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Print – and by extension, visuality – has historically dominated the literary, artistic, and academic spheres in Canada; however, scholars and artists have become increasingly attuned to the creative and scholarly opportunities offered by paying attention to sound. Resistant Practices in Communities of Sound turns to a particular opportunity, interrogating the ways that sonic practices act as forms of aesthetic and political dissent. Chapters explore, on the one hand, critical methods of engaging with sound – particularly bodies of literary and artistic work in their specific materiality as read, recited, performed, mediated, archived, and remixed objects; on the other hand, they also engage with creative practices that mobilize sound as a political aesthetic, taking on questions of identity, racialization, ability, mobility, and surveillance. Divided into nine pairings that bring together works originating in oral/aural forms with works originating in writing, the book explores the creative and critical output of leading sonic practitioners. It showcases diverse approaches to the equally complex formations of sound, resistance, and community, bridging the too-often separate worlds of the practical and the academic in generative, resonant dialogue. Combining the oral and the written, the creative and the critical, and the mediated and the live, Resistant Practices in Communities of Sound asks us to attune ourselves as listeners as well as readers.

Settler Feminism and Race Making in Canadaengages in a discursive analysis of three 'texts' - the narratives of Anna Jameson (Winter Studies and Summer Rambles in Canada), Theresa Gowanlock and Theresa Delaney (Two Months in the Camp of Big Bear), and the 'Janey Canuck' books of Emily Murphy - in order to examine how, in the context of a settler colony, white women have been part of the project of its governance, its racial constitution, and its role in British imperialism. Using Foucauldian theories of governmentality to connect these first-person narratives to wider strategies of race making, Jennifer Henderson develops a feminist critique of the ostensible freedom that Anglo-Protestant women found within nineteenth-century liberal projects of rule. Henderson's interdisciplinary approach - including critical studies in law, literature, and political history - offers a new perspective on these women that detaches them from the dominant colony-to-nation narrative and shows their importance in a tradition of moral regulation. This project not only redresses problems in Canadian literary history, it also responds to the limits of postcolonial, nationalist, and feminist projects that search for authentic voices and resistant agency without sufficient attention to the layers of historical sedimentation through which these voices speak.

Women, Reading, Kroetsch: Telling the Difference is a book of both practical and theoretical criticism. Some chapters are feminist deconstructive readings of a broad range of the writings of contemporary Canadian poet-critic-novelist Robert Kroetsch, from But We are Exiles to Completed Field Notes. Other chapters self-consciously examine the history and possibility of feminist deconstruction and feminist readings of Kroetsch's writing by analyzing Kroetsch, Derrida, and Freud on subjectivity and sexuality; Neuman, Hutcheon, and van Herk on Kroetsch. As such, the book speaks out of and about a number of contemporary theoretical discourses, including particular positions within Canadian literary criticism, feminism, postmodernism, and poststructuralism. Written by a woman reader whose theoretical and methodological orientations are both feminist and poststructuralist, Women, Reading, Kroetsch: Telling the Difference problematizes notions of writing, reading, gender, sexuality, and subjectivity in and through Robert Kroetsch's writings. In this critical study of one writer's work the author also challenges the traditionally subservient relationship of reader to text and so empowers the feminist reader as well as, if not rather than, the male writer.

In this contradictory era of uneven globalization, borders multiply yet fantasies of borderlessness prevail. Particularly since September 11th, this paradox has shaped deeply the lives of border-crossing subjects such as the queer, the refugee, and the activist within and beyond Canadian frontiers. In search of creative ways to engage with the conundrums related to how borders mould social and bodily space, Libe García Zarranz formulates a new cross-border ethic through post-9/11 feminist and queer transnational writing in Canada. Drawing on material feminism, critical race studies, non-humanist philosophy, and affect theory, she proposes a renewed understanding of relationality beyond the lethal binaries that saturate everyday life. TransCanadian Feminist Fictions considers the corporeal, biopolitical, and affective dimensions of border crossing in the works of Dionne Brand, Emma Donoghue, Hiromi Goto, and Larissa Lai. Intersecting the genres of memoir, fiction, poetry, and young adult literature, García Zarranz shows how these texts address the permeability of boundaries and consider the ethical implications for minoritized populations. Urging readers to question the proclaimed glamours of globality, TransCanadian Feminist Fictions responds to a time of increasing inequality, mounting racism, and feminist backlash.In this contradictory era of uneven globalization, borders multiply yet fantasies of borderlessness prevail. Particularly since September 11th, this paradox has shaped deeply the lives of border-crossing subjects such as the queer, the refugee, and the activist within and beyond Canadian frontiers. In search of creative ways to engage with the conundrums related to how borders mould social and bodily space, Libe García Zarranz formulates a new cross-border ethic through post-9/11 feminist and queer transnational writing in Canada. Drawing on material feminism, critical race studies, non-humanist philosophy, and affect theory, she proposes a renewed understanding of relationality beyond the lethal binaries that saturate everyday life. TransCanadian Feminist Fictions considers the corporeal, biopolitical, and affective dimensions of border crossing in the works of Dionne Brand, Emma Donoghue, Hiromi Goto, and Larissa Lai. Intersecting the genres of memoir, fiction, poetry, and young adult literature, García Zarranz shows how these texts address the permeability of boundaries and consider the ethical implications for minoritized populations. Urging readers to question the proclaimed glamours of globality, TransCanadian Feminist Fictions responds to a time of increasing inequality, mounting racism, and feminist backlash.

Cecily Devereux reconsiders the extent to which McClung's enduring legacy of crusading for women's rights is founded on the ideas of British eugenicists such as Francis Galton and Caleb Saleeby and implicated in the passage of eugenical legislation in Canada. In a critical study of Painted Fires, the Pearlie Watson books, and several short stories, Devereux attempts to understand McClung's fiction in terms of its engagement with a politics of \"race\" and nation and constructions of specifically \"racial\" impurities that many women saw themselves as uniquely able to \"cure.\"

By analyzing the works of Thomas, Marlatt, and Erdrich through the lenses of subjectivity, gender studies, and narratology, Caroline Rosenthal brings to light new perspectives on their writings. Although all three authors write metafictions that challenge literary realism and dominant views of gender, the forms of their counter-narratives vary. In her novel 'Intertidal Life', Thomas traces the disintegration of an identity through narrative devices that unearth ruptures and contradictions in stories of gender. In contrast, Marlatt, in 'Ana Historic', challenges the regulatory fiction of heterosexuality. She offers her protagonist a way out into a new order that breaks with the law of the father, creating a \"monstrous\" text that explores the possibilities of a lesbian identity. In her tetralogy of novels made up of 'Love Medicine', 'Tracks', 'The Beet Queen', and 'The Bingo Palace', Erdrich resists definite readings of femininity altogether. By drawing on trickster narratives, she creates an open system of gendered identities that is dynamic and unfinalizable, positing the most fragmented worldview as the most enduring. By applying gender and narrative theory to nuanced analysis of the texts, Rosenthal's study elucidates the correlation between gender identity formation and narrative. Caroline Rosenthal is Professor and Chair of American Literature at the Friedrich-Schiller University in Jena, Germany. Her book 'Narrative Deconstructions of Gender' was published by Camden House in 2003.

Bird argues that the playwrights, their productions, and their texts express the contradictory relations within these forms of feminism: on the one hand they represent women's social and political emancipation and, on the other, they affirm patriarchal structures and the status quo. Implicitly, this study calls into question what traditionally constitutes drama by treating plays written in non-canonical forms, mounted in nonprofessional venues, and published by marginal presses or not at all as important literary, theatrical, and historical documents.

Universal in scope, yet focusing on recognizable Canadian places, this collection of essays connects individuals' love of nature to larger social issues, to cultural activities, and to sustainable technology. Subjects include activism in Cape Breton, eco-feminism, Native perspectives on the history of humans' relationship with the natural world, the inconsistency of humankind's affinity with nature alongside its capacity to destroy, and scientific and traditional accounts of evolution and how they can come together for the welfare of Earth's ecology. These essays encourage us to break down the power-based divisions of centre versus marginal politics, to talk with our perceived enemies in environmental wars, to consider activism as a personal commitment, and to resist the construction of a \"post-natural\" world. Using a combination of personal memoirs and formal essays, Every Grain of Sand seeks to involve readers in the extraordinary places they inhabit—and usually take for granted—and will appeal to both the general reader and to students in humanities, social sciences, and environmental studies. It is unique for its presentation of entirely Canadian perspectives on ecology and environmental issues.