Out-migration, driven by high unemployment and a floundering economy, has been a defining aspect of Newfoundland society for well over a century, and it reached new heights with the cod moratorium in 1992. This Newfoundland “diaspora” has had a profound impact on the province’s literature. Many writers and scholars have referred to Newfoundland out-migration as a diaspora, but few have examined the theoretical implications of applying this contested term to a predominantly inter-provincial movement of mainly white, economically motivated migrants. The Newfoundland Diaspora argues that “diaspora” helpfully references the painful displacement of a group whose members continue to identify with each other and with the “homeland.” It examines important literary works of the Newfoundland diaspora, including the poetry of E.J. Pratt, the drama of David French, the fiction of Donna Morrissey and Wayne Johnston, and the memoirs of David Macfarlane. These works are the sites of a broad inquiry into the theoretical flashpoints of affect, diasporic authenticity, nationalism, race, and ethnicity. The literature of the Newfoundland diaspora both contributes to and responds to critical movements in Canadian literature and culture, querying the place of regional, national, and ethnic affiliations in a literature drawn along the borders of the nation-state. This diaspora plays a part in defining Canada even as it looks beyond the borders of Canada as a literary community.

In 2008 Wayne Johnston became the second prominent Canadian writer to enlighten and entertain audiences as a speaker in the Canadian Literature Centre's Henry Kreisel Lecture Series. He spoke to an enthusiastic audience at the University of Alberta about the myths and realities surrounding his native Newfoundland. A master storyteller, Johnston peppered the lecture with impromptu asides, delighting his listeners with true tales and well-spun yarns.

Fiction that reconsiders, challenges, reshapes, and/or upholds national narratives of history has long been an integral aspect of Canadian literature. Works by writers of historical fiction (from early practitioners such as John Richardson to contemporary figures such as Alice Munro and George Elliott Clarke) propose new views and understandings of Canadian history and individual relationships to it. Critical evaluation of these works sheds light on the complexity of these depictions. The contributors in National Plots: Historical Fiction and Changing Ideas of Canada critically examine texts with subject matter ranging from George Vancouver’s west coast explorations to the eradication of the Beothuk in Newfoundland. Reflecting diverse methodologies and theoretical approaches, the essays seek to explicate depictions of “the historical” in individual texts and to explore larger questions relating to historical fiction as a genre with complex and divergent political motivations and goals. Although the topics of the essays vary widely, as a whole the collection raises (and answers) questions about the significance of the roles historical fiction has played within Canadian culture for nearly two centuries.

The geopolitics of empire had already prepared me for this...coloniality constructs outsides and insides—worlds to be chosen, disturbed, interpreted, and navigated—in order to live something like a real self. Internationally acclaimed poet and novelist Dionne Brand reflects on her early reading of colonial literature and how it makes Black being inanimate. She explores her encounters with colonial, imperialist, and racist tropes; the ways that practices of reading and writing are shaped by those narrative structures; and the challenges of writing a narrative of Black life that attends to its own expression and its own consciousness.

No other figure, historical or political, features more prominently in recent Newfoundland history than Joey Smallwood. During his long career in Newfoundland politics, Smallwood used the literary, rhetorical, and theatrical skills honed in the first five decades of his life to create a distinct and celebrated persona. He told his own story in his lively autobiography, I Chose Canada, published in 1973 only a year after he left office. Talented, venturesome, and above all resilient, he was no ordinary Joe. Smallwood was born in Gambo, Bonavista Bay, but grew up in St John's. Leaving school at fifteen, he quickly established himself as a journalist and as a publicist for Sir William Coaker's Fishermen's Protective Union. In the early 1920s Smallwood sojourned twice in New York, where he planned a Newfoundland labour party. Ambition, however, led him to support the Liberal Party of Sir Richard Squires. Defeated as a candidate in the general election of June 1932, he next promoted producer and consumer cooperatives, but with mixed results. In 1937 he edited The Book of Newfoundland and thereafter enjoyed great success on the radio as "The Barrelman." The book culminates with Smallwood's adoption of the cause of Confederation and his swearing in on 1 April 1949 as premier of the new Province of Newfoundland. There are multiple J.R. Smallwoods, but the aspiring and ambitious figure presented in this biography stands apart. Melvin Baker and Peter Neary use the largely untapped sources of Smallwood's own papers and his extensive journalistic writing to add a documentary basis to what is known or conjectured about the first five decades of Smallwood's remarkable life, both public and private.

“Speaking one language, I submit, is like living in a house with one window only...” From his legendary birth in a snow bank in northwestern Manitoba, through his metamorphosis to citizen-artist of the world, playwright, pianist, polyglot, storyteller, and irreverent disciple of the Trickster, Tomson Highway rides roughshod through the languages and communities that have shaped him. Cree, Dene, Latin, French, English, Spanish, and the universal language of music have opened windows and widened horizons in Highway’s life. Readers who can hang on tight—Highway fans, culture mavens, cunning linguists, and fellow tricksters—will experience the profundity of Highway’s humour, for as he says, “In Cree, you will laugh until you weep.”

The prizewinning author of The Innocents examines the relationships among fact, fiction, fictionalization, and appropriation in this thought-provoking work. “In all creative writing, the question of what is true and what is real are two very different considerations. Figuring out how to dance between them is a murky business.” In Most of What Follows Is True, Michael Crummey examines the complex relationship between fact and fiction, between the “real world” and the stories we tell to explain it. Drawing on his own experience appropriating historical characters to fictional ends, he brings forward important questions about how writers use history and real-life figures to animate fictional stories. Is there a limit to the liberties a writer can take? Is there a point at which a fictionalized history becomes a false history? What responsibilities do writers have to their readers, and to the historical and cultural materials they exploit as sources? Crummey offers thoughtful, witty views on the deep and timely conversation around appropriation.

Now that the last veterans are gone, the First World War is now a completely historical subject—governed by archaeology and genealogy, battlefield tourism and military history. The anguish and privations are a bit further away, but there is still huge interest in the awful conditions and carnage endured by a generation of youth who sacrificed their lives for their country. “The Old Front Line” is a phrase first coined by the poet John Masefield when he looked back on the battle of the Somme from a distance of just one year, in 1917, and speculated how the Western Front might look in the future. Stephen Bull’s copiously illustrated work—part travel guide, part popular history—a century on, answers his speculations. The main source material is new and contemporary photographs, as well as some from the intervening century. Taken together these provide a series of exciting vistas and informative details that tell the story of the battles and landscapes. Aerial photography, old and new ground shots—and in a few cases even images taken underground—provide an authoritative summary of the war on the Western Front. Following an introduction that sets the scene and looks at the early stages of the war, eight chapters examine the Western Front geographically, looking closely at the main areas of fighting and what is visible today: not just the “iron harvest”—the scars left by trench and battle—but also the cemeteries, war memorials and statues that remind the visitor starkly of the loss of a generation.

Threat of book burning ignites passionate discussion about censoring, banning, and other responses to books.

The True Story Behind the Events on 9/11 that Inspired Broadway’s Smash Hit Musical Come from Away, Featuring All New Material from the Author When 38 jetliners bound for the United States were forced to land at Gander International Airport in Canada by the closing of U.S. airspace on September 11, the population of this small town on Newfoundland Island swelled from 10,300 to nearly 17,000. The citizens of Gander met the stranded passengers with an overwhelming display of friendship and goodwill. As the passengers stepped from the airplanes, exhausted, hungry and distraught after being held on board for nearly 24 hours while security checked all of the baggage, they were greeted with a feast prepared by the townspeople. Local bus drivers who had been on strike came off the picket lines to transport the passengers to the various shelters set up in local schools and churches. Linens and toiletries were bought and donated. A middle school provided showers, as well as access to computers, email, and televisions, allowing the passengers to stay in touch with family and follow the news. Over the course of those four days, many of the passengers developed friendships with Gander residents that they expect to last a lifetime. As a show of thanks, scholarship funds for the children of Gander have been formed and donations have been made to provide new computers for the schools. This book recounts the inspiring story of the residents of Gander, Canada, whose acts of kindness have touched the lives of thousands of people and been an example of humanity and goodwill.