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The UN Mission in Haiti
Backpacks Full of Hope: The UN Mission in Haiti describes the experience of a Chilean general as Deputy Force Commander of the United Nations Stabilization Mission in Haiti (MINUSTAH) during the particularly turbulent year September 2005 to September 2006. It details the realities of commanding more than 7,000 men from eleven countries while working to fulfill the mandate of the United Nations in Haitito ensure a secure and stable environment, to support the transitional government in a democratic political process, and to promote and protect the human rights of the Haitian people.
Despite the enormous challenges of a complex scenario that included local violence and extreme poverty, the UN command succeeded in its mission, stabilizing the local situation and paving the way for Haiti to hold a presidential election.
Originally published as Mision en Haiti, con la mochila cargada de esperanzas, this work provides a new audience with insight on the peace operation and sheds light on the long-term endeavour of civilians, military, and local and international agencies to support Haiti’s path to prosperity.
Co-published with the Centre for International Governance Innovation
What are the most significant points at issue between the Reformed and Mennonite communions–Baptism, peace and church-state relations? Is there a way forward? In the hope that there may be, the contributors to this book attempt to clear the way to closer relations between Reformed and Mennonites by careful scholarly discussion of the traditionally disputed questions.
The papers gathered here were presented at the second phase of the international dialogue between the World Alliance of Reformed Churches (Presbyterian and Congregational) and the Mennonite World Conference. There are Reformed and Mennonite studies of the topics, together with the responses of a philosopher of religions, a sociologist, a systematic theologian and a church historian. In the Introduction the dialogue is set in its historical and contemporary ecumenical context, and the Conclusion, drafted by the dialogue participants, has been forwarded to the two world bodies for their consideration and action. This important work will be relevant to all future scholarly research into the growing debate between Reformed and Mennonite communions.
The Poetry of Sina Queyras
This collection brings together representative work from Sina Queyras’s poetic oeuvre. Queyras is at the forefront of contemporary discussions of genre, gender, and criticism of poetry. Her influential blog-turned-literary-magazine, Lemon Hound, published up-and-coming writers as well as work by established literary figures in Canada and abroad.
The title, Barking & Biting, makes reference to the tagline of Lemon Hound: “more bark than bite.” Erin Wunker’s introduction situates Queyras’s poetry within ongoing debates around genre and gender. It suggests that Queyras’s writing, be it literary critical, poetic, or prose, is precise and probing but avoids toothless critical positioning. It pays particular attention to Queyras’s poetic innovations and intertextual references to other women writers, and suggests that read together Queyras’s oeuvre embodies an engaged feminist attention—what Joan Retallack has called a “poethics,” where poetry and ethics are bound together as a mode of inquiry and aesthetics.
Queyras’s poems trace a consistent concern with both poetic genealogies and the status of women. Thus far, twenty-first century poetics have been preoccupied with two ongoing conversations: the perceived divide between lyric and conceptual writing, and the underrepresentation of women and other non-dominant subjects. While these two topics may seem epistemologically and ethically separate, they are in fact irrevocably intertwined. Questions of form are, at their root, questions of visibility and recognizability. Will the reader know a poem when she sees it? And will that seeing alter her perception of the world? And how is the form of the poem altered, productively or un-, by the identity politics of its author? These are the questions that undergird Queyras’s poetry and guide the editorial selections.
Queyras’s poetics pay dogged attention to questions of both representation and genre. In each of her poetry collections she inhabits tenets of the traditional lyric but leverages the genre open to let conceptualism in. This is demonstrated in her afterword, “Lyric Conceptualism, a Manifesto in Progress,” which was first published on the Poetry Foundation’s Harriet the Blog. In it Queyras puts forward a set of maxims about the possibilities of a new hybrid, the conceptual lyric poem.
An Historical Drama
In August 1914, Berlin, Ontario, settled largely by people of German origin, was a thriving, peaceful city. By the spring of 1915 it was a city torn apart by the tensions of war. By September 1916, Berlin had become Kitchener. It began with the need to raise a battalion of 1,100 men to support the British war effort.
Meeting with resistance from a peace-loving community and spurred on by the jingoistic nationalism that demanded troops to fight the hated “Hun,” frustrated soldiers began assaulting citizens in the streets and, on one infamous occasion, a Lutheran clergyman in his parsonage. Out of this turmoil arose a movement to rid the city of its German name, and this campaign, together with the recruiting efforts, made 1916 the most turbulent year in Kitchener’s history.
This is the story of the men and women involved in these battles, the soldiers, the civic officials, the business leaders, and the innocent bystanders, and how they behaved in the face of conditions they had never before experienced.
The Trials of Dorothy Joudrie
January 21, 1995: Dorothy Joudrie is arrested for attempting to murder her estranged husband. Soon after, Audrey Andrews begins to write her book. Audrey and Dorothy had known each other as children, but the identification of Andrews with Joudrie goes beyond merely the accident of a childhood acquaintance. It has to do with being subjected to the same societal constraints placed on girls and women during the years immediately following World War II, the years in which they had prepared for their adult lives. Expectations, placidly accepted then, are now seen as unrealistic and unreasonable. Did these expectations have some part in causing the tragedy in Dorothy Joudrie’s life?
When Andrews attempted to understand why Dorothy Joudrie had tried to kill her husband, and to write Joudrie’s story, she began to examine her own life, her own expectations — those she had of herself and those others had of her. She also realized that telling the story of anyone is an intricate and often ephemeral pursuit. Any story she wrote could only be her version of Joudrie’s experience. Nevertheless, it was important to be as honest as she could about her interpretation of that life. She determined to show carefully and accurately the damage that had been done to one woman — damage that is still being done to many others — through prejudice, attitudes, traditions and the institutions that are still the foundation of our society, and of our lives, everyday.
The result is a fascinating account of events leading up to the trial, the trial itself and the effect of Joudrie’s trial on the life of Audrey Andrews.
Living with Ovarian Cancer
Bearing Witness is a collection of stories from women who went through the diagnosis of ovarian cancer, and treatment for it, only to find that the cancer recurred and any hope of recovery was gone. These women represent a spectrum of ages, ethnic backgrounds, marital circumstances, and professional experiences. From their stories we learn how each woman shapes the meaning of her life. Facing a life crisis can make one bitter and angry, but it can also provide the key to a thankful and generous spirit within.
Storytelling is an important art form present in many cultures: it is a way of processing life events, of searching for meaning, and of allowing teller and listener to wrestle with the message. It is a form of teaching and learning. For the women in Bearing Witness, stories are tangible legacies for family and friends and a chance to share their thoughts on living with the “glass half full.” They inspire the reader to reflect on life’s struggles and to find within themselves a sense of optimism, perhaps when they least expect to.
Kathryn Carter’s concluding essay places these stories in the context of contemporary discourses of illness and healing.
A Story of Survival and Renewal
Becoming My Mother’s Daughter: A Story of Survival and Renewal tells the story of three generations of a Jewish Hungarian family whose fate has been inextricably bound up with the turbulent history of Europe, from the First World War through the Holocaust and the communist takeover after World War II, to the family’s dramatic escape and emmigration to Canada. The emotional centre and narrative voice of the story belong to Eva, an artist, dreamer, and writer trying to work through her complex and deep relationship with her mother, whose portrait she cannot paint until she completes her journey through memory.
The core of the book is Eva’s riveting recollection of the last months of World War II in Budapest, seen through a child’s eyes, and is reminiscent in its power of scenes in Joy Kogawa’s Obasan. Exploring the bond between generations of mothers and daughters, the book illustrates the struggle between the need for independence and the search for continuity, the significant impact of childhood on adult life, the reshaping of personality in immigration, the importance of dreams in making us face reality, and the redemptive power of memory. Illustrations by the author throughout the book, some in colour, enhance the story.
The Poetry of Lorna Crozier
Lorna Crozier’s radical imagination, and the finely tuned emotional intelligence that is revealed in the clarity of her poetry, have made her one of Canada’s most popular poets. Before the First Word: The Poetry of Lorna Crozier is a collection of thirty-five of her best poems, selected and introduced by Catherine Hunter, and includes an afterword by Crozier herself. Representing her work from 1985 to 2002, the collection reveals the wide range of Lorna Crozier’s voice in its most lyrical, contemplative, ironic, and witty moments. Hunter’s introduction discusses the poet’s major themes, with particular attention to her feminist approach to biblical myth and her fascination with absence and silence as sites for imaginative revision. Crozier’s afterword, “See How Many Ends This Stick Has: A Reflection on Poetry,” is a lyrical meditation that provides an inspirational glimpse into the philosophy of a writer who prizes the intensity of awareness that poetry demands, and is tantalized by what predates speaking and all that cant be named. An engaging volume that will appeal to undergraduate students as well as general readers of poetry.
Lorna Crozier’s work has won many awards, including the Governor Generals Award in 1992 (for Inventing the Hawk), the first prize for poetry in the CBC Literary Competition, the Canadian Authors Association Award for Poetry in 1992, a National Magazine Award in 1995, and two Pat Lowther Memorial Awards (1993 and 1996) for the best book of poetry by a Canadian woman. She has published fourteen books of poetry, most recently, Whetstone. Born in Swift Current, Saskatchewan, she now lives in British Columbia, where she is a Distinguished Professor at the University of Victoria.
Puhvel traces and evaluates the possible influences of Celtic tradition on the Anglo-Saxon epic poem Beowulf. He discusses theories of the origins of the poem, draws parallels between elements in Beowulf and in Celtic literary tradition, and suggests that the central plot of the poem, the conflict between Grendel and his mother, is “fundamentally indebted to Celtic folktale elements.” The study is well documented and rich in references to Celtic literature, legend, and folklore.