When Arc began publishing in 1978, it had one aim: to publish the best work by Canada's new and established poets. Celebrating Arc's first two decades, We All Begin in a Little Magazine testifies to how fully the editors realized their aspirations. It provides a rich cross section of Canada's poetry of the time, the most vital years thus far in the history of Canadian Literature. Read the work of your favourite poets just as they first made names for themselves. Rediscover the excitment you felt when you came across their poems in Arc Canada's best "little magazine."

When Arc began publishing in 1978, it had one aim: to publish the best work by Canada's new and established poets. Celebrating Arc's first two decades, We All Begin in a Little Magazine testifies to how fully the editors realized their aspirations. It provides a rich cross section of Canada's poetry of the time, the most vital years thus far in the history of Canadian Literature. Read the work of your favourite poets just as they first made names for themselves. Rediscover the excitment you felt when you came across their poems in Arc Canada's best "little magazine."

Beginning in the 1890s, reaching its first full realization by modernist writers in the 1920s, and brought to its heyday during the Canadian Renaissance starting in the 1960s, the short story has become Canada's flagship genre. It continues to attract the country's most accomplished and innovative writers today, among them Margaret Atwood, Mavis Gallant, Alice Munro, Carol Shields, and many others. Yet in contrast to the stature and popularity of the genre and the writers who partake in it, surprisingly little literary criticism and theory has been devoted to the Canadian short story. This collection redresses that imbalance by providing the first collection of critical interpretations of a range of thirty well-known and often-anthologized Canadian short stories from the genre's beginnings through the twentieth century. A historical survey of the genre introduces the volume and a timeline comparing the genre's development in Canada, the US, and Great Britain via representative examples completes it. The collection is geared both to specialists in and to students of Canadian literature. For the latter it is of particular benefit that the volume provides not only a collection of interpretations, but a comprehensive introduction to the history of the Canadian short story. Reingard M. Nischik is professor and chair of American Literature at the University of Constance, Germany.

Little magazines made modernism. These unconventional, noncommercial publications may have brought writers such as James Joyce, T. S. Eliot, Ezra Pound, Marianne Moore, Mina Loy, and Wallace Stevens to the world but, as Eric Bulson shows in Little Magazine, World Form, their reach and importance extended far beyond Europe and the United States. By investigating the global and transnational itineraries of the little-magazine form, Bulson uncovers a worldwide network that influenced the development of literature and criticism in Africa, the West Indies, the Pacific Rim, and South America. In addition to identifying how these circulations and exchanges worked, Bulson also addresses equally formative moments of disconnection and immobility. British and American writers who fled to Europe to escape Anglo-American provincialism, refugees from fascism, wandering surrealists, and displaced communists all contributed to the proliferation of print. Yet the little magazine was equally crucial to literary production and consumption in the postcolonial world, where it helped connect newly independent African nations. Bulson concludes with reflections on the digitization of these defunct little magazines and what it means for our ongoing desire to understand modernism's global dimensions in the past and its digital afterlife.

This volume, accessible to all of Alistair MacLeod's readers and fans, offers the transcript of an in-depth interview with Alistair MacLeod which took place in Windsor during the Spring of 2009. It is introduced by Douglas Gibson, Alistair MacLeod's long lime editor and trusted friend. Alistair MacLeod has been described as a "quiet literary giant" and there is no better way of encapsulating his talent and character in only three words. He is the recipient of many literary awards, including the IMPAC award and thirteen honorary degrees. In the interview, Alistair Macleod throws light on the creative process and gives us insight. into his craft. As his comments come in response to questions on Bach individual story as well as on the novel No Great Mischief, the transcript is divided into sections dedicated to cach one of the stories and the novel. Quotes from previous interviews have been added and organized thematically in a section entitled "Collected Comments from Previous Interviews". The last part of this volume includes the summaries of these works. The aim of these summaries is to refresh the reader's memory and guide him through the conversation with Alistair Macleod and also to provide useful references for all students, academics and enthusiastic readers wishing to embark on a critical analysis of Alistair MacLeod's work.

The period between 1916 and 1956 was a unique interval in the history of Canadian publishing. During this period not only were a significant number of non-commercial literary, arts, and cultural magazines established, but it also happened that an unprecedented number of those involved in the creation and subsequent editing of this new type of magazine - the little magazine - were women. Based on extensive new archival and literary historical research, Editing Modernity examines these Canadian women writers and editors and their role in the production and dissemination of modernist and leftist little magazines. At once a history of literary women and of the emergent formations and conditions of cultural modernity in Canada, Irvine's study relates women's editorial work and poetry to a series of crises and transitions in modernist and leftist magazine communities, to the public hearings and published findings of the Massey Commission of 1949-51, and to the later development of feminist literary magazines and editorial collectives during the 1970s and 1980s. Writers and editors examined in this study include Dorothy Livesay, Anne Marriott, Floris McLaren, P.K. Page, Miriam Waddington, Flora Macdonald Denison, Florence Custance, Catherine Harmon, Aileen Collins, and Margaret Fairley.

In 2013, the Nobel Prize for Literature was for the first time awarded to a short story writer, and to a Canadian, Alice Munro. The award focused international attention on a genre that had long been thriving in Canada, particularly since the 1960s. This book traces the development and highlights of the English-language Canadian short story from the late 19th century up to the present. The history as well as the theoretical approaches to the genre are covered, with in-depth examination of exemplary stories by prominent writers such as Margaret Atwood and Alice Munro.

Now in its 47th year, Best Canadian Stories has long championed the short story form and highlighted the work of many of the writers, throughout their respective careers, who have gone on to shape the Canadian literary canon. Caroline Adderson, Margaret Atwood, Clark Blaise, Lynn Coady, Mavis Gallant, Zsuzsi Gartner, Douglas Glover, Steven Heighton, Isabel Huggan, Mark Anthony Jarman, Norman Levine, Rohinton Mistry, Alice Munro, Leon Rooke, Diane Schoemperlen, Russell Smith, Linda Svendsen, Kathleen Winter, and many others have appeared in its pages over the years and decades, making Best Canadian Stories the go-to source for what's new in Canadian fiction writing for close to five decades. The short story is perhaps Canada's greatest contribution to literature, and in this edition established practitioners of the form—including Tamas Dobozy, Cynthia Flood, K.D. Miller, and Lisa Moore—are joined by powerful emerging talents—like Paige Cooper and CBC Short Story Prize winner David Huebert—in a continuation of not only a series, but a legacy in Canadian letters.

This volume aims to introduce undergraduates, graduates, and general readers to the diversity and richness of Canadian short story writing and to the narrative potential of short fiction in general. Addressing a wide spectrum of forms and themes, the book will familiarise readers with the development and cultural significance of Canadian short fiction from the early 19th century to the present. A strong focus will be on the rich reservoir of short fiction produced in the past four decades and the way in which it has responded to the anxieties and crises of our time. Drawing on current critical debates, each chapter will highlight the interrelations between Canadian short fiction and historical and socio-cultural developments. Case studies will zoom in on specific thematic or aesthetic issues in an exemplary manner. The Routledge Introduction to the Canadian Short Story will provide an accessible and comprehensive overview ideal for students and general readers interested in the multifaceted and thriving medium of the short story in Canada.

This new volume of the Literary History of Canada covers the continuing development of English-Canadian writing from 1972 to 1984. As with the three earlier volumes, this book is an invaluable guide to recent developments in English-Canadian literature and a resource for both the general reader and the specialist researcher. The contributors to this volume are Laurie Ricou, David Jackel, Linda Hutcheon, Philip Stratford, Barry Cameron, Balachandra Rajan, Robert Fothergill, Brian Parker, Cynthia Zimmerman, Frances Frazer, Edith Fowke, Bruce G. Trigger, Alan C. Cairns, Douglas Williams, Carl Berger, Shirley Neuman, Raymond S. Corteen, and Francess G. Halpenny.