Pub Date : 2019-10-08DOI: 10.14288/CL.V0I238.191136
Jessica MacEachern
Review of three debut poetry collections: Samantha Bernstein's Spit on the Devil, Mary Corkery's Simultaneous Windows, and Basma Kavanagh's Ruba’iyat for the Time of Apricots.
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Pub Date : 2019-05-02DOI: 10.14288/CL.V0I238.190547
A. Fraile-Marcos
This paper analyses the trope of water in Thomas King’s latest novel The Back of the Turtle from an ethics-of-care perspective that puts in conversation Indigenous ethics, feminist care ethics and environmental ethics. I suggest that King’s focus on water offers a harsh—even if often humorous—critique of the anthropocentric, neoliberal extractivist mentality while proposing a transcultural ethics of care. Consequently, my analysis of the novel draws on the dialogue taking place in the realm of the Environmental Humanities in Canada and beyond about the centrality of water (See Cecilia Chen, Janine MacLeod and Astrida Neimais’ Thinking with Water; Dorothy Christian and Rita Wong’s Downstream: Reimagining Water; Astrida Neimanis’ Bodies of Water: Posthuman Feminist Phenomenology; Stacy Alaimo’s Exposed: Environmental Politics and Pleasures in Posthuman Times), as well as on Indigenous epistemologies that eschew anthropocentrism in favour of attentive caring for the interconnected needs of humans and non-humans within interdependent ecologies, and feminist environmental care ethics that emphasize the importance of empowering communities to care for themselves and the ecologies that sustain them.
本文从关怀伦理的角度分析了托马斯·金最新小说《龟背》中关于水的比喻，将土著伦理、女权主义关怀伦理和环境伦理进行了对话。我认为金对水的关注提供了对人类中心主义、新自由主义榨取主义心态的严厉——即使经常是幽默的——批评，同时提出了一种跨文化的关怀伦理。因此，我对这部小说的分析借鉴了发生在加拿大环境人文学科领域的对话，以及水的中心地位(参见Cecilia Chen、Janine MacLeod和Astrida Neimais的《Thinking with water》;多萝西·克里斯蒂安和丽塔·王的《下游:重新想象水》;Astrida Neimanis的《水体》:后人类女性主义现象学斯泰西·阿莱莫(Stacy Alaimo)的《暴露:后人类时代的环境政治和乐趣》，以及土著认识论，这些认识论避开了人类中心主义，倾向于在相互依存的生态中关注人类和非人类的相互关联的需求，以及女权主义的环境关怀伦理，强调赋予社区权力来照顾自己和维持他们的生态的重要性。
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Pub Date : 2019-04-16DOI: 10.14288/CL.V0I237.191626
Deanna Reder, Alix Shield
In a 1989 interview, Metis author Maria Campbell complained to Hartmut Lutz that a section of her autobiography, Halfbreed, first published in 1973, was removed by the publisher against her wishes. During a chance meeting with Campbell in Dublin in 2017, and following Indigenous protocols, Deanna Reder and Alix Shield asked her for permission to search for early versions of Campbell's text. With Campbell's blessing, Alix Shield conducted an archival search for any early material, and discovered the excised passage that revealed that when Campbell was a teenager, she had been raped by RCMP officers. This article includes the found text and discusses the impact of its excision.
{"title":"Maria Campbell's Halfbreed. Reclaiming the Excised Passage","authors":"Deanna Reder, Alix Shield","doi":"10.14288/CL.V0I237.191626","DOIUrl":"https://doi.org/10.14288/CL.V0I237.191626","url":null,"abstract":"In a 1989 interview, Metis author Maria Campbell complained to Hartmut Lutz that a section of her autobiography, Halfbreed, first published in 1973, was removed by the publisher against her wishes. During a chance meeting with Campbell in Dublin in 2017, and following Indigenous protocols, Deanna Reder and Alix Shield asked her for permission to search for early versions of Campbell's text. With Campbell's blessing, Alix Shield conducted an archival search for any early material, and discovered the excised passage that revealed that when Campbell was a teenager, she had been raped by RCMP officers. This article includes the found text and discusses the impact of its excision.","PeriodicalId":44701,"journal":{"name":"CANADIAN LITERATURE","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2019-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44620310","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-03-05DOI: 10.14288/CL.V0I237.190281
James Hahn
This essay explores the ethical dimensions of documentary appropriation by staging a “resistant reading” of Stephen Scobie’s McAlmon’s Chinese Opera (1980). By dwelling on Robert McAlmon’s documented aversion to seeing his controversial marriage transformed into literature, Scobie’s long poem effectively commits the very transgression it thematizes while also encouraging the reader to further scrutinize McAlmon’s private life. Yet Opera’s proliferation of transgressions is inextricably linked to its efforts to rescue McAlmon from historical obscurity, and to pay homage to the values inherent in his own writings. With this in mind, Opera serves as a compelling example of the ethical ambivalence often at play in the documentary long poem’s engagement with historical figures and events.
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Pub Date : 2019-03-05DOI: 10.14288/CL.V0I237.190753
Julie Cairnie
Sport is one of the key recommendations in the TRC's final reoort, and it is imperative that scholars of sport literature and culture take this seriously. Hockey, as Canada's national sport, is a critical place to begin.It is assumed that hockey is unifying, but it is a “contact zone” (Pratt) where “players” present competing narratives about the meaning of hockey, “our game,” in a post-TRC (Truth and Reconciliation Commission) Canada. Here I present a contact zone reading of two books about hockey: Stephen Harper’s A Great Game (2013) and Richard Wagamese’s Indian Horse (2012). The books were published a year apart and each one has national significance: Harper’s history was published when he was the sitting Prime Minister, and Wagamese’s novel was a strong contender in CBC’s “Canada Reads” in 2013. Harper presents a neat progress narrative (from amateur to professional hockey), while Wagamese refuses the conventional narrative of hockey development and progress, and tracks the movement away from professional to community-based hockey. In Indian Horse both hockey and masculinities undergo a process of truth and reconciliation, and hockey is provided a far more nuanced narrative than Harper’s text allows. Key Words: Postcolonial Hockey; Canadian Masculinities; Wagamese; Harper
{"title":"Truth and Reconciliation in Postcolonial Hockey Masculinities","authors":"Julie Cairnie","doi":"10.14288/CL.V0I237.190753","DOIUrl":"https://doi.org/10.14288/CL.V0I237.190753","url":null,"abstract":"Sport is one of the key recommendations in the TRC's final reoort, and it is imperative that scholars of sport literature and culture take this seriously. Hockey, as Canada's national sport, is a critical place to begin.It is assumed that hockey is unifying, but it is a “contact zone” (Pratt) where “players” present competing narratives about the meaning of hockey, “our game,” in a post-TRC (Truth and Reconciliation Commission) Canada. Here I present a contact zone reading of two books about hockey: Stephen Harper’s A Great Game (2013) and Richard Wagamese’s Indian Horse (2012). The books were published a year apart and each one has national significance: Harper’s history was published when he was the sitting Prime Minister, and Wagamese’s novel was a strong contender in CBC’s “Canada Reads” in 2013. Harper presents a neat progress narrative (from amateur to professional hockey), while Wagamese refuses the conventional narrative of hockey development and progress, and tracks the movement away from professional to community-based hockey. In Indian Horse both hockey and masculinities undergo a process of truth and reconciliation, and hockey is provided a far more nuanced narrative than Harper’s text allows. Key Words: Postcolonial Hockey; Canadian Masculinities; Wagamese; Harper","PeriodicalId":44701,"journal":{"name":"CANADIAN LITERATURE","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2019-03-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45397787","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-12-12DOI: 10.14288/CL.V0I232.187975
Heather Olaveson
This article examines the purpose of music in Tomson Highway's Kiss of the Fur Queen by exploring its connection to the growth and development of the protagonist and musician Jeremiah Okimasis. In considering the growth of Jeremiah's character, I explore ways in which the novel's Bildungsroman structure is both exemplified and problematized by Highway's use of Cree and Classical musical aesthetics, and investigate the development of Native youth identity as well as a Cree cultural home. What is ultimately revealed is a trickster poetics at work in the text, as demonstrated by music's ability to lure characters into and out of cultural spaces of belonging while also functioning as an essential method of Cree cultural survival.
{"title":"\"Coming Home\" Through Music: Cree and Classical Music in Tomson Highway's Kiss of the Fur Queen","authors":"Heather Olaveson","doi":"10.14288/CL.V0I232.187975","DOIUrl":"https://doi.org/10.14288/CL.V0I232.187975","url":null,"abstract":"This article examines the purpose of music in Tomson Highway's Kiss of the Fur Queen by exploring its connection to the growth and development of the protagonist and musician Jeremiah Okimasis. In considering the growth of Jeremiah's character, I explore ways in which the novel's Bildungsroman structure is both exemplified and problematized by Highway's use of Cree and Classical musical aesthetics, and investigate the development of Native youth identity as well as a Cree cultural home. What is ultimately revealed is a trickster poetics at work in the text, as demonstrated by music's ability to lure characters into and out of cultural spaces of belonging while also functioning as an essential method of Cree cultural survival.","PeriodicalId":44701,"journal":{"name":"CANADIAN LITERATURE","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2017-12-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44518870","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-10-06DOI: 10.14288/CL.V0I230-1.187972
Keavy Martin
This paper explores the rhetoric of silence in Mini Aodla Freeman’s Life Among the Qallunaat . Partway through this memoir, the author shares a parable about a government man who, having spent significant time in the North, adopts Inuit ways, becoming “Inuk-washed.” The marker of this man’s transformation is his decision not to speak back to his superiors; instead, “he chooses to be quiet and to sit back and listen.” This learned behaviour resonates with other silences in the book: the narrator is characterized by her refusal and sometimes inability to speak up; meanwhile, Aodla Freeman has since alluded to what was not included in her book (the full history of her experience at residential school). And while these decisions not to speak reflect Inuit cultural protocols around deference to authority, they also challenge a 21 st century audience reading this text in the era of Truth & Reconciliation—a time, after all, of ‘breaking the silence’ and of speaking back. What are readers to make, then, of Aodla Freeman’s insistence upon silence as a commendable act? How are qallunaat to emulate the silence of the government man, especially when it risks complicity with oppression? I argue that Life Among the Qallunaat re-figures silence not only as a form of resistance to the expected ‘confession’ of traumatic experience (Garneau), but also as a rhetorical tool capable of inspiring reflection and even alliance where, previously, there was none.
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