Canadian Women in Print, 1750—1918 is the first historical examination of women’s engagement with multiple aspects of print over some two hundred years, from the settlers who wrote diaries and letters to the New Women who argued for ballots and equal rights. Considering women’s published writing as an intervention in the public sphere of national and material print culture, this book uses approaches from book history to address the working and living conditions of women who wrote in many genres and for many reasons. This study situates English Canadian authors within an extensive framework that includes francophone writers as well as women’s work as compositors, bookbinders, and interveners in public access to print. Literary authorship is shown to be one point on a spectrum that ranges from missionary writing, temperance advocacy, and educational texts to journalism and travel accounts by New Woman adventurers. Familiar figures such as Susanna Moodie, L.M. Montgomery, Nellie McClung, Pauline Johnson, and Sara Jeannette Duncan are contextualized by writers whose names are less well known (such as Madge Macbeth and Agnes Laut) and by many others whose writings and biographies have vanished into the recesses of history. Readers will learn of the surprising range of writing and publishing performed by early Canadian women under various ideological, biographical, and cultural motivations and circumstances. Some expressed reluctance while others eagerly sought literary careers. Together they did much more to shape Canada’s cultural history than has heretofore been recognized.

Canadian Women in Print, 1750—1918 is the first historical examination of women’s engagement with multiple aspects of print over some two hundred years, from the settlers who wrote diaries and letters to the New Women who argued for ballots and equal rights. Considering women’s published writing as an intervention in the public sphere of national and material print culture, this book uses approaches from book history to address the working and living conditions of women who wrote in many genres and for many reasons. This study situates English Canadian authors within an extensive framework that includes francophone writers as well as women’s work as compositors, bookbinders, and interveners in public access to print. Literary authorship is shown to be one point on a spectrum that ranges from missionary writing, temperance advocacy, and educational texts to journalism and travel accounts by New Woman adventurers. Familiar figures such as Susanna Moodie, L.M. Montgomery, Nellie McClung, Pauline Johnson, and Sara Jeannette Duncan are contextualized by writers whose names are less well known (such as Madge Macbeth and Agnes Laut) and by many others whose writings and biographies have vanished into the recesses of history. Readers will learn of the surprising range of writing and publishing performed by early Canadian women under various ideological, biographical, and cultural motivations and circumstances. Some expressed reluctance while others eagerly sought literary careers. Together they did much more to shape Canada’s cultural history than has heretofore been recognized.

Eastern Encounters releases early Canadian women writers from a simple focus on autobiography and racial politics and interrogates their specific and sophisticated Asian influences. With a compelling reconstruction of historical context, Ganz has created perhaps the first book in a much-needed series that will revisit Canadian nationalism through the important cultural exchanges she examines. Though shaped with an Asian readership in mind, Eastern Encounters is an important work for all who wish to challenge the notion that Judeo-Christian traditions almost exclusively shaped early Canadian discourse.

Toronto Trailblazers explores the influence of seven key women who, despite pervasive gender bias, helped advance a modern literary culture for Canada. Publisher Irene Clarke, scholarly editors Eleanor Harman and Francess Halpenny, trade editors Sybil Hutchinson, Claire Pratt, and Anna Porter, and literary agent Bella Pomer made the most of their vocational prospects, first by securing their respective positions and then by refining their professional methods. Individually, each woman asserted her agency by adapting orthodox ways of working within Canadian publishing. Collectively, their overarching approach emerged as a feminist practice. Through their vision and method these trailblazing women disrupted the dominant masculine paradigm and helped transform publishing practice in Canada.

The Oxford Handbook of Canadian Literature provides a broad-ranging introduction to some of the key critical fields, genres, and periods in Canadian literary studies. The essays in this volume, written by prominent theorists in the field, reflect the plurality of critical perspectives, regional and historical specializations, and theoretical positions that constitute the field of Canadian literary criticism across a range of genres and historical periods. The volume provides a dynamic introduction to current areas of critical interest, including (1) attention to the links between the literary and the public sphere, encompassing such topics as neoliberalism, trauma and memory, citizenship, material culture, literary prizes, disability studies, literature and history, digital cultures, globalization studies, and environmentalism or ecocriticism; (2) interest in Indigenous literatures and settler-Indigenous relations; (3) attention to multiple diasporic and postcolonial contexts within Canada; (4) interest in the institutionalization of Canadian literature as a discipline; (5) a turn towards book history and literary history, with a renewed interest in early Canadian literature; (6) a growing interest in articulating the affective character of the "literary" - including an interest in affect theory, mourning, melancholy, haunting, memory, and autobiography. The book represents a diverse array of interests -- from the revival of early Canadian writing, to the continued interest in Indigenous, regional, and diasporic traditions, to more recent discussions of globalization, market forces, and neoliberalism. It includes a distinct section dedicated to Indigenous literatures and traditions, as well as a section that reflects on the discipline of Canadian literature as a whole.

Calling upon the archives of Canadian writers E. Pauline Johnson (1861–1913), Emily Carr (1871–1945), Sheila Watson (1909–1998), Jane Rule (1931–2007), and M. NourbeSe Philip (1947– ), Linda M. Morra explores the ways in which women’s archives have been uniquely conceptualized in scholarly discourses and shaped by socio-political forces. She also provides a framework for understanding the creative interventions these women staged to protect their records. Through these case studies, Morra traces the influence of institutions such as national archives and libraries, and regulatory bodies such as border service agencies on the creation, presentation, and preservation of women's archival collections. The deliberate selection of the five literary case studies allows Morra to examine changing archival practices over time, shifting definitions of nationhood and national literary history, varying treatments of race, gender, and sexual orientation, and the ways in which these forces affected the writers’ reputations and their archives. Morra also productively reflects on Jacques Derrida’s Archive Fever and postmodern feminist scholarship related to the relationship between writing, authority, and identity to showcase the ways in which female writers in Canada have represented themselves and their careers in the public record.