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Engaging current debates within the studies of life writing and of the nation-state,Writing the Roaming Subjectfocuses on a group of Canadian writers who pose questions about cultural difference and national identity while writing about their own lives and their own experiences of displacement. Joanne Saul uses the term 'biotext' to describe the unique form of writing that challenges critical practices regarding both life writing and immigrant and ethnic minority writing by blurring the borders of biography, autobiography, history, fiction and theory, as well as poetry, prose, and visual representation. In her readings of selected contemporary Canadian biotexts - including Michael Ondaatje'sRunning in the Family, Daphne Marlatt'sGhost Works, Roy Kiyooka'sMothertalk, and Fred Wah'sDiamond Grill- Saul suggests that by crossing generic boundaries, these works illuminate the complex relationships between language, place, and self as they are manifested in textual form.Writing the Roaming Subjectexplores issues of identity formation, representation, and resistance in Canada and suggests that these are particularly crucial questions during a period of Canadian literary history when so many writers are insisting on new, more diverse cultural performances that resist the pull of the national imaginary.

In the late 1950s and early 1960s, he studied music and English at UBC, where he was one of the young writers responsible for the poetry newsletter Tish, which quickly became part of CanLit legend.4 After further studies at the University of New Mexico and SUNY Buffalo, he began his teaching career at Selkirk College in Castlegar, BC, and later taught at the University of Calgary. [...]we've had forest fires up here quite badly, off and on, over the last ten to fifteen years. A couple of years ago I bought a HEPA filter and we put it in the house, so the house has great quality air inside, but going outside you have to wear an N95 mask with the forest fires. No, and as a teenager I worked in the bush in summers, I worked on a fire suppression crew, and I worked as a timber cruiser, so we were around [fires].

The project was meant to use our diverse poetry archive and connection to authors to show high school students a different side of writing and reading poetry, one that included poets' motivations, writing techniques, and histories. Later, when we launched the CanLit Guides in September of 2012, CanLit Poets became part of our \"open access and flexible learning resource that helps students critically engage with Canadian literature while encouraging and promoting independent study\" (\"About CanLit Guides\"). On the one hand, the virtual fails to capture the experience of bodies present in and moving through a physical space, as an author holds a book or sways back and forth during a reading or where we hear the quite murmur of the crowd responding. While online events tend to mute our physical experiences of social events-meeting friends, feeling an electric excitement in the air, or even our Canadian seasons-they have given us the opportunity to hear from authors from across Canada and to invite visitors from around the world to join us in the virtual realm, what Jillian Christmas jokingly referred to as the \"digital airwaves\" Communing on Zoom gives us a sense of \"geographic collapse\" and the chance to experience a different kind of transnational proximity.

This article examines 'hydro-dependency' in the neo-liberal era, exploring the cultural patterning and representations corresponding to the socio-ecological relations organising the extraction, production and consumption of water, both as commodity and as energy in the neo-liberal regime of the capitalist world-ecology. I investigate how specific infrastructures of riparian water management and hydropower - the pipeline and the dam - are mediated in world-literary hydropoetry and hydrofiction and the ways in which they are depicted as producing path-dependence and asymmetric distribution, often through tropes that evoke pathologised social addiction or exhaustion. However, I also demonstrate how texts reconceive water in terms of interdependence and hydrosocial interrelation, thus countering the hegemonic discourses through which flowing water is transformed into exchangeable, quantifiable commodities or forms of energy. As such, I argue that these water-insurgent texts turn on a dialectical tension between hydrodependency and autonomy that mediates the contradictions facing the appropriation strategies of the neo-liberal hydrological regime.

During my recombination of Fred's writing, his jazz-inspired techniques have had a potent influence on my own critical methodology: specifically, in remixing Fred's work I've developed a syntactic device capable of synthesizing the flow of a run-on sentence and the concision of the fragment, yoking these elements together under a third technique: that of repetition. Multiple instances of the syntactic fragment \"after a while opinion becomes\" compound, transforming from an opinion-inspired fantasy to an exploration of \"his\" heart with a knife. Because there is no stable pronoun, the first-person of \"my first year\" may or may not be the third-person of \"his heart\" Our perception here will determine something about \"the two of us.\" The imposed interruptions and silences of intention: a boy stands balanced on a ball as a way of seeing; a boy stands balanced on a language; a boy stands across from me we face the quiet pool of memory; a boy stands balanced on a dirty summer skyline; a boy stands where I am; a boy stands balanced on the bridge; a boy stands balanced in this drunken christmas night; a boy stands balanced on each sentence; I'm writing this book and he's strong; a boy stands balanced on still warm ashes. The project of recombinant theory is to \"collaborate\" (in a non-traditional sense) with key poets and theorists, radically re-imagining the activities of reading and writing, inventing strange new paths and configurations within the critical and poetic oeuvres, and producing new essays that both reflect and refract these non-linear reading practices.

[...]in the fourth phase, led by Persky and co-edited by McLeod, Brad Robinson, Colin Stewart, and Karen Tallman, the magazine's collective focused on men's writing, but published texts by numerous gay poets that formed a queer art of failure. The newsletter worked against the grain of contemporary cultural production in Canada because it failed to promote mainstream Canada's aesthetic values and successfully promoted its editorial board's new version of Vancouver's writing. [...]by promoting what they understood to be an abject and local aesthetic, Tish 's collective engendered alternate socio-cultural conditions that enabled its constituents to advance a new literary project from a peripheral position in Vancouver. [...]this poem is one instance of radical queer poetry published during this final editorial phase that queered the newsletter's aesthetic and deviated from the original board's heteronormativity. The shifts in later editorial boards cannot continue to be overlooked, but must be recognized for their contemporary value, as they speak to issues that remain important to current feminist and queer activism. [...]this article's alternate socio-cultural history of Tish 's later issues challenges a limited and heteronormative perspective of Vancouver's first poetry newsletter to valorize the efforts of artists that have previously been ignored.

Iranian-Canadian literature has yet to be examined through the lens of diaspora studies and as a constituency of Canadian literature. Even though the number of Iranian immigrants and international students has increased markedly in Canada since the 1979 Revolution, we have barely heard about the Iranian-Canadian diaspora. In this project, I intend to look into selected Iranian-Canadian literature in order to investigate how and in what ways this hyphenated literature has helped the Iranian “imagined community” in Canada create a diasporic re-collectivity. The main reason for the absence of scholarship on Iranian-Canadian literature is that as a “neither-nor” society, to use Afsaneh Najmabadi’s words, Iran has barely experienced colonization, slavery, or indentured labour, as a result of which it cannot easily be incorporated into postcolonial studies. Any negligence toward a diasporic literature based on both home and host countries as constituents of the diaspora’s hyphenated identity eclipses the significance of interrelations between the two societies. By doing this research, I hope to decontextualize Iranian diasporic literature from its American context and decenter the importance of the veil and Orientalist discourse, which have been the main perspectives within which Iranian diasporic literature has been often defined and discussed. Chapter 1 discusses Fereshteh Molavi’s Thirty Shadow Birds (2019) to show how Molavi creates a hyphenated diasporic identity for Iranian-Canadian populations mainly through Persian literary conventions. Chapter 2 investigates the role of memoirs in Iranian-Canadian literature to differentiate Iranian-Canadian memoirs from the Iranian American by looking into Maziar Bahari’s Then They Came for Me: A Family’s Story of Love, Captivity, and Survival (2011); this chapter demonstrates how Bahari degenders the genre of memoir in the Iranian diasporic literature and depicts the process of (en)gendering the West as a form of resistance for Iranian politicians against imperialism. Chapter 3 discusses Ava Homa’s Daughters of Smoke and Fire (2020) to delineate how the national identity devised by the Islamic government of Iran has suppressed religious and linguistic minorities. Against this background and by challenging the Aryan race as the pillar of Iranian national identity, authors like Homa have tried to make through Iranian-Canadian literature a diasporic space inclusive of Iran’s minoritized ethnicities. My goal in this project is to start the overdue conversation on Iranian-Canadian literature as an important component of Iranian diasporic studies.

[...]as Katja Thieme puts it in her analysis of the language literature scholars use to introduce their topics of study, the central concerns of a given article are \"rarely literary\": it would be hard for an outsider to understand \"why we're investigating literature when thinking about these [topics]\" (np). Precisely because of their constraints, she argues, retirement homes make \"de merveilleux laboratoires\"-marvelous laboratories in which to study identity construction and the value of heterotopic spaces in narrative (128). [...]they provide rich ground for writers to pursue \"l'objet de l'oeuvre littéraire,\" or the object of literature: to imagine the infinite variety of human experience (125). McKegney's self-positioning as ethical guide is the strongest instance of extra-scholarly performance in my set of articles, although others offer subtler examples, as I will shortly illustrate. [...]my sample indicates that the wid analyses' claims that what literature scholars are primarily doing is demonstrating \"a persona of perceptivity\" in an exquisite \"rhetoric of display\" is correct, but only to the qualified extent we might now expect. [...]it is unlikely to contribute to a wider knowledge-making effort; I am doing something other than contributing to a \"compacting\" of critical terms and problems to be researched (MacDonald 22-24).

[...]This Dendrite Map\" shows Wah newly understanding his own aesthetic as a possible answer to the formal questions presented by his father's and his own racialized experiences. [...]Wah's formal experimentation in Waiting for Saskatchewan o'ers a highly nuanced and complex theorizing of the Asian Canadian as a transnational, racialized category at the very moment of its emergence.