In a time of malevolent righteousness, often described as Cancel Culture, J’Accuse is an essay-in-poetry by Canada’s Parliamentarian Poet Laureate emeritus that responds to the impacts of being “cancelled.” Shame is not a word that gets much play these days among the caustically righteous, but Clarke had been wronged, and the people who did the wronging should be ashamed of themselves. J’Accus is a poignant statement that calls upon individuals, scholars, artists, and journalists to never submit to impulses that intentionally, or even unintentionally, forbid debate and questioning. J’Accus ponders what is truly unspeakable: injustice. Clarke boldly confronts the reality that in our turbulent time there must be an interest in real voices and stories, otherwise any individual can fall victim to silencing – blacklisting – gag-orders – cancelling… And ultimately, this cri-de-coeur reveals the personal cost.

In 1946, Viola Desmond was wrongfully arrested for sitting in a whites-only section of a movie theatre in New Glasgow, Nova Scotia. In 2010, the Nova Scotia Government recognized this gross miscarriage of justice and posthumously granted her a free pardon. Most Canadians are aware of Rosa Parks, who refused to give up her seat on a racially segregated bus in Alabama, but Viola Desmond s act of resistance occurred nine years earlier. However, many Canadians are still unaware of Desmond s story or that racial segregation existed throughout many parts of Canada during most of the twentieth century. On the subject of race, Canadians seem to exhibit a form of collective amnesia. Viola Desmond s Canada is a groundbreaking book that provides a concise overview of the narrative of the Black experience in Canada. Reynolds traces this narrative from slavery under French and British rule in the eighteenth century to the practice of racial segregation and the fight for racial equality in the twentieth century. Included are personal recollections by Wanda Robson, Viola Desmond s youngest sister, together with important but previously unpublished documents and other primary sources in the history of Blacks in Canada."

Illicit Sonnets - a bawdy modern reboot of Sonnets from the Portuguese - tells of the love between Salim and Laila, an "elderessa". Their highly-sexed romance, bridging cultures, generations and seas, is unfolded in poetry as sparkling and as shameless as champagne.

The latest work from pioneering scholar George Elliott Clarke, Directions Home is the most comprehensive analysis of African-Canadian texts and writers to date. Building on the discoveries of his critically acclaimed Odysseys Home, Clarke passionately analyses the beautiful complexities and haunting conundrums of this important body of literature.

Directions Home explores the trajectories and tendencies of African-Canadian literature within the Canadian canon and the socio-cultural traditions of the African Diaspora. Clarke showcases the importance of little-known texts, including church histories and slave narratives, and offers studies of autobiography, crime and punishment, jazz poetics, and musical composition. The collection also includes studies of significant contemporary writers such as George Boyd and Dionne Brand, and trailblazing African-Canadian intellectuals like A.B. Walker and Anna Minerva Henderson.

With its national, bilingual, and historical perspectives, Directions Home is an essential guide to African-Canadian literature.

Forty years after Pablo Neruda’s death, this compilation of his sonnets, unlike previous translations, captures the true spirit and verbal dexterity of his lesser-known genre. Pablo Neruda is still one of the most widely read, influential and beloved 20th-century poets. He was a Nobel Laureate, famous for his politically engaged lyrics, who also wrote these bold and sensual sonnets. In this new edition, the poems are followed by three essays on reading Neruda and his poetic effect by the notable poets and translators A. F. Moritz, Beatriz Hausner, and Toronto’s Poet Laureate (2012–2015) George Elliott Clarke, as well as a new afterword by the translator, questions for discussion, and recommended readings.

Odysseys Home: Mapping African-Canadian Literature is a pioneering study of African-Canadian literary creativity, laying the groundwork for future scholarly work in the field. Based on extensive excavations of archives and texts, this challenging passage through twelve essays presents a history of the literature and examines its debt to, and synthesis with, oral cultures. George Elliott Clarke identifies African-Canadian literature's distinguishing characteristics, argues for its relevance to both African Diasporic Black and Canadian Studies, and critiques several of its key creators and texts. Scholarly and sophisticated, the survey cites and interprets the works of several major African-Canadian writers, including Andre Alexis, Dionne Brand, Austin Clarke, Claire Harris, and M. Nourbese Philip. In so doing, Clarke demonstrates that African-Canadian writers and critics explore the tensions that exist between notions of universalism and black nationalism, liberalism and conservatism. These tensions are revealed in the literature in what Clarke argues to be - paradoxically - uniquely Canadian and proudly apart from a mainstream national identity. Clarke has unearthed vital but previously unconsidered authors, and charted the relationship between African-Canadian literature and that of Africa, African America, and the Caribbean. In addition to the essays, Clarke has assembled a seminal and expansive bibliography of texts - literature and criticism - from both English and French Canada. This important resource will inevitably challenge and change future academic consideration of African-Canadian literature and its place in the international literary map of the African Diaspora.

"The life, work and activism of Rocky Jones are central to African-Canadian history and the civil rights movement in Canada. Canadians lost a great soul, with the recent death of Rocky Jones, but his autobiography - co-written by James Walker, a close friend of Rocky Jones and one of our foremost writers about Black history in Canada - is a wonderful gift to the entire country. Revolutionary will soon be required reading for any person who seeks to understand the civil rights movement in Canada." - Lawrence Hill "A must read, a manual for all freedom fighters, and a testament to Rocky Jones' and Black power and resilience." -- Afua Cooper "Any telling of human rights and social equity in Canada would be incomplete without reference to "revolutionary" Rocky Jones' truth-telling about his life captured in this compelling exemplary autobiography. This insightful account is not only about life as an African Nova Scotian, but also about the community, law, politics." -- Carl James Born and raised in Truro, Nova Scotia, Burnley "Rocky" Jones is one of Canada's most important figures of social justice. Often referred to as Canada's Stokely Carmichael, Jones was tirelessly dedicated to student movements, peace activism, Black Power, anti-racism, women's liberation and human rights reform. He was a leader in the Student Nonviolent Coordinating Committee, brought the Black Panthers to Canada, taught at Dalhousie and founded his own law firm. This autobiography tells the story of Jones's inimitable life and his accomplishments. But it also does more. It illuminates the Black experience in Nova Scotia, it explains the evolving nature of race relations and human rights in recent Canadian history, and it reveals the origins of the "remedial" approach to racial equality that is now practised by activists and governments. Finally, the story of Rocky Jones is a reminder that human rights are not a gift, but a prize that must be fought for.

Social Justice Poetry Spoken-word poet Valerie Mason-John unsettles readers with potent images of ongoing trauma from slavery and colonization. Her narratives range from the beginnings of the African Diaspora to the story of a stowaway on the Windrush, from racism and sexism in Trump's America to the wide impact of the Me Too movement. Stories of entrapment, sexual assault, addictive behaviours, and rave culture are told and contrasted to the strengthening and forthright voice of Yaata, Supreme Being. I Am Still Your Negro is truth that needs to be told, re-told, and remembered. I was your Negro Captured and sold I am still your negro Arrested and killed -from "I Am Still Your Negro"

In Zanzibar, in 2008, George Elliott Clarke began to write his "Canticles," an epic poem treating the Transatlantic Slave Trade, Imperial and colonial conquest, and the resistance to all these evils. That is the subject of Canticles I (MMXVI) and (MMXVII). In Canticles II (MMXIX) and (MMXX), Clarke rewrites significant scriptures from an oral and "African" or "Africadian" perspective. Now, in Canticles III (MMXXII) and (MMXXIII), Clarke shifts focus—from world history and theology — to the specific history and bios associated with the creation of the African ("Africadian") Baptist Association of Nova Scotia. By so doing he concludes the most remarkable epic ever essayed in Canadian letters — an amalgam of Pound and Walcott — but entirely and inimitably his own.

"Odysseys Home: Mapping African-Canadian Literature" is a pioneering study of African-Canadian literary creativity, laying the groundwork for future scholarly work in the field. Based on extensive excavations of archives and texts, this challenging passage through twelve essays presents a history of the literature and examines its debt to, and synthesis with, oral cultures. George Elliott Clarke identifies African-Canadian literature's distinguishing characteristics, argues for its relevance to both African Diasporic Black and Canadian Studies, and critiques several of its key creators and texts.

Scholarly and sophisticated, the survey cites and interprets the works of several major African-Canadian writers, including Andre Alexis, Dionne Brand, Austin Clarke, Claire Harris, and M. Nourbese Philip. In so doing, Clarke demonstrates that African-Canadian writers and critics explore the tensions that exist between notions of universalism and black nationalism, liberalism and conservatism. These tensions are revealed in the literature in what Clarke argues to be - paradoxically - uniquely Canadian "and" proudly apart from a mainstream national identity.

Clarke has unearthed vital but previously unconsidered authors, and charted the relationship between African-Canadian literature and that of Africa, African America, and the Caribbean. In addition to the essays, Clarke has assembled a seminal and expansive bibliography of texts - literature and criticism - from both English and French Canada. This important resource will inevitably challenge and change future academic consideration of African-Canadian literature and its place in the international literary map of the African Diaspora.

"Leaving the Shade of the Middle Ground" contains thirty-five of F.R. Scott's poems from across the five decades of his career. Scott's artistic responses to a litany of social problems, as well as his emphasis on nature and landscapes, remain remarkably relevant. Scott weighed in on many issues important to Canadians today, using different terms, perhaps, but with no less urgency than we feel now: biopolitics, neoliberalism, environmental concerns, genetic modification, freedom of speech, civil rights, human rights, and immigration. Scott is best remembered for "The Canadian Authors Meet," "W.L.M.K," and "Laurentian Shield," but his poetic oeuvre includes significant occasional poems, elegies, found poems, and pointed satires. This selection of poems showcases the politics, the humour, and the beauty of this central modernist figure.

The introduction by Laura Moss and the afterword by George Elliott Clarke provide two distinct approaches to reading Scott's work: in the contexts of Canadian modernism and of contemporary literary history, respectively.

Blacks in Canada journeys from the introduction of slavery in 1628 to the first wave of Caribbean immigration in the 1950s and 1960s. Heralded in the Literary Review of Canada as one of the one hundred most important Canadian books, this enduring work by Yale University's Robin W. Winks offers a wealth of information for fresh interpretation. Now, fifty years from its original printing, this third edition includes a foreword by George Elliott Clarke, E.J. Pratt Professor of Canadian Literature at the University of Toronto. Clarke's contribution adds a necessary critical lens through which twenty-first-century readers should view Winks's research. The longevity of Blacks in Canada is due to an impressive array of primary and secondary materials that illuminate the experiences of Black immigrants to Canada. These experiences include the forced migration of enslaved Black people brought to Nova Scotia and the Canadas by Loyalists at the end of the American Revolution, Black refugees who fled to Nova Scotia following the War of 1812, Jamaican Maroons, and fugitive slaves who fled to British North America. The book also highlights Black West Coast businessmen who helped found British Columbia, particularly Victoria, and Black settlement in the prairie provinces. Crucially, Blacks in Canada investigates the French and English periods of slavery, the abolitionist movement in Canada, and the role played by Canadians in the broader continental antislavery crusade, as well as Canadian adaptations to nineteenth- and twentieth-century racial mores.

Shortlisted, Acorn-Plantos Award for People's Poetry and Dartmouth Book AwardIn the "Boogie Nights" era of the 1970s, Betty Browning and her lover, boxer Malcolm Miles, travel from the fog-anchored grime of Halifax, Nova Scotia, to sunburnt Corpus Christi, Texas, and back -- meeting tragedy and bloodshed along the way. I & I smoulders with love, lust, violence, and the excruciating repercussions of racism, sexism, and disgust. Rastafarian for "you and me," "I & I" expresses the oneness of God and man, the oneness of two people or the distinction between body and spirit. In George Elliott Clarke's hands, this existential aesthetic crystallizes in a love story of Gothic grit. The narrative gives this verse novel shape; the poetry makes it sing, straddling folk ballad, soul, and pop music, all the while moaning the blues.