Canada and Beyond -- Vol. 08 (2019)

Permanent URI for this collectionhttps://hdl.handle.net/10272/17770

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Now showing 1 - 8 of 8

What might this be
(Universidad de Huelva, 2019) Betts, Gregory
Two poems exploring the space and amorphous movements of noise, how emptiness can become a content like a Rorschach
“Want to be a superior man?”: The Production Chinese Canadian Masculinities in Paul Yee’s Writing
(Universidad de Huelva, 2019) Diehl, Lindsay
This paper examines the re-imagining of Chinese Canadian masculinity in Paul Yee’s novel, A Superior Man (2015). Unlike Yee’s previous writing, this novel does not describe Chinese Canadian men as Western Frontier heroes. Rather, it illustrates how Chinese immigration intersects with the oppression of Indigenous peoples, and how notions of masculinity are produced within settler colonialism. The novel thus provides an important entry point into discussions about how to make Indigenous presence and colonization foundational to anti-racist efforts. Yet, since it represents Indigenous peoples as largely peripheral, the novel also points to how much anti-colonial work remains to be done
Sometimes Clocks Turn Back for Us to Move Forward: Reflections on Black and Indigenous Geographies
(Universidad de Huelva, 2019) Chambers, Nadine
In the 1950s two kinds of dispossession in Jamaica and British Columbia occurred through a transnational mining operation and remain in the shape of tailings ponds and a smelter- co-constituting a ‘networked isolation’. A quest to reveal the joint impact anchors this ‘contra-histoire’ (Million, 2009) in an attempt bridge the divide between Black Studies and Indigenous Studies (Leroy, 2016). Moving counter-clockwise through time, I weave Black Caribbean and Indigenous literature and academic texts with an embodied sense of geography and belonging to undo what I call ‘the afterlife of an introduction through white colonial disciplinarity’
Refusing to Listen and Listening to Refusal: Dialogue, Healing, and Rupture in Green Grass, Running Water
(Universidad de Huelva, 2019) Karahkwi:io Diabo, Gage
In Red Skin, White Masks Glen Sean Coulthard speaks to the asymmetries that plague state-driven attempts at enforcing recognition, reciprocity, and reconciliation with First Peoples communities in post-TRC Canada. Although the exigency of achieving a mutually-beneficial, reciprocal form of communication between settler-state and First Peoples has grown especially visible in our present moment, the mechanics of listening and speaking both within and between communities have in fact long been a pivotal concern in First Peoples’ fiction. This project investigates the functions of dialogue in Greek-Cherokee novelist Thomas King’s Green Grass, Running Water With attention to King’s unique style of writing non-dialogues between characters, as well as the structural role that dialogue plays in his writing more broadly, my analysis shows how the act of refusing to listen becomes a means for transforming and generating new conversations across different (typically intercommunal) power dynamics.
Port Rupture(s) and Cross-Racial Kinships in Dionne Brand and Lee Maracle
(Universidad de Huelva, 2019) Purewal, Tavleen
This paper examines Lee Maracle’s Talking to the Diaspora and Dionne Brand’s A Map to the Door of No Returnfor their respective responses to the Komagata Maru in 1914 and to the Chinese migrants denied entry in 1999. These literary moments are points of departure to examine the Indigenous, Black and Asian kinships that arise within and beyond the colonial policing of encounters. Indeed, Maracle and Brand reconceptualize migrant entry as entry into geographies of kinship rather than into the divisive geography of the port under the nation-state regime. The very site of Asian exclusion that constitutes a Canadian identity, the port, becomes a geographic modality through which racialized collectivities emerge from the possibilities of borderless entryways
Indigenous modernism: dehabituating reading practices
(Universidad de Huelva, 2019) Reddon, Madeleine
This paper experiments with formal style as a way of working through the literary discipline’s lacunae regarding aesthetic value, race, and coloniality. Using a “counter taxonomy” as an example of academic dissent, this paper considers the limits of this form of dissenting speech within “public discourse” (Fraser; Habermas) by demonstrating a persistent occlusion in the literary discipline related to this mode of speech, which concerns the “primitive” subject. I define a term to unsettle a series of categorical terms long-held as guiding frameworks in our discipline: modernism, Native and Harlem renaissances, etc. This term is “Indigenous modernism,” a category that is a contradiction in terms because it announces its inclusion of the original term’s constitutive exclusion, ie. the primitive within the modern, through the language producing its erasure. Through this experiment, I argue for the necessity of a different kind of dissent, specifically a more capacious form of literary critique that interrogates the problems of holding a discourse in common and the specific needs of anti-colonial work. As a pedagogical exercise that models the benefits of failure, I suggest that this intervention requires us to think about how we represent truth through critique
Counterclockwise. Special issue edited by Larissa Lai, Neil Surkan, and Joshua Whitehead
(Universidad de Huelva, 2019) Lai, Larissa; Surkan, Neil; Whitehead, Joshua
This special issue of Canada and Beyond addresses Canadian/Turtle Island cultural production and seeks non-linear temporalities, modes of kinship building, productive ways of witnessing, and anti-taxonomic frames for discussion and knowledge-building. It provides a critical view of a shifting field, with emphasis on discursive modes that build relationships while acknowledging difference and incommensurabilities at local and global scales
Archives Undone: Towards a Poethics of Feminist Archival Disruptions
(Universidad de Huelva, 2019) Wunker, Erin E.
This article uses archive theory and Joan Retallack's notion of the poethical wager to read Rachel Zolf's Janey's Arcadia as an interruption and disruption of the ongoing violences of settler-colonial forms of archival narrative. Specifically, I am interested in Rachel Zolf’s poetic irruptions of the settler-colonial representations of Indigenous peoples and lands in her experimental feminist collection Janey’s Arcadia: Errant Ad^ent$res in Ultima Thule

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