The Channel Posts

Fred Wah’s Diamond Grill, Eden Robinson’s Monkey Beach, and Madeleine Thien’s “Simple Recipes” use their respective forms to write against the colonial imposition of neatly constructed realist narratives and recipes, instead exploring hybrid forms that allow for the embrace of cultural openness and fluidity.

EXPOSURES sets itself up as a protected space for the Montreal queer community in opposition to an increasingly hostile majority culture. The festival’s underground sanctuary was compromised when, during the pre-screening event on the first evening, CBC Montreal entered the space to report on the festival.

Hester’s labor is not a way in which she suffers, instead it is a way for her to overcome suffering and work around her punishment.

Fanny’s class status leads her to be treated in a way that mirrors colonial affairs tied to the Bertram family. However, Fanny’s ability to display agency related to her romantic desires distances her from this analogy.

Shakespeare’s centralisation of Nerissa as a character in The Merchant of Venice, and the sudden, but inevitable, discarding of Lucetta in The Two Gentlemen of Verona, exemplifies the shift in Shakespeare’s late style as he turned to focus on characters’ interiority, especially that of minor characters, rather than their capacity to facilitate and advance a plot.

Whitehead transposes his experiences of being a marginalized Oji-Cree and queer body onto his protagonist, and represents those pieces of his identity with the motif of the bear that follows Jonny throughout his journey.

During a summer in her early twenties, Nicole struggles with her lack of maturity and direction, seeking a sense of greater fulfillment. Along these lines, one can read Tu Dors Nicole as a bildungsroman, or coming-of-age film.

The Wolf of Wall Street’s incessant use of profanity (the word “fuck” appears over five hundred times in the screenplay) literally gets lost in translation, and, consequently, causes French audiences to misunderstand and misinterpret the film. Through its mistranslation of curse words, the film renders itself inaccessible to Francophone audiences and fosters an Anglocentric viewing experience.

In Apex Hides the Hurt, Colson Whitehead exposes the role of boundaries in the context of race, history and identity. This essay considers how Whitehead works to reinforce or destabilise these demarcations.

Awad’s novel retains the central tropes of a chick flick—namely, an outsider protagonist both repulsed by and attracted to an ‘in-group’ of mean girls—but Awad uses the traditionally youthful and feminine elements of this group to undermine the inculcated reverence of universities as the end-all-be-all of higher education.