| The Death of the New Woman in Sara Jeannette Duncan’s A Daughter of To-day |
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Janice Fiamengo |
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| "The Same as Bein’ Canadian": John Marlyn’s Eye among the Blind |
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Benjamin Lefebvre |
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| Nietzsche as Educator: Leonard Cohen’s Beautiful Losers and the Achievement of Innocence |
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Mark Migotti |
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| "Absence, havoc": Gothic Mourning and Daughterly Duty in Jay Macpherson’s Welcoming Disaster |
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Tanis MacDonald |
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| The Lowest Common Denominator: Consumerism, Branding, and Definitive Dissatisfaction in Stéphane Dompierre’s Un Petit pas pour l’homme |
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Kelly-Anne Maddox |
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| "We live permanently in the recurrence of our own stories": Michael Ondaatje’s Divisadero |
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Sofie De Smyter |
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| Offred’s Complicity and the Dystopian Tradition in Margaret Atwood’s The Handmaid’s Tale |
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Allan Weiss |
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| Roberta’s Raspberry Bombe and Critical Indifference in Alice Munro’s "Labor Day Dinner" |
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Ryan Melsom |
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| Deep Map Country: Proposing a Dinnseanchas Cycle of the Northern Plains |
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Susan Naramore Maher |
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| Productive Dissonance: Classical Music in Tomson Highway’s Kiss of the Fur Queen |
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Sarah Wylie Krotz |
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| Weesageechak Meets the Weetigo: Storytelling, Humour, and Trauma in the Fiction of Richard Van Camp, Tomson Highway, and Eden Robinson |
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Kristina Fagan |
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| "Exorcising a lot of shame": Transformation and Affective Experience in Marilyn Dumont’s green girl dreams Mountains |
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Cara DeHaan |
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| Striving for “some version of the truth”: A Conversation with Helen Humphreys |
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Kiley Kapuscinski |
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