Project MUSE®: ESC: English Studies in Canada - Latest Articles
https://muse.jhu.edu/journal/369
Project MUSE®: Latest articles in ESC: English Studies in Canada.daily12026-05-19T00:00:00-05:00text/htmlen-USVol. 1 (1975) through current issueLatest Articles: ESC: English Studies in CanadaTWOProject MUSE®ESC: English Studies in Canada1913-48350317-0802Latest articles in ESC: English Studies in Canada. Feed provided by Project MUSE®Fair Warning: Costs of Poetry and Its Copyrights
https://muse.jhu.edu/article/989004
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Authors of scholarship deeply appreciate their publishers, who are often at university presses where they accept the reality that, in publishing an academic book, they will be lucky to break even. And yet, university presses are under pressure from other cost models too, including the for-profit model outside of universities that produces the expectation that scholarly authors negotiate any copyright permissions and their fees. In the humanities, we might still feel separate from "the culture industries," but we are not.1 Any author of literary criticism who reads their contracts for academic books will probably see the legal boilerplate that attributes to the author the responsibility for permission to quote
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/369/image/coversmallFair Warning: Costs of Poetry and Its Copyrights2026-05-05text/htmlen-USFair Warning: Costs of Poetry and Its Copyrights2026-05-052026TWOProject MUSE®622662026-05-19T00:00:00-05:002026-05-05Unsettling L.M. Montgomery's Emily of New Moon with Two-Eyed Seeing
https://muse.jhu.edu/article/989005
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This article explores ethical ways to read and teach a canonical Canadian children's novel that contains harmful settler colonialist ideology, and how Indigenous knowledges and ways of knowing can illuminate the text for all readers. The strategies that we suggest may create this kind of ethical engagement are the following: identifying the Indigenous peoples located on and the Indigenous place names of the land on which the story is set, as well as the context of that land's treaties and colonization; exposing the novel's attempts to legitimize settler claims to land and its settler understandings of ownership and belonging; and emphasizing that there is more than one way of being in society by acknowledging that
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/369/image/coversmallUnsettling L.M. Montgomery's Emily of New Moon with Two-Eyed Seeing2026-05-05text/htmlen-USUnsettling L.M. Montgomery's Emily of New Moon with Two-Eyed Seeing2026-05-052026TWOProject MUSE®912962026-05-19T00:00:00-05:002026-05-05Carrollian Reflections: The Visual Dynamics of Dorothy L. Sayers's Detective Fiction
https://muse.jhu.edu/article/989006
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Like so many british writers of the early twentieth century, Dorothy L. Sayers was thoroughly familiar with Lewis Carroll's books. "I knew 'Alice' before I was four-and-a-half," she writes in her memoir, before noting that she once crossed paths with its author in Oxford: Charles Lutwidge Dodgson smiled into her baby carriage one day when she was out with her nanny ("My" 9, 14). Not surprisingly, Sayers's interwar detective fiction featuring the amateur sleuth Lord Peter Wimsey alludes consistently to Carroll's work. Lines from the Alice novels appear alongside references to chessboards and White Queens, and wordplay abounds in her characters' approximations of his style. Carroll's writing represented not just "a
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/369/image/coversmallCarrollian Reflections: The Visual Dynamics of Dorothy L. Sayers's Detective Fiction2026-05-05text/htmlen-USCarrollian Reflections: The Visual Dynamics of Dorothy L. Sayers's Detective Fiction2026-05-052026TWOProject MUSE®917592026-05-19T00:00:00-05:002026-05-05Emergency Repair Kit by Joan Greer et al. (review)
https://muse.jhu.edu/article/989007
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The E.E.R.K. was originally produced as a mixed media repair kit that included an artist book/repair manual, cassette tapes, mycelial objects, and a binding container. It was co-created by Joan Greer, Lisa Moore, Sourayan Mookerjea, Mark Simpson, Jessie Beier, Tsēmā Igharas, Tegan Moore, Catlin Kelly-Kuzyk, and Jerome Tavé & Kyle Lawson (10th Floor Studio) as part of Speculative Energy Futures—a collaborative, multi-year research-creation project that investigated the challenges and potentials of energy transition through artistic means. A note found on Jessie Beier's website explains the original "E.E.R.K." installation as offering "a host of situated activities and speculative probes designed to respond to today
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/369/image/coversmallEmergency Repair Kit by Joan Greer et al. (review)2026-05-05text/htmlen-USEmergency Repair Kit by Joan Greer et al. (review)2026-05-052026TWOProject MUSE®130762026-05-19T00:00:00-05:002026-05-05Recombinant Theory by Joel Katelnikoff (review)
https://muse.jhu.edu/article/989008
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Joel Katelnikoff's Recombinant Theory is a creative experiment in criticism that cuts up writings of other authors to produce its content. It uses cut-up as a method to shape its essays, re-combining works by others to produce new critical nuances that offer a practical ground for various poststructuralist ideas like the death of the author and the reader-oriented paradigms of late-twentieth-century and contemporary hermeneutics. The cut-up essays complicate the idea of originality, foreground the recombinant function of language, creativity, critique, and redefine the reader's interpretive authority. Katelnikoff is the reader who reconstitutes the essays from ten authors. One wonders how cut-up works differently
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/369/image/coversmallRecombinant Theory by Joel Katelnikoff (review)2026-05-05text/htmlen-USRecombinant Theory by Joel Katelnikoff (review)2026-05-052026TWOProject MUSE®117322026-05-19T00:00:00-05:002026-05-05Borderblur Poetics: Intermedia and Avant-Gardism in Canada, 1963–1988 by Eric Schmaltz (review)
https://muse.jhu.edu/article/989009
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With economic prosperity and suburban growth, post–World War II Canada saw a significant shift in its literary landscape, marked by the formation of distinctly Canadian institutions such as the Canada Council for the Arts in 1957 and the Writers' Trust of Canada in 1976. This rise in Canadian literary nationalism also faced resistance, as illustrated in Eric Schmaltz's Borderblur Poetics: Intermedia and Avant-Gardism in Canada, 1963–1988, emphasizing the nascent global multimedia and multimodality of the era. By spotlighting leading figures like bpNichol and bill bissett, along with their networks such as Judith Copithorne, Steve McCaffery, and Gerry Shikatani, Schmaltz, a poet himself, argues that these poets
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/369/image/coversmallBorderblur Poetics: Intermedia and Avant-Gardism in Canada, 1963–1988 by Eric Schmaltz (review)2026-05-05text/htmlen-USBorderblur Poetics: Intermedia and Avant-Gardism in Canada, 1963–1988 by Eric Schmaltz (review)2026-05-052026TWOProject MUSE®92022026-05-19T00:00:00-05:002026-05-05Black Speculative Feminisms: Memory and Liberated Futures in Black Women's Fiction by Cassandra L. Jones (review)
https://muse.jhu.edu/article/989010
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Cassandra Jones's Black Speculative Feminisms is a short and timely read grounded in Black women's speculative fiction with an emphasis on memory as a means of restoration. Jones brings together a range of Black and feminist theories to frame her analysis, from Christina Sharpe's wake work and Saidiya Hartman's critical fabulation to John Jennings's sankofarration and Susana Morris's Afrofuturist feminism. Even before the reader gets to the primary texts of this book, the introduction, "Black Speculative Feminisms and Restorative Fabulation," serves as a useful pedagogical curation of ideas and approaches that honour Black women's contributions. But Jones adds her own important voice to the conversation, offering
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/369/image/coversmallBlack Speculative Feminisms: Memory and Liberated Futures in Black Women's Fiction by Cassandra L. Jones (review)2026-05-05text/htmlen-USBlack Speculative Feminisms: Memory and Liberated Futures in Black Women's Fiction by Cassandra L. Jones (review)2026-05-052026TWOProject MUSE®79592026-05-19T00:00:00-05:002026-05-05Dysfluent in Fiction: Vocal Disability and Nineteenth-Century Literature by Riley McGuire (review)
https://muse.jhu.edu/article/989011
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At a recent performance of George Bernard Shaw's 1905 play Major Barbara, I noted Stephen Undershaft's dialogue with his mother. In the play's first act, Stephen repeats his mother's words, speaks softly, and repeats his own words. His mother scolds him: "Don't stammer, Stephen. Speak distinctly." She goes on to say that "It's not pleasant … if you are still so childish that you must make it worse by a display of embarrassment.… In our class … nothing should disturb our self possession. Now ask your question properly." In this production at the 2025 Shaw Festival, actor Taurian Teelucksingh plays two roles and switches from the upper-class stammering speech of Stephen Undershot in Act 1 to the working-class Cockney
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/369/image/coversmallDysfluent in Fiction: Vocal Disability and Nineteenth-Century Literature by Riley McGuire (review)2026-05-05text/htmlen-USDysfluent in Fiction: Vocal Disability and Nineteenth-Century Literature by Riley McGuire (review)2026-05-052026TWOProject MUSE®136852026-05-19T00:00:00-05:002026-05-05Digital Memory Agents in Canada: Performance, Representation, and Culture ed. by Matthew Cormier and Amanda Spallacci (review)
https://muse.jhu.edu/article/989012
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Edited volumes often promise breadth, but the most effective ones also achieve a sense of coherence, guiding readers through a shared intellectual terrain. This collection gathers scholars from memory studies, history, film and literature studies, and cultural criticism to examine how remembering is mediated through digital forms and platforms, considering both the fragility and persistence of memory in digital spaces. The chapters explore the politics of remembering and forgetting, the ability to transcend physical space and boundaries, the aesthetics of digital representation, labour, and the infrastructures that shape how memory circulates.The strongest contributions are grounded in archival, activist, and
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Project MUSE®https://muse.jhu.edu/2026-05-19T00:00:00-05:00https://muse.jhu.edu/journal/369/image/coversmallDigital Memory Agents in Canada: Performance, Representation, and Culture ed. by Matthew Cormier and Amanda Spallacci (review)2026-05-05text/htmlen-USDigital Memory Agents in Canada: Performance, Representation, and Culture ed. by Matthew Cormier and Amanda Spallacci (review)2026-05-052026TWOProject MUSE®83512026-05-19T00:00:00-05:002026-05-05