Canada and Beyond -- Vol. 09 (2020)

Permanent URI for this collectionhttps://hdl.handle.net/10272/19202

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    Home of the Griffins
    (Universidad de Huelva, 2020) Jacobsen, Mikka
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    The Disappearing Island
    (Universidad de Huelva, 2020) Rugunda, Marjorie
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    The Brass Bowl
    (Universidad de Huelva, 2020) Idriss, Dania
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    Living in ‘The Dish With One Spoon’: Transdescendence and Convivance in Daniel Coleman’s Yardwork: A Biography of an Urban Place
    (Universidad de Huelva, 2020) Omhovère, Claire
    The subtitle of Daniel Coleman’s third book of non-fiction acknowledges in place the existence of a form of life and agency that the essay explores in exquisite detail. The living under scrutiny begins in the yard at the back of the Colemans’ house in Hamilton, the industrial city on the western tip of Lake Ontario where the Canadian critic and writer has made his home. The plasticity of the essay, a prospective, tentative form by definition, means that it is a most suited genre to try out new propositions regarding the practice of place in a vast area that used to be known as a “Dish With One Spoon” by the Indigenous populations who had agreed to preserve it as a neutral ground for their common use before the onset of colonisation. With the influx of European settlers, and the treaties that caused the morcelization of the region between the lakes, the area underwent profound transformations culminating with the industrial boom that boosted the development of the city of Hamilton in the twentieth century while causing great damage to its environment. The area is presently showing signs of ecological resilience that may lead to a renaissance with the waning of the industrial age. Although the timeline matters, Coleman is not writing a history of Hamilton. His approach is more geographical in spirit, looking at the languages, discourses and practices that have transformed a physical location into a place, i.e. portion of space imbued with signification for its human inhabitants, but also a milieu shared by myriad life-forms. This article will analyse the decentering Yardwork operates from the ego-centered genre of the biography to a form of writing which is eco-centered, by which I mean that it is rooted in an ontology where convivance serves as challenging model to help us rethink the borders that cut across life-giving places
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    The Vibrancy of Materiality and Otherwise-Than-Place in Susan Gillis’s Obelisk
    (Universidad de Huelva, 2020) Martínez Serrano, Leonor María
    This article deals with Obelisk (2017), a poetry collection by Canadian Susan Gillis (b. 1959) concerned with the impact of human action on Earth in a myriad of forms. Drawing on a wide spectrum of poets, thinkers and artists, including Du Fu, Czeslaw Milosz, Walter Benjamin, John Dixon Hunt, Don McKay, Xi Chuan and Edward Burtynsky, Obelisk looks like an essay in fragments where Gillis assembles the precious insights of her ancestors to shed light on homo sapiens’ intromission into physical space to make the Earth suit human needs. When put together, her heavily annotated and erudite poems read like a denunciation of the indelible mark humans are leaving on the face of the Earth to make it a habitable space, whilst destroying it in the process. However, there is room in Obelisk for a probing reflection on wilderness and place, for a celebration of the vitality of matter and the more-than-human world, for an environmentally-informed critique of the way human action is having a colossal impact on the planet in the age of the Anthropocene, and for a meditation on what poetry can do in the light of environmental degradation to encourage humanity to act and live responsibly on Earth. Thus, Obelisk warns readers against the destruction of the biosphere and celebrates the persistente of poetry as a mode of knowing and as a tool for fashioning an environmental ethics
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    Margaret Atwood´s Grace Marks as an Outcast: Rewriting Nathaniel Hawthorne´s Hester Prynne
    (Universidad de Huelva, 2020) López Ramírez, Manuela
    Margaret Atwood’s Alias Grace rewrites Nathaniel Hawthorne’s The Scarlet Letter. Both Grace Marks and Hester Prynne epitomize women’s oppression by the patriarchal system, and demonstrate how they challenge and defy it. They are both “criminals,” outcasts that cannot fit in the ideal of True Womanhood of their times because deviant females were shunned from “respectable society.” In the Victorian era, they were denied agency in their transgression, or deemed as monsters. Murderesses inspired fascination and stupor. Hester and Grace gain some empowerment and redemption when they confront their communities, in some measure, through their feminine skills, sewing and quilting