The Channel Posts

On the surface, the story of this image reaches a dead end. I want to know who those women are and who made the sign. Did they know each other? Where did they meet? Who is the photographer? Why are these details so hard to find? 

The marginal symmetry between female authors and their footnotes authorizes the radical deployment of footnotes for women writers: footnotes can not only articulate women’s alienation and assert authorial agency, but in doing so, afford women the opportunity to permeate canonical male literary institutions. 

The film’s representation of the heroines’ interiority does not denote their emancipation from their respective hetero-patriarchal contexts, but it asserts the possibility of their independence despite these circumstances.

In Cohen’s album Death of a Ladies’ Man, he croons from an uncharacteristic third-person perspective which provides a sense of distance between the singer and his highly autobiographical narrative. This vocal space establishes that despite Cohen’s metaphysical death as a lover, his existence as a storyteller continues. 

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.