Across more than twenty chapters, Future Horizons explores the past, present, and future of digital humanities research, teaching, and experimentation in Canada. Bringing together work by established and emerging scholars, this collection presents contemporary initiatives in digital humanities alongside a reassessment of the field’s legacy to date and conversations about its future potential. It also offers a historical view of the important, yet largely unknown, digital projects in Canada. Future Horizons offers deep dives into projects that enlist a diverse range of approaches—from digital games to makerspaces, sound archives to born-digital poetry, visual arts to digital textual analysis—and that work with both historical and contemporary Canadian materials. The essays demonstrate how these diverse approaches challenge disciplinary knowledge by enabling humanities researchers to ask new questions. The collection challenges the idea that there is either a single definition of digital humanities or a collective national identity. By looking to digital engagements with race, Indigeneity, gender, and sexuality—not to mention history, poetry, and nationhood—this volume expands what it means to work at the intersection of digital humanities and humanities in Canada today. Available formats: trade paperback, accessible PDF, and accessible ePub

Avant Canada presents a rich collection of original essays and creative works on a representative array of avant-garde literary movements in Canada from the past fifty years. From the work of Leonard Cohen and bpNichol to that of Jordan Abel and Liz Howard, Avant Canada features twenty-eight of the best writers and critics in the field.The book proposes four dominant modes of avant-garde production: ""Concrete Poetics,"" which accentuates the visual and material aspects of language; ""Language Writing,"" which challenges the interconnection between words and things; ""Identity Writing,"" which interrogates the self and its sociopolitical position; and ""Copyleft Poetics,"" which undermines our habitual assumptions about the ownership of expression. A fifth section commemorates the importance of the Centennial in the 1960s at a time when avant-garde cultures in Canada began to emerge. Readers of this book will become familiar with some of the most challenging works of literature - and their creators - that this country has ever produced. From Concrete Poetry in the 1960s through to Indigenous Literature in the 2010s, Avant Canada offers the most sweeping study of the literary avant-garde in Canada to date.

Published in 1929, and almost instantly censored by the Toronto City Police, They Have Bodies has been completely overlooked by generations of scholars and writers interested in the Canadian avant-garde. It is not just the novel's extreme formal innovation that is immediately startling about They Have Bodies. There is also its close attention to the depraved, licentious behaviour of Toronto's elite, its revelation of moral hypocrisy, and its exposure of the means by which aristocratic and church power provides succour to egregious duplicity. Its social criticism and dark humour were too much for Canadian readers at the time. It is, however, exactly the kind of book contemporary Canadian readers, writers, and scholars hope lies buried in the archives waiting to be recovered. A gem of insight, innovation, and novelty: finally, here is a new edition of one of the rarest, wildest books of the twentieth century. This book is published in English - Publie en 1929 et presque instantanement censure par les services de police de la ville de Toronto, cet ouvrage, intitule They Have Bodies, a ete completement neglige par des generations d'ecrivains et de chercheurs, par ailleurs habituellement sensibles aux creations de l'avant-garde canadienne. En fait, ce n'est pas seulement l'extreme innovation formelle de ce roman qui surprend et saisit de prime abord, mais aussi l'attention particuliere que l'auteur prete au comportement deprave et licencieux de l'elite torontoise. Dans cet ouvrage, Barney Allen revele l'hypocrisie morale de cette elite aristocratique et religieuse ainsi que les moyens auxquels elle recourt pour masquer sa monstrueuse duplicite. Cette violente critique sociale, alliee a un humour noir des plus decapants, etait sans doute trop corrosive pour les lecteurs canadiens de cette epoque. Cependant, ce roman correspond exactement au type d'ouvrages, profondement enfouis dans les archives, que des lecteurs, des ecrivains et des chercheurs canadiens contemporains esperent ardemment exhumer et redecouvrir. En fait, ce texte avant-gardiste constitue un veritable joyau de perspicacite, d'innovation et de hardiesse. Cette nouvelle edition vous permettra de decouvrir un des romans les plus singuliers et les plus audacieux du XXe siecle. Ce livre est publie en anglais.

In 1914, Wyndham Lewis and Ezra Pound-the founders of vorticism-undertook an unprecedented analysis of the present, its technologies, communication, politics, and architecture. The essays in Counterblasting Canada trace the influence of vorticism on Marshall McLuhan and Canadian Modernism. Building on the initial accomplishment of the magazine Blast, McLuhan's subsequent Counterblast, and the network of artistic and intellectual relationships that flourished in Canadian vorticism, the contributors offer groundbreaking examinations of postwar Canadian literary culture, particularly the legacies of Sheila and Wilfred Watson. Intended primarily for scholars of literature and communications, Counterblasting Canada explores a crucial and long-overlooked strand in Canadian cultural and literary history. Contributors: Gregory Betts, Adam Hammond, Paul Hjartarson, Dean Irvine, Elena Lamberti, Philip Monk, Linda M. Morra, Kristine Smitka, Leon Surette, Paul Tiessen, Adam Welch, Darren Wershler.

Bertram Brooker won the country's first Governor General's Award for literature in 1936 for his novel "Think of the Earth," and his explosive, experimental paintings hang in every major gallery in the country. He was Canada's first multidisciplinary avantgardist, successfully experimenting in literature, visual arts, film, and theatre. Brooker brought all of his experimental ambitions to his short fiction and prose. "The Wrong World" presents a rich sampling of his prose work, much of it previously unpublished, which adds new insight into his aesthetic ambitions.
Working during an incredible period of transition in Canadian society, Brooker's stories document Canada's evolution from a provincial colony into a modern, urban country. His essays participated in that evolution by advocating a passionate awakening of the arts, the end of prudish sentiment and censorship, and a radical rethinking of the nature of war. They capture the limitations and hypocrisies of the Canadian social contract and argue for a more just and spiritual society. His stories humanize his social vision by dramatizing the psychological and emotional cost of Canada's transition into a modern civilization. In turn devastating, penetrating and poignant, Brooker's prose works offer a sharply focussed window into the turbulent interwar years in Canada.

A first-rate detective novel that explores media's manipulation of a gullible public. A cult leader announces a miracle will take place and she will rise to heaven. A medium prophesies the date, publicity gets to work, and all of America hums with anticipation. On the appointed day, she disappears and scientist Mortimer Hood, there to verify the miracle, must investigate how-and whether-the whole thing is a hoax, or if the priestess has been murdered. Originally published in 1936, this edition features a new introduction by poet and academic Gregory Betts (editor of The Wrong World: Bertram Brooker's Stories and Essays).

Experimental literature accelerated dramatically in Vancouver in the 1960s as the influence of New American poetics merged with the ideas of Marshall McLuhan. Vancouver poets and artists began thinking about their creative works with new clarity and set about testing and redefining the boundaries of literature. As new gardes in Vancouver explored the limits of text and language, some writers began incorporating collage and concrete poetics into their work while others delved deeper into unsettling, revolutionary, and Surrealist imagery. There was a presumption across the avant-garde communities that radical openness could provoke widespread socio-political change. In other words, the intermedia experimentation and the related destruction of the line between art and society pushed art to the frontlines of a broad socio-political battle of the collective imagination of Vancouver. Finding Nothing traces the rise of the radical avant-garde in Vancouver, from the initial salvos of the Tish group, through Blewointment's spatial experiments, to radical Surrealisms and new feminisms. Incorporating images, original texts, and interviews, Gregory Betts shows how the VanGardes signalled a remarkable consciousness of the globalized forces at play in the city, impacting communities, orientations, races, and nations.

Space Between Her Lips presents the first selected works of one of Canada's most important poets of the last few decades. Margaret Christakos writes vibrant, exciting, and intellectually challenging poetry. She plays language games that bring a probing and disturbing humour to serious themes that range from childhood and children to women in contemporary techno-capitalist society to feminist literary theory, and so much more. Gregory Betts' introduction to the collection highlights her formal diversity and her unique combination of feminist and avant-garde affinities. He connects the geographies of her life - including Northern Ontario where she was raised, downtown Toronto where she studied with cutting-edge authors and artists like bpNichol and Michael Snow, and Montreal where she integrated with the country's leading feminist authors and thinkers - with her polyphonic experimentation. While traversing the problem of bifurcated identities, Christakos is funny at a deeply semiotic level, wickedly wry, exposing something about the way we think by examining the way we speak of it. In her afterword, Christakos maps out a philosophy of writing that highlights her self-consciousness of the foibles of language but also deep concern for the themes she writes about, including her career-length exploration of self-discovery, hetero-, queer and bi-sexual sexualities, motherhood, self-care, and linguistic alienation. Indeed, Margaret Christakos is a whole-body poet, writing with the materiality of language about the movement of interior thought to embodied experience in the world.