The Canadian province of Newfoundland and Labrador is a mythologized place that resonates with tragic adventure, polar expeditions and Grand Banks fishing; a real and imagined geography with an incredible artistic output that calls for critical discussion. This book examines the diversity of this province’s literature and culture, taking into consideration the expertise of scholars and writers who have first-hand knowledge of its unique context. Chapters on history, travel, fiction, autobiography, poetry, theatre, storytelling, filmmaking, and the visual arts provide an up-to-date survey across a broad range of artistic endeavours, as well as close readings of selected texts. The questions that fill the pages of Pathways of Creativity in Contemporary Newfoundland and Labrador arise from the awareness its contributors have of historically shared experiences, but also of shared delusions, and their essays provoke contemplation beyond the labels local/global, Newfoundlander/Come-From-Away. Aboriginal histories and writing come to the foreground in this panoramic view that balances descriptions of mainstream, vernacular and Indigenous cultural productions. The final chapter is organized as a multi-voiced interview which serves as a supplement to the academic essays. Here, themes are revisited and personalized as several writers express their feelings about what it means to be a Newfoundlander and an artist. As such, this book will encourage dialogue about Newfoundland and Labrador’s literary and artistic achievements within the international community of readers and researchers.

This important new collection explores representations of late seventeenth- through mid-nineteenth-century transatlantic women travelers across a range of historical and literary works. While at one time transatlantic studies concentrated predominantly on men’s travels, this volume highlights the resilience of women who ventured voluntarily and by force across the Atlantic—some seeking mobility, adventure, knowledge, wealth, and freedom, and others surviving subjugation, capture, and enslavement. The essays gathered here concern themselves with the fictional and the historical, national and geographic location, racial and ethnic identities, and the configuration of the transatlantic world in increasingly taught texts such as The Female American and The Woman of Colour, as well as less familiar material such as Merian’s writing on the insects of Surinam and Falconbridge’s travels to Sierra Leone. Intersectional in its approach, and with an afterword by Eve Tavor Bannet, this essential collection will prove indispensable as it provides fresh new perspectives on transatlantic texts and women’s travel therein across the long eighteenth century.

Extremely distant and distinct indigenous communities have over recent decades become more like themselves and more like each other – a paradox prevalent globally but inadequately explained by established analytical frames, particularly with regard to religion. Addressing this rich and unfolding context, the Handbook of Indigenous Religion(s) engages a wide variety of locations and perspectives. Drawing upon the efforts of a diverse group of scholars working at the intersection of indigenous studies and religious studies, this volume includes a programmatic introduction that argues for new ways of conceptualizing the field of indigenous religion(s), numerous case study-based examples, and an Afterword by Thomas Tweed.

The March Hare Anthology commemorates twenty years of one of Canada1s most successful literary festivals. Blending local and inte ational writers from Canada, Ireland and the world with the cream of Newfoundland and Labrador1s professional musicians, The March Hare is a unique celebration of words and music. This anthology contains the writing of authors such as: Al Pittman Michael Ondaatje Wayne Johnston Lo a Crozier Michael Crummey Lisa Moore John Ennis Michael Winter Be ard O1Donoghue John Steffler Paul Durcan Joan Clarke Alistair MacLeod Be ice Morgan Adrian Fowler1s work has appeared in various magazines and collections of Canadian writing. He was co-editor with Al Pittman of the poetry anthology 31 Newfoundland Poets, published in 1979. He lives in Co er Brook, Newfoundland, where he teaches English at Sir Wilfred Grenfell College.

The "Wonder-Book" is a children's book, made up of classic legends, re-told for them, and set in a slight frame-work, as entertainment given to a company of children at Tanglewood. Here are the stories of King Midas, Pandora, Medusa, Hercules, and the other inhabitants of Mount Olympus. Children and adults will happily enter a world of magic and imagination, led by Nathaniel Hawthorne one of the greatest American storytellers.

In the “post-truth” era, the question of how people perceive things to be real, even when they are not based in fact, preoccupies us. Lessons learned in the theatre – about how emotion and affect produce an experience of realness – are more relevant than ever. Real-ish draws on extensive interviews with audience members about their perceptions of realness in documentary, participatory, historical, and immersive performances. In studying these forms that make up the theatre of the real, Kelsey Jacobson considers how theatrical experiences of realness not only exist as a product of their real-world source material but can also unfurl as real products in their own right. Using the concept of real-ish-ness – which captures the complex feeling that is generated by engaging with elements of reality – the book examines how audiences experience the apparently real within the time and space of a performance, and how it is closely tied to the immediacy and intimacy experienced in relation to others. When feeling – rather than fact –becomes a way of knowing truths about the world, understanding the cultivation and circulation of such feelings of realness is paramount. In exploring this process, Real-ish centres audience voices and, perhaps most importantly, audience feelings during performance.

Translating Canada examines cultural materials exported by Canada in addition to those selected for acquisition by German publishers, theatres, and other culture brokers. It also considers the motivations of particular translators and the reception by German reviewers of works by a wide variety of Canadian writers.