Acknowledgements | p. vii |
Introduction: Negotiating Meaning in Changing Times | p. 1 |
"Whirlwinds Coiled at My Heart": Voice and Vision in a Writer's Practices | p. 21 |
Collaboration, Crosstalk, Improvisation | |
Voicing the Unforeseeable: Improvisation, Social Practice, Collaborative Research | p. 39 |
Epistemological Crosstalk: Between Melancholia and Spiritual Cosmology in David Chariandy's Soucouyant and Lee Maracle's Daughters Are Forever | p. 53 |
Native Performance Culture, Moniques Mojica, and the Chocolate Woman Workshops | p. 73 |
Collaboration and Convention in the Poetry of Pain Not Bread | p. 95 |
Dialogism, Polyphony, Voice | |
Rejoinders in a Planetary Dialogue: J. M. Coetzee, Margaret Atwood, Lloyd Jones, et al. in Dialogue with Absent Texts | p. 111 |
Not Just Representation: The Sound and Concrete Poetries of The Four Horsemen | p. 135 |
Portraits of the Artist in Dionne Brand's What We All Long For and Madeleine Thien's Certainty | p. 151 |
Unsettling Voices: Dionne Brand's Cosmopolitan Cities | p. 169 |
Questions if Voice, Race, and the Body in Hiromi Goto's Chorus of Mushrooms and Larissa Lai's When Fox Is a Thousand | p. 185 |
Space, Place, and Circulation | |
The Artialisation of Landscape in Jane Urquhart's The Whirlpool | p. 199 |
Ghostly Voices and Arctic Blanks: From Emily Bronte's Wuthering Heights to Jane Urquhart's Changing Heaven | p. 215 |
"You must see to understand...": Orientalist Clichés and Transformation in Robert Lepage's The Dragons' Trilogy | p. 225 |
Diasporic Appropriations: Exporting South Asian Culture from Canada | p. 241 |
Negotiating Belonging in Global Times: The Hérouxville Debates | p. 253 |
Works Cited | p. 273 |
Contribution | p. 299 |
Index | p. 303 |
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