http://hdl.handle.net/10366/160137 Fri, 17 Apr 2026 15:43:29 GMT 2026-04-17T15:43:29Z http://hdl.handle.net/10366/166053 [EN] H. Nigel Thomas is the writer of twelve books and a retired professor of American literature at Laval University. Born and raised in St. Vincent and the Grenadines, he moved to Montréal in 1968. Nigel's illustrious career includes short stories, poems and articles that have appeared in multiple journals and anthologies. His novels Spirits in the Dark and No Safeguards were shortlisted for the Quebec Writers Federation Hugh MacLennan Fiction Prize. Des vies Cassées (the translation of Lives: Whole and Otherwise) was shortlisted for le Prix Carbet des Lycéens. In this interview, Linzey Corridon explores queerness in the Caribbean Canadian diaspora, intergenerational queer subjectivities, multiculturalism, audience reception, publishing, and circulation in the Caribbean. Mon, 10 Oct 2022 00:00:00 GMT http://hdl.handle.net/10366/166053 2022-10-10T00:00:00Z http://hdl.handle.net/10366/166052 Mon, 10 Oct 2022 00:00:00 GMT http://hdl.handle.net/10366/166052 2022-10-10T00:00:00Z http://hdl.handle.net/10366/166050 Mon, 10 Oct 2022 00:00:00 GMT http://hdl.handle.net/10366/166050 2022-10-10T00:00:00Z http://hdl.handle.net/10366/166051 Mon, 10 Oct 2022 00:00:00 GMT http://hdl.handle.net/10366/166051 2022-10-10T00:00:00Z http://hdl.handle.net/10366/166049 Mon, 10 Oct 2022 00:00:00 GMT http://hdl.handle.net/10366/166049 2022-10-10T00:00:00Z http://hdl.handle.net/10366/166048 Mon, 10 Oct 2022 00:00:00 GMT http://hdl.handle.net/10366/166048 2022-10-10T00:00:00Z http://hdl.handle.net/10366/166046 Mon, 10 Oct 2022 00:00:00 GMT http://hdl.handle.net/10366/166046 2022-10-10T00:00:00Z http://hdl.handle.net/10366/166047 Mon, 10 Oct 2022 00:00:00 GMT http://hdl.handle.net/10366/166047 2022-10-10T00:00:00Z http://hdl.handle.net/10366/166044 Mon, 10 Oct 2022 00:00:00 GMT http://hdl.handle.net/10366/166044 2022-10-10T00:00:00Z http://hdl.handle.net/10366/166043 Mon, 10 Oct 2022 00:00:00 GMT http://hdl.handle.net/10366/166043 2022-10-10T00:00:00Z http://hdl.handle.net/10366/166045 Mon, 10 Oct 2022 00:00:00 GMT http://hdl.handle.net/10366/166045 2022-10-10T00:00:00Z http://hdl.handle.net/10366/166042 [EN] The "Introduction" to this Special Issue on "Recognition and Recovery of Caribbean Canadian Cultural Production" surveys the multiple creative directions and critical orientations of Caribbean Canadian cultural production and raises key questions about the grounds on which Caribbean Canadian cultural production is recognized, especially in Canada. The guest editors also explore the productive, but sometimes problematic, relationship between Caribbean Canadian archives and the nation, Blackness, Indigeneity, queerness, publishing, popular culture, and settler colonialism. Even so, the writers see the possibilities of communities of relations as well as political alliances between different constituencies in both Canada and the Caribbean in confronting racial capitalism and the many afterlives of colonialism. Re-conceptualizing Caribbean Canadian cultural production as an archive, rather than a field of study, allows the guest editors to recognize the importance of certain commitments and values: an investment in an ethically conscious methodology, a refusal of reductive and essentializing conceptualizations of race, gender, sexuality, as well as the modern human, and a desire to build collectivities of political alliances. The unbounded and sometimes ungrounded nature of the Caribbean Canadian inspires an openness to new ways of thinking about the politics of cultural production in Canada and beyond. Mon, 10 Oct 2022 00:00:00 GMT http://hdl.handle.net/10366/166042 2022-10-10T00:00:00Z http://hdl.handle.net/10366/166040 [EN] What does it mean to read a poem about anti-Blackness as ecopoetics? How do we account for the ecological in such a work? How does this kind of reading unsettle the notion that ecological literatures are tethered to the environment? These are the questions I tackle in this paper as I undertake a reading of Dionne Brand's Ossuaries as ecopoetry—a poem that explores the entanglements between the human and nonhuman worlds. I argue that through this poem, Brand pushes against such simple definitions of ecocritical works as focused on the impact of human activities on the environment. Her work suggests that woven into the fabric of the narratives that govern such activities are evidence of the destruction of marginalized bodies. As such, I approach Ossuaries from the angle of the key elements identified by scholars like Lawrence Buell, Laura-Gray Street, and Ann Fisher-Wirth as evident in ecological literatures. I examine how Brand deploys these features in her poem, using them to nudge us towards exploring Black histories in the context of what Kathryn Yusoff calls "geologic narratives." I contend that these features situate Ossuaries within the context of ecopoetics, and therefore allow us to critique the impact of Anthropocenic origin narratives on both the environment, human body, and human history specifically, Black histories. Mon, 10 Oct 2022 00:00:00 GMT http://hdl.handle.net/10366/166040 2022-10-10T00:00:00Z http://hdl.handle.net/10366/166041 [EN] This article presents a reading of Nalo Hopkinson's short stories "The Glass Bottle Trick," "Precious," and "Greedy Choke Puppy" that considers Caribbean Canadian subjectivity through lenses of (inter)textuality and the material/metaphorical spaces and movements of interruption. It draws from Tiffany Lethabo King's thinking on shoals to theorize the gathering and accumulation of tales that occurs in Hopkinson's re/imaginings of "Bluebeard," "The Kind and the Unkind Girls," and soucouyant folklore. The article suggests that these shoals interrupt the paths of dominant narratives in ways that force detours to emerge, adapting Rinaldo Walcott's use of the term to explore the transformative possibilities that occur through the creation of new improvised paths, of otherwise ways of conceptualizing Caribbean Canadian being. Ultimately, it proposes that Hopkinson's stories acknowledge and yet interrupt colonial narratives of geography, identity, and femininity, providing a framework through which to consider the unstable grounds and the searching detours of Caribbean Canadian subjectivities. Mon, 10 Oct 2022 00:00:00 GMT http://hdl.handle.net/10366/166041 2022-10-10T00:00:00Z http://hdl.handle.net/10366/166038 [EN] This article explores notions of performativity in the story "Caribbean Chameleon," published in Makeda Silvera's collection Her Head a Village (1994). The story emphasises problems of performing with regards to the categories of race and gender as they pertain to the lived experience of Anglo-Caribbean migrants in Canada, a country which, in spite of its ostensible positive engagement with difference, is nevertheless still systemically hostile to migrants. Being able to adequately "perform" race or gender in a non-threatening way for the system becomes imperative for migrants, which the story highlights framing its critique of racial profiling within the conventions of the stage. This opens the door to examining the types of performativity with which "Caribbean Chameleon" engages. In this article, I discuss how notions of performance, performing and performativity interact with representations of queerness and animality, which provide and constitute modes of alterity that intersect with questions of race, gender, and (un)belonging that are raised in the story. Mon, 10 Oct 2022 00:00:00 GMT http://hdl.handle.net/10366/166038 2022-10-10T00:00:00Z http://hdl.handle.net/10366/166037 [EN] To this special issue of Canada and Beyond on "Caribbean Canadian" cultural production, this article offers a reappraisal of spectacular violence in the legacy of Sarah Baartman, as explored by Guyanese Canadian filmmaker Michelle Mohabeer. Mohabeer's film Blu in You confronts the racist, heteronormative violences that underpin Western modernity, in particular objectification of the gaze over racialized Black and queer women, in the process situating queer Caribbean Canadian women as Baartman's resistant inheritors. This paper seeks strategies for addressing the limitations imposed on queer critical race critique by inherited and flawed systems of knowledge. In particular, it explores the paradoxes that arise in addressing the legacies of Sarah Baartman using visual art. I use Mohabeer's film and its references to Baartman and captivity, routed through feminist critical race critique, to propose ways of imagining liberatory epistemologies within compromised contexts, the critical inhabitation of delimited positions, and the exercise of transformative agency within restricted zones. Mon, 10 Oct 2022 00:00:00 GMT http://hdl.handle.net/10366/166037 2022-10-10T00:00:00Z