Banksy is known worldwide for his politically subversive works of art, but he is far from the only artist whose creations are infused with internationally relevant, activist themes. How else can the arts help activate citizen participation in social justice movements? Moreover, what is the role of culture in a globalizing world? Transnationalism, Activism, Art goes beyond Banksy by investigating how the three complementary political, social, and cultural phenomena listed in the title interact in the twenty-first century. Renowned and emerging critics use current theory on cultural production and politics to illuminate case studies of various media, including film, literature, visual art, and performance, in their multiple manifestations, from electronic dance music to Wikileaks to bestselling poetry collections. By addressing how these artistic media are used to enact citizen participation in social justice movements, the volume makes important connections between such participation and scholarly study of globalization and transnationalism.

"Transnational Canadas" marks the first sustained inquiry into the relationship between globalization and Canadian literature written in English. Tracking developments in the literature and its study from the centennial period to the present, it shows how current work in transnational studies can provide new insights for researchers and students.

Arguing first that the dichotomy of Canadian nationalism and globalization is no longer valid in today's economic climate, "Transnational Canadas" explores the legacy of leftist nationalism in Canadian literature. It examines the interventions of multicultural writing in the 1980s and 1990s, investigating the cultural politics of the period and how they increasingly became part of Canada's state structure. Under globalization, the book concludes, we need to understand new forms of subjectivity and mobility as sites for cultural politics and look beyond received notions of belonging and being.

An original contribution to the study of Canadian literature, "Transnational Canadas" seeks to invigorate discussion by challenging students and researchers to understand the national and the global simultaneously, to look at the politics of identity beyond the rubric of multiculturalism, and to rethink the slippery notion of the political for the contemporary era.

Dissonant Methods is an innovative collection that probes how, by teaching inventively, postsecondary instructors can resist the constrictions of neoliberalism. Taking up the call in the Scholarship of Teaching and Learning to understand teaching as scholarship, these essays offer concrete and practical meditations on resistant and sustainable teaching. The contributors seek to undermine forms of oppression frequently practised in higher education, and instead advance a vision of the university that upholds ideals such as critical thinking, creativity, and inclusivity. Essential reading for faculty and graduate students in the humanities, Dissonant Methods offers urgent, galvanizing ideas for anyone currently teaching in a college or university. Contributors: Kathy Cawsey, Kit Dobson, Ada S. Jaarsma, Rachel Jones, Kyle Kinaschuk, Namrata Mitra, Guy Obrecht, Katja Pettinen, Kaitlin Rothberger, Ely Shipley, Martin Shuster

Since the beginning of his poetic career in the 1990s, derek beaulieu has created works that have challenged readers to understand in new ways the possibilities of poetry. With nine books currently to his credit, and many works appearing in chapbooks, broadsides, and magazines, beaulieu continues to push experimental poetry, both in Canada and internationally, in new directions. "Please, No More Poetry" is the first selected works of derek beaulieu.

As the publisher of first housepress and, more recently, No Press, beaulieu has continually highlighted the possibilities for experimental work in a variety of writing communities. His own work can be classified as visual poetry, as concrete poetry, as conceptual work, and beyond. His work is not to be read in any traditional sense, as it challenges the very idea of reading; rather, it may be understood as a practice that forces readers to reconsider what they think they know. As beaulieu continues to push himself in new directions, readers will appreciate the work that he has created to date, much of which has become unavailable in Canada.

With an introduction by Kit Dobson and an interview with derek beaulieu by Lori Emerson as an afterword, "Please, No More Poetry" offers readers an opportunity to gain access to a complex experimental poetic practice through thirty-five selected representative works.

All the Feels / Tous les sens presents research into emotion and cognition in Canadian, Indigenous, and Québécois writings in English or French. Affect is both internal and external, private and public; with its fluid boundaries, it represents a productive dimension for literary analysis. The emerging field of affect studies makes vital claims about ethical impulses, social justice, and critical resistance, and thus much is at stake when we adopt affective reading practices. The contributors ask what we can learn from reading contemporary literatures through this lens. Unique and timely, readable and teachable, this collection is a welcome resource for scholars of literature, feminism, philosophy, and transnational studies as well as anyone who yearns to imagine the world differently. Contributors: Nicole Brossard, Marie Carrière, Matthew Cormier, Kit Dobson, Nicoletta Dolce, Louise Dupre�, Margery Fee, Ana Mari�a Fraile-Marcos, Smaro Kamboureli, Aaron Kreuter, Daniel Laforest, Carmen Mata Barreiro, Ursula Mathis-Moser, Heather Milne, Eric Schmaltz, Maïte� Snauwaert, Jeanette den Toonder

Ten years, ten authors, ten critics. The Canadian Literature Centre/Centre de litterature canadienne reaches into its ten-year archive of Brown Bag Lunch readings to sample some of the most diverse and powerful voices in contemporary Canadian literature. This anthology offers readers samples from some of Canada's most exciting writers of fiction, nonfiction, and poetry. Each selection is introduced by a brief essay, serving as a point of entry into the writer's work. From the east coast of Newfoundland to Kitamaat territory on British Columbia's central coast, there is a story for everyone, from everywhere. True to Canada's multilingual and multicultural heritage, these ten writers come from diverse ethnicities and backgrounds, and work in multiple languages, including English, French, and Cree. Ying Chen | essay by Julie Rodgers Lynn Coady | essay by Maite Snauwaert Michael Crummey | essay by Jennifer Bowering Delisle Caterina Edwards | essay by Joseph Pivato Marina Endicott | essay by Daniel Laforest Lawrence Hill | essay by Winfried Siemerling Alice Major | essay by Don Perkins Eden Robinson | essay by Kit Dobson Gregory Scofield | essay by Angela Van Essen Kim Thuy | essay by Pamela V. Sing

I broke all the rules that my dad gave me. It was he who had given me, in part, the confidence to think of my life as being worthy to mix with those of the geniuses. -Heather O'Neill With generosity and wry humour, novelist Heather O'Neill recalls several key lessons she learned in childhood from her father: memories and stories about how crime does pay, why one should never keep a diary, and that it is good to beware of clowns, among other things. Her father and his eccentric friends-ex-bank robbers and homeless men-taught her that everything she did was important, a belief that she has carried through her life. O'Neill's intimate recollections make Wisdom in Nonsense the perfect companion to her widely praised debut novel, Lullabies for Little Criminals (HarperCollins).

"Producing Canadian Literature: Authors Speak on the Literary Marketplace" brings to light the relationship between writers in Canada and the marketplace within which their work circulates. Through a series of conversations with both established and younger writers from across the country, Kit Dobson and Smaro Kamboureli investigate how writers perceive their relationship to the cultural economy--and what that economy means for their creative processes.

The interviews in "Producing Canadian Literature" focus, in particular, on how writers interact with the cultural institutions and bodies that surround them. Conversations pursue the impacts of arts funding on writers; show how agents, editors, and publishers affect writers' works; examine the process of actually selling a book, both in Canada and abroad; and contemplate what literary awards mean to writers. Dialogues with Christian Bok, George Elliott Clarke, Daniel Heath Justice, Larissa Lai, Stephen Henighan, Erin Moure, Ashok Mathur, Lee Maracle, Jane Urquhart, and Aritha van Herk testify to the broad range of experience that writers in Canada have when it comes to the conditions in which their work is produced.

Original in its desire to directly explore the specific circumstances in which writers work--and how those conditions affect their writing itself--"Producing Canadian Literature" will be of interest to scholars, students, aspiring writers, and readers who have followed these authors and want to know more about how their books come into being.