|Journals and Collections of Essays: Calls for Submissions|
|Call for Papers — Recognition and Recovery of Caribbean Canadian Cultural Production |
for a special issue of Canada and Beyond: a Journal of Canadian Literary and Cultural Studies
(Issue 10, 2021) Guest Editors: Michael A. Bucknor and Cornel Bogle
Over the past decade we have witnessed alarming moments of documented and widely circulated images, videos, and accounts of racist violence against Black, Indigenous and People of Color (BIPOC). These spectacular moments of violence — compounded by historical and ongoing systematic racism that BIPOC face daily — have led to an increased attention to scholarship and activism that have long sought to elucidate the racist, white supremacist, homophobic, and patriarchal violences that undergird Western modernity. Indeed, the rise of Black Lives Matter, Indigenous sovereignty movements such as Idle No More, as well as campaigns against anti-Asian racism in the wake of increasing racist attacks against Asian communities during the coronavirus pandemic, have foregrounded questions and assertions regarding institutional tokenism, and the erasure of lives, literatures, histories of activism and resistance, and cultural production by BIPOC, particularly in North America.
In this age of growing awareness of the political and ethical significance of under-recognized and/or obscured histories and cultures of racialized peoples in the United States and Canada, we see scholarly work that engages with the critical acts of recovery and recognition as pivotal to redressing skewed accounts of the communities and cultures that we study. Consequently, this special issue of Canada and Beyond turns towards Caribbean Canadian cultural production and invites scholarship that is engaged in the critical tasks of recovery and recognition of figures, texts, debates, collectives, and institutions that have influenced the field.
We note that in recent years, Caribbean Canadian writers and artists have received increased recognition in the form of major awards and prizes, national and international honours, more reviews and critical writing on their work, and incorporation into secondary and post-secondary curricula in both Canada and the Caribbean. This increased attention to Caribbean Canadian artists and writers has led to an improvement in the sales of their work and in some cases the achievement of celebrity status. However, even as works by Caribbean Canadian artists and writers are recognized, their identity as Caribbean Canadian is often subsumed under other means of identification, as part of a multiculturalist regime of recognition, namely Black Canadian, South Asian Canadian, Chinese Canadian, Queer Canadian, or either Canadian or Caribbean, but rarely both. Accordingly, we are left to ask what are the political stakes of recognizing this category of Caribbean Canadian? What does this recognition obscure or reveal? What does this multiply pronged labelling signal about understanding Canada and beyond?
Though the politics of institutional recognition has taken on a renewed urgency in Canada’s creative industries, projects of recovery of archives produced by historically marginalized communities in Canada have also begun to emerge. For example, Karina Vernon’s regional Black literary reclamation has helped in the repositioning of Canada in relation to Black diasporic literary historiography, and David Austin’s work has helped to popularize Caribbean Canadian internationalist radicalisms in Montreal during the 1960s. Even when we have the recovery of Caribbean Canadian cultural production through the recuperation of Black Canadian literary history by the archival works of Lorris Elliottor George Elliott Clarke, for example, there are still trails of inquiry to be pursued, namely, how many self-published Caribbean Canadian writers fall beneath the radar of institutional recognition? What are the terms through which recognition is given to Caribbean Canadian writers and artists? To what extent does the critical privileging of anglophone Caribbean cultural production obscure works by other language groups from the Caribbean? Are there provinces in Canada and countries in the Caribbean that attract more attention than others in Caribbean Canadian critical discourse?
In addition to the areas of general concerns outlined above, we invite essays and interviews that focus on both historical and contemporary Caribbean Canadian cultural production including literature, music, film, and visual arts, particularly related to the following topics:
– The recuperation of writers and artists not traditionally recognized as Caribbean Canadian
– Caribbean Canadian and Black Lives Matter
– Caribbean Canadian archival materials
– Institutional networks and supports for Caribbean Canadian art
– Caribbean Canadian art and crises
– LGBTQ+ Caribbean Canadian art
– Women artists and women’s work
– Caribbean Canadian Children’s and Young Adult literature
– Appropriation and Erasure
– Caribbean Canadian Life Writing
– Francophone Caribbean Canadian writing
– Spanish Language Caribbean Canadian writing
– Caribbean Canadian and Indigenous relations
– The reception of Caribbean Canadian art
– Caribbean Canadian art in Western Canada
– Caribbean Canadian film
– Emerging Caribbean Canadian writers and artists
– Self-publishing and traditional publishing of Caribbean Canadian writing
All submissions to Canada & Beyond must be original, unpublished work. Articles, between 6,000 and 7500 words in length, including endnotes and works cited, should follow current MLA bibliographic format. Submissions should be uploaded to Canada & Beyond’s online submissions system (OJS) and simultaneously sent to firstname.lastname@example.org by July 31, 2021 to be peer-reviewed for Issue 10, 2021. For more information please contact the guest editors at the e-mail address above.
|ACLALS Triennial Conference 2022|
|The Ruptured Commons|
July, 11-15, 2022
Toronto, Ontario, Canada
At a time when we are experiencing profound and unexpected disruptions to our shared spaces, routines, economies, societies, and work-lives, ACLALS 2022 proposes that we convene in Toronto (fingers crossed!) to consider the nature and implications of rupture, the commons, and their conjoining: the ruptured commons. And while disease and risk are top of mind these days, imperialism and colonialism were always, of course, forms of severe rupture – to lifeways, cultures, and forms of inhabitation, community, and governance. Capitalism is inherently disruptive, and disruptive technologies (from the printing press to social media, the steam engine to the drone) transform lives and present their own opportunities and threats. Rupture is increasingly becoming a modus operandi among political actors, whether they seek to exploit and accentuate divisions, or, in the case of anti-colonial movements and Black Lives Matter protests, to contest hierarchies, privileges, and prejudices embedded in social attitudes and institutional practice. The increasingly frequent eruptions of such moments raise important questions about social consensus around common realities and common truths.
Garnett Hardin wrote in 1968 about “the tragedy of the commons” – the tendency for publicly owned, shared space to degrade through the neglect, abuse, overuse, and simple taking-for-granted of its multiple owners, who, because there are so many, do not identify as owners and take little responsibility. With each new climate-change study we become more aware of the ways our common environment has seen its natural states and processes violated by human activity. The ruptured commons is at the heart of the concept of the Anthropocene and what Amitav Ghosh has called “the great derangement” of our unsustainable ways. The global pandemic, with its multiple and far-reaching disruptions, has forced us to rethink our common spaces and how we use them, from city streets to airplanes, domestic spaces to workplaces – including academic ones. Indeed, our work as scholars, teachers, and students has been ruptured in countless ways as our institutional commons of classrooms and conferences fragment into rectangle-bound faces and voices on screens. Finally, the “common” in Commonwealth has come under fire for decades, whether by rewriting it as “common poverty” or by rejecting its presence in the names of our discipline and, for some, in ACLALS itself.
At a time when so much of our shared future is uncertain and when we have the opportunity to reimagine the commons, we invite delegates to place notions of rupture and commons in a wide variety of pan-historical contexts and scales from the local to the global. Approaches and topics could include but are not limited to:
Borders and boundaries: disrupted, shored up; transgressed, (re-)imposed
Disruptive histories and aftermaths of imperialism and colonialism, including trans-Atlantic slavery and the legacies of anti-Black racism
Ecological and ecocritical approaches to the literary representation of the commons and of its inhabitants, non-human and human
Finding commonalities, understanding differences
Healing ruptures and reconciliation
Inclusive vs. exclusive models of the commons: access, control, ownership
Indigenous knowledges and perspectives: on ruptured places and times; on the commons
Literature and contagion, health, medicine, and/or dis-ease
Literature and disaster: natural or otherwise
Literature of protest and activism: disrupting the present to transform the future
Mending and reclaiming the commons
New perspectives on risk and the risk society
Representation and inhabitation of common spaces
Resource extraction and the ruptured commons
Rupture as a mode of literary representation
Ruptures of community, culture, economy, family, language
Spaces and places in times of rupture: private and public, physical and virtual; urban, rural and wild
Teaching and scholarship in a time of rupture and as means to disruption
Technology and/as rupture
Confirmed Keynote Speakers include:
Kateri Akiwennze-Damm (University of Toronto)
Lillian Allen (OCAD University)
Cajetan Iheka (Yale University)
Susie O’Brien (McMaster University)
Ruth Vanita (University of Montana)
Proposals for papers and panels on these or other topics of relevance to our discipline are welcome. Abstracts should be no more than 350 words and are to be submitted online by Oct. 1, 2021 here.
This site can also be used to submit panel proposals.