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\"Blank is a collection of previously out-of-print essays and new works by one of Canada's most important contemporary writers and thinkers. Through an engagement with her earlier work, M. NourbeSe Philip comes to realize the existence of a repetition in the world: the return of something that, while still present, has become unembedded from the world, disappeared. Her imperative becomes to make us see what has gone unseen, by writing memory upon the margin of history, in the shadow of empire and at the frontier of silence. In heretical writings that work to make the disappeared perceptible, Blank explores questions of race, the body politic,timeliness, recurrence, ongoingness, art, and the so-called multicultural nation. Through these considerations, Philip creates a linguistic form that registers the presence of what has seemingly dissolved, a form that also imprints the loss and the silence surrounding those disappearances in its very presence.\"-- Provided by publisher.

Daniel Stone and Annalee Greenberg's edited edition, Jewish Life and Times: A Collection of Essays, Volume X, brings together conference presentations delivered at the Jewish Heritage Centre of Western Canada in previous years. Individual chapters on German and French Jewish soldiers in the First World War describe the relationship ofJews to their national hosts-one that is marked by increasing exclusionary restrictions during the earlier decades of the 20\" century, and isunderstood as culminating in the horrors ofthe Holocaust in the Second World War. Irena Karshenbaum's \"The Little Synagogue in Me\" is an account of family migration from the Soviet Union to the Prairies in tandem with a discussion of the construction of the synagogue. Usiskin's argument is complimented by Harriet Zaidman's\"How I Wrote City on Strike,\" Her article expresses her desire to humanize the strikers, which sentiment she identifies as stemming from her own family relationship to the strike, and a gap she noticed in the teaching of Canadian history during her youth.

An original look at how literary characters can transcend their books to guide our lives, by one of the world's most eminent bibliophiles Alberto Manguel, in a style both charming and erudite, examines how literary characters live with us from childhood on. Throughout the years, they change their identities and emerge from behind their stories to teach us about the complexities of love, loss, and the world itself. Manguel's favorite characters include Jim from Huckleberry Finn, Phoebe from The Catcher in the Rye, Job and Jonah from the Bible, Little Red Riding Hood and Captain Nemo, Hamlet's mother, and Dr. Frankenstein's maligned Monster. Sharing his unique powers as a reader, Manguel encourages us to establish our own literary relationships. An intimate preface and Manguel's own \"doodles\" complete this delightful and magical book.

In this essay, I situate Margaret Walker—deemed by Nikki Giovanni “the most famous person nobody knows”—at the nexus of what I conceptualize as the (non) notable network of Black women writers, specifically poets writing and publishing in and around Jackson, Mississippi, during the mid-twentieth century. This essay expands beyond Walker to explore the life and legacy of similarly obscured Black women poets, such as Ruth Roseman Dease, who was ironically misidentified as Zora Neale Hurston in a widely circulated 1952 archival photograph with Walker. Moreover, this essay seeks to consider who is eclipsed when the African American literary canon mimics the American literary canon and its exclusionary and exceptionalist structuring logic in privileging “mainstream” authors over lesser-known, local writers? Subsequently, I situate Dease within a literary lineage comprised of Black women writers who similarly faced difficulty acquiring and sustaining literary notability throughout their lives and most especially in their wake. The interweaving of the literary lives and legacies of Dease, Hurston, and Walker further link these writers and their poetic forms to the foremother of their writ-erly tradition and her chosen poetic form—Phillis Wheatley and the elegy. Dease’s only book-length poetry collection, Scan-Spans (1967), and her other published works and their publishing venues ground the more expansive scope of this study, which evaluates mentorship and kinship networks and their significance amongst Black women writers rooted in Mississippi and those branching out beyond.

Time declared 2020 the year of the \"baby bust\" (Dockterman), and since July of that year, dozens of media outlets have not only reported on falling global birth rates due to the COVID-19 pandemic but have also assessed the (overwhelmingly negative) long-term implications for future generations of this drop in births.1 A report from the Brookings Institute dated 15 June 2020 appears to be the common source propagating concern over the effects of a \"COVID baby bust\" (Kearney and Levine). [...]while the prediction of more than 200,000 fewer births in 2021 was fulfilled, we must examine the cultural narrative communicated in response to Brookings' data for a broader picture of what has actually happened. Yet between these two published texts lies a (presumably) unfinished and unpublished work of fiction that Meyer began sketching in a journal entry dated 14 October 1922 (see appendix), which tells the story of a young woman scientists journey to reintroduce heterosexual procreation into society a generation or more after birth control has rendered the human species sterile. Since the 1910s, women writers of utopian and dystopian fiction, including Charlotte Perkins Gilman, Mary E. Bradley Lane, Margaret Atwood, and P. D. James, have increasingly deployed the trope of global infertility in their fertility utopias and dystopias as a means of creating the appearance of crisis so that they can explore the limits of institutional regulation of the female body. Because Meyer's body of work features institutional regulation of the female body as key to her feminist (bio)politics, I find her unpublished fertility dystopia well positioned for tracing the genealogies of the fertility dystopia and Meyer's feminist politics writ large. In my critical introduction to Helen Brent, M.D., I argue alongside historians Lynn D. Gordon and Manuela Thurner for a reading of Meyers life and work as feminist, citing her public advocacy for the feminist platforms of dress reform, marriage rights, access to sex education, and the right to higher education (xxvii).

I broke all the rules that my dad gave me. It was he who had given me, in part, the confidence to think of my life as being worthy to mix with those of the geniuses. —Heather O’Neill With generosity and wry humour, novelist Heather O’Neill recalls several key lessons she learned in childhood from her father: memories and stories about how crime does pay, why one should never keep a diary, and that it is good to beware of clowns, among other things. Her father and his eccentric friends—ex-bank robbers and homeless men—taught her that everything she did was important, a belief that she has carried through her life. O’Neill’s intimate recollections make Wisdom in Nonsense the perfect companion to her widely praised debut novel, Lullabies for Little Criminals (HarperCollins). Introduction by Kit Dobson.

With her bobbed hair, signature red lipstick, daring image, and modern lifestyle, the Modern Girl is an icon of the roaring twenties and dirty thirties. Nearly twenty years after that, the Modern Girl Around the World Research Group's ground-breaking 2008 book re-introduced the Modern Girl to a broader array of scholars worldwide. Ultimately, Stewart finds that the more radical incarnation of the Mulher Moderna who dominated Brazilian society and print media in the early twentieth century was debased over time by the male editors of O Cruzeiro, who reduced her to a mere fashion plate. If the nationalist agenda of O Cruzeiro suppressed images of and writing by politically active and racially diverse Modern Girls in favor of an icon of white bourgeois nationalism, in Canada-as Kathryn Franklin shows in her article in this issue-it was the consumeristic, bobbed-hair, fashion-savvy Modern Girl who was seen as an affront to traditional Canadian values.

This study contextualizes and theorizes Nigeriopolitanism as a tool wielded by many Nigerian authors for the purpose not only of countering essentialized constructions of Nigerian identity in 19th- and early 20th-century British texts but also of contributing to negotiating Nigerian identities in a global space. Drawing on the concept of Afropolitanism, this study, through the agency of Nigeriopolitanism, redresses the central critique leveled against Afropolitanism, namely that the concept does not apply to those living in the African continent but only to its diasporas. Reading across a range of Nigerian authors from first-generation writers to 21st-century writers such as Chinua Achebe, Chukwuemeka Ike, Buchi Emecheta, and Chimamanda Adichie, this study examines the expressions of Nigeriopolitanism. The understanding of Nigeriopolitanism is crucial to understanding the multiple, complex, and ambiguous Nigerian identities and the modern-day realities of globalization and their impacts. This project will provide a model for other countries that have similar demographics to Nigeria.

In 2011, Lawrence Hill’s bestselling novel, The Book of Negroes, was burned by protestors in the Netherlands. This essay considers the controversy surrounding Hill’s novel to explore the international circulation of literature and reflect on the enduring impact of national literatures in our ostensibly globalized present.