Bøker utgitt av University of Alberta Press

"The book is an exhibition catalogue of rare angling books, which are housed in the University of Alberta's Bruce Peel Special Collections."--

After assignments as a Canadian diplomat in Mexico, Colombia, Sudan, and South Africa, Nicholas Coghlan and his wife Jenny unwind by sailing Bosun Bird, a 27-foot sailboat, from Cape Town across the South Atlantic and into the stormy winter waters of the Beagle Channel, Tierra del Fuego, and the Strait of Magellan. Coghlan recalls earlier adventures in Patagonia during the late seventies when he and his wife explored the region over three successive summers. Now, as they negotiate the labyrinth of channels and inlets around snow-covered Fireland, he reflects on the voyages of past explorers: Magellan, Cook, Darwin, Slocum, and others. Sailing enthusiasts and readers of true adventures will want to add Coghlan's world-wise narrative to their libraries.

In this critical edition of a manuscript previously thought lost, Parker applies McLuhan's medium theory and reimagines museums as catalysts for cultural engagement and empathy.

This transdisciplinary collection investigates relations of "living and learning with" as compelling forms of encounter, engagement, and care between self and other, human, nonhuman, and more-than-human. Editors and contributors dig deeper, through academic and creative written forms, into the ongoing need to forge sustainable forms of relationality between various feminist positions, attending particularly to Indigenous and Black knowledges, queer and trans artistic interventions, and antiracist methodologies. Rooted in feminist literary and artistic practices, the volume explores ongoing transnational issues of immediate and urgent concern, highlighting the strengths and challenges that can come with seeking alliances. Benefiting scholars in Canadian literature, Indigenous literary studies, Indigenous education studies, Anglophone and Francophone literary and intercultural studies, and gender studies, Living and Learning with Feminist Ethics, Literature, and Art pursues crucial conversations on intersecting oppressions, intersubjectivities, voices, and positionalities. Contributors: Kim Anderson, Alexandre Baril, Sissel M. Bergh, Marie Carrière, Élise Couture-Grondin, Junie Désil, Amanda Fayant, Mylène Yannick Gamache, Libe García Zarranz, Dominique Hétu, Larissa Lai, Amina Lalor, Sheri Longboat, Brittany Luby, Stephanie Oliver, Anne Quéma, Veronika Schuchter, Erin Soros, Erin Wunker

Digital Memory Agents in Canada explores memory performances and representations with different cultural and spatial relationships to Canada, moving from discourses on place to a focus on the digital or virtual space, on how certain cultures, subjectivities, or positionalities use digital media to document or represent their recollections. Embracing interdisciplinary approaches, the contributors investigate how digital media, like memories, can transcend space and time to impact individuals and communities. It is a compilation of narratives and research models that disrupt Canadian, hegemonic, colonial, white-centric, and patriarchal beliefs. Chapters examine memorialization, documentation, and online activism; aesthetic productions and counter-productions of identity in literature, film, and beyond; queer and feminist archiving and consciousness-raising; and Indigenous, Métis, and Black narratives of resistance. Digital Memory Agents in Canada will be of interest to scholars and students specializing in memory studies, digital humanities, film and media studies, and cultural studies. Contributors: Jim Clifford, Matthew Cormier, Erika Dyck, Craig Harkema, Caroline Hodes, Russell J. A. Kilbourn, Jordan B. Kinder, Anna Kozak, Braidon Schaufert, Amanda Spallacci, Matthew Tétreault, Uchechukwu Peter Umezurike, Stephen Webb

Indigenous healing is a paradox in the liberal settler colony, where an intervention fostering well-being might simultaneously aim to eliminate distinct Indigenous societies. This book aims to explain and complicate the prominence of "Indigenous healing" in Canadian public discourse in recent decades through theoretically-informed historical and ethnographic analysis disentangling the multiple meanings, practices, and social and political implications of healing. The book centres late twentieth-century Indigenous social histories in Treaty #3 territory and cities in northern and southern Ontario to show how practices of re-membering--mobilizing traditional ways of being and knowing towards social repair and rejuvenation of the collective--are in part enabled by tactical engagements with the settler state which fuel the emergence of an Indigenized biopolitics from below. Analysis of the possibilities, tensions, and risks inherent to Indigenous biopolitical tactics is inflected by attentiveness to the longstanding role of liberalism in settler colonial social dismemberment of Indigenous peoples. Informed by Indigenous feminist scholarship's focus on relationality, care, and the everyday, as well as the intimate workings of settler colonialism, this book is intended to contribute to ongoing critical conversations about reconciliation and resurgence politics, and problematize their presumed opposition.

On Beauty is a provocative collection of moments, confessions, overheard conversations, and memories, both fleeting and crystalized, revolving around the small chasms and large craters of everyday life. Situated at the crossroads of prose and poetry, these 33 vignettes explore the rhythm, textures, and micro-moments of lives in motion. Composed with a poet's eye for detail and ear for rhythm, rob mclennan's brief stories play with form and language, capturing the act of record-keeping while in the process of living those records, creating a Polaroid-like effect. Throughout the collection, the worlds of literature and art infuse into intimate fragments of the everyday. A welcome chronicle of human connection and belonging, On Beauty will leave readers grappling with questions of how stories are produced and passed through generations.

In seven and a half interlinked stories, Aaron Kreuter's Rubble Children tackles Jewish belonging, settler colonialism, Zionism and anti-Zionism, love requited and unrequited, and cannabis culture, all drenched in suburban wonder and dread. Sometimes realist, sometimes not, the book revolves around Kol B'Seder, a fictional Reform synagogue in the Toronto suburb of Thornhill. In these stories, the locked basement room in the home of the synagogue's de facto patriarch opens onto a life-altering windfall; visions of an omnipotent third temple terrify; rhythms of the Jewish and scholastic year collide in bong rips and hash hits; alternate versions of Israel/Palestine play out against domestic drama. In the title story, a group of Jewish girls obsessed with the Holocaust discover that they are far from the only people who live in the rubble of history. Engaging, funny, dark, surprising, Rubble Children is a scream of Jewish rage, a smoky exhalation of Jewish joy, a vivid dream of better worlds.

This interdisciplinary book develops a dialectical narrative about the beginning of the universe by combining Hegel's philosophy with texts about the Big Bang theory. Scientific accounts of the Big Bang indicate that the first second of existence was an eventful period in which the universe progressed through six different epochs. Bringing together cosmological narratives and Hegel's writings (particularly The Science of Logic), Gregory Phipps reads this movement as a dialectical progression, a sequence of transitions among interlinked concepts like being and nothing, finitude and infinitude, and space and time. Phipps also draws upon Hegel's conception of absolutes to outline a model of the multiverse. In doing so, he argues that Hegelian readings of the first second offer speculative snapshots of a hypothetical multiverse that contains the full (and probably infinite) scope of existence. Acknowledging the profound impact that the Big Bang theory can produce on understandings of age-old philosophical concerns, this study importantly brings Hegel's philosophy into dialogue with contemporary science, tracing intersections in his speculative thought and the more creative and imaginative dimensions of cosmology. For scholars and readers interested in Hegelianism and in the crosscurrents between philosophy, science, and narrative.

Focusing on the discipline of political science, this collection examines what is at stake in contesting the boundaries of the contemporary university. As the study of politics and political life, the mainstream of the discipline has examined power in the institutions and processes of government. But if the personal is political, political science is about much more than what happens in those institutions. This collection draws together personal essays, pedagogical interventions, dialogues, and original research to reflect on how "feministing" as an orientation and as an analytic can centre experiential knowledge and reshape our understandings of political science. Collectively, these contributions lay bare the ways that power moves in and through the academy, naming the impacts on those who are most structurally precarious, all while pointing to potential futures made possible by refusal, solidarity, and hope. Contributors: Yasmeen Abu-Laban, Julianne M. Acker-Verney, Kelly Aguirre, Jeanette Ashe, Nicole S. Bernhardt, Amanda Bittner, Alana Cattapan, Elaine Coburn, Jamilah A.Y. Dei-Sharpe, Rita Kaur Dhamoon, Alexandra Dobrowolsky, Nick Dorzweiler, Tammy Findlay, Mariam Georgis, Emily Grafton, Joyce Green, Genevieve Fuji Johnson, Kiera L. Ladner, Lindsay Larios, Manon Laurent, Fiona MacDonald, April Mandrona, Kimberley Ens Manning, Sarah Munawar, Nisha Nath, Michael Orsini, Stephanie Paterson, Tka C. Pinnock, David Semaan, Gina Starblanket, Heidi Kiiwetinepinesiik Stark, Melanee Thomas, Reeta Chowdhari Tremblay, Ethel Tungohan, Nadia Verrelli, Leah F. Vosko, Chamindra Weerawardhana.

Arts graduate education is uniquely positioned to deliver many of the public good needs of contemporary Canada. For the Public Good argues, however, that graduate programs must fundamentally change if they are to achieve this potential. Drawing on deep experience and research, the authors outline how reformed programs that equip graduates with advanced skills can address Canada's most vexing challenges and seek action on equity, diversity, inclusion, and decolonization. They chart how current approaches to graduate education emerged and make a data-informed case for change. The authors then offer an evidence-based vision for reimagining arts graduate education and actor-specific steps to achieve this potential. This timely and optimistic guide will be of interest to faculty and university administrators who are responsible for graduate education and public policy specialists focused on post-secondary education.

Contemporary Vulnerabilities offers critical reflections about vulnerable moments in research committed to social change. This interdisciplinary collection gathers reflexive narratives and analyses about innovative methodologies that engage with unconventional and unexpected research spaces inhabited and shared by scholars. The authors encourage us to collaborate within, reflect on, and confront the frictions of inquiry around social change. With an aim of contesting the dominance of Eurocentric epistemologies, the collection includes modes of storytelling and examples of knowledge gathering that are often excluded from academic texts in general and methodological texts in particular. All those interested in research methodologies and social justice inquiry will find provocation and recognition in this volume, including scholars, ethics boards, and students. Contributors: Aly Bailey, Kayla Besse, Meredith Bessey, Madeline Burghardt, Claire Carter, Shraddha Chatterjee, Yuriko Cowper-Smith, Eva Cupchik, Cheyanne Desnomie, Bongi Dube, Athanasia Francis, Rebecca Godderis, Moses Gordon, Emily Grafton, Caitlin Janzen, Evadne Kelly, Debra Langan, Rebecca Lennox, Corinne L. Mason, Tara-Leigh McHugh, Preeti Nayak, Anh Ngo, Jess Notwell, Marcia Oliver, Cassandra J. Opikokew Wajuntah, Merrick Pilling, Kendra-Ann Pitt, Salima Punjani, seeley quest, Carla Rice, Jen Rinaldi, Lori Ross, Kate Rossiter, Brenda Rossow-Kimball, Siobhán Saravanamuttu, Melissa Schnarr, Bettina Schneider, Irene Shankar, Skylar Sookpaiboon, Chelsea Temple Jones, Amelia Thorpe, Paul Tshuma, Amber-Lee Varadi, Jijian Voronka, Kristyn White.

All Sky, Mirror Ocean is for everyone looking to understand the complex issues around mental illness and healing. Combining autobiography, research-creation, poetry, and creative philosophy, Brad Necyk uses art and words to uncover and tell new stories about trauma and recovery. Necyk weaves his own histories with bipolar affective disorder and childhood medical trauma with those of other people dealing with grief and loss: head and neck cancer patients in Edmonton, psychiatric inpatients in Toronto, and communities in Iqaluit stricken by suicide. Punctuated with art, these lived experiences intertwine with scholarship on arts-based research, neuroscience, collaboration, and psychedelic altered states to reveal the understanding and acceptance that comes from acknowledging our deep connections--to ideas and emotions, to our environments, to art, and to each other. Showing great compassion and wisdom, All Sky, Mirror Ocean is a model for research-creation and artistic fieldwork.

Deviant traces a trajectory of queer self-discovery from childhood to adulthood, examining love, fear, grief, and the violence that men are capable of in intimate same-sex relationships. Richly engaged with the tangible and experiential, Patrick Grace's confessional poetry captures profound, sharp emotions, tracking a journey impacted equally by beauty and by brutality. Coming-of-age identity struggles are recalled with wry wit, and dreamlike poems embrace adolescent queer love and connections as a way to cope with the fear and cruelty that can occur in gay relationships. Later poems in the collection recall vivid moments of psychological trauma and stalking and explore the bias of the justice system toward gay men. Collecting memories, dreams, and fears about sexual identity, Deviant makes important contributions to queer coming-of-age and intimate partner violence narratives.

That Audible Slippage invokes a poetics of active listening and environmental sound to investigate the ways in which we interact with the world, balancing perception and embodiment alongside a hypnagogic terrain of grief and mortality. Audibility is a primary theme of this collection--what can be heard, what is obstacled, and what remains unheard. Many of the poems included in the collection try to hold spaces open for the slipperiness of the heard and unheard and the not-yet heard and their associated problems: error, insufficiency, loss, incompleteness, and other affects such as fear and avoidance. "A Branch of Happen," the opening section of award-winning poet Margaret Christakos' collection, explores interior listening to both the self as sensation machine and the collaged external soundscape we both hear and fail to hear within the assailing violences and inequities of the news. A second suite, "Heart is a Guest Whippet Resting on a Firm Trunk," is troubled by memories of deceased loved-ones amid the North Saskatchewan River valley and the many-layered history of amiskwaciwâskahikan (Edmonton). The fragmentary "Listening Line Notebook" multiplies the treatment of listening as a situated perceptual, sensory, and ethical process. A final long poem called "The Incubation" navigates ideas of being asleep and awake, altered and attuned, as well as spiritually dis/located in time and space. Poised within and beyond both established and emergent traditions of ecocriticism, contemporary feminisms, and experimental lyric, this intriguing and probing work of sound-illuminated poems welcomes readers into its overlapping worlds with grace.

Fresh, funny, and imbued with infectious energy, Northerny tells a much-needed and compelling story of growing up and living in the North. Here are no tidy tales of aurora borealis and adventures in snow. For Dawn Macdonald, the North is not an escape, a pathway to enlightenment, or a lifestyle choice. It's a messy, beautiful, and painful point of origin. People from the North see the North differently and want to tell their own stories in their own way, including about their experiences growing up on the land, getting an education, and struggling to find jobs and opportunities. Expertly balancing lyric reflection and ferocious realism, Macdonald busts up the cultural myths of self-interest and superiority that have long dominated conversations about both Northern spaces and working-class identities.

Toward an Anti-Racist Poetics seeks to dislodge the often unspoken white universalism that underpins literary production and reception today. In this personal and thoughtful book, award-winning author Wayde Compton explores how we might collectively develop a poetic approach that makes space for diversity by doing away with universalism in both lyric and avant-garde verse. Poignant and contemporary examples reveal how white authors often forget that their whiteness is a racial position. In the propulsive push to experiment with form, they essentially fail to see themselves as "white artists." Noting that he has never felt that his subjectivity was universal, Compton advocates for the importance of understanding your own history and positionality, and for letting go of the idea of a common aesthetic. Toward an Anti-Racist Poetics offers validation for poets of colour who do not work in dominant western forms, and is for all writers seeking to engage in anti-racist work.

Van den Hoonaard discusses ways to unshackle social science ethics policies from medical research-ethics frameworks.

Leaving Other People Alone reads contemporary North American Jewish fiction about Israel/Palestine through an anti-Zionist, diasporic lens.

An Anthology of Monsters by Cherie Dimaline, award-winning author of The Marrow Thieves, is the tale of an intricate dance with life-long anxiety. It is about how the stories we tell ourselves can help reshape the ways in which we think, cope, and ultimately survive. Using examples from her books, from her mere, and from her own late night worry sessions, Dimaline choreographs a deeply personal narrative about all the ways in which we tell stories. She reveals how to collect and curate our stories, how they elicit difficult and beautiful conversations, and how family and community is a place of refuge and strength.

In there's more, Uchechukwu Peter Umezurike takes on the rich concepts of home and belonging: home lost and regained, home created with others and with the land, home as "anywhere we find something to love." Giving voice to the experiences of migrant and other marginalized citizens whose lives society tends to overlook, this collection challenges the oppressive systems that alienate us from one another and the land. Carefully built lyric meditations combine beauty and ugliness, engaging with violence, and displacement, while seeking to build kinship and celebrate imagination. Weaving domestic and international settings, salient observation and potent memory, Umezurike immerses the reader in rich, precise imagery and a community of voices, ideas, and recollections. there's more navigates immigrant life with a multifaceted awareness of joy, melancholia, loss, and hope.Sales Tips: -Uchechukwu Peter Umezurike takes on the rich concepts of home and belonging: home lost and regained, home created with others and with the land, home as "anywhere we find something to love."-The sense of longing that permeates the collection appeals to those who have had to leave a homeland behind, or whose ancestors have done the same, and who navigate their new lives with a multifaceted awareness of joy, melancholia, loss, and hope.-Umezurike examines themes of alienation, migration, citizenship, belonging, diaspora, and racial and social justice. -Some of the poems look at the realities of marginal lives in society; others explore questions about dispossession and the violence of extractive industries. -One of the great strengths of there's more is the poet's use of personal experience to present carefully arranged challenges to oppressive systems. -Umezurike's work connects with a long line of Canadian BIPOC poets who work within the autobiographical lyric form against monolithic, colonial notions of belonging, from George Elliott Clarke to Dionne Brand to Sky Dancer. -Weaving domestic and international settings, salient observation and potent memory, Umezurike immerses the reader in rich, precise imagery and a community of voices, ideas, and recollections.-The poet presents magnificently compact, moving, and beautiful lyric observations, combining well-shaped rhythms, images, and phrases with vernacular.-Umezurike interrogates the possibility (and the necessity) of holding multiple homes, and in a time of vastly increased displacement and immigration, this is a crucial topic. -Overall, the abiding question of the collection is how othering surfaces and perpetuates in our lives, in ways that alienate us from one another, from what it means to be human, and from the natural world that is our home. It also explores ways of building community. At the end of the day, it's a book that looks at what can be overcome in bringing people together, rather than pushing them apart.>Audience: -Readers of poetry and Canadian literature, particularly those who seek out, celebrate, and engage with autobiographical lyric work.-Readers who come from communities directly impacted by racism and their allies: the poems speak to issues of racial and social justice that fragment, as well as to a deep search for belonging and relationship.

A broad range of Canadian health care workers recount their experiences of the COVID-19 pandemic in prose and poetry.

Hekmat Al-Taweel's narrative sheds light on Muslim-Christian relationships in Gaza and contradicts Western stereotypes.

Sonja Ruth Greckol's Monitoring Station enters a slipstream of space and planetary language, circling time, embodying loss and longing, generating and regenerating in a faltering climate. Orbiting through a mother's death, a grandbaby's birth, and a pandemic summer, these poems loop and fragment in expansive and empathetic ways. The title poem locates a settler voice revisiting Treaties 6 and 7 and the Métis lands of her Alberta childhood, while the overall collection is tethered to Toronto shadowed by northland prairie. Nimble, energetic, and challenging, the book engages a dense kind of poetic thinking about belonging and responsibility to people and place, within both recent history and far-flung cosmic realities. Falling squarely within a Canadian feminist experimental lyric trajectory, and grounded in bodily, personal, and political experience, Monitoring Station embodies the passage of a damaged world across generations.Sales Tips: - Greckol is an established writer with three previous collections of poetry.- Monitoring Station is a Möbius strip of a book, navigating between the anchors of mothering/daughtering, a settler interrogation of place and history, and a chronicling of the fragmented first year of the COVID-19 pandemic. - Greckol purposefully engages a dense kind of poetic thinking to examine connections between what's come before, what's happening now, and what's coming next. - The book's stress on mothers and daughters and granddaughters is carefully partnered with a doubled view of our place, now, when settler cultures are finally being forced to think through their (our) own privileges, when COVID has highlighted the economic and structural inequalities existent in the setup of a global north vs. global south, and when climate change threatens to expose the blindness at the heart of contemporary capitalist systems. - Falling squarely within a Canadian feminist experimental lyric trajectory, and grounded in bodily, personal, and political experience, Monitoring Station embodies the passage of a damaged world across generations.>Audience: - It will appeal to readers of contemporary poetry who are attracted to conceptual, feminist, and eco-poetic models; to readers seeking to parse the pandemic in an intelligent, thoughtful way; to readers looking to interrogate their own place on treaty lands as settlers, or the violence enacted on BIPOC bodies around the world.- Readers will praise its attention to detail, celebrate its willingness to face difficult truths, and applaud its spirit of experimental lyricism.- The work is also connected to the central CanLit tradition of autobiographical free-verse lyricism.