The mythic community created within these poems is populated with larger-than-life characters: lovers, murderers, musicians, and muses. Winner of the Archibald Lampman Award for Poetry, Whylah Falls has inspired a drama, a stage play, and a feature film, One Heart Broken into Song. This Tenth Anniversary Edition includes "Apocrypha" - a section of previously unpublished poems - and an introduction by Clarke.

Whylah Falls is a passionate play about poets and the lies they tell in the pursuit of love.

The facts are clear. It was, by all accounts, a "slug-ugly" crime: in 1949, George and Rufus Hamilton, two African Canadians, bludgeoned a taxi driver to death with a hammer in the dirt-poor settlement of Barker's Point, New Brunswick. Less than eight months later, the brothers were hanged for their crime. George and Rue's brutal act lives on in New Brunswick over half a century later, where the murder site is still known as "Hammertown". George Elliott Clark draws from this disturbing chapter in Canadian history in his first novel, brilliantly reimagining the lives - and deaths - of the two brothers. Fiercely human and startlingly poignant, George & Rue shifts seamlessly through the killers' pasts, examining just what kind of forces would reduce these men to lives of crime, violence, and ultimately, murder.

George Elliott Clarke's newest dramatic poem, Trudeau, makes an irreverent, jubilant portrait of the life and politics of one of Canada's most controversial political heroes, Pierre Elliott Trudeau. Clarke's poem provides a whimsical and informative look at the balance of world powers in the 1960s and 70s, infused with the spirit of the many revolutions taking place throughout the world during these years. The poem opens on a hillside in Nanjing, China, April 1949, in the midst of the country's civil war. Our hero exchanges political stances with Mao and falls for a beautiful young flautist. From China the drama moves to Fredericton, NB, where Trudeau chats with Massachusetts Senator and future American president John F. Kennedy, who has just received an honorary doctorate from the university. The two men cavalierly discuss the perks of political power, each on the cusp of leading their countries. Then, in Havana, on the eve of the Bay of Pigs invasion, Fidel Castro treats Trudeau to rum and cigars and offers his take on revolutions, Cuban and otherwise. When the focus moves to the Quiet Revolution and Trudeau's response to this crisis in his leadership, Clarke presents a leader at once loved and loathed at home, who perseveres through both political and personal upheaval. Originally composed as the libretto for a new opera by D.D. Jackson to be presented at Toronto's Harbourfront Festival in April 2007, Trudeau is a political caper, an extravagant portrait and a dramatic study of influence, power, revolution and liberation. Clarke injects the life of one of this country's most intriguing personalities with the exuberance and grimy frankness his readers have come to love and expect. According to the author: "As a teenage poet in the 1970s, seven artist-intellectuals-or poet-politicos-helped me to conceive my voice. They were jazz trumpeter Miles Davis, troubadour-bard Bob Dylan, libertine lyricist Irving Layton, guerilla leader and poet Mao Zedong, reactionary modernist Ezra Pound, Black Power orator Malcolm X and the Right Honourable Pierre Elliott Trudeau. These 'idols' inspired me to sculpt an individualist poetic scored with implicit social commentary. Yes, this 'Gang of Seven' is flawed. But, taken as a whole, I find their blunt talk, suave styles, acerbic independence, raunchy macho, feisty lyricism, singing heroics and scarf-and-beret chivalry quite, well, liberating. "For me, no Canadian stood more for liberation than Trudeau, that aloof populist, rights-trampling democrat and tax-and-spend millionaire. An operatic figure in life (1919-2000), he now merits dramatic treatment. My dramatic poem imagines the politician as 'player': Plato meets Chaplin."

When writers place food in front of their characters – who after all do not need sustenance – they are asking readers to be alert to the meaning and implication of food choices. As readers begin to listen closely to these cues, they become attuned to increasingly layered stories about why it matters what foods are selected, prepared, served, or shared, and with whom, where, and when. In Canadian Literary Fare Nathalie Cooke and Shelley Boyd explore food voices in a wide range of Canadian fiction, drama, and poetry, drawing from their formational blog series with Alexia Moyer. Thirteen short vignettes delve into metaphorical taste sensations, telling of how single ingredients such as garlic or ginger, or food items such as butter tarts or bannock, can pack a hefty symbolic punch in literary contexts. A chapter on Canada’s public markets finds literary food voices sounding a largely positive note, just as Canadian journalists trumpet Canada’s bountiful and diverse foodways. But in chapters on literary representations of bison and Kraft Dinner, Cooke and Boyd bear witness to narratives of hunger, food scarcity, and social inequality with poignancy and insistence. Canadian Literary Fare pays heed to food voices in the works of Tomson Highway, Rabindranath Maharaj, Alice Munro, M. NourbeSe Philip, Eden Robinson, Fred Wah, and more, inviting readers to listen for stories of foodways in the literatures of Canada and beyond.

“Speaking in the Past Tense participates in an expanding critical dialogue on the writing of historical fiction, providing a series of reflections on the process from the perspective of those souls intrepid enough to step onto what is, practically by definition, contested territory.” — Herb Wyile, from the Introduction The extermination of the Beothuk ... the exploration of the Arctic ... the experiences of soldiers in the trenches during World War I ... the foibles of Canada’s longest-serving prime minister ... the Ojibway sniper who is credited with 378 wartime kills—these are just some of the people and events discussed in these candid and wide-ranging interviews with eleven authors whose novels are based on events in Canadian history. These sometimes startling conversations take the reader behind the scenes of the novels and into the minds of their authors. Through them we explore the writers’ motives for writing, the challenges they faced in gathering information and presenting it in fictional form, the sometimes hostile reaction they faced after publication, and, perhaps most interestingly, the stories that didn’t make it into their novels. Speaking in the Past Tense provides fascinating insights into the construction of national historical narratives and myths, both those familiar to us and those that are still being written.

Explores how traditional notions of citizenship are contested and altered through literature. Literature has always played a central role in creating and disseminating culturally specific notions of citizenship, nationhood, and belonging. In Reconfiguring Citizenship and National Identity in the North American Literary Imagination, author Kathy-Ann Tan investigates metaphors, configurations, parameters, and articulations of U.S. and Canadian citizenship that are enacted, renegotiated, and revised in modern literary texts, particularly during periods of emergence and crisis. Tan brings together for the first time a selection of canonical and lesser-known U.S. and Canadian writings for critical consideration. She begins by exploring literary depiction of "willful" or "wayward" citizens and those with precarious bodies that are viewed as threatening, undesirable, unacceptable—including refugees and asylum seekers, undocumented migrants, deportees, and stateless people. She also considers the rights to citizenship and political membership claimed by queer bodies and an examination of "new" and alternative forms of citizenship, such as denizenship, urban citizenship, diasporic citizenship, and Indigenous citizenship. With case studies based on works by a diverse collection of authors—including Nathaniel Hawthorne, Djuna Barnes, Etel Adnan, Sarah Schulman, Walt Whitman, Gail Scott, and Philip Roth—Tan uncovers alternative forms of collectivity, community, and nation across a broad range of perspectives. In line with recent cross-disciplinary explorations in the field, Reconfiguring Citizenship and National Identity in the North American Literary Imagination shows citizenship as less of a fixed or static legal entity and more as a set of symbolic and cultural practices. Scholars of literary studies, cultural studies, and citizenship studies will be grateful for Tan's illuminating study.

How can postcolonialism be applied to Canadian literature? In all that has been written about postcolonialism, surprisingly little has specifically addressed the position of Canada, Canadian literature, or Canadian culture. Postcolonialism is a theory that has gained credence throughout the world; it is be productive to ask if and how we, as Canadians, participate in postcolonial debates. It is also vital to examine the ways in which Canada and Canadian culture fit into global discussions as our culture reflects how we interact with our neighbours, allies, and adversaries. This collection wrestles with the problems of situating Canadian literature in the ongoing debates about culture, identity, and globalization, and of applying the slippery term of postcolonialism to Canadian literature. The topics range in focus from discussions of specific literary works to general theoretical contemplations. The twenty-three articles in this collection grapple with the recurrent issues of postcolonialism — including hybridity, collaboration, marginality, power, resistance, and historical revisionism — from the vantage point of those working within Canada as writers and critics. While some seek to confirm the legitimacy of including Canadian literature in the discussions of postcolonialism, others challenge this very notion.

Anne of Tim Hortons: Globalization and the Reshaping of Atlantic-Canadian Literature is a study of the work of over twenty contemporary Atlantic-Canadian writers that counters the widespread impression of Atlantic Canada as a quaint and backward place. By examining their treatment of work, culture, and history, author Herb Wyile highlights how these writers resist the image of Atlantic Canadians as improvident and regressive, if charming, folk. After an introduction that examines the current place of the region within the Canadian federation and the broader context of economic globalization, Anne of Tim Hortons explores how Atlantic-Canadian writers present a picture of the region that is much more complex and less quaint than the stereotypes through which it is typically viewed. Through the works of authors such as Michael Winter, Lisa Moore, George Elliott Clarke, Rita Joe, Frank Barry, Alistair MacLeod, and Bernice Morgan, among others, the book looks at the changing (and increasingly corporate) nature of work, the cultural diversification and subversive self-consciousness of Atlantic-Canadian literature, and Atlantic-Canadian writers’ often revisionist approach to the region’s history. What these writers are engaged in, the book contends, is a kind of collective readjustment of the image of the region. Rather than a marginal place stranded outside of time, Atlantic Canada in these works is very much caught up in contemporary economic, political, and cultural developments, particularly the broad sweep of economic globalization.

The essays in Canadian Cultural Exchange / Échanges culturels au Canada provide a nuanced view of Canadian transcultural experience. Rather than considering Canada as a bicultural dichotomy of colonizer/colonized, this book examines a field of many cultures and the creative interactions among them. This study discusses, from various perspectives, Canadian cultural space as being in process of continual translation of both the other and oneself. Les articles réunis dans Canadian Cultural Exchange / Échanges culturels au Canada donnent de l’expérience transculturelle canadienne une image nuancée. Plutà ́t que dans les termes d’une dichotomie biculturelle entre colonisateur et colonisé, le Canada y est vu comme champ oÃ1 plusieurs cultures interagissent de manià ̈re créative. Cette étude présente sous de multiples aspects le processus continu de traduction d’autrui et de soi-mÃame auquel l’espace culturel canadien sert de théâtre.