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Heble offers both a careful reading of Munro's stories and a theoretical framework for reading meanings in absence. His book extends recent revisionist analysis and makes a valuable and original contribution to the criticism on Munro.

Winfried Siemerling examines alterity in the work of four innovative postmodern authors, exploring self and other as textual figures of the unknown. Subjectivity appears mediated, in these texts, by a self-reflexive work in language, seeking to grasp itself in relation to a significant and often fascinating, but also enigmatic, other.

Highlighting the wide variety of ethical concerns considered by writers such as Timothy Findley, Thomas King, Carol Shields, Julian Barnes, A.S. Byatt, and Salman Rushdie, Deborah Bowen makes the case for a new category of \"postmodern realism\" and shows how contemporary stories about \"the real\" and \"the good\" are constructed. Applying theoretical insights from Emmanuel Levinas and Mikhail Bakhtin, Bowen investigates categories of postmodern realism such as magic realism, parody, and metafiction while laying the groundwork for Christian readings of a medium that is often perceived as largely irreligious. An illuminating study of well-known contemporary writers, Stories of the Middle Space is a critically nuanced and methodologically innovative work that reads the postmodern from a faith-based perspectives to create new literary insights.

Tiefensee contends that Kroetsch and his critics have, to some degree, misunderstood the implications of Derrida's \"deconstruction\" and adhere to a Bloomian \"misreading\" which is firmly grounded in traditional philosophy. She addresses the metaphysical presuppositions that govern Kroetsch's criticism, literary theory, and novels and considers the extent to which his theoretical pronouncements have determined his critics' readings of his work, concluding that Kroetsch reaffirms the very values, conventions, and attitudes he claims to resist.

The interview was conducted with Kevin Chong over Zoom for a public audience, primarily students at SFU. Students chose the novel for a pandemic reading group, evidently, for its timeliness but also for its geographic specificity. [...]we have in the audience some students who are in a reading group in November 2020 as well. [...]since I began with a land acknowledgement, I guess that's our first interesting thing to talk about and to ask you about your novel, as your novel begins with a land acknowledgement, not on the copyright page, but actually in the narrative; it's embedded, and it's mentioned a couple of other times as well, when characters give a public speech.

This article explores the French fascination with \"the primitive\" and \"the exotic\" in the post-World War I years through a study of representations of the French colonies in textbooks intended for primary and secondary schoolchildren. It then compares these representations with contemporary French-language tourist literature in Ontario, Canada, demonstrating continuities between these \"exotic\" representations of the colonial other and contemporary discourses centered on \"authenticity\" in the world of international tourism.

Postmodernism has as its major tenet the eradication of master-narratives in favor of marginalized voices. In so doing, it puts forward various strategies which, though different in methodology, are all critical of the dominant exclusionary discourses. Parodic mimicry is one of these subversive strategies which allows the anti-establishment artist to employ the discriminatory discursive practices and skillfully turn them on their heads. African American novelist Ishmael Reed adopts the postmodern technique of mimicry to severely criticize and disrupt the racist structure of the United States. In his “resistant” slave narrative Flight to Canada (1976), he takes to task the traditional historiography, showing how a so-called anti-slavery novel like Harriet Beecher Stowe’s Uncle Tom’s Cabin employs racial essentialism to reinforce the stereotypical representations of blacks and distort history to the benefit of white dominators. Through a parody of Stowe’s canonical work, Reed’s novel provides a space for the black consciousness to serve as an agentic subject and re-narrate the history of slavery, abolitionism and the Civil War. This paper aims to depict how Reed manages to rewrite the history of slavery in Flight to Canada by mimicking Stowe’s Uncle Tom’s Cabin.

Since the beginning of the twenty-first century, Russian-American writers - that is, Russian-speaking Jews who immigrated to North America from the late 1970s to the early 1990s - have garnered both a wide readership and critical acclaim. Although they live in the United States and write in English, their works manifest a marked focus on Russian-related themes, including the frequent employment of Russian literature. Three Russian-American texts engage in sustained intertextual play: Irina Reyn's What Happened to Anna K. with Lev Tolstoi's Anna Karenina; Lara Vapnyar's Memoirs of a Muse with the diary of Fedor Dostoevskii's mistress, Polina Suslova; and Anya Ulinich's Petropolis with Osip Mandel'shtam's poem \"Na strashnoi vysote bluzhdaiushchii ogon'\" (\"At a terrifying height a wandering fire\"). This article has two interrelated aims. The first is to demonstrate that, similar to postcolonial and other diasporic writers, Russian-American writers' intertextual use is inextricably linked with a negotiation of cultural identities. The second is to offer a close analysis of the ways in which Reyn's What Happened to Anna K., Vapnyar's Memoirs of a Muse, and Ulinich's Petropolis recast Russian texts as Russian-American elaborations of cultural hybridity and immigrant sensibility.

The paper analyzes Margaret Atwood’s postcolonial and postmodern feminist novels from the psychological perspective of Carl Gustav Jung’s theory of archetypes and from the perspective of Robert Graves’s mythological figures of the triple goddess presented in his work The White Goddess: A Historical Grammar of Poetic Myth (1997). In this regard, the paper focuses on the mythic and psychological roles embodied and played by Atwood’s victimized female protagonists who actively seek their identity and professional self-realization on their path towards personal evolution in the North American patriarchal society of the twentieth century. Thus, they are no longer passive as female characters of the nineteenth-century colonial novels which are centered on the male hero and his colonial adventures. In her postcolonial and postmodern feminist novels, Atwood further introduces elements of folk tales, fairy tales, legends, myths and revives different literary genres, such as a detective story, a crime and historical novel, a gothic romance, a comedy, science fiction, etc. Moreover, she often abuses the conventions of the existing genre and mixes several genres in the same narrative. For instance, her narrative The Penelopiad (2005) is a genre-hybrid novella in which she parodies the Grecian myth of the adventurer Odysseus and his faithful wife Penelope by subverting Homer’s serious epic poem into a witty satire. In addition, the last part of the paper analyzes the author’s cult novel Surfacing (1972 (1984)) according to Joseph Campbell’s and Northrop Frye’s archetypal/myth criticism and it demonstrates that Atwood revises the biblical myth of the hero’s quest and the idealized world of medieval grail romances from the ironic prospective of the twentieth century, as it is typical of postmodernism.

A literatura canadense, ou CanLit, tem uma história singular. As mulheres imigrantes que foram para a New Land, colônia britânica na época, e que possuíam aspirações literárias, não se pouparam da pena: produziram obras, porém não sem dificuldade, as quais, a princípio, tiveram suas características literárias negligenciadas. As pioneiras, tempos depois, tiveram suas obras revisitadas e utilizadas como fonte de inspiração para autoras do século XX que objetivavam subverter e transgredir as normas. Assim, fazendo uso da crítica feminista, que tem como um de seus objetivos analisar o conteúdo das produções das mulheres e evidenciar autoras que obtiveram pouco ou nenhum destaque, este artigo busca apresentar um recorte sobre autoras canadenses desde as pioneiras até as pós-modernistas e relacionar suas produções. Tal relação considera os aspectos metaficcionais das produções pós-modernas em que o retorno ao passado se coloca como um desejo de transformação. Além do exposto, o presente artigo também procura aproximar a cultura canadense do público brasileiro, uma vez que as pesquisas acerca da literatura produzida pelas canadenses são limitadas na academia brasileira.