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"Canadian writers"
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\The Company at St. Anne's\ and \The God's Gardeners\: What C.S. Lewis and Margaret Atwood Teach Us about Caring for Our Planet
At first sight, That Hideous Strength (1945) by C.S. Lewis and the MaddAddam trilogy (2003, 2009, 2013) by Margaret Atwood seem to have little in common. Yet, despite differences of time and place, and approach of the authors, there are startling and generative similarities between the two communities they depict, the Company at St. Anne's and the God's Gardeners. In considering the groups' opposition to reductionist technocracy and a shared set of principles, Atwood's MaddAddam trilogy seems to be carrying on the heart of Lewis' dystopic That Hideous Strength as effective ecological and ethical speculative fiction.
Journal Article
Ekphrastic drag: temporal transgressions in John Barton's West of Darkness: Emily Carr: A Self-Portrait
Appropriately, a section of Edge of the Forest provides the cover illustration for both the first (1987) and second (1999) editions of Barton's West of Darkness: Emily Carr: A Self-Portrait, a collection of biographical poems written in the first person that offers a fragmented narrative of Carr's life and work.1 The painting, showing the ragged desolation that comes just before the lusher-if darker-forest, provides the ideal Carrian image for this borderland text on the edges of ekphrastic and documentary modes. In this essay, I demonstrate how ekphrasis, in concert with drag, functions as a queer form of Canadian (auto)biography. When Barton-as-Emily conceives of the future, however, the vision is never explicitly political but rather more suggestive of an embodied union with the natural world and a transcendence of the material \"modern\" world with its attendant limits on gender, sexual, and artistic expression.
Journal Article
my-brain-at-3am/Mon cerveau a trois heures du matin
There are those who can sleep and those who cannot. For the sleepers, theirs is a world where sleep comes easily, without question or crisis, a physiological guarantee. As a child, I slept. As an adult, I have not. In 2019, reading Anne Carson's poem \"Ode to Sleep\" (2005)--in which she asks readers to imagine their lives \"without that slab of outlaw time punctuating every pillow\"--I became aware that I had lived half my life with sleep, half with doubt; half with rest, half distress. Eighteen years with, eighteen years without. (1) Il y a les personnes qui dorment et celles qui ne dorment pas. Dans le monde des dormeurs et dormeuses, le sommeil arrive facilement, sans lutte ni acharnement; une certitude physiologique. Enfant, je dormais. Dans ma vie d'adulte, je ne dors plus. En 2019, en lisant le poeme <> (2005) d'Anne Carson, qui nous invite a envisager une vie <>, je me suis rendu compte que j'avais passe la moitie de la vie avec le sommeil, et l'autre, avec le doute; moitie repos, moitie detresse. Dix-huit ans avec, dix-huit ans sans.
Journal Article
Falling Back in Love with Trans-Inclusive Feminism: Canadian Creative Artists Re-Story Death and Choose Transformation
Prevailing political and popular narratives often treat the issue of trans death as an inevitability and reduce complex stories of trans life to their endings. This paper investigates the transformative potential of creative forms of resistance—specifically a selection of Canadian poetry, personal essays, and comics—and how their artistic affordances engage with transfeminism as an approach to narratives of trans existence. Rooted in Canadian author Kai Cheng Thom’s reckoning with the shortcomings of trans-exclusionary feminist thought, and informed by Chinua Achebe’s conceptualization of re-storying, this article explores how I Hope We Choose Love and Falling Back in Love with Being Human by Kai Cheng Thom, Death Threat by Canadian creatives Vivek Shraya and Ness Lee, and comics from Assigned Male by trans activist and Canadian comic artist Sophie Labelle re-story “necessary” trans death to orient queer death spaces around a trans-for-trans (t4t) praxis of narrativization. Addressing the (inter)disciplinary possibilities of trans-inclusive feminism and comics studies, this article celebrates how these texts disavow and re-story the “Good” Trans Character, who dies to satisfy transmisogynistic ideologies, and theorizes the T4t Dead Trans Character, who dies to reclaim instances of trans death and recodify trans personhood as a site of hope, agency, and self-determination. In their re-storying, these texts recognize the transformative potential of trans existence and echo Thom in their urging of trans-inclusive feminism to renounce narratives of disposability and invest in the dignity of all human life.
Journal Article