty-five years ago she set about documenting her life as a young Métis woman and telling the story of her people, the Red River Métis, and, in the process, she has become a principal literary voice for the “Renaissance” of the Métis nation. To understand Marilyn Dumont’s work is to understand Métis culture and history, that of a people who originated in the 17thth century upon the meeting of the First Nations and the newcomers, the European voyageurs and cartographers who travelled along the great waterways of Turtle Island/ North America.

How does a Métis poet write about a country where its politicians and bureaucrats are honoured as national figures when they made family fortunes from confiscated Métis and First Nations lands? For Dumont, the answer to this question resides in telling the truth, about the present and the past. Through carefully crafted poems, Dumont takes the reader through a range of personal and historically connected experiences grounded in emotional truth. For Dumont, perception, like memory, is as much about the body as it is the mind, surfacing as visionary insight, which has become the hallmark of her poetry.

Reclamation and Resurgence contains poems selected from A Really Good Brown Girl, green girl dreams Mountains, from that tongued belonging, and The Pemmican Eaters, as well as previously uncollected poems, and includes an introduction by Armand Garnet Ruffo and an afterword, "Contradictory Co-existence," by Marilyn Dumont.

Fragmented and hybrid in style, On Comics and Grief examines a year in comic book publishing and the author’s grief surrounding his mother’s death. This book connects grief, memory, nostalgia, personal history, theory, and multiple lines of comics studies inquiry in relation to the comic books of 1976.

Structured around a year of comic books with a cover date of 1976, the year the author turned ten, the book is divided into an Introduction plus twelve sections, each a month of the publishing year. Two comic books are highlighted each month and examined through the interwoven lenses of creative nonfiction and comics studies. Through these twenty-four comics, the book addresses the major comic book publishers and virtually all genres of comics published in 1976.

By pushing the ways in which the personal is used in comics studies, combining different modes of writing, and embracing a fragmentary style, the book explores what is possible in academic writing in general and comics studies in particular. On Comics and Grief both acts as a way for the author to process his grief and uses grief as a way to think about the comics themselves through the emotions and personal connections that underlie the work we do as scholars.

When violence breaks out at the stands of far-right publishers at the Frankfurt Book Fair, Beatrice Deft is provoked into action. An alienated Australian high school teacher who finds herself at the centre of the global book industry, Beatrice encounters a cast of characters including the very hot Caspian Schorle (German police officer), Kurt Weidenfeld (left-wing German publisher), and White Storm (a neo-Nazi publishing organisation).

Such is the premise of The Frankfurt Kabuff, a comic erotic thriller about the publishing industry originally self-published under the pseudonym Blaire Squiscoll. With The Frankfurt Kabuff Critical Edition, Blaire Squiscoll is revealed as the pen name of Beth Driscoll and Claire Squires, who created the novella in the midst of fieldwork at the Frankfurt Book Fair. Published for the first time as a full critical edition, this experimental, playful work combines critical and creative modes for new perspectives on the publishing industry and creative economies.

The Frankfurt Kabuff Critical Edition enriches the novella with an introduction, annotated text, 15 essays by leading scholars and practitioners, and additional creative assemblages. This highly unusual research project offers insights for students, academics and publishers alike.

This richly illustrated book is both a visitor’s guide to one of southwestern Ontario’s most striking landforms – the Elora Gorge on the Upper Grand River – and a thorough, accessible introduction to its natural and recent human history.

The book introduces rivers that flow in bedrock, between rock walls and through precipitous gorges, unlike the subdued terrain that the last Ice Age bequeathed most of southwestern Ontario. It then leads the visitor to three viewpoints on and three excursions through the gorge, with a wealth of information about its rocks, fossils, caves, cliffs, rockslides, rockfalls, floods and erosional processes. It takes the reader through five “ages” of the gorge. In the First Age the gorge bedrock originated as reef limestone 430 million years ago in prehistoric tropical seas. The Second Age saw the gorge rocks make a great, 400-million-year journey from tropical seas to the heart of a continent via plate tectonics. In the Third Age, the retreating Laurentide Ice Sheet created conditions 17,000 to 15,000 years ago in which ice lobes, glacial lakes and meltwater spillways interacted to incise the gorge in an ice-free area known as the Ontario Island. In the Fourth Age the gorge, nestled in an immense forest, developed at a slower pace moderated by dense woods, fallen branches and beaver dams. In the Fifth Age, the gorge entered the Anthropocene as European settlers came to disrupt and dominate its development and unlock its secrets.

Full of original photographs, maps and diagrams, Rivers in Rock is an authoritative guide to the Elora Gorge that will fascinate visitors and researchers alike.

Did the evangelist Mark write two versions of his gospel? According to a letter ascribed to Clement of Alexandria, Mark created a second, more spiritual edition of his gospel for theologically advanced Christians in Alexandria. Clement’s letter contains two excerpts from this lost gospel, including a remarkably different account of the raising of Lazarus.

Forty-five years of cursory investigation have yielded five mutually exclusive paradigms, abundant confusion, and rumours of forgery. Strangely, one of the few things upon which most investigators agree is that the letter’s own explanation of the origin and purpose of this longer gospel need not be taken seriously.

Mark’s Other Gospel: Rethinking Morton Smith’s Controversial Discovery calls this pervasive bias into question. After thoroughly critiquing the five main paradigms, Scott G. Brown demonstrates that the gospel excerpts not only sound like Mark, but also employ Mark’s distinctive literary techniques, deepening this gospels theology and elucidating puzzling aspects of its narrative. This mystic gospel represents Mark’s own response to the Alexandrian predilection to discover the essential truths of a philosophy beneath the literal level of revered texts.

This book is about the experience of reading–what reading feels like, how it makes people feel, how people read and under what conditions, what drives people to read, and, conversely, what halts the individual in the pursuit of the pleasures of reading. The authors consider reading in all of its richness as they explore readers' relationships with diverse textual and digital forms.

This edited volume is divided into three sections: Theory, Practice, and Politics. The first provides insights into ways of seeing, thinking, and conceptualizing the experience of reading. The second features a variety of individual and social practices of reading. The third explores the political and ethical aspects of the reading experience, raising questions about the role that reading plays in democracy and civic participation.

With contributions from multidisciplinary scholars from around the world, this book provides provocative insights into what it means to be a reader reading in and across various social, cultural, and political contexts. Its unifying theme of the reader's experience of reading is put into dialogue with theories, practices, and politics, making this a rewarding read for graduate students, faculty, researchers, and librarians working across a range of academic fields.

The toppling of monuments globally in the last few years has highlighted the potency of monuments as dynamic and affectively loaded participants in society. In the context of Ottawa, Canada’s capital city, monuments inspire colonial and imperial nostalgia, compelling visitors to consistently re-imagine Canada as a white, Anglophone nation, built through the labour of white men: politicians, soldiers, and businessmen. At the same time, Ottawa monuments allow for dominant affective relationships to the nation to be challenged, demonstrated through subtle and explicit forms of defacement and other interactions that compel us to remember colonial violence, pacifism, violence against women, and racisms.

Organized as a series of walking tours throughout Ottawa, the chapters in Tours Inside the Snow Globe demonstrate the affective capacities of monuments and highlight how these monuments have ongoing relationships with their sites, the city, other monuments, and local, deliberate, national, and casual communities of users. The tours focus on the lives of a monument to an unnamed Indigenous scout, the National War Memorial, Enclave: the Ottawa Women’s Monument, and the Canadian Tribute to Human Rights. Two of the tours offer analyses of the ambivalent representations of women and Indigeneity in Ottawa’s statue landscape.

“It’s a girl!” the Ontario press announced, as Canada’s first woman lawyer was called to the Ontario bar in February 1897. Quiet Rebels explores experiences of exclusion among the few women lawyers for the next six decades, and how their experiences continue to shape gender issues in the contemporary legal profession.

Mary Jane Mossman tells the stories of all 187 Ontario women lawyers called to the bar from 1897 to 1957, revealing the legal profession’s gendered patterns. Comprising a small handful of students—or even a single student—at the Law School, women were often ignored, and they faced discrimination in obtaining articling positions and legal employment. Most were Protestant, white, and middle-class, and a minority of Jewish, Catholic, Black, and immigrant women lawyers faced even greater challenges. The book also explores some changes, as well as continuities, for the much larger numbers of Ontario women lawyers in recent decades.

This longitudinal study of women lawyers’ gendered experiences in the profession during six decades of social, economic, and political change in early twentieth-century Ontario identifies factors that created—or foreclosed on—women lawyers’ professional success. The book’s final section explores how some current women lawyers, despite their increased numbers, must remain “quiet rebels” to succeed.

With compassion, humour and sharp-eyed irreverence, Ronna Bloom's work has made a significant impact on Canadian poetry. A Possible Trust is selected from her work to date.

Bloom writes concisely of the precarious, the ephemeral, the epic, and of the fragility and determination of people in daily life and extraordinary health crises. She is attentive to suffering, as well as to spontaneous connections and gestures of love. Her poetry has been used by teachers, architects, spiritual leaders, and in hospitals across Canada. This is poetry engaged with spontaneity, presence, work, and health care. There is a tenderness here where living matters, as does dying, a valuing of the incident, the encounter, the unexpected, the sorrow and the bowl-me-over delight.

Bloom speaks to us about how vulnerability, suffering, and the release into joy, can combine as an ongoing, never-ending life practice. She mines her own experience while looking out into the world with awareness, empathy and the willingness to risk being wide open. These poems stand firm with readers.

Editor and poet Phil Hall's Introduction "To Lead by Crying" argues for a poetics of empathy, and is an enthusiastic retrospective of Bloom's work. In Ronna Bloom's Afterword, she traces the relevance of photography, psychotherapy, and meditation in her work. Defiant, comical, revealing, impolite yet respectful, A Possible Trust is a retrospective and celebration.

Indigenous and settler scholars and media artists discuss and analyze crucial questions of narrative sovereignty, cultural identity, cultural resistance, and decolonizing creative practices.

Humans are narrative creatures, and since the dawn of our existence we have shared stories. Storytelling is what connects us, what helps us give shape and understanding to the world and to each other. Who tells whose stories in which particular ways leads to questions of belonging, power, relationality, community and identity. This collection explores those issues with a focus on settler-Indigenous cultural politics in the country known as Canada, looking in particular at Indigenous representation in media arts. Chapters feature roundtable discussions, interviews, film analyses, resurgent media explorations, visual culture advocacy and place-based practices of creative expression.

Eclectic in scope and diverse in perspective, Indigenous Media Arts in Canada is unified by an ethic of conciliation, collaboration, and cultural resistance. Engaging deftly and thoughtfully with instances of cultural appropriation as well as the oppressive structures that seek to erode narrative sovereignty, this collection shines as a crucial gathering of thoughtful critique, cultural kinship, and creative counterpower.

What can it look like for poetry to bear witness? What might it feel like for a poem to keep company? A Different Species of Breathing: The Poetry of Sue Goyette offers an introduction to the work of a poet whose writing attends to these large and connected questions.

Goyette’s poetry experiments with (and pushes at the edges of) lyric poetry to explore webs of connection. Whether considering the ways in which systems of care fail children, the devastating reach of Big Pharma, the reciprocal relationship between oceans and humans, or the possibilities that rest in rewriting one’s own story, Goyette’s poetry is rooted in the work of witnessing and being in company with others.

A Different Species of Breathing opens with an introduction by scholar, editor, and poet Bart Vautour, which offers readers context for Goyette’s lyric innovations as well as her key poetic concerns. A selection chosen from across Goyette’s published work then presents readers with poems that appear in chronological order to ground readers in the poet’s trajectories of thinking. The volume closes with a new and previously unpublished interview between Goyette and scholar and writer Erin Wunker. For scholars, poetry aficionados, students, and those interested in questions of care, connection, and ecosystems.

Although many know about Jackie Robinson’s experiences breaking major league baseball’s colour barrier in 1947, few are familiar with the Chatham Coloured All-Stars, a Black Canadian team from 1930s Ontario who broke racial barriers in baseball even earlier. In 1933, the All-Stars began playing in the primarily white world of organized amateur baseball. The following year, the All-Stars became the first Black team to win a provincial championship.

Sporting Justice begins with a look at a vibrant Black baseball network in southwestern Ontario and Michigan in the 1920s, which fostered the emergence of the Chatham Coloured All-Stars in the 1930s. It follows the All-Stars’ eight years as a team (1933-1940) as they navigated the primarily white world of amateur baseball, including their increasing resistance to racism and unfair treatment. After the team disbanded, Chatham Coloured All-Stars players in the community helped to racially integrate local baseball and supported new Black teams in the 1940s and 1950s.

While exploring the history of Black baseball in one southwestern Ontario community, this book also provides insights into larger themes in Canadian Black history and sport history including gender, class, social justice, and memory and remembrance.

Fields in Motion: Ethnography in the Worlds of Dance examines the deeper meanings and resonances of artistic dance in contemporary culture.
The book comprises four sections: methods and methodologies, autoethnography, pedagogies and creative processes, and choreographies as cultural and spiritual representations. The contributors bring an insiders insight to their accounts of the nature and function of these artistic practices, giving voice to dancers, dance teachers, creators, programmers, spectators, students, and scholars.
International and intergenerational, this collection of groundbreaking scholarly research points to a new direction for both dance studies and dance anthropology. Traditionally the exclusive domain of aesthetic philosophers, the art of dance is here reframed as cultural practice, and its significance is revealed through a chorus of voices from practitioners and insider ethnographers.

The first English-language translation of Der Weltkrieg, the German official history of the First World War.

Originally produced between 1925 and 1944 using classified archival records that were destroyed in the aftermath of the Second World War, Der Weltkrieg is the inside story of Germany’s experience on the Western front. Recorded in the words of its official historians, this account is vital to the study of the war and official memory in Weimar and Nazi Germany. Although exciting new sources have been uncovered in former Soviet archives, this work remains the basis of future scholarship. It is essential reading for any scholar, graduate student, or enthusiast of the Great War.

This volume covers the outbreak of war in July–August 1914, the German invasion of Belgium, the Battles of the Frontiers, and the pursuit to the Marne in early September 1914. The first month of war was a critical period for the German army and, as the official history makes clear, the German war plan was a gamble that seemed to present the only solution to the riddle of the two-front war. But as the Moltke-Schlieffen Plan was gradually jettisoned through a combination of intentional command decisions and confused communications, Germany’s hopes for a quick and victorious campaign evaporated.

Catching the Torch examines contemporary novels and plays written about Canada's participation in World War I. Exploring such works as Jane Urquhart's The Underpainter and The Stone Carvers, Jack Hodgins's Broken Ground, Kevin Kerr's Unity (1918), Stephen Massicotte's Mary's Wedding, and Frances Itani's Deafening, the book considers how writers have dealt with the compelling myth that the Canadian nation was born in the trenches of the Great War.

In contrast to British and European remembrances of WWI, which tend to regard it as a cataclysmic destroyer of innocence, or Australian myths that promote an ideal of outsize masculinity, physical bravery, and white superiority, contemporary Canadian texts conjure up notions of distinctively Canadian values: tolerance of ethnic difference, the ability to do one's duty without complaint or arrogance, and the inclination to show moral as well as physical courage. Paradoxically, Canadians are shown to decry the horrors of war while making use of its productive cultural effects.

Through a close analysis of the way sacrifice, service, and the commemoration of war are represented in these literary works, Catching the Torch argues that iterations of a secure mythic notion of national identity, one that is articulated via the representation of straightforward civic and military participation, work to counter current anxieties about the stability of the nation-state, in particular anxieties about the failure of the ideal of a national "character."

In 1947 a group of Yoruba-speaking fishermen who had been persecuted because of their religious beliefs founded their own community in order to worship in peace. Although located in an impoverished part of Nigeria, within a few years the village enjoyed remarkable economic success. This was partly because the fishermen held all goods in common, pooled the profits in the community treasury, and attempted to reduce the importance of the family and marriage. After about a generation the utopia began to fall apart. The early religious zeal faded, private enterprise replaced communalism, and the family became strong once more. In an attempt to explain the initial success and eventual decline of the utopia, the author compares it with neighbouring villages that embraced similar religious beliefs but did not enjoy the same economic success. He sets the problem firmly in a broad comparative framework and draws the implications for theories of development, especially Weber’s Protestant ethic thesis.

Most critics and literary historians have ignored Marxist-inspired creative literature in Canada, or dismissed it as an ephemeral phenomenon of the 1930s. Research reveals, however, that from the 1920s onward Canadian creative writers influenced by Marxist ideas have produced a quantitatively substantial and artistically significant body of poetry, drama, fiction, and non-fiction.
This book traces historically and evaluates critically this tradition, with particular emphasis on writers who were associated with, or sympathetic to, the Communist Party of Canada. After two chapters surveying the work of anti-capitalist writers of the nineteenth and early twentieth centuries, the book concentrates on the development of Marxist-inspired writing from the 1920s to the end of the twentieth century.
Besides devoting attention to both social and theoretical backgrounds, this study provides critical commentary on work by prominent writers who spent part of their literary careers as Communist Party members, including Dorothy Livesay, Patrick Anderson, Milton Acorn, and George Ryga, as well as less well known but more fervent Communists such as Margaret Fairley, Dyson Carter, Joe Wallace, Stanley Ryerson, and Jean-Jules Richard. Although primarily concerned with the older generation of Marxists who flourished between the 1920s and the 1970s, the book also includes a chapter on the post-1970s “New Left.”

“Webster’s iconoclasm was not the lonely experience of an alienated intellectual, but part of his generation’s struggle to create the future. As such, the critical energy we find in the plays was sustained, not by ideological certainty, but rather by interaction with the great complexity of thought and action—much of it negative—that constitutes a pre-revolutionary movement. If Webster was part of a dying culture, he was also—and it is this that Webster criticism has almost consistently ignored—a member of the generation that prepared the way for the revolution of 1640” (Introduction).
Through detailed analysis of four plays, The White Devil, The Duchess of Malfi, The Devil’s Law Case, and Appius and Virginia, Goldberg explores the relations between Webster and aspects of Jacobean social and intellectual history. Webster’s satire of princes and prelates, his iconoclastic view of traditional philosophy, his trenchant analysis of institutions are seen as part of an intellectual movement that was undermining faith in the old order. Special attention is given to Webster’s theatrical representations of legal practice and legal philosophy as key manifestations of the realities of political power. Webster’s dramatizations of the judgment situation are shown to embody specific commentary on the legal system of his time, commentary that ranges in orientation from anarchist to reformist to revolutionary. Webster’s irreverence for traditional ideals and institutions combines with a humanist sense of man’s—and woman’s—potential to make an important contribution to the pre–revolutionary movement.

The Wyandot were born of two Wendat peoples encountered by the French in the first half of the seventeenth century—the otherwise named Petun and Huron—and their history is fragmented by their dispersal between Quebec, Michigan, Kansas, and Oklahoma. This book weaves these fragmented histories together, with a focus on the mid-eighteenth century.
Author John Steckley claims that the key to consolidating the stories of the scattered Wyandot lies in their clan structure. Beginning with the half century of their initial diaspora, as interpreted through the political strategies of five clan leaders, and continuing through the eighteenth century and their shared residency with Jesuit missionaries—notably, the distinct relationships different clans established with them—Steckley reveals the resilience of the Wyandot clan structure. He draws upon rich but previously ignored sources—including baptismal, marriage, and mortuary records, and a detailed house-to-house census compiled in 1747, featuring a list of male and female elders—to illustrate the social structure of the people, including a study of both male and female leadership patterns. A recording of the 1747 census as well as translated copies of letters sent between the Wyandot and the French is included in an appendix.

This book examines the impact place and displacement can have on the composition and interpretation of Western art music, using as its primary objects of study the work of István Anhalt (1919–2012), György Kurtág (1926–), and Sándor Veress (1907–92). 

Although all three composers are of Hungarian origin, their careers followed radically different paths. Whereas, Kurtág remained in Budapest for most of his career, Anhalt and Veress left: the former in 1946 and immigrated to Canada and the latter in 1948 and settled in Switzerland. All three composers have had an extraordinary impact in the cultural environments within which their work took place.

In the first section, “Place and Displacement,” contributors examine what happens when composers and their music migrate in the culturally complex world of the late twentieth century. The past one hundred years produced record numbers of refugees, and this fact is now beginning to resonate in the study of music. As Anhalt himself forcefully asserts, however, not all composers who emigrate should be understood as exiles. The first chapters of this book explore some of the problems and questions surrounding this issue.

Essays in the second section, “Perspectives on Reception, Analysis, and Interpretation,” look at how performing acts of interpretation on music implies bringing the time, place, and identity of the musician, the analyst, and the teacher to bear on the object of study. Like Kodály, Kurtág considers his work to be “naturally” embedded in Hungarian culture, but he is also a quintessentially European artist. Much of his production—he is one of the twentieth century’s most prolific composers of vocal music—involves the setting of Hungarian texts, but in the late 1970s his cultural horizons expanded to include texts in Russian, German, French, English, and ancient Greek. The book explores how musicologists’ divergent cultural perspectives impinge on the interpretation of this work.

The final section, “The Presence of the Past and Memory in Contemporary Music,” examines the impact time and memory can have on notions of place and identity in music. All living art taps into the personal and collective past in one way or another. The final four chapters look at various aspects of this relationship.

For Canadians, the First World War was a dynamic period of literary activity. Almost every poet wrote about the war, critics made bold predictions about the legacy of the period’s poetry, and booksellers were told it was their duty to stock shelves with war poetry. Readers bought thousands of volumes of poetry. Twenty years later, by the time Canada went to war again, no one remembered any of it.

Battle Lines traces the rise and disappearance of Canadian First World War poetry, and offers a striking and comprehensive account of its varied and vexing poetic gestures. As eagerly as Canadians took to the streets to express their support for the war, poets turned to their notebooks, and shared their interpretations of the global conflict, repeating and reshaping popular notions of, among others, national obligation, gendered responsibility, aesthetic power, and deathly presence.

The book focuses on the poetic interpretations of the Canadian soldier. He emerges as a contentious poetic subject, a figure of battle romance, and an emblem of modernist fragmentation and fractiousness. Centring the work of five exemplary Canadian war poets (Helena Coleman, John McCrae, Robert Service, Frank Prewett, and W.W.E. Ross), the book reveals their latent faith in collective action as well as conflicting recognition of modernist subjectivities. Battle Lines identifies the Great War as a long-overlooked period of poetic ferment, experimentation, reluctance, and challenge.

Trying to Get It Back: Indigenous Women, Education and Culture examines aspects of the lives of six women from three generations of two indigenous families. Their combined memories, experiences and aspirations cover the entire twentieth century.
The first family, Pearl McKenzie, Pauline Coulthard and Charlene Tree are a mother, daughter and granddaughter of the Adnyamathanha people of the Flinders Range in South Australia. The second family consists of Bernie Sound, her neice Valerie Bourne and Valerie’s daughter, Brandi McLeod — Sechelt women from British Columbia, Canada.
They talk to Gillian Weiss about their memories of childhood, informal learning and schooling, their experience and changing aspirations in raising their own children and educating them in both their traditional and the dominant cultures. They also talk to each other via video conferencing, sharing their personal experience and those of their peoples as colonized nations, and they discuss their current positions as they fight to reclaim, regain and revitalize their traditional cultures. The education of their own peoples as well as the dominant societies is something they see as crucial for their futures; it is a path that they feel has already acheived some success. They document the difficulties, the pain, but also the triumphs of growing up in Western societies.
The narratives are in their own words, speaking directly to the reader and allowing analysis and interpretation at multiple levels. They are prefaced by a brief history of the two peoples and set between a methodological Foreword and a summative Afterword by Gillian Weiss.

A transcription of Lucy Peel’s wonderfully readable journal was recently discovered in her descendent’s house in Norwich, England. Sent in regular installments to her transatlantic relatives, the journal presents an intimate narrative of Lucy’s Canadian sojourn with her husband, Edmund Peel, an officer on leave from the British navy. Her daily entries begin with their departure as a young, newlywed couple from the shores of England in 1833 and end with their decision to return to the comforts of home after three and a half years of hard work as pioneer settlers.
Lucy Peel’s evocative diary focuses on the semi-public world of family and community in Lower Canada’s Eastern Townships, and fulfils the same role as Susanna Moodie’s writings had for the Upper Canadian frontier. Though their perspective was from a small, privileged sector of society, these genteel women writers were sharp observers of their social and natural surroundings, and they provide valuable insights into the ideology and behaviour of the social class that dominated the Canadian colonies during the pre-Rebellion era.
Women’s voices are rarely heard in the official records that comprise much of the historical archives. Lucy Peel’s intensely romantic journal reveals how crucially important domesticity was to the local British officials. Lucy Peel’s diary, like those of such counterparts as Catherine Parr Traill, also suggests that genteel women were better prepared for their role in the New World than Canadian historians have generally assumed.

Laurence Wilmot’s Second World War memoir is a rare thing: a first-hand account of front-line battle by an army officer who is a resolute non-combatant. And it is paradoxes such as this that also make Wilmot’s book a unique and compelling document. Wilmot, as an Anglican chaplain, is a priest dressed as a warrior, a man of peace in battle fatigues. He is an incongruous figure in a theatre of war, always vigilant for opportunities to partake of silent meditation and prayer, never failing to lose sight of the larger moral issues of the war. His compassion is boundless, his sensitivity acute, and one senses his mounting emotional and spiritual enervation as the death toll of his fellow serving men steadily mounts. At the centre of the book is Wilmot’s witness of the murderous battle at the Arielli.
Wilmot’s compassion for the fighting men compels him to leave the safety of his ministry and join them at the front, at great personal risk. There, as an unarmed stretcher-bearer, he is kept busy transporting the wounded under enemy fire. In this crucible of battle we see the qualities that attest to Wilmot’s character and contribute to his memoir’s importance: an indefatigable devotion to his duty to save and comfort the wounded, and a resolve to resist despair in spite of the terrible carnage all around. In short, a singular triumph of the decency of one man in the midst of total war.

How did a Belgian Oblate missionary who came to Canada to convert the aboriginals come to be buried as a Cree chief? In Dissonant Worlds Earle Waugh traces the remarkable career of Roger Vandersteene: his life as an Oblate missionary among the Cree, his intensive study of the Cree language and folkways, his status as a Cree medicine man, and the evolution of his views on the relationship between aboriginal traditions and the Roman Catholicism of the missionaries who worked among them. Above all, Dissonant Worlds traces Vandersteene’s quest to build a new religious reality: a strong, spiritually powerful Cree church, a magnificent Cree formulation of Christian life.
In the wilderness of northern Canada Vandersteene found an aboriginal spirituality that inspired his own poetic and artistic nature and encouraged him to pursue a religious vision that united Cree tradition and Catholicism, one that constituted a dramatic revision of contemporary Catholic ritual. Through his paintings, poetry and liturgical modifications, Vandersteene attempted to recreate Cree reality and provide images grounded in Cree spirituality.
Dissonant Worlds, in telling the story of Vandersteene’s struggle to integrate European Catholicism and aboriginal spirituality, raises the larger issue: Is there a place for missionary work in the modern church? It will be of interest to students of Native studies, the religious history of the Oblates, Canadian studies and Catholicism in the mid-twentieth century.

“We are making an interesting break with conventional sociology.... In recent years sociologists, anthropologists, and other students of social behaviour have made considerable use of the network metaphor ... as a peg, as a witching wand, and as a blueprint.” –from the Preface by Charles Tilly

Margaret Laurence Writes Africa and Canada is the first book to examine how Laurence addresses decolonization and nation building in 1950s Somalia and Ghana, and 1960s and 1970s English Canada.
Focusing on Laurence’s published works as well as her unpublished letters not yet discussed by critics, the book articulates how Laurence and her characters are poised between African colonies of occupation during decolonization and the settler-colony of English Canada during the implementation of Canadian multiculturalism. Laurence’s Canadian characters are often divided subjects who are not quite members of their ancestral “imperial” cultures, yet also not truly “native” to their nation. Margaret Laurence Writes Africa and Canada shows how Laurence and her characters negotiate complex tensions between “self” and “nation,” and argues that Laurence’s African and Canadian writing demonstrates a divided Canadian subject who holds significant implications for both the individual and the country of Canada.
Bringing together Laurence’s writing about Africa and Canada, Davis offers a unique contribution to the study of Canadian literature. The book is an original interpretation of Laurence’s work and reveals how she displaces the simple notion that Canada is a sum total of different cultures and conceives Canada as a mosaic that is in flux and constituted through continually changing social relations.

What do "raves" have to do with eighteenth-century Romanticism, or the latest communication technologies with historical ideas about language, media, and culture?
Today’s culture dazzles us with technological marvels and media spectacles. While we find them entertaining, just as often they are troubling — they seem to contradict common sense, eliciting such questions as What is real? or What is reality? and What is language? or What does language do? These questions, once confined to scholars, have become everyone’s concern. Some of the best answers might be found in an unexpected source: Romanticism.
Too often we bring the values of the Enlightenment, particularly that of reason, to critique phenomena not inherently rational, such as pop culture or the Internet. This means that much criticism of current culture already has an intellectual foundation antagonistic to it — inviting postmodern arguments that suggest history has ended and reality is an illusion.
In contrast, Romanticism, a cultural movement founded in Germany and England during the late eighteenth century, offers us an archive of concepts surprisingly sensitive to these problems. The Romantics were poets, dreamers, and politicians who advanced ideas that anticipated much contemporary thinking. David Black has organized these ideas systematically, and has then applied them to key issues in communications, such as representation, audience, and the information society, as well as to significant debates in cultural studies.
As a result, The Politics of Enchantment offers a new theory of media and culture that is grounded in intellectual history, yet as feverishly current as the latest digital device.

This book deals with the early intellectual reception of the cinema and the manner in which art theorists, philosophers, cultural theorists, and especially artists of the first decades of the twentieth century responded to its advent. While the idea persists that early writers on film were troubled by the cinema’s lowly form, this work proposes that there was another, largely unrecognized, strain in the reception of it. Far from anxious about film’s provenance in popular entertainment, some writers and artists proclaimed that the cinema was the most important art for the moderns, as it exemplified the vibrancy of contemporary life.
This view of the cinema was especially common among those whose commitments were to advanced artistic practices. Their notions about how to recast the art media (or the forms forged from those media’s materials) and the urgency of doing so formed the principal part of the conceptual core of the artistic programs advanced by the vanguard art movements of the first half of the twentieth century. This book, a companion to the author’s previous, Harmony & Dissent, examines the Dada and Surrealist movements as responses to the advent of the cinema.

This book uses case studies to show how and why eight social service organizations adopted computers.
Computerized information systems can be destructive or constructive for organizations and staff. However, the impact of a system cannot be predicted from its logical design alone: one must analyze how well the design fits the needs, interests, and existing practices of those who are likely to use it.

Faced with the prospect of global warming, the anticipated rapid rise in global air temperatures due to the release of gases into the atmosphere, we have two choices of how to respond: adaptation or avoidance. With adaptation we keep burning fossil fuels, let global temperatures rise and make whatever changes this requires: move people from environmentally damaged areas, build sea walls, etc. With avoidance we stop warming from occurring, either by reducing our use of fossil fuels or by using technology such as carbon dioxide recovery after combustion to block the warming effect. Yet each strategy has its drawbacks — adaptation may not be able to occur fast enough to accommodate the expected temperature increases, but avoidance would be prohibitively expensive. An ethically acceptable goal must involve some mixture of adaptation and avoidance.
Written by a team of scientists, social scientists, humanists, legal and environmental scholars and corporate researchers, this book offers an ethical analysis of possible responses to the problem. Their analyses of the scientific and technological data and the ethical principles involved in determining whose interests should be considered point to a combination of adaptation and avoidance of greenhouse gas production. They offer assessments of personal, corporate, government and international responsibility and a series of recommendations to aid decision-makers in determining solutions and apportioning responsibility.

This book is based on the public career of a highly controversial Canadian, Sam Hughes 1885–1916. He is one of the most colourful, even bizarre, figures in Canadian history.
Though he died in 1921, his name can still conjure up controversy and not a little misunderstanding. His long career—in so many respects the quintessential story of a poor backwoods Ontario farm boy who made good by his own efforts—continues to exert a fascination that few other Canadian political figures could duplicate.
Even though there has never been a major scholarly study of Sam Hughes, historians and other writers have developed definite opinions about him, and they are held nearly as vigorously as those of his contemporaries. These vary from insisting that Hughes was mentally unbalanced to proclaiming him a genius. Hughes’ defenders have rarely been professional historians. Neither side have not produced an extensive or definitive literature on Hughes in proportion to other figures of a similar public stature.
Whatever side the studies have taken, the assessments are still incomplete because they have not examined the entirety of Sam Hughes’ public life. To a large extent these limitations have allowed the folk image of him to persist. But Hughes had fibre and substance beyond this. Since historical figures must be explained in terms of their environment, this study tries to redress the previous imbalances by examining Hughes’ public career. It is the only way his historical significance can be explained and reasonable judgments made.

This international collection of essays by leading authorities in literature and education presents the first comprehensive view of the impact of Romanticism on education over the course of the last two centuries. Romanticism’s reconception of self, nature, writing and the imagination forms a chapter of intellectual history that has led to a number of innovative programs in the schools. The book returns to the educational thinking of key figures from the time—Rousseau, Wordsworth, Mary Shelley and Coleridge—before charting their influence on such historical and contemporary developments as Montessori schools, art education, free schools and current writing programs. The contributors tend to challenge common assumptions concerning Romanticism and do not shy away from its darker side; their work encompasses both theoretical considerations of Romantic and post-modern conceptions of the self and practical concerns with Romanticism’s potential for the school curriculum. The Educational Legacy of Romanticism represents a multi-disciplinary inquiry into the continuing influence which cultural endeavours can have on the social practices of society.

From its inception in the early 1900s, The United Church of Canada set out to become the national church of Canada. This book recounts and analyzes the history of the church of Canada’s largest Protestant denomination and its engagement with issues of social and private morality, evangelistic campaigns, and its response to the restructuring of religion in the 1960s.
A chronological history is followed by chapters on the United Church’s worship, theology, understanding of ministry, relationships with the Canadian Jewish community, Israel, and Palestinians, changing mission goals in relation to First Nations peoples, and changing social imaginary.
The result is an original, accessible, and engaging account of The United Church of Canada’s pilgrimage that will be useful for students, historians, and general readers. From this account there emerges a complex portrait of the United Church as a distinctly Canadian Protestant church shaped by both its Christian faith and its engagement with the changing society of which it is a part.

From the time she set the intellectual world on fire with her reflections on Eichmann (1963), Hannah Arendt has been seen, essentially, as a literary commentator who had interesting things to say about political and cultural matters. In this critical study, Shiraz Dossa argues that Arendt is a political theorist in the sense in which Aristotle is a theorist, and that the key to her political theory lies in the twin notions of the “public realm” and the “public self”.
In this work, the author explains how Arendt’s unconventional and controversial views make sense on the terrain of her political theory. He shows that her judgement on thinkers, actors, and events as diverse as Plato, Marx, Machiavelli, Freud, Conrad, Hobbes, Hitler, the Holocaust, the French Revolution, and European colonialism flow directly from her political theory.
Tracing the origins of this theory to Homer and Periclean Athens, Dossa underlines Arendt’s unique contribution to reinventing the idea and the ideal of citizenship, reminding us that the public realm is the locus of friendship, community, identity, and in a certain sense, humanity. Arendt believes that no one who prefets his or her private interest to public affairs in the old sense can claim to be fully human or truly excellent.

Anthony Henday, a young Hudson’s Bay Company employee, set out from York Factory in June 1754 to winter with “trading Indians” along the Saskatchewan River. He adapted willingly and easily to their way of life; he also kept a journal in which he described the plains region and took note of rival French traders’ success at their inland posts. A copy of Henday’s journal was immediately sent to the company directors in London. They rewarded Henday handsomely although they were uncertain where he had travelled, what groups he had met on the plains, and what success he had in opposing rival French traders. Since then, uncertainty about Henday’s year inland has increased. The original journal disappeared; only four copies, dating from 1755 to about 1782, are extant. Each text differs from the other three; the differences range from variant spellings to word choice to contradictory statements on vital questions. All four copies are the work of a company clerk, later factor, named Andrew Graham, who used them to support his own views on HBC trading policies. Twentieth-century scholars have based their claims for Henday’s importance as an explorer, trader and observer of Native cultures on a poorly edited transcript of the 1782 text. They have been unaware or careless of the journal’s textual ambiguity. A Year Inland presents all four copies for the first time, together with contextual notes and a commentary that reassesses the journal’s information on plains geography, people and trade.

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.

Using examples from the last two centuries, this collection of essays discusses the close links between technology and war. In the opening essay, distinguished historian William H. McNeill demonstrates the extent to which military technology has often led to differentiations among people, both within and between societies. The other studies examine various aspects of weapons technology, drawing on the history of the armed forces of Britain, Prussia, and Australia, among others. Some of these illustrate how the adoption of new weaponry frequently depended as much on national pride and party politics as it did on the purely technical merits of the weapons involved; that financial considerations became increasingly primary in technological developments in British army after World War I; and that decisions made prior to 1939 about the aviation technology to be developed for military purposes largely determined what kind of the RAF was able to fight.
The chapter by Dr. G.R. Lindsay, the Chief of the Operational Research and Analysis Establishment at the Department of National Defence Headquarters in Ottawa, makes the case that, with nuclear weapons added to the scene, the impact of technology on international security has never been as great as at present, and that the competition of nations seeking the technological edge in weaponry threatens to destabilize the precarious balance that has existed since 1945.

Offers an intriguing glimpse into the daily life of an average Toronto woman in the mid-nineteenth century.
Mary Armstrong’s diaries are a window into the daily life of a middle-class woman in a new and changing land, and a revealing account of life in early Toronto just before and after confederation. Her journals are one of very few published by Canadian women, especially women outside the upper classes, in the decades surrounding the mid-nineteenth century.
Mary Armstrong was the wife of a butcher / farmer who lived in what is now the Yorkville and Deer Park area of Toronto from the 1830s to the 1880s. She had immigrated with her parents and siblings from England in 1834. Her diaries, which cover five months in 1859 and eight months in 1869, reflect her multiplicity of interests and concerns including family, women’s work, faith, status and class, occupation and trade, community networks, and local and national identity.
Jackson W. Armstrong’s introduction examines who Mary was, what her world was like, and how she saw her own place in it; it also explains the origin and history of the diaries. His extensive primary research supports the well-annotated diaries, and gives contextual information on the events, people, and places that Mary mentions.
Seven Eggs Today offers new information and a new perspective on mid-Victorian English Canada, and will be welcomed by general readers and scholars interested in colonial life, biography, immigrant experiences, family or local history, or women’s studies.

Winner of the 1997 Jewish Book Committee award for scholarship on a Canadian Jewish subject.
Ever since Abella and Troper (None Is too Many, 1982) exposed the anti-Semitism behind Canada’s refusal to allow Jewish escapees from the Third Reich to immigrate, the Canadian churches have been under a shadow. Were the churches silent or largely silent, as alleged, or did they speak?
In How Silent Were the Churches? a Jew and a Christian examine the Protestant record. Old letters, sermons and other church documents yield a profile of contemporary Protestant attitudes. Countless questions are raised — How much anti-Semitism lurked in Canadian Protestantism? How much pro-German feeling? How accurately did the churches of Canada read the signs of the times? Or did they bury their heads in the sand? Davies and Nefsky discover some surprising answers.
The theologies and the historical and ethnic configurations of Protestant Canada, encompassing religious communities from the United Church to the Quakers, are brought into relief against the background of the Great Depression, the rise of fascism in Europe and the resurgence of nativism in Canadian society.
The authors conclude their study with an evaluation of the limits to Protestant influence in Canada and the dilemmas faced by religious communities and persons of conscience when confronted by the realities of power.

What do R.K. Narayan, G.V. Desani, Anita Desai, Zulfikar Ghose, Suniti Namjoshi, and Salman Rushdie have in common?
They represent Indian writing in English over five decades. Vilified by many cultural nationalists for not writing in native languages, they nonetheless present a critique of the historical and cultural conditions that promoted and sustained writing in English. They also have in common a counterrealist aesthetic that asks its own social, political, and textual questions.
This book is about the need to look at the tradition of Indian writing in English from the perspective of counterrealism. The departure from the conventions of mimetic writing not only challenges the limits of realism but also enables Indo-Anglian authors to access formative areas of colonial experience.
Kanaganayakam analyzes the fiction of writers who work in this vibrant Indo-Anglian tradition and demonstrates patterns of continuity and change during the last five decades. Each chapter draws attention to what is distinctive about the artifice in each author while pointing to the features that connect them. The book concludes with a study of contemporary writing and its commitment to non-mimetic forms.

In Canadian universities in the early 1960s, no courses were offered on Hinduism, Buddhism, or Islam. Only the study of Christianity was available, usually in a theology program in a church college or seminary. Today almost every university in North America has a religious studies department that offers courses on Western and Eastern religions as well as religion in general. Harold Coward addresses this change in this memoir of his forty-five-year career in the development of religious studies as a new academic field in Canada. He also addresses the shift from theology classes in seminaries to non-sectarian religious studies faculties of arts and humanities; the birth and growth of departments across Canada from the 1960s to the present; the contribution of McMaster University to religious studies in Canada and Coward’s Ph.D. experience there; the Centre for Studies in Religion and Society at the University of Victoria; and the future of religious studies as a truly interdisciplinary enterprise.
Coward’s retrospective, while not a history as such, documents information from his varied experience and wide network of colleagues that is essential for a future formal history of the discipline. His story is both personally engaging and richly informative about the development of the field.

This book examines the impact place and displacement can have on the composition and interpretation of Western art music, using as its primary objects of study the work of István Anhalt (1919–2012), György Kurtág (1926–), and Sándor Veress (1907–92). 

Although all three composers are of Hungarian origin, their careers followed radically different paths. Whereas, Kurtág remained in Budapest for most of his career, Anhalt and Veress left: the former in 1946 and immigrated to Canada and the latter in 1948 and settled in Switzerland. All three composers have had an extraordinary impact in the cultural environments within which their work took place.

In the first section, “Place and Displacement,” contributors examine what happens when composers and their music migrate in the culturally complex world of the late twentieth century. The past one hundred years produced record numbers of refugees, and this fact is now beginning to resonate in the study of music. As Anhalt himself forcefully asserts, however, not all composers who emigrate should be understood as exiles. The first chapters of this book explore some of the problems and questions surrounding this issue.

Essays in the second section, “Perspectives on Reception, Analysis, and Interpretation,” look at how performing acts of interpretation on music implies bringing the time, place, and identity of the musician, the analyst, and the teacher to bear on the object of study. Like Kodály, Kurtág considers his work to be “naturally” embedded in Hungarian culture, but he is also a quintessentially European artist. Much of his production—he is one of the twentieth century’s most prolific composers of vocal music—involves the setting of Hungarian texts, but in the late 1970s his cultural horizons expanded to include texts in Russian, German, French, English, and ancient Greek. The book explores how musicologists’ divergent cultural perspectives impinge on the interpretation of this work.

The final section, “The Presence of the Past and Memory in Contemporary Music,” examines the impact time and memory can have on notions of place and identity in music. All living art taps into the personal and collective past in one way or another. The final four chapters look at various aspects of this relationship.

Where else can that well-known phrase be better applied than to a study of the Finns in Sudbury? “Rock” defines the physical reality of the Sudbury setting: rugged hills, mines, farms and forests set in the Precambrian Shield. “Hard” defines the human setting: Finnish immigrants having to contend with the problems and stresses of relocating to a new culture, with livelihoods that required great endurance as well as a tolerance for hazardous conditions.
Since 1883 Finnish immigrants in Sudbury, men and women alike, have striven to improve their lot through the options available to them. Despite great obstacles, the Finns never flagged in their unwavering fight for workers’ rights and the union movement. And as agricultural settlers, labour reformers, builders of churches, halls, saunas and athletic fields, Finns left an indelible imprint on the physical and human landscape. In the process they have played an integral part in the transformation of Sudbury from a small struggling rail town to its present role as regional capital of northwestern Ontario.
This penetrating study of the cultural geography of the Finns in the Sudbury region provides an international, national and local framework for analysis — a model for future studies of other cultural groups.

Pioneers in life writing, Mary Wollstonecraft, author of A Vindication of the Rights of Woman (1792), and Mary Shelley, author of Frankenstein (1818 ), are now widely regarded as two of the leading writers of the Romantic period. They are both responsible for opening up new possibilities for women in genres traditionally dominated by men.
This volume brings together essays on Wollstonecraft’s and Shelley’s life writing by some of the most prominent scholars in Canada, Australia, and the United States. It also includes a full-length play by award-winning Canadian playwright Rose Scollard. Together, the essays and the play explore the connections between mother and daughter, between writing and life, and between criticism and creation. They offer a new understanding of two important writers, of a literary period, and of emergent modes of life writing.
Essayists include Judith Barbour, Betty T. Bennett, Anne K. Mellor, Charles E. Robinson, Eleanor Ty, and Lisa Vargo. Among the works discussed are Wollstonecraft’s Vindication, Letters from Norway, and Maria; or, The Wrongs of Woman; William Godwin’s Memoirs of Wollstonecraft; and Shelley’s Frankenstein, The Last Man, Ladore, and Rambles in Germany and Italy.

Elder examines how artists such as Brakhage, Artaud, Schneemann, Cohen and others have tried to recognize and to convey primordial forms of experiences. He argues that the attempt to convey these primordial modes of awareness demands a different conception of artistic meaning from any of those that currently dominate contemporary critical discussion. By reworking theories and speech in highly original ways, Elder formulates this new conception. His remarks on the gaps in contemporary critical practices will likely become the focus of much debate.

Why does it seem as if everyone is writing memoirs, and particularly women?
The current popularity of memoir verifies the common belief that we each have a story to tell. And we do...especially women. Memoirs are not only representations of women’s personal lives but also of their desire to repossess important parts of our culture, in which women’s stories have not mattered.
Beginning with her own motivations for writing memoirs, Helen M. Buss examines the many kinds of memoir written by contemporary women: memoirs about growing up, memoirs about traumatic events, about relationships, about work. In writing memoirs, these women publicly assert that their lives have mattered. They reshape the memoir, a form as old as the middle ages and as young as today, into a social discourse that blends the personal with the political, the self with the significant other, literature with history, and fiction with autobiography and essay. Buss urges readers to use their reading experience to help themselves understand and write the significance of their own lives.
Repossessing the World is the first book-length critical inquiry into women’s use of a form that has often been dismissed as less important than autobiography, less professional than the novel, and less intellectual than the formal essay. Buss demonstrates that the memoir makes its own art, not only through selective borrowing from these genres but also through the unique way that the tripartite narrative voice of the memoir constructs the personal and public experience of the memorist as significant to our cultural moment.

What does it mean to tell a story from a woman’s point of view? How have Canadian anglophone and francophone writers translated feminist literary theory into practice?
Avant-garde writers Daphne Marlatt and Nicole Brossard answer these, and many more questions, in their two groundbreaking works, now made more accessible through the careful, narratological readings and theoretical background in Narrative in the Feminine.
Susan Knutson begins her study with an analysis of the contributions made by Marlatt and Brossard to international feminist theory. Part Two presents a narratological reading of How Hug a Stone, arguing that at the deepest level of narrative, Marlatt constructs a gender-inclusive human subject which defaults not to the generic masculine but to the feminine. Part Three proposes a parallel reading of Picture Theory, Brossard’s playful novel that draws us into (re-) readings of many other texts written by Brossard, Barnes, Wittig, Joyce, de Beauvoir, Homer...to name a few. Chapter 12 closes with a reflection on the expression <’e>criture au f<’e>minin — a Qu<’e>b<’e>cois contribution to an international theoretical debate.
Readers who care about feminist writing and language theory, and students and teachers of Canadian literature and critical and queer studies, will find this book invaluable for its careful readings, its scholarly overview, and its extension of the feminist concept of the generic. Not least, the study is a guide to two important works of the leading experimental writers of Canada and Quebec, Daphne Marlatt and Nicole Brossard.

Can visual art help redeem one’s sense of self, damaged by technological society?
Michael Snow’s work is often described as self-referential, meaning that it “talks” about the relationships between its materials and images, largely ignoring relationships beyond the “frame.” However, since the work also encompasses the way in which the interior relationship of the work intersects with sight and how they, together, create the frame, the work also must include the people looking at it.
This book explores how the visual art practice of Michael Snow asks the question Who? of the viewers as they interpret what lies before them. Much criticism of Snow objectively analyzes the material interrelationships in his work, ignoring viewer participation, and implicitly giving the artist control of the view. However, what if the “who” is addressed from the perspective of the viewer, who is looking across a gap created by concrete representation, time, place, experience and, perhaps, gender? How then can it remain objective?
Following on writers such as Martin Heidegger, Walter Benjamin, Paul Ricoeur, Jacques Derrida and Mikkel Borch-Jacobsen, Figuring Redemption questions the proposal that the contemporary sense of self is “fallen” as a result of modern technology, but can be redeemed in some part by certain kinds of visual art.
Original in its positioning of interpretive and critical writing on the side of an embodied viewer, this book rejuvenates Snow criticism by going beyond discussions of materials and operation or of loss and distancing due to mediation. By alternating personal performance writing with objective analysis, the text participates in the destabilizing process of questioning self-recognition that Snow’s practice initiates.