![\"\"](\"https:\/\/blogs.ubc.ca\/voya\/files\/2019\/03\/king-ed-looking-over-the-diaspora-225x300.jpg\")
<\/h3>\n<\/h3>\nWelcome to our Annotated Bibliography, which we hope will open up dialogue on our research concern: highlighting diasporic authors who are intervening into the discourse of citizenship, resulting in a more global outlook (inspired by Lily Cho\u2019s article \u201cArchives of Diasporic Citizenship\u201d in <\/span>Canadian Literature, 50th Anniversary Interventions<\/span><\/a>).<\/span><\/em><\/p>\n *Photo above of a stack of diverse books blocking the view of a stained glass of King Edward. Brought from King Edward High Schoo<\/a>l to VCC King Edward Campus (now called Broadway Campus). The stained glass will probably be removed soon in an effort to decolonize VCC.<\/p>\n <\/p>\n Duff, Christine. “Where Literature Fills the Gaps: The Book of Negroes as a Canadian Work of Rememory.” Studies in Canadian Literature \/ \u00c9tudes en litt\u00e9rature canadienne [Online], 36.2 (2011). Accessed 29 Mar. 2019. In Christine Duff\u2019s article, she makes the point that a document that listed 3,000 black loyalists and their journey into Canada is one that is lost on the memory of Canadians. Laurence Hill, being a natural storyteller<\/a> was able to weave a story that would resonate with Canadians and allow them to understand the history. As a storyteller, Laurence Hill\u2019s The Book of Negroes acts as a historical discussion that would not have otherwise been there. Duff argues that the book offers to fill the gaps left open by history and how a piece of literary fiction can be a source of truth. In the article, Duff quotes Toni Morrison<\/a>, an American novelist who wrote in Site of Memory \u201cfacts can exist without human intelligence, but truth cannot\u201d. This further promotes the author’s thesis that literary fiction can be a source of truth and fill the gaps.<\/p>\n The idea that Canada is without innocence is also presented. Canada likes to believe that they should celebrate the end of the Underground Railroad and hide<\/a> the 200 years of slavery. Canadian history has tried to push the narrative that the nation was far more moral compared to the United States. That notion is false, and the novel sheds light on the more brutal aspect of Canadian history. It also brings up another point of what is truly<\/a> Canadian. The novel won Canada Reads in 2009 because it highlighted a Canadian author and a Canadian story that was relatively unknown and pushed Canadians understanding beyond comfort.<\/p>\n Works Cited<\/p>\n Boika, Anastasiya. \u201cWhat makes literature ‘truly Canadian’? A critical look at the annual Canada Reads competition and the pursuit of the great Canadian novel.\u201d Queen’s University Journal,<\/em> 31 Mar. 2016, queensjournal.ca\/story\/2016-03-30\/arts\/what-makes-truly-canadian-literature<\/a>\/.<\/p>\n Brown, Kyle. \u201cCanada’s slavery secret: The whitewashing of 200 years of enslavement.\u201d CBC Radio One,<\/em> 18 Feb. 2019, cbc.ca\/radio\/ideas\/canada-s-slavery-secret-the-whitewashing-of-200-years-of-enslavement-1.4726313.<\/a><\/p>\n Kaadzi Ghansah, Rachel. \u201cThe Radical Vision of Toni Morrison.\u201d New York Times Magazine<\/em>. 8 Apr. 2015, nytimes.com\/2015\/04\/12\/magazine\/the-radical-vision-of-toni-morrison.html?rref=collection%2Ftimestopic%2FMorrison%2C%20Toni&action=click&contentCollection=timestopics®ion=stream&module=stream_unit&version=latest&contentPlacement=1&pgtype=collection.<\/a><\/p>\n Nurse, Donna. \u201cWhy The Book of Negroes matters.\u201d The Globe and Mail<\/em>, 14 Mar. 2009, Jetalina, Margaret. “Playwright Making Her Own Way In Canadian Theatre.” <\/b>Canadian Immigrant<\/i><\/b>, 4 Mar. 2013, canadianimmigrant.ca\/living\/playwright-making-her-own-way-in-canadian-theatre<\/a>.<\/b><\/p>\n This article from Canadian Immigrant spotlights Carmen Aguirre,<\/a> a prolific Chilean-Canadian actor, author and play-write. Aguirre states that \u201cI\u2019d started going to acting school, but it soon became clear that there would be few roles available to me as a woman of colour on Canadian stages,\u201d says Aguirre. \u201cAt that time [the early 1990s], all the stories dealt with white, middle-class characters and most of them were imported from the U.K. or U.S. I realized that if I wanted to act in Canada, I would need to create my own work.\u201d (Jetalina, Playwright making her own way in Canadian Theatre)<\/p>\n The underlying issue of Canadian theatre’s non-inclusiveness for ethnic actors is still a major problem,<\/a> fraught with casual racism. Aguirre states. \u201cSince starting her career more than 20 years ago, Aguirre has found that the situation for theatre artists of diverse backgrounds in Canada has definitely improved, but there is still a long way to go. \u201cIn the big urban centres of Canada, more than half of the populations are non-white. .. is this story reflected in the large commercial and well-funded festivals? Of course not. If things have improved, it\u2019s only because artists of colour have insisted on making their own work.\u201d (Jetalina, Playwright making her own way in Canadian Theatre)<\/p>\n There are a few theatre companies that assist with the funding of new work for ethnic actors. This article goes on to highlight the Almeda Theatre Company. \u201cFor example, this April, her play Chile Con Carne<\/i> is being presented by Alameda Theatre Company, a unique Toronto-based company that produces the work of Canadian Latin American playwrights.\u201d (Jetelina, playwright making her own way in Canadian Theatre)<\/p>\n She has written over twenty plays and two memoirs. Her first memoir Something Fierce<\/i><\/a>,<\/i> ” …was nominated for British Columbia\u2019s National Award for Canadian Non-Fiction, the international Charles Taylor Prize for Literary Non-Fiction, was a finalist for the 2012 BC Book Prize, was selected by the Globe and Mail, Quill & Quire, and the National Post as one of the best books of 2011, was named Book of the Week by BBCRadio in the United Kingdom, won CBC Canada Reads 2012, and is a number-one national bestseller.” (Aguirre, Talonbooks, profile). Her Second Memoir is called Mexcian Hooker #1 and My Other Roles since the Revolution<\/i><\/a>.<\/i> ” is on The Globe and Mail’s, The Ottawa Citizen’s, Quill & Quire’s, and 49th Shelf’s most anticipated books of 2016 lists.” (Aguirre, carmenaguirre.ca\/books). As a political refugee from Chile during the Pinochet regime, she took up acting training at Vancouver’s well known theatre training program Studio 58 in Langara College. Her First play, written at Studio 58 is called, In a land called, I don’t remember, Published by Talon books in an anthology called Chile Con Carne and \u00a0Other Early Works.<\/i><\/a> “She explored her dual identities of Chilean and Canadian, through the two lead female characters.” (Aguirre, Carmenaguirre.ca\/bio). Her most well known and popular plays are Chile Con Carne,<\/a> The Trigger,<\/a> Refugee Hotel, which one the 2002 Jessie Richardson award The Refugee Hotel<\/i><\/a> won “the 2002 Jessie Richardson New Play Centre Award” (Aguirre, Imago theatre bio) and Blue Box<\/a>.<\/p>\n The takeaway message from this article is succinctly stated in the final paragraph. \u201cFor newcomers of any ethnicity who aspire to careers in theatre, Aguirre adds that the only way forward is to create one\u2019s own opportunities. \u201cIf you don\u2019t want to write your own plays, then find plays by diverse writers that interest you and produce them yourself,\u201d she says. \u201cSign up for the Fringe festival, go bang on doors with ideas; don\u2019t sit at home waiting for the phone to ring. If theatre really is your calling, you will find a way to make your dreams a reality.\u201d (Jetalina, A playwright-making-her-own-way-in-canadian-theatre)<\/p>\n Works Cited<\/p>\n Aguirre, Carmen. “Blue Box \u00bb Books \u00bb Talonbooks”. Talonbooks.com<\/i>, 2019, talonbooks.com\/books\/blue-box.<\/a><\/p>\n —. “Carmen Aguirre | Bio”. Carmenaguirre.ca<\/i>, 2019, carmenaguirre.ca\/carmen_aguirre_bio.html.<\/a><\/p>\n —. “Chile Con Carne And Other Early Works \u00bb Books \u00bb Talonbooks”. Talonbooks.com<\/i>, 2019, talonbooks.com\/books\/chile-con-carne-and-other-early-works<\/a>.<\/p>\n —. “Her Side Of The Story.” Imago Theatre<\/i>, 2019, imagotheatre.ca\/her-side-of-the-story-carmen-aguirre<\/a>\/. Accessed 28 Mar 2019.<\/p>\n —. “Playwrights | Playwrights Theatre Centre”. Playwrights Theatre Centre<\/i>, 2019, playwrightstheatre.com\/playwrights\/<\/a>.<\/p>\n —. “The Refugee Hotel.” Talonbooks<\/i>, 2019, talonbooks.com\/books\/the-refugee-hotel.<\/a><\/p>\n —. “The Trigger.” Talonbooks<\/i>, 2019, talonbooks.com\/books\/the-trigger<\/a>.<\/p>\n Dyck, Daryll. “Review: Carmen Aguirre\u2019S Mexican Hooker #1 Is A Powerful Victory For Survivors Of Abuse.” The Globe And Mail<\/i>, 2019, theglobeandmail.com\/arts\/books-and-media\/book-reviews\/review-carmen-aguirres-mexican-hooker-1-is-a-powerful-victory-for-survivors-of-abuse\/article29717408\/<\/a>.<\/p>\n Jetalina, Margaret. “Playwright Making Her Own Way In Canadian Theatre.” Canadian Immigrant<\/i>, 2019, canadianimmigrant.ca\/living\/playwright-making-her-own-way-in-canadian-theatre<\/a>.<\/p>\n Zentilli, Francisca. “Something Fierce: Memoirs Of A Revolutionary Daughter, By Carmen Aguirre”. The Globe And Mail<\/em>, 28 June 2011, theglobeandmail.com\/arts\/books-and-media\/something-fierce-memoirs-of-a-revolutionary-daughter-by-carmen-aguirre\/article590992\/<\/a>.<\/p>\n Lee, Jen Sookfong. \u201cOpen Letters and Closed Doors: How the Steven Galloway Open Letter Dumpster Fire Forced Me to Acknowledge the Racism and Entitlement at the Heart of CanLit.\u201d Humber Literary Review<\/em>, n.d, humberliteraryreview.com\/jen-sookfong-lee-essay-open-letters-and-closed-doors\/<\/a>.<\/b><\/p>\n Jen Sookfong Lee<\/a> is another Vancouver-born Canadian-Asian author that\u2019s a UBC alumnus. Her novel, The Better Mother <\/i><\/a>was shortlisted for the City of Vancouver Book Award. She\u2019s also a radio personality, speaking on many shows, such as CBC’s On the Coast<\/i>. She currently teaches at Simon Fraser University.<\/p>\n In this article, she expresses that \u201cCanLit has never been about the diversity of voices or even fairness.\u201d She goes to explain how white editors disregard stories of other cultures and casually throw out harmful comments, which can scar someone far greater than intended<\/a>. She says the experience that hurt her most is when an editor rejected her saying that it didn’t\u00a0 \u201cbuild on my existing audience.\u201d<\/p>\n This article not only shows the power of words but also how racism can still unknowingly affect our literary sphere in a big way. Like the last article, it shows that the lack of existence of diverse writing can create a cycle of it never being published, as the editor was concerned that it didn\u2019t fit in with rest of their books. How does it make sense that in Canada, out of all places, that writing of another culture is too strange to publish? We need to take action.<\/p>\n Works Cited<\/p>\n Bryden, Diana Fitzgerald. \u201cThe Better Mother, by Jen Sookfong Lee.\u201d\u00a0The Globe and Mail<\/i>, 29 June 2011, theglobeandmail.com\/arts\/books-and-media\/the-better-mother-by-jen-sookfong-lee\/article599007\/<\/a>.<\/p>\n \u201c’I Invited These Indigenous Writers … and Then I Insulted Them:’ Hal Niedzviecki on Appropriation Uproar.\u201d\u00a0CBC News<\/i>, 15 May 2017, cbc.ca\/news\/entertainment\/niedzviecki-interview-video-1.4115815<\/a>.<\/p>\n Lee, Jen Sookfong. \u201cAbout.\u201d\u00a0Jen Sookfong Lee<\/i>, sookfong.com\/?page_id=6.<\/a><\/p>\n Marche, Stephen. “CanLit’s Colonial Habit: Literature in the Age of Reconciliation and ‘peak’ diversity.” Literary Review of Canada, 2017 Nov. reviewcanada.ca\/magazine\/2017\/11\/canlits-colonial-habit\/<\/a><\/em><\/strong><\/p>\n This article is written by Stephen Marche, who is a Canadian novelist, essayist, and cultural commentator. I emphasize cultural commentator because this article delves into the debate of cultural appropriation, multiculturalism, and Indigenous Canadian literature and comes to some interesting conclusions. The central concerns of this article involve questioning how the framework of the debate is usually on social media or other new media, avenues which are meant to provoke and incite outrage. He says having this conversation in a civil way is so important and argues that \u201cits political consequences could not be larger for Canada: How are we to approach reconciliation? What is the future of multiculturalism? What does decolonization look like? I will not concede that the cultural questions are less important. They will tell us whether we are a meaningful country.\u201d<\/p>\n Marche\u2019s opinions are that, first, the Truth and Reconciliation\u00a0Calls<\/b><\/a> to Action is required reading; we must collectively acknowledge the horror of the how erasing Indigenous people was the way Canada was \u201cbuilt\u201d. But also, we are not even close to reconciliation because we haven\u2019t accepted the truth. As for multiculturalism, he claims Canada is not even as multicultural as we like to believe—that we use that word because it makes us feel good about ourselves. He calls the moment post-diversity, wondering why immigrants even have to write about their culture. The dichotomy March questions is: \u201cif you sell your ethnicity<\/b>,<\/a>\u00a0that is what you are selling. But if you deny your history, how can you be yourself?\u201d<\/p>\n Marche add that we are attempting a radical, political and cultural reconciliation when we truly embrace multi-culture and truth and reconciliation. He also admits that there is no novel \u201cwithout inhabiting other people bodies and souls\u201d and insists being \u201ccosmopolitan\u201d also involves restraint. \u00a0He wants us to forget about multiculturalism as a virtue. The main point he emphasizes is that we have to confront Canada\u2019s dirtiness and the shadows, examine all of our \u201cfuck-up-edness.\u201d<\/p>\n Works Cited<\/p>\n Palmer, Tamara J. \u201cEthnic Literature.\u201d The Canadian Encyclopedia<\/em>, 4 Mar. 2015, thecanadianencyclopedia.ca\/en\/article\/ethnic-literature<\/a>.<\/p>\n Truth and Reconciliation Canada. Honouring the Truth, Reconciling for the Future: Summary of the Final Report of the Truth and Reconciliation Commission of Canada. Winnipeg: Truth and Reconciliation Commission of Canada, 2015. trc.ca\/assets\/pdf\/Calls_to_Action_English2.pdf<\/a><\/p>\n McNeil, Sarah “Lack Of Ethnic Diversity in Canadian Publishing.” Simon Fraser University. Fall 2017. http:\/\/journals.sfu.ca\/courses\/index.php\/pub371\/issue\/view\/1<\/strong><\/p>\n This article focuses on the lack of diversity of Canadian publishing. The author, Sarah McNeil lays out with two sources that publishing in Canada does not seem to mirror the cultural diversity in the country. She argues that there is still systemic racism in the publishing industry and it cannot be excused. McNeil makes a point that publishers in media came together and put money toward an Appropriation Prize for a white writer to come up with something outside their own culture. She mentions that higher-ups from many popular media companies contributed to this. There seems to be a sense that publishers and media companies are only interested in ways to make money and further their ratings. The belief that readers will only pay attention to white writers is an underlying issue. Although it is clear that there tends to be \u201ctoken ethnic writer\u201d that is included in literary awards. The writer is only nominated as a gesture to that community or for political<\/a> reasons. McNeil points to a deeper issue, ethnic writers do not have the same support system of editors that understand their work. The support system also does not include critics that have a full depth of understanding as well publishers who can promote with an understanding. For more writers to get published in Canada it must start from the top. The publishers need to be more diverse as well as the editors and critics. Until there is a support system in place there will not be growth for diverse<\/a> writers.<\/p>\n Works Cited<\/p>\n Qureshi, Bilal \u201cYes, we need more diverse books. ‘The Good Immigrant’ answers that call.\u201d Washington Post<\/em>. 6 Mar 2019, chicagotribune.com\/lifestyles\/books\/ct-books-good-immigrant-20190306-story.html<\/a><\/p>\n Wyatt, Daisy \u201cOscar 2015: Academy criticised after no black or Asian actors nominated\u201d The Independent<\/em>. 15 Jan. 2019, independent.co.uk\/arts-entertainment\/films\/oscars\/oscar-nominations-2015-academy-criticised-for-all-white-nominees-in-acting-categories-9980457.html<\/a><\/p>\n Meerzon, Yana. “Theatre And Immigration: From The Multicultural Act To The Sites Of Imagined Communites”. Journals.Lib.Unb.Ca<\/i>, 2019, https:\/\/journals.lib.unb.ca\/index.php\/tric\/article\/view\/24302\/28111.<\/strong><\/p>\n Meerzon argues that with the relaxing of immigration policy from the Liberal government of Canada in the mid 1990s,<\/a> Canada has “Canada became one of the most desirable countries for migration.” (Meerzon, Theatre and Immigration: From the Multiculturalism Act to the Sites of Imagined Communities) as a result “the most significant change in Canada\u2019s population in the late twentieth century: \u201cincreasingly diverse\u201d and immigrant artists\u2019 performances \u201cno longer need to appeal either to the traditional white middle-class audience of Canada\u2019s so-called \u2018main stages\u2019 [. . .] nor to communities narrowly defined by culture or interest\u201d (Meerzon, Theatre and Immigration: From the Multiculturalism Act to the Sites of Imagined Communities)” The changing of immigration policies directly affect the type of theatre that is produced in Canada.<\/p>\n We would argue that this is semi-true. Although there is an increased number of immigrant theatre professionals, to state that they “no longer need to appeal to … white middle-class audience of Canada’s so-called ‘main stages'” is misleading. It is true that the content of new professional work deviates from a strictly Caucasian source material, Any play-write or theatre professional who wants their work to become nationally produced relies on physical ‘main stages’ throughout Canada, who generally produce established Canadian, English and American theatre. The Shaw Festival and the Stratford Festival are two of North America’s largest theatre companies and produce mainly English works. Tarragon Theatre, The Belfry, The Arts Club, Theatre Calgary, Theatre Passe Muraille, The Citadel theatre and many others use predominantly established Canadian works an attempt to draw audiences in, although, The Belfry in recent years continues to showcase new and diverse Canadian works from a variety of indigenous and ethnic play-writes.<\/p>\n The Canada Council of the arts provides playwriting grants<\/a> to play-writes who are able to produce theatre with a specific focus to Canadian content, which can help work more to more easily become produced.<\/p>\n Marrzon also suggests that Canadian Theatre is an “imagined community” often creating works, that are not reflective of the real Canadian National identity, “by commenting upon the traumatic events that shaped their personal immigrant experience, these artists create fictional \u201celse-where\u201d and \u201cback-home\u201d environments on stage. Presented to diverse Canadian audiences, these self-reflexive, accented, ironic, meta-theatrical, and estranged environments have become the temporary instances of shared imagined (immigrant) communities; they reflect immigrants\u2019 struggles in second language acquisition, and recognize, challenge, and negotiate the artistic, ideological, and performative tendencies that make Canadian\/Quebecois theatre Canadian\/Quebecois.7<\/a> For many immigrant artists, making a theatrical performance itself becomes a process of creating these imagined communities, a new homeland, which \u201ctranscends cultural specificity and encourages the development of an identity that is formed from living in the theatre rather than a society\u201d (Meerzon, Theatre and Immigration: From the Multiculturalism Act to the Sites of Imagined Communities)”<\/p>\n We would argue that although these “else-where” and “back-home” environments, shaped by immigrants is reflective of a part of Canada’s true national identity, one shaped by multiculturalism and shared immigrant experience.<\/p>\n Due to the search for Canadian identity, we have seen many theatrical and television professionals rise through the ranks of popularity in recent years.\u00a0 Marrzon argues that the rise in the immigrant population has allowed for a new genre of Canadian theatre. “This special issue takes this statement further and focuses on the cultural, personal, and artistic output of immigrant theatre artists who have been working in Canadian theatre for several decades The representation of an immigrant\/immigration on stage constitutes a self-referential move in Canadian theatre.”(Meerzon, Theatre and Immigration: From the Multiculturalism Act to the Sites of Imagined Communities)” We see examples of this in many popular theatre works and tv shows. For exam, The CBC comedy “Kim’s convenience”<\/a>\u00a0started off as a Fringe festival play that made it’s way across the country to become nationally produced. The script was eventually adapted into the CBC comedy show “Kims Convenience” currently airing.\u00a0 Another example is the prolific author, actor and play-write\u00a0Carmen Aguirre<\/a>, a Chilean-Canadian whose works delve into the duality of identity between Canadian and Chilean heritage.<\/p>\n Works Cited<\/p>\n Aguirre, Carmen. “Bio.” carmenaguirre.ca<\/i>, 2019, carmenaguirre.ca\/carmen_aguirre_bio.html<\/a>.<\/p>\n Choi, Ins and Kevin White, creators. “Kim’s Convenience.” Thunderbird Productions, 2016.<\/p>\n “Explore And Create.” Canada Council For The Arts<\/i>, 2019, canadacouncil.ca\/funding\/grants\/explore-and-create<\/a>.<\/p>\n Meerzon, Yana. “Theatre And Immigration: From The Multicultural Act To The Sites Of Imagined Communites”.\u00a0Journals.Lib.Unb.Ca<\/i>, 2019, https:\/\/journals.lib.unb.ca\/index.php\/tric\/article\/view\/24302\/28111.<\/p>\n Thien, Madeleine. ACWW: Madeleine Thien at literASIAN. 24 Nov. 2013. youtube.com\/watch?v=uvIX2cEGgZ0<\/a><\/strong><\/p>\n Madeleine Thien<\/a> is a Vancouver-born Canadian-Asian author who graduated at UBC with an MFA in creative writing in 2001. She writes stories that are deeply cultural and her third novel, Do Not Say We Have Nothing<\/i><\/a>, has won the Governor General\u2019s Literary Award for fiction.<\/p>\n In this video, she discusses the difficulty that female writers of colour face in Canada\u2019s literary environment. When it comes to their works not being recognized, she blames the critics<\/a>, who are mostly white men, that they \u201csimply do not have a great depth of knowledge, whether that be historical context or literary precedents.\u201d<\/p>\n This video not only articulates many problems that minorities face in publishing but also points at some of its roots. I particularly like how Thien points out the lack of literary precedents possessed by the critics, meaning that they just haven\u2019t read enough of other culture\u2019s stories to appreciate it. It\u2019s a terrible cycle, since these critics can\u2019t appreciate the stories, less gets published<\/a>, meaning there aren\u2019t opportunities for our future critics to learn<\/a>.<\/p>\n Works Cited<\/p>\n \u201cDo Not Say We Have Nothing.\u201d\u00a0CBC Books<\/i>, 16 Feb. 2017, cbc.ca\/books\/do-not-say-we-have-nothing-1.3985967<\/a>.<\/p>\n Elliott, Alicia. \u201cIndigenous Writer Calls out CanLit for Lack of Diversity.\u201d\u00a0CBC Radio<\/i>, 18 Mar. 2018, cbc.ca\/radio\/unreserved\/how-indigenous-authors-are-claiming-space-in-the-canlit-scene-1.4573996\/indigenous-writer-calls-out-canlit-for-lack-of-diversity-1.4575969<\/a>.<\/p>\n Lapointe, Michael. \u201cWhat\u2019s Happened to CanLit?\u201d\u00a0Literary Review of Canada<\/i>, May 2013, reviewcanada.ca\/magazine\/2013\/05\/whats-happened-to-canlit\/<\/a>.<\/p>\n Lorre-Johnston, Christine. \u201cMadeleine Thien.\u201d\u00a0The Canadian Encyclopedia<\/i>, 9 Nov. 2016, thecanadianencyclopedia.ca\/en\/article\/madeleine-thien<\/a>.<\/p>\n \u201cWhy Literary Critics Failed to Understand and Define Austin Clarke, a Canadian Writer Far Ahead of His Time.\u201d\u00a0National Post<\/i>, 26 Aug. 2016, nationalpost.com\/entertainment\/books\/why-literary-critics-failed-to-understand-and-define-austin-clarke-a-canadian-writer-far-ahead-of-his-time.<\/a><\/p>\n Ty, Eleanor. \u201cRepresenting \u2018Other\u2019 Diasporas in Recent Global Canadian Fiction.\u201d\u00a0College Literature<\/i>, vol. 38, no. 4, 2011, pp. 98\u2013114.\u00a0JSTOR<\/i>, www.jstor.org\/stable\/41302890.<\/strong><\/p>\n The author of this article is Eleanor Ty, a professor of English and Film Studies at Wilfred Laurier University in Waterloo, Ontario, \u00a0specializing in subjects such as Asian American, Asian Canadian, Canadian literature, graphic novels, lifewriting, and 18th and 19th-century novels.<\/span><\/p>\n This article is concerned with the reimagining the representation of \u201cother diasporas\u201d—Ty does not focus on the immigrant writer detailing an experience of Canada in a memoir, instead, she contends that the literature created by writers who go beyond their own histories is an important addition to the understanding our current global community. Ty mentions how, over the decades, different cultural groups have experienced changes in focus: from the politics of recognition of the seventies to the identity politics of the eighties, landing in the present where globalization and technology are affecting literature. She believes that Canadians of other cultural identities are now able to write about diasporic communities in which they do not belong. Lily Cho, whose is quoted in this article, \u201cDiaspora brings together communities which are not quite nation, not quite race, not quite religion, not quite homesickness, yet they still have something to do with nation, race, religion, longings for home which do not exist\u201d (Cho qtd. In Ly 100). <\/span><\/p>\n Ty investigates three novels: Dionne Brand\u2019s <\/span>What We All Long Fo<\/span><\/i>r, Camilla Gibb\u2019s <\/span>Sweetness in the Belly<\/span><\/i>, and Michael Ondaatje\u2019s<\/span> In the Skin of a Lion <\/span><\/i>in order to highlight dislocated writers who have crafted novels about places\/times they do not belong. In Brand\u2019s case, she is a Trinidad-born writer whose novel is about the struggles of Vietnam refugees in Toronto; Gibb is not an ethnic minority but is an anthropologist who was born in Britain and who has lived in Ethiopia, her novel is about a European Muslim woman in Ethiopia; and Ondaatje is of Dutch-Tamil family born in Sri Lanka whose novel is about Macedonian, Italian, and Bulgarian immigrants in Toronto in the early twentieth century. The novels Ty explores are cross-cultural and highlight other places, other times, and are written by authors of diverse backgrounds. She suggests such novels \u201cdeterritorialize\u201d diasporic identities, expanding the <\/span>narrow view of Canadian Literature<\/a><\/strong>.<\/span><\/p>\n Ty mentions the word cosmopolitan many times and seems to use it in a way that conjures the global, travelling, not-quite-Canadian-but-not-quite-anything else citizen. The article could have been helped by the inclusion of an Indigenous novel to fully flesh out the deterritorializing aspect of what she was trying to achieve, although there are more efforts now <\/span>to promote and study Indigenous literature<\/a><\/strong><\/span>, so may be used more in the future as a source of scholarly articles. I believe the usefulness of this source in the context of our intervention lies in the way the article goes beyond multiculturalism in Canada and extends towards a Canadian global view of literature.<\/span><\/p>\n Works Cited<\/span><\/p>\n Indigenous Literary Studies<\/em>, 2019. <\/span>indigenousliterarystudies.org\/home<\/span><\/a><\/p>\n
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