This is an seven-volume collection of primary texts, each selected and introduced by experts, reproducing in facsimile a wealth of materials related to the history of women and warfare in the English-speaking world. The editors are historians and literary scholars with a wealth of publications in women's writing and war literature. The project focuses, for most of its historical range, on England (and Britain); it also includes volumes on the United States, Australia, and Canada. The collection documents women's historical and literary participation in, and commentary on, war. It represents the first attempt to examine the variety of roles women have played in war, and as critics and commentators on war, across all of history into the twentieth century. The project makes a unique and powerful claim about the long history of women's involvement in war in the English-speaking world

War is traditionally considered a male experience. By extension, the genre of war literature is a male-dominated field, and the tale of the battlefield remains the privileged (and only canonised) war story. In Australia, although women have written extensively about their wartime experiences, their voices have been distinctively silenced. Shooting Blanks at the Anzac Legend calls for a re-definition of war literature to include the numerous voices of women writers, and further recommends a re-reading of Australian national literatures, with women's war writing foregrounded, to break the hold of a male-dominated literary tradition and pass on a vital, but unexplored, women's tradition. Shooting Blanks at the Anzac Legend examines the rich body of World Wars I and II and Vietnam War literature by Australian women, providing the critical attention and treatment that they deserve. Donna Coates records the reaction of Australian women writers to these conflicts, illuminating the complex role of gender in the interpretation of war and in the cultural history of twentieth-century Australia. By visiting an astonishing number of unfamiliar, non-canonical texts, Shooting Blanks at the Anzac Legend profoundly alters our understanding of how Australian women writers have interpreted war, especially in a nation where the experience of colonising a frontier has spawned enduring myths of identity and statehood.

Alberta writing has a long tradition. Beginning with the pictographs of Writing-on-Stone, followed by Euro-Canadian exploration texts, the post-treaty writing of the agrarian colonization period, and into the present era, Alberta writing has come to be seen as a distinct literature. In this volume Melnyk and Coates continue the project of scholarly analysis of Alberta literature that they began with Wild Words: Essays on Alberta Literature (2009). They argue that the essays in their new book confirm that Alberta's literary identity is historically contingent with a diverse, changing content, that makes its definition a work-in-progress. The essays in this volume provide contemporary perspectives on major figures in poetry and fiction, such as Robert Kroetsch, Sheila Watson, Alice Major, and Fred Stenson. Other essays bring to light relatively unknown figures such as the Serbian Canadian writer David Albahari and the pioneer clergyman Nestor Dmytrow. Writing Alberta: Building on a Literary Identity offers a detailed discussion of contemporary Indigenous writers, an overview of Alberta historiography of the past century, and the fascinating autobiographical reflections of the novelist Katherine Govier on her literary career and its Alberta influences. This Collection demonstrates that Alberta writers, especially in the contemporary period, are not afraid to uncover, re-think, and re-imagine parts of Alberta history, thereby exposing what had been lain to rest as an unfinished business needing serious re-consideration.

As playwright, actor, director, teacher, mentor, theatre administrator, and critic, Sharon Pollock has played an integral role in the shaping of Canada's national theatre tradition, and she continues to produce new works and to contribute to Canadian theatre as passionately as she has done over the past fifty years. Pollock is nationally and internationally respected for her work and support of the theatre community. She has also played a major role in informing Canadians about the "dark side" of their history and current events. This collection, comprised entirely of new and original assessments of her work and contribution to theatre, is both timely and long overdue. Includes a new play titled "Sharon's Tongue" by the Playing with Pollock Collective With contributions by: Kathy K. Y. Chung Donna Coates Carmen Derksen Sherrill Grace Martin Morrow Jeton Neziraj Wes Pearce Tanya Schaap Shelley Scott Jerry Wasserman Jason Weins Cynthia Zimmerman

As the first collection of literary criticism focusing on Albertawriters, Wild Words establishes a basis for identifyingAlberta fiction, poetry, drama, and nonfiction as valid subjects ofstudy in their own right. By critically situating and assessingspecific Alberta authors according to genre, this volume continues thework begun with Melnyk's Literary History of Alberta.

This is a collection of stage plays by some of Canada's leading playwrights. Included are: R.H. Thomson's "The Lost Boys," David French's "Soldier's Heart," Stephen Massicotte's "Mary's Wedding," Guy Vanderhaeghe's "Dancock's Dance," Vern Thiessen's "Vimy," Margaret Hollingsworth's "Ever Loving," Jason Sherman's "None is Too Many," and Marie Clements' "Burning Vision."