The Western, with its stoic cowboys and quickhanded gunslingers, is an instantly recognizable American genre that has achieved worldwide success. Cultures around the world have embraced but also adapted and critiqued the Western as part of their own national literatures, reinterpreting and expanding the genre in curious ways. Canadian Westerns are almost always in conversation with their American cousins, influenced by their tropes and traditions, responding to their politics, and repurposing their structures to create a national literary tradition. The American Western in Canadian Literature examines over a century of the development of the Canadian Western as it responds to the American Western, to evolving literary trends, and to regional, national, and international change. Beginning with Indigenous perspectives on the genre, it moves from early manifestations of the Western in Christian narratives of personal and national growth, and its controversial pulp-fictional popularity in the 1940s, to its postmodern and contemporary critiques, pushing the boundary of the Western to include Northerns, Northwesterns, and post-Westerns in literature, film, and wider cultural imagery. The American Western in Canadian Literature is more than a simple history. It uses genre theory to comment on historical perspectives on nation and region. It includes overviews of Indigenous and settler-colonial critiques of the Western, challenging persistent attitudes to Indigenous people and their traditional territories that are endemic to the genre. It illuminates the way that the Canadian Western enshrines, hagiographies, and ultimately desacralizes aspects of Canadian life, from car culture to extractive industries to assumptions about a Canadian moral high ground. This is a comprehensive, highly readable, and fascinating study of an underexamined genre.

The Contemporary Leonard Cohen is an exciting new study that offers an original explanation of Leonard Cohen’s staying power and his various positions in music, literature, and art. The death of Leonard Cohen received media attention across the globe, and this international star remains dear to the hearts of many fans. This book examines the diversity of Cohen’s art in the wake of his death, positioning him as a contemporary, multi-media artist whose career was framed by the twentieth-century and neoliberal contexts of its production. The authors borrow the idea of “the contemporary” especially from philosophy and art history, applying it to Cohen for the first time—not only to the drawings that he included in some of his books but also to his songs, poems, and novels. This idea helps us to understand Cohen’s techniques after his postmodern experiments with poems and novels in the 1960s and 1970s. It also helps us to see how his most recent songs, poems, and drawings developed out of that earlier material, including earlier connections to other writers and musicians. Philosophically, “the contemporary” also sounds out the deep feelings that Cohen’s work still generates in readers and listeners. Whether these feelings are spiritual or secular, sincere or ironic, we get them partly from the sense of timeliness and the sense of timelessness in Cohen’s lyrics and images, which speak to our own lives and times, our own struggles and survival. From a set of international collaborators, The Contemporary Leonard Cohen delivers an appreciative but critical examination of one of our dark luminaries.

The Western, with its stoic cowboys and quickhanded gunslingers, is an instantly recognizable American genre that has achieved worldwide success. Cultures around the world have embraced but also adapted and critiqued the Western as part of their own national literatures, reinterpreting and expanding the genre in curious ways. Canadian Westerns are almost always in conversation with their American cousins, influenced by their tropes and traditions, responding to their politics, and repurposing their structures to create a national literary tradition. The American Western in Canadian Literature examines over a century of the development of the Canadian Western as it responds to the American Western, to evolving literary trends, and to regional, national, and international change. Beginning with Indigenous perspectives on the genre, it moves from early manifestations of the Western in Christian narratives of personal and national growth, and its controversial pulp-fictional popularity in the 1940s, to its postmodern and contemporary critiques, pushing the boundary of the Western to include Northerns, Northwesterns, and post-Westerns in literature, film, and wider cultural imagery. The American Western in Canadian Literature is more than a simple history. It uses genre theory to comment on historical perspectives on nation and region. It includes overviews of Indigenous and settler-colonial critiques of the Western, challenging persistent attitudes to Indigenous people and their traditional territories that are endemic to the genre. It illuminates the way that the Canadian Western enshrines, hagiographies, and ultimately desacralizes aspects of Canadian life, from car culture to extractive industries to assumptions about a Canadian moral high ground. This is a comprehensive, highly readable, and fascinating study of an underexamined genre.

The Metaphor of Celebrity is an exploration of the significance of literary celebrity in Canadian poetry. It focuses on the lives and writing of four widely recognized authors who wrote about stardom - Leonard Cohen, Michael Ondaatje, Irving Layton, and Gwendolyn MacEwen - and the specific moments in Canadian history that affected the ways in which they were received by the broader public. Joel Deshaye elucidates the relationship between literary celebrity and metaphor in the identity crises of celebrities, who must try to balance their public and private selves in the face of considerable publicity. He also examines the ways in which celebrity in Canadian poetry developed in a unique way in light of the significant cultural events of the decades between 1950 and 1980, including the Massey Commission, the flourishing of Canadian publishing, and the considerable interest in poetry in the 1960s and 1970s, which was followed by a rapid fall from public grace, as poetry was overwhelmed by greater popular interest in Canadian novels.