Marian Engel emerged as a writer during that period in Canada when nationalism increased and “new feminism” dawned. Although she is recognized as a distinguished woman of letters, she has not been widely studied; consequently we know relatively little about her and her craft. The material collected in Marian Engel’s Notebooks: “Ah, mon cahier, écoute...” is a major step in redressing that neglect. Extracts carefully chosen by Christl Verduyn from Marian Engel’s forty-nine notebooks — notebooks Engel began in the late 1940s and which she maintained until her death in 1985 — track Engel’s creative development, illustrate her commitment to the craft of writing and document her growth as a major Canadian writer. The notebooks also portray Engel’s surprising leaps of logic, her fascination with the bizarre, the eclecticism of her reading and the depth and variety of her thinking. Finally, they present moving documentation of a woman facing cancer and early death. Christl Verduyn’s illuminating introductory discussions to each of the notebooks unobtrusively guide us in the reading of these sometimes difficult writings. Marian Engel’s Notebooks: “Ah, mon cahier, écoute...” leaves readers with a vivid sense of Canadian culture during the 1960s and 1970s. It provides insight into the literary life of one of Canada’s significant woman writers, including her connections with other Canadian writers, and will be of special interest to scholars working in the field of literature.

It has been thirty years since the publication of Irving Abella and Harold Troper's seminal work None is Too Many, which documented the official barriers that kept Jewish immigrants and refugees out of Canada in the shadow of the Second World War. The book won critical acclaim, but a haunting question remained: Why did Canada act as it did in the 1930s and 1940s? Answering this question requires a deeper understanding of the attitudes, ideas, and information that circulated in Canadian society during this period. How much did Canadians know at the time about the horrors unfolding against the Jews of Europe? Where did their information come from? And how did they respond, on both public and institutional levels, to the events that marked Hitler's march to power: the 1935 Nuremberg Race Laws, the 1936 Olympics, Kristallnacht, and the crisis of the MS St Louis? The contributors to this collection - scholars of international repute - turn to the wider public sphere for answers: to the media, the world of literature, the university campus, the realm of international sport, and networks of community activism. Their findings reveal that the persecutions and atrocities taking place in Nazi Germany inspired a range of responses from ordinary Canadians, from indifference to outrage to quiet acquiescence. It is challenging to recreate the mindset of more than seventy years ago. Yet this collection takes up that challenge, digging deeper into archives, records, and testimonies that can offer fresh interpretations of this dark period. The answer to the question "why?" begins here. Contributors include: Doris Bergen, Chancellor Rose and Ray Wolfe Chair in Holocaust Studies, University of Toronto, Richard Menkis, Department of History, University of British Columbia; Harold Troper, Department of Theory and Policy Studies in Education, OISE/University of Toronto; Amanda Grzyb, Faculty of Information and Media Studies, University of Western Ontario; Rebecca Margolis, Centre for Canadian Jewish Studies, University of Ottawa; Michael Brown, Department of Languages, Literatures and Lingustics, York University; Norman Ravvin, Institute for Canadian Jewish Studies, Concordia University; and James Walker, Department of History, University of Waterloo.

The diaries of twenty different women from various points in Canadian history, covering 160 years, from 1830 to 1996. Each diary is a snapshot into a different time period. Includes short biographies on each woman. 2002.

The study of Montreal as a specific location in French and English writings has long been subordinated to the demands of linguistically divided and politically contentious narratives about national development. In this cross-linguistic study, Patrick Coleman models an inclusive and post-national literary history of the city itself. Tracing a sequence of moments in the emergence of the Montreal novel from World War II to the turbulent 1960s, Equivocal City offers close readings of fourteen key works of fiction, focusing on the inner dynamic of their construction as well as the unexpected convergences and contrasts in the narrative structures they adopt and the aesthetic perspective they seek to achieve. Critically sophisticated but accessibly written, this book gives a sympathetic account of how writers in both languages struggled to give integrated artistic expression to their experience of a city that was still linguistically compartmentalized and culturally insecure. By analyzing the interplay between story and narrative form, the book explores what French and English novelists could – and could not – imagine about the Montreal they sought to portray. From the responsible realism of Hugh MacLennan and Gabrielle Roy to the fractious phantasmagorias of Jacques Ferron and Leonard Cohen, Equivocal City traces the evolution of the Montreal novel with the aim of retrieving a shareable literary past.

For many Canadians, the small province of New Brunswick on Canada's scenic east coast is "a nice place to visit but no place to live," plagued for generations by outmigration and economic stagnation. In The Fiddlehead Moment Tony Tremblay challenges this potent stereotype by showcasing the work of a group of literary modernists who set out to change the meaning of New Brunswick in the national lexicon. Alfred Bailey, Desmond Pacey, Fred Cogswell, and a formidable group of local poets and cultural workers - collectively, New Brunswick's Fiddlehead School - sought to restore New Brunswick's literary reputation by adapting avant-garde modernist practices to the contours of the province, opening it to the contemporary world while also encouraging writers to make it their subject. The result was a non-urban form of modernism that was as responsive to technical innovation as to the human geographies of New Brunswick. By placing New Brunswick writers and critics at the forefront of Canadian literature in the midcentury modernist project, Tremblay adds an important new chapter to our understanding of Canadian modernism. The Fiddlehead Moment is the first critical examination of this group's considerable influence. Whether through Bailey's ethnomethodology, Pacey's critical ordering, or Cogswell's editorial eclecticism in the Fiddlehead magazine and Fiddlehead Poetry Books, authors in New Brunswick, Tremblay argues, had a profound impact on writing in Canada.