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#197 (Summer 2008)
Predators and Gardens

Articles

Karen Charleson

Cinda Gault

Marian Engel’s Bear: Romance or Realism? (p. 29 - 40) Show/hide Abstract
- Critics have long noted their own widely varying responses to Marian Engel's work, and yet Bear drew uncharacteristically uniform praise. This paper positions this anomaly in its social historical context to explain why Bear was so esteemed in its time. I argue that, in this era when second-wave feminism and Canadian nationalism were dominant social movements, critics were impressed with portraits of successful female and national identity discovery. While most of Engel's work seemed pointed in its interference with the concept of unified identity, Bear was amenable to being read as romance in this regard. However, read as realism, this novel can be seen as consistent with Engel's skepticism about unified identity. Toward the end of her life, Engel said Bear was an "empty book," in that one could read anything into it. It remains a fascinating book precisely for this reason.

Sean Somers

Anne of Green Gables/Akage no An: The Flowers of Quiet Happiness (p. 42 - 60) Show/hide Abstract
- That a Japanese readership has enjoyed a special connection with Anne of Green Gables continues to be an issue of mirth and curiosity. While critics have investigated the material products of this relationship—tourism, book clubs, and other fan-based festivities—the initial rational as to why the Japanese in particular, of all possible audiences, have taken to Anne remains enigmatic.
  
  This article proposes one answer to this question of a Japanese readership by studying the allusive textures of Muraoka Hanako's (Mikasa-shôbô, 1952) and Kakegawa Yasuko's (Kôdan-sha, 1999) translations.
  
  Both translators, in various ways, layered nuances of koten [classical Japanese literature] into Montgomery's text. Thus, interlingual and intercultural strategies underscore many of their linguistic and thematic selections in terms of vocabulary, syntax, and iconography.
  
  By drawing upon the language and poetics of the Japanese classics, Muraoka and Kakegawa fashion a hybridized Anne/An, a character geographically Canadian but also resonating, culturally, with Japanese registers.

Lee Spinks

Sense and Singularity: Reading Ondaatje's The Collected Works of Billy the Kid (p. 62 - 78) Show/hide Abstract
- "Sense and Singularity: Reading Michael Ondaatje's The Collected Works of Billy the Kid" offers a revisionist reading of the style and the politics of both this key long poem and Ondaatje's poetics in general. The article seeks to broaden the critical discussion about Ondaatje's early poetry by claiming that the novelty and force of Billy the Kid inheres in the poet's ability to create a form of minor literature through the event of singularity. The phrase "minor literature" is being employed here in accordance with the sense given to the term by Deleuze and Guattari for whom it no longer describes the representation of a recognized minority or social fraction but instead opens a space within representation for a "people to come. What is remarkable about the poem, the article suggests, is the way it both fashions an historical narrative of the last great phase of the American West and produces singular points of intensity or perception that prevent that narrative from achieving structural coherence. The reading of Billy the Kid that develops attempts to trace the continuing relation between historical sense and singularity by exploring the way Ondaatje's commitment to singular moments, perceptions and events simultaneously composes and discomposes the field of historical representations that his poem presents.

Jordana Greenblatt

Robert McGill

No Nation but Adaptation: “The Bear Came over the Mountain,” Away from Her, and What It Means to Be Faithful (p. 98 - 111) Show/hide Abstract
- Alice Munro's story "The Bear Came Over the Mountain" deals complexly with the question of what constitutes fidelity. Accordingly, perhaps it could not help but anticipate issues confronting Sarah Polley as she filmed her adaptation of the text, Away from Her. The case demonstrates that conceptions of fidelity with regard to artistic adaptation are more than incidentally connected to the kinds of interpersonal fidelity examined by Munro's story. Not least, an adapting artist may choose to take up the symbolic role of the source text's lover or of its filial legatee, even while this opposition obscures ways in which the roles overlap. The prominent use of Canadian settings and intertexts in Away from Her suggests that the same symbolic positions stand as options in relation to an artist's national cultural milieu. In that light, adaptation emerges as a significant trope and practice in Canadian literature.

Poems

Gillian Jerome

Midsummer (p. 0) Show/hide Poem
- Out at Trout Lake the kids are splayed in the umbra of the sun
  feeding gold fish with plankton. There’s a glut
  as it happens, along the coast so the fish are smallish
  
  and demented. But the parrots have been welcomed
  into the noses, ears, armpits, hearts of the children
  where they never hasten to repeat
  
  the dirty words they teach them. Nobody hears
  their curses but me and so I say them softly back to myself—
  Fuckhead, Shitballs, Gaylord.
  
  The sun is a soothsayer with a parched tongue
  with lips the colour of iron. Under the Tattletree
  I try to glean my thoughts from myself
  
  wondering with all these children at my feet
  where the peace went. What it wants to say
  to the rank-and-file creatures out for a stroll, of the tamed pigeons breeding
  
  above me in the dovecote. So remote is the island
  of myself from my self, even the circuitous circus
  of the heart has found in the grass bits
  
  slumber to shut itself up.

Laurie Kruk

In the Web (p. 10 - 11) Show/hide Poem
- But superstition, like belief, must die,
  And what remains when disbelief has gone?
  —Philip Larkin, "Church Going"
  
  Under towering November clouds
  Angevin atheists
  talk over the still small voice,
  weaving conversations
  on mobile-wearing walks
  from boulangerie to bookstore, bank to café
  under empty eyes of their fourteenth-century Virgin.
  
  Stumbling towards the Chateau
  and closing time, I push through
  multilingual nets of intention, racing traffic signals:
  stone leviathan, centuries-old fortress
  earth-mantled by moss and pigeon nests,
  guards the empty moat
  that once housed Duke of Anjou's deer and antelope,
  ancient paths tracing this spot
  now dedicated to daily auto-pilgrimage.
  Dusk comes down like a portcullis
  as I cross the stone bridge
  to slip seven Euros in a hand
  wander the graveled walks, glimpse the river's ways
  and follow the signs
  to the Tapestry of the Apocalypse. Lost
  in the Revolution, later found warming
  haunches of royal horses, or shielding
  orange trees from frost,
  now hung in air-conditioned shadow
  for our blind gazes to slide over
  minus Kodak's crutch: flash photography
  forbidden, in deference to aged dyes.
  Product of seven years' labour
  by Bataille and de Bruges*
  and an army of monks
  transcendent in anonymity
  who wove their faith
  into stitched images of the final Uncovering,
  and magnified the city of God.
  
  Sixty-seven panels, woven witness of an era
  almost as hugely absurd as the dinosaurs',
  in thousands of threads, silk and wool, spinning a story
  we can barely remember remembering—
  instead, silicon-chip knitting of computers
  to modems, to cell phones, to cameras, to the web
  of videoclips or soundbytes
  from sages on happiness,
  prophets of global warming,
  the latest televised crusades
  for oil and bombs, monuments and votes.
  Not this Seven-headed Beast—
  Not this destruction of the City—
  Not this breaking
  of the Seventh Seal—
  
  Accused by the Saint's recording quill and scroll
  I buy a souvenir postcard
  I cannot translate in either language,
  wondering how to fill it
  as I walk out into clouds of car-exhaust
  today's breaths, hung on cobblestone walks
  like the invisible nets of spiders
  draped on moss which nibbles at the towers.
  Catching the unseen drops of another day,
  only these weavings will endure,
  loyal not to stone, but only air
  
  * Nicholas Bataille, master weaver. Hennequin de Bruges, painter.

Gillian Jerome

Midsummer (p. 28) Show/hide Poem
- Out at Trout Lake the kids are splayed in the umbra of the sun
  feeding gold fish with plankton. There's a glut
  as it happens, along the coast so the fish are smallish
  
  and demented. But the parrots have been welcomed
  into the noses, ears, armpits, hearts of the children
  where they never hasten to repeat
  
  the dirty words they teach them. Nobody hears
  their curses but me and so I say them softly back to myself—
  Fuckhead, Shitballs, Gaylord.
  
  The sun is a soothsayer with a parched tongue
  with lips the colour of iron. Under the Tattletree
  I try to glean my thoughts from myself
  wondering with all these children at my feet
  where the peace went. What it wants to say
  to the rank-and-file creatures out for a stroll, of the tamed pigeons breeding
  above me in the dovecote. So remote is the island
  of myself from my self, even the circuitous circus
  of the heart has found in the grass bits
  
  slumber to shut itself up.

Allan Brown

Three Epigrams (p. 41) Show/hide Poem
- CREATION 101
  
  D'you hear the one about old Adonai?
  
  Took him six days, even and morn, to make
  a world and then on the seventh he fell
  asleep, and ol' Snake Eyes rolled it away!
  
  SOMEWHAT HORATIAN
  
  —Do not double tempt, kid,
  with your Persiantype niceties;
  from science to park
  I am established already;
  and thence to start in a word
  or three of "Here is Where?"
  and yes enough
  —For
  I have know it all and ready,
  known it all, and then a pen
  from springaling to summer,
  full to winter, parts my fall.
  
  THE FAUSTIAN DILEMMA
  
  How life is everyfull and then
  it isn't as it says in Faust,
  which I don't understand, so
  I consult my friend the good angel
  who consults his parallel text edition
  (with critical apparatus) of both
  the play and the (other) angel, of course,
  but they don't understand it either.

Meredith Quartermain

New Albion (p. 61) Show/hide Poem
- Considering ourselves now on the point of commencing an entirely
  new region, I cannot take leave of the coast already known.
  —George Vancouver
  
  The ship rode all night by the wind, anchored in thick rainy
  weather. He was looking for white land, or chalk cliffs. He
  found Destruction Island and Lookout Point. The country
  had the appearance of a continued forest as far north as the
  eye could reach. He saw a sail to the west, the first vessel
  in eight months. He saw thousands of rocks, conical, flat-
  sided, flat-topped and every other shape of the imagination.
  A shallow bay, the feet of inland mountains, a point, an
  island-dot lying off it. Was it Cape Flattery? That flattered
  Cook's hopes for a harbour. Or was it a sandy beach. Of
  a bay Cook's Discovery and Resolution stood into. Cook
  seeking a pretended strait of Juan de Fuca, but saw nothing
  like it, nor is there the least probability that iver any such
  thing ever exhisted. On the long lost coast Drake named
  New Albion. Albino. Albumen—not white to the egg—only
  white to humans. Alba almost palindromic. Able was I ere
  I saw Elba. Not Alba. But in imagination's geography. A
  projecting point at Cape Disappointment—immediately
  within the point, the gist, the purpose, the country more
  elevated—the point answering to Mr. Meare's Cape
  Shoalwater but from the adjacent country rather appearing
  to be his Low Point. Our voyage irksome for want of
  wind, our curiosity much excited to explore the promised
  expansive mediterranean ocean. Though other explorers'
  large rivers and capacious inlets are reduced to brooks
  insufficient for our vessels. Except one at latitude 47° 45ʹ,
  the ancient relation of John De Fuca, the Greek pilot in
  1592, where Spaniards found an entrance that in 27 days
  brought them to Hudson's Bay.

Meredith Quartermain

Big News Cafe (p. 79) Show/hide Poem
- Corner of Granville Street and Broadway with Kaplan
  Business College brick parapet, white neon letters scrawled
  on blue revolving sign. Sand brick with stone moulding
  and blue accents. Row of churchy pointed windows and
  brick piers modernism condemned. Not structural, so no
  right to appear with their peaked gables. Two enormous
  churchy-pointed arches over main entrance. Stone crests on
  either side, narrow twisted columns with scroll-top capitals
  dreaming of quadrangles at Oxford. QAT, DAT, SAT,
  PCAT, GMAT window signs. To Idle Ant in Big News Cafe.
  Horoscope: by all means help someone in dire need. Rush
  in like the knight in shining armour you've always wanted to
  be. But don't promise to bail them out unless you want them
  ringing you up morning, noon and night.
  
  Shining-armour Don Quixote Ant stares through cafe
  glass for big news—some Polaris or Cassiopeia for dead
  reckoning—haut shops on Lord Large-village street, Blenz
  Coffee under Business College. All merged in a big dream.
  Northeast corner, Royal Bank. Southwest corner, Chapters
  Books. Big boxes selling little cartons of fancy. RSPs make
  all your retirement dreams come true. The bank's yellow
  letters, black marble facing on concrete slabs and rows of
  aluminum windows.
  
  City's a lot of going into—rooms—wombs. Non-city's one
  big space. In Shining-armour Ant-mind.

Wangshu Dai

Alley in the Rain (p. 96 - 97) Show/hide Poem
- Carrying an oil-paper umbrella
  wandering alone in the deep, deep
  and desolate rain-filled alley
  I expect to meet
  a girl steeped in the sadness of lilac
  
  She will be steeped in the colors of lilac
  sad in the rain
  sad and wandering
  
  She will be wandering in this lonely alley
  carrying an oil-paper umbrella
  like me
  just like me
  walking in silence
  solitary and sad
  
  She will approach in silence
  draw close and gaze deep, deep into my eyes
  she will drift past
  like a figure in a dream
  
  Like lilac
  drifting in a dream
  the girl will drift away from me
  the girl will drift away from me
  further and further, still in silence
  she will pass a broken-down fence
  and out of the rain-filled alley
  
  Amid the melancholy music of the rain
  her color will fade
  her fragrance will fade
  fade away like her deep, deep gaze
  and lilac sadness
  
  I expect that as I wander alone
  in the deep, deep and desolate rain-filled alley
  carrying an oil-paper umbrella
  I shall see a girl drift past
  steeped in the sadness of lilac
  
  Wangshu Dai (1905-50), the writer of the poem Alley in the Rain, was a
  renowned poet of his time in China. He also translated many European
  works of literature into Chinese, including the French poet Charles Pierre
  Baudelaire's Les Fleurs du Mal. Alley in the Rain is his most distinguished
  poem, for which he was given a unique epithet, "Poet of Rainy Alley."
  
  Wenting Liao, born and raised in China, received her M.A. in Chinese
  literature. After immigrating to Canada in 2000, she attended a PhD
  program in Asian studies at UBC. She is the author of numerous Chinese
  poems and stories. She is currently devoting herself to pursuing a career in
  counselling psychology.
  
  Michael Bullock, Professor Emeritus of Creative Writing, University of British
  Columbia, is the author of numerous books of poetry and fiction. He is now
  living at a four-hundred-year-old cottage in Harrow-on-the-Hill, surrounded
  by the garden that inspired his latest collection, The Enchanted Garden.

Wenting Liao

Alley in the Rain (p. 96 - 97) Show/hide Poem
- Carrying an oil-paper umbrella
  wandering alone in the deep, deep
  and desolate rain-filled alley
  I expect to meet
  a girl steeped in the sadness of lilac
  
  She will be steeped in the colors of lilac
  sad in the rain
  sad and wandering
  
  She will be wandering in this lonely alley
  carrying an oil-paper umbrella
  like me
  just like me
  walking in silence
  solitary and sad
  
  She will approach in silence
  draw close and gaze deep, deep into my eyes
  she will drift past
  like a figure in a dream
  
  Like lilac
  drifting in a dream
  the girl will drift away from me
  the girl will drift away from me
  further and further, still in silence
  she will pass a broken-down fence
  and out of the rain-filled alley
  
  Amid the melancholy music of the rain
  her color will fade
  her fragrance will fade
  fade away like her deep, deep gaze
  and lilac sadness
  
  I expect that as I wander alone
  in the deep, deep and desolate rain-filled alley
  carrying an oil-paper umbrella
  I shall see a girl drift past
  steeped in the sadness of lilac
  
  Wangshu Dai (1905-50), the writer of the poem Alley in the Rain, was a
  renowned poet of his time in China. He also translated many European
  works of literature into Chinese, including the French poet Charles Pierre
  Baudelaire's Les Fleurs du Mal. Alley in the Rain is his most distinguished
  poem, for which he was given a unique epithet, "Poet of Rainy Alley."
  
  Wenting Liao, born and raised in China, received her M.A. in Chinese
  literature. After immigrating to Canada in 2000, she attended a PhD
  program in Asian studies at UBC. She is the author of numerous Chinese
  poems and stories. She is currently devoting herself to pursuing a career in
  counselling psychology.
  
  Michael Bullock, Professor Emeritus of Creative Writing, University of British
  Columbia, is the author of numerous books of poetry and fiction. He is now
  living at a four-hundred-year-old cottage in Harrow-on-the-Hill, surrounded
  by the garden that inspired his latest collection, The Enchanted Garden.

Michael Bullock

Alley in the Rain (p. 96 - 97) Show/hide Poem
- Carrying an oil-paper umbrella
  wandering alone in the deep, deep
  and desolate rain-filled alley
  I expect to meet
  a girl steeped in the sadness of lilac
  
  She will be steeped in the colors of lilac
  sad in the rain
  sad and wandering
  
  She will be wandering in this lonely alley
  carrying an oil-paper umbrella
  like me
  just like me
  walking in silence
  solitary and sad
  
  She will approach in silence
  draw close and gaze deep, deep into my eyes
  she will drift past
  like a figure in a dream
  
  Like lilac
  drifting in a dream
  the girl will drift away from me
  the girl will drift away from me
  further and further, still in silence
  she will pass a broken-down fence
  and out of the rain-filled alley
  
  Amid the melancholy music of the rain
  her color will fade
  her fragrance will fade
  fade away like her deep, deep gaze
  and lilac sadness
  
  I expect that as I wander alone
  in the deep, deep and desolate rain-filled alley
  carrying an oil-paper umbrella
  I shall see a girl drift past
  steeped in the sadness of lilac
  
  Wangshu Dai (1905-50), the writer of the poem Alley in the Rain, was a
  renowned poet of his time in China. He also translated many European
  works of literature into Chinese, including the French poet Charles Pierre
  Baudelaire's Les Fleurs du Mal. Alley in the Rain is his most distinguished
  poem, for which he was given a unique epithet, "Poet of Rainy Alley."
  
  Wenting Liao, born and raised in China, received her M.A. in Chinese
  literature. After immigrating to Canada in 2000, she attended a PhD
  program in Asian studies at UBC. She is the author of numerous Chinese
  poems and stories. She is currently devoting herself to pursuing a career in
  counselling psychology.
  
  Michael Bullock, Professor Emeritus of Creative Writing, University of British
  Columbia, is the author of numerous books of poetry and fiction. He is now
  living at a four-hundred-year-old cottage in Harrow-on-the-Hill, surrounded
  by the garden that inspired his latest collection, The Enchanted Garden.

Books in Review

Search for Embodiment (p. 112 - 113)

by Claire Duncan

Book(s) Reviewed:

The Bone Cage by Angie Abdou (NeWest Press)

At the Water’s Edge (p. 113 - 114)

by Elizabeth Galway

Book(s) Reviewed:

Mud Girl by Alison Acheson (Coteau Books)
Mundy Pond by Roger Maunder (Tuckamore)

Tatologie (p. 115 - 116)

by Martin Jalbert

Book(s) Reviewed:

Bossalo by François Barcelo (XYZ Éditeur / XYZ Publishing)
Bonheur Tatol by François Barcelo (XYZ Éditeur / XYZ Publishing)

Robin Blaser’s Summa (p. 116 - 118)

by Douglas Barbour

Book(s) Reviewed:

The Fire by Robin Blaser and Miriam Nichols (University of California Press)
The Holy Forest by Robin Blaser and Miriam Nichols (University of California Press)

A Bone to Pick (p. 118 - 119)

by Samuel Pane

Book(s) Reviewed:

The Bone Sharps by Tim Bowling (Gaspereau Press)

Di Brandt’s World (p. 119 - 120)

by Barbara Pell

Book(s) Reviewed:

So This Is the World & Here I Am in It by Di Brandt (NeWest Press)

Hiking Historic Trails (p. 120 - 121)

by Jane Lytton Gooch

Book(s) Reviewed:

Forgotten Highways by Nicky Brink and Stephen R. Bown (Brindle & Glass)

Recueil de nouvelles (p. 121 - 122)

by Guy Poirier

Book(s) Reviewed:

C’est arrivé un jour! by Jean-Claude Castex (Interligne)

Sexual Sources and Influential Erotics (p. 122 - 124)

by Andrew Lesk

Book(s) Reviewed:

Sexing the Maple by Richard Cavell and Peter Dickinson (Broadview Press)
Seminal by John Barton and Billeh Nickerson (Arsenal Pulp Press)
Loving in Verse by Stephen Guy-Bray (University of Toronto Press)

A Good Story about Women’s Films (p. 124 - 125)

by Judith Plessis

Book(s) Reviewed:

Cinematic Howling by Hoi F. Cheu (University of British Columbia Press)

Epic Laurence (p. 125 - 126)

by Nora Foster Stovel

Book(s) Reviewed:

Margaret Laurence's Epic Imagination by Paul Comeau (University of Alberta Press)

Canadian Lives (p. 126 - 128)

by Janice Fiamengo

Book(s) Reviewed:

Dictionary of Canadian Biography by Ramsay Cook and Réal Bélanger (University of Toronto Press)

Rolling Over the Stone (p. 128 - 129)

by Emily Wall

Book(s) Reviewed:

Red Ledger by Mary Dalton (Signal Editions)
The Enchanted House by Beth E. Janzen (Acorn Press Canada)
Pink Purse Girl by Susan Helwig (Wolsak and Wynn Publishers Ltd)

The Discourse of Disappearance (p. 129 - 130)

by Tim Kaposy

Book(s) Reviewed:

National Visions, National Blindness by Leslie Dawn (University of British Columbia Press)

L’épopée intime (p. 131 - 131)

by Vincent Charles Lambert

Book(s) Reviewed:

Un autre soleil by Joël Des Rosiers and Patricia Léry (Éditions Triptyque)
Caïques by Joël Des Rosiers (Éditions Triptyque)

Fractured Families (p. 132 - 133)

by Jennifer Bowering Delisle

Book(s) Reviewed:

The Flannigans by M.T. Dohaney (Test)
The Silent Time by Paul Rowe (Killick)
Belle Falls by Sherri Vanderveen (Penguin Books)

Family Matters (p. 133 - 135)

by Laurie McNeill

Book(s) Reviewed:

Requiem for My Brother by Marian Botsford Fraser (Greystone Books)
The Storyteller by Anna Porter (Douglas & McIntyre)

Fascinations américaines (p. 135 - 136)

by Marilou P.-Lajoie

Book(s) Reviewed:

Les Failles de l’Amérique by Bertrand Gervais (XYZ Éditeur / XYZ Publishing)
Bord-de-l’eau by André Pronovost (XYZ Éditeur / XYZ Publishing)

Fearful Dis-symmetry (p. 136 - 137)

by Thomas Hodd

Book(s) Reviewed:

Northrop Frye and the Phenomenology of Myth by Glen Robert Gill (University of Toronto Press)

From Flow Charts to Fantasy (p. 138 - 139)

by Adele Holoch

Book(s) Reviewed:

The Extraordinary Garden by François Gravel and Sheila Fischman (Cormorant Books)

Ghosting the NWT (p. 139 - 140)

by Sherrill Grace

Book(s) Reviewed:

Late Nights on Air by Elizabeth Hay (McClelland & Stewart Ltd.)

Seeing Things (p. 140 - 141)

by Gisèle M. Baxter

Book(s) Reviewed:

Payback by James Heneghan (Groundwood)
How it Happened in Peach Hill by Marthe Jocelyn (Tundra Books)
The Milk Chicken Bomb by Andrew Wedderburn (Coach House Books)

Slavery’s Painful Story (p. 141 - 143)

by Afra Kavanagh

Book(s) Reviewed:

The Book of Negroes by Lawrence Hill (HarperCollins)

Making Connections (p. 143 - 144)

by Elizabeth A. Galway

Book(s) Reviewed:

The Corps of the Bare-Boned Plane by Polly Horvath (Groundwood)
Rex Zeo by Tim Wynne-Jones (Groundwood)

What Won’t Become of Canada and What Became (p. 144 - 146)

by Gregory Betts

Book(s) Reviewed:

The Polite Revolution by John Ibbitson (McClelland & Stewart Ltd.)
Intent for a Nation by Michael Byers (Douglas & McIntyre)
The Other Quiet Revolution by José E. Igartua (University of British Columbia Press)

Spies and Romances (p. 147 - 148)

by Barbara Pell

Book(s) Reviewed:

The Halifax Connection by Marie Jakober (Random House)

Ethel Wilson's Mothers (p. 148 - 149)

by David Stouck

Book(s) Reviewed:

Mothering Her Self by Verena Klein (Wissenschaftlicher Verlag Trier)
Swamp Angel by Ethel Wilson and Li-Ping Geng (Tecumseh Press)

Promise and Prosperity? (p. 149 - 151)

by Sue Sorensen

Book(s) Reviewed:

Hard Passage by Arthur Kroeger (University of Alberta Press)
Aksel Sandemose and Canada by Aksel Sandemose and Christopher S. Hale (Canadian Plains Research Centre)

Beauté patibulaire (p. 151 - 152)

by Laurent Poliquin

Book(s) Reviewed:

Inventaire de succession by Robert Laliberté (Éditions de l'Hexagone)
Lueurs de l’aube by Hélène Leclerc (Éditions David)
Douleureuse aurore by Christian Milat (Éditions David)
Pour ce qui reste de la beauté du monde by Pierre Raphaël Pelletier (Interligne)
Les Morts de l'infini by Joël Pourbaix (Éditions du Noroît)

Hot War to Cold War (p. 153 - 154)

by Donna Coates

Book(s) Reviewed:

Radiance by Shaena Lambert (Random House)

All-Canadian Drama (p. 154 - 155)

by Sabine Schlüter

Book(s) Reviewed:

George F. Walker by Harry Lane (Playwrights Canada Press)
Anthology of Québec Women’s Plays by Louise H. Forsyth (Playwrights Canada Press)

À la recherche du poème (p. 156 - 157)

by Sylvain Marois

Book(s) Reviewed:

Les Ombres lasses by Jean-Marc Lefebvre (Éditions du Noroît)
Ambre et lumière by Mona Latif-Ghattas (Éditions du Noroît)
L’Alcool des jours et des feuilles by Yves Laroche (Éditions du Noroît)
L'Hiver qui court, suivi de La Banlieue du coeur des villes by Robert Giroux (Éditions Triptyque)

Canadian Historical Amnesia and the Métis People (p. 157 - 159)

by Michelle La Flamme

Book(s) Reviewed:

The Long Journey of a Forgotten People by Ute Lischke and David T. McNab (Wilfrid Laurier University Press)

First Contact (p. 159 - 161)

by Sophie McCall

Book(s) Reviewed:

Myth and Memory by John Sutton Lutz (University of British Columbia Press)

Theory and Practice (p. 161 - 162)

by Malcolm Page

Book(s) Reviewed:

Space and the Geographies of Theatre by Michael McKinnie (Playwrights Canada Press)
Environmental and Site-Specific Theatre by Andrew Houston (Playwrights Canada Press)

Achieving Greatness (p. 163 - 164)

by Brian McIlroy

Book(s) Reviewed:

Great Canadian Film Directors by George Melnyk (University of Alberta Press)

Writing Across the Borders (p. 164 - 166)

by Kit Dobson

Book(s) Reviewed:

The Unfortunate Marriage of Azeb Yitades by Nega Mezlekia (Penguin Books Canada)
Soucouyant by David Chariandy (Arsenal Pulp Press)
The Assassin’s Song by M.G. Vassanji (Doubleday Canada Limited)

Suspended Animation (p. 166 - 167)

by Janice Morris

Book(s) Reviewed:

Exit Wounds by Rutu Modan (Test)

Persistent and Challenging Enigmas (p. 167 - 169)

by Jennifer Scott

Book(s) Reviewed:

Roughing It in the Bush by Susanna Moodie and Michael Peterman (Norton)
Anne of Green Gables by L.M. Montgomery, Mary Henley Rubio, and Elizabeth Waterston (Norton)

The Wordy and The Wary (p. 169 - 171)

by Katja Lee

Book(s) Reviewed:

A Dropped Glove in Regent Street by Don Coles (Signal Editions)
Prisoner of Tehran by Marina Nemat (Viking Press)

Alpha Beta Gammas (p. 171 - 172)

by Kit Dobson

Book(s) Reviewed:

The Alphabet Game by bp Nichol, Darren Wershler-Henry, and Lori Emerson (Coach House Books)

Dispersed Geographies (p. 172 - 173)

by Gillian Roberts

Book(s) Reviewed:

Divisadero by Michael Ondaatje (McClelland & Stewart Ltd.)
Certainty by Madeleine Thien (McClelland & Stewart Ltd.)

Icare et la poésie (p. 174 - 175)

by Jean-Sébastien Trudel

Book(s) Reviewed:

L’Inoubliable by Fernand Ouellette (Éditions de l'Hexagone)
La Déchirure des mots by Jean Chapdelaine Gagnon and Andrea Moorhead (Éditions du Noroît)
La Fatigue et la cendre by Michel Leclerc (Éditions du Noroît)

Test, Quest, Conquest (p. 175 - 176)

by Cheryl Cundell

Book(s) Reviewed:

Sisters in Two Worlds by Michael Peterman and Hugh Brewster (Doubleday Canada Limited)
Measuring Mother Earth by Heather Robertson (McClelland & Stewart Ltd.)
Hunting for Empire by Greg Gillespie (University of British Columbia Press)

Pour une parole émergente (p. 177 - 177)

by Jimmy Thibeault

Book(s) Reviewed:

Culture et littérature francophones de la Colombie-Britannique by Guy Poirier (Éditions David)

British Columbia Theatre at the Edge? (p. 178 - 179)

by Rosalind Kerr

Book(s) Reviewed:

Theatre in British Columbia by Ginny Ratsoy (Playwrights Canada Press)

Écrire le quotidien (p. 179 - 180)

by Carlo Lavoie

Book(s) Reviewed:

Obsessions by Aurélie Resch (Interligne)
Au café ou ailleurs by Donald Alarie (XYZ Éditeur / XYZ Publishing)
Au jour le jour by Donald Alarie (XYZ Éditeur / XYZ Publishing)
La Cloche de verre by Pierre Gobeil (Éditions Triptyque)

Drames en série (p. 180 - 181)

by Farah Leplat

Book(s) Reviewed:

Les Sept Vies de François Olivier by Martine Richard (Éditions David)
Le vent déporte les enfants austères by Hélène Lépine (Éditions Triptyque)

Affectionate Biography of a West Coast Evergreen Shrub (p. 181 - 183)

by Nancy J. Turner

Book(s) Reviewed:

Salal by Laurie Ricou (NeWest Press)

Animate Perceptions (p. 183 - 184)

by Monika Lee

Book(s) Reviewed:

The Essential George Johnston by Robyn Sarah (Porcupine's Quill)
Actualities by Monica Kidd (Gaspereau Press)
Time’s Covenant by Eric Ormsby (Biblioasis)

Theatre & the “Real World” (p. 185 - 186)

by Emily Carr

Book(s) Reviewed:

The Violent Woman as a New Theatrical Character Type by Shelley Scott (Edwin Mellen Press)
City Stages by Michael McKinnie (University of Toronto Press)

Time Out of Joint? (p. 187 - 188)

by Liane Tanguay

Book(s) Reviewed:

Theorizing Historical Consciousness by Peter Seixas (University of Toronto Press)

Suzuki on Suzuki (p. 188 - 189)

by Graham Huggan

Book(s) Reviewed:

David Suzuki by David Suzuki (Greystone Books)

Que reste-t-il du Canada français? (p. 189 - 190)

by Pamela V. Sing

Book(s) Reviewed:

Faire société by Joseph Yvon Thériault (Prise de Parole)

The Performance Anxiety of L.M. Montgomery (p. 190 - 192)

by Benjamin Lefebvre

Book(s) Reviewed:

After Green Gables by Hildi Froese Tiessen and Paul Gerard Tiessen (University of Toronto Press)

The Arc of Human Life (p. 192 - 193)

by Leslie-Ann Hales

Book(s) Reviewed:

Random Illuminations by Eleanor Wachtel (Goose Lane Editions)

Globality in Comics (p. 193 - 194)

by Andrew Yang

Book(s) Reviewed:

Jimmy Corrigan by Chris Ware (Pantheon)
Shenzhen by Guy Delisle (Drawn & Quarterly)

the edge of knowing (p. 194 - 195)

by Anne F. Walker

Book(s) Reviewed:

Obon by Terry Watada (Thistledown Press)
Decked and Dancing by Christine Smart (Hedgerow)
Loving the Alien by Laurie Kruk (Your Scrivener)

Dwelling (p. 195 - 196)

by Lisa S. Szabo

Book(s) Reviewed:

The Green Heart of the Tree by A.S. Woudstra (University of Alberta Press)
Broken Vessel by Harry Thurston (Gaspereau Press)

Questioning the Past (p. 197 - 198)

by Gordon Bölling

Book(s) Reviewed:

Speaking in the Past Tense by Herb Wyile (Wilfrid Laurier University Press)

Naming the Fame Game (p. 198 - 199)

by Owen Percy

Book(s) Reviewed:

Literary Celebrity in Canada by Lorraine York (University of Toronto Press)

Current Issue: 50th Anniversary Interventions (#204)

Issue Archives

#197 (Summer 2008)Predators and Gardens

Articles

Poems

Books in Review

Search for Embodiment (p. 112 - 113)

Book(s) Reviewed:

At the Water’s Edge (p. 113 - 114)

Book(s) Reviewed:

Tatologie (p. 115 - 116)

Book(s) Reviewed:

Robin Blaser’s Summa (p. 116 - 118)

Book(s) Reviewed:

A Bone to Pick (p. 118 - 119)

Book(s) Reviewed:

Di Brandt’s World (p. 119 - 120)

Book(s) Reviewed:

Hiking Historic Trails (p. 120 - 121)

Book(s) Reviewed:

Recueil de nouvelles (p. 121 - 122)

Book(s) Reviewed:

Sexual Sources and Influential Erotics (p. 122 - 124)

Book(s) Reviewed:

A Good Story about Women’s Films (p. 124 - 125)

Book(s) Reviewed:

Epic Laurence (p. 125 - 126)

Book(s) Reviewed:

Canadian Lives (p. 126 - 128)

Book(s) Reviewed:

Rolling Over the Stone (p. 128 - 129)

Book(s) Reviewed:

The Discourse of Disappearance (p. 129 - 130)

Book(s) Reviewed:

L’épopée intime (p. 131 - 131)

Book(s) Reviewed:

Fractured Families (p. 132 - 133)

Book(s) Reviewed:

Family Matters (p. 133 - 135)

Book(s) Reviewed:

Fascinations américaines (p. 135 - 136)

Book(s) Reviewed:

Fearful Dis-symmetry (p. 136 - 137)

Book(s) Reviewed:

From Flow Charts to Fantasy (p. 138 - 139)

Book(s) Reviewed:

Ghosting the NWT (p. 139 - 140)

Book(s) Reviewed:

Seeing Things (p. 140 - 141)

Book(s) Reviewed:

Slavery’s Painful Story (p. 141 - 143)

Book(s) Reviewed:

Making Connections (p. 143 - 144)

Book(s) Reviewed:

What Won’t Become of Canada and What Became (p. 144 - 146)

Book(s) Reviewed:

Spies and Romances (p. 147 - 148)

Book(s) Reviewed:

Ethel Wilson's Mothers (p. 148 - 149)

Book(s) Reviewed:

Promise and Prosperity? (p. 149 - 151)

Book(s) Reviewed:

Beauté patibulaire (p. 151 - 152)

Book(s) Reviewed:

Hot War to Cold War (p. 153 - 154)

Book(s) Reviewed:

All-Canadian Drama (p. 154 - 155)

Book(s) Reviewed:

À la recherche du poème (p. 156 - 157)

Book(s) Reviewed:

Canadian Historical Amnesia and the Métis People (p. 157 - 159)

Book(s) Reviewed:

First Contact (p. 159 - 161)

Book(s) Reviewed:

Theory and Practice (p. 161 - 162)

Book(s) Reviewed:

Achieving Greatness (p. 163 - 164)

Book(s) Reviewed:

Writing Across the Borders (p. 164 - 166)

Book(s) Reviewed:

#197 (Summer 2008)
Predators and Gardens