Chad Weidner reviews Critical Collaborations: Indigeneity, Diaspora, and Ecology in Canadian Literary Studies edited by Smaro Kamboureli and Christl Verduyn

Weidner, Chad

English

Wilfrid Laurier University

The GooseVolume 14 | No. 1 Article 348-24-2015Critical Collaborations: Indigeneity, Diaspora, andEcology in Canadian Literary Studies edited bySmaro Kamboureli and Christl VerduynChad WeidnerUtrecht University, UCRPart of the Critical and Cultural Studies Commons, Literature in English, North AmericaCommons, Nature and Society Relations Commons, and the Place and Environment CommonsFollow this and additional works at / Suivez-nous ainsi que d’autres travaux et œuvres:https://scholars.wlu.ca/thegooseThis article is brought to you for free and open access by Scholars Commons @ Laurier. It has been accepted for inclusion in The Goose by anauthorized editor of Scholars Commons @ Laurier. For more information, please contact scholarscommons@wlu.ca.Cet article vous est accessible gratuitement et en libre accès grâce à Scholars Commons @ Laurier. Le texte a été approuvé pour faire partie intégrantede la revue The Goose par un rédacteur autorisé de Scholars Commons @ Laurier. Pour de plus amples informations, contactezscholarscommons@wlu.ca.Recommended Citation / Citation recommandéeWeidner, Chad. "Critical Collaborations: Indigeneity, Diaspora, and Ecology in Canadian Literary Studies edited by SmaroKamboureli and Christl Verduyn." The Goose, vol. 14 , no. 1 , article 34, 2015,https://scholars.wlu.ca/thegoose/vol14/iss1/34.Critical Collaborations: Indigeneity, Diaspora, and Ecology in Canadian Literary Studies edited by SMARO KAMBOURELI and CHRISTL VERDUYN  Wilfrid Laurier UP, 2014 $32.24 Reviewed by CHAD WEIDNER Conferences and workshops in ecocriticism abound, but not enough publications emerge from these endeavors. Smaro Kamboureli and Christl Verduyn's Critical Collaborations: Indigeneity, Diaspora, and Ecology in Canadian Literary Studies is an exception, and tries to show the breadth and depth present in contemporary Canadian ecocritical scholarship. This book is part of the ambitious wider TransCanada conferences project. The third volume in the series, Critical Collaborations seeks to expand the possibilities of Canadian literary culture, highlighting modesty and community, while acknowledging the real limits of present-day systems and thinking. While dedicated to Canadianness in a very broad sense, the book brings together a number of diverse views. In the preface to the book, Kamboureli stresses that the collection highlights three specific matters of importance: "Indigeneity, diaspora, and ecology" (4). Kamboureli and Verduyn wrote the introduction and conclusion to the book and, placed between those chapters, are eleven papers by a diverse set of Canadian thinkers and critics. Broad both in terms of scope and vision, this book will be particularly interesting for those working in Canadian ecocriticism, Canadian literature, diaspora studies, ethnic studies, or North American literature more widely. While it is not possible to go through every essay here, a brief discussion of representative chapters should provide a good sense of the argumentation and direction of the larger collection.   Roy Miki's paper, entitled "Belief as/in Methodology as/in Form: Doing Justice to CanLit Studies," challenges the accepted divide between scholarly and creative work. The chapter begins with a general discussion of Northrop Frye and views on the pastoral. Miki says that Frye's writing constitutes an important moment in the formation of CanLit. More specifically, Miki says a number of "connectives . . . bring form, belief, and methodology" into alignment (35). Miki then discusses relevant issues central to current debates in higher education today, including "the corporatization of university spaces," "[r]esearch capitalism," and "maximization of profits" (36). I find this section especially compelling even if a bit polemical. What follows is a very interesting discussion of the divide between critical scholarship and more creative endeavors. Miki argues: "Even when we pay lip service to the creative as an embodied mode of consciousness, it is the rational that is sanctified as the sign of legitimate knowledge" (37). Such a view seems to challenge existing distinctions between critical and creative efforts. Miki then suggests that a better way of thinking about art might be the development of what he calls "Creative Critical Reading Practices (39)," a call that has been made elsewhere in order to bring criticism and creation together. The realization of such practices might help us to move beyond present modes of thinking.   Catriona Sandilands' "Acts of Nature: Literature, Excess, and Environmental Politics" discusses the role of ecocriticism today, especially in terms of moving "towards politics" as well as possibly finding "particular roles for itself in politics" (her emphasis 128). Such an obvious ideological ecocriticism puts North 1Weidner: Critical CollaborationsPublished by / Publié par Scholars Commons @ Laurier, 2015American variants seemingly as odds with European developments in the field, which seem more predicated on theoretical considerations. Sandilands goes on to suggest, "ecocriticism offers the potential to constitute, rather than merely represent, a world among us" (her emphasis 129). Sandilands discusses views of Martha Nussbaum, Glen Love, and Greg Garrard. Sandilands sees potential problems with these views, in a section that I found particularly nuanced and insightful. While Love and Garrard seem to suggest that literary studies should yield to science on questions of ecology, Sandilands stresses Nussbaum's view that "literary experience is a necessary corrective to rational deduction," especially in a political sense (129). The essay then puts forward an "Arendtian view of ecocritical politics" that is based on the work of Hannah Arendt (136). Sandilands carries out readings of pieces by Hannah Arendt and Dionne Brand. She eventually concedes both the limits and potentials of language to express environmental concerns fully. She states that the "incompletion of the [poet's] task" does not diminish the significance of the attempt (140). This is a very intriguing essay, and I would like to know how Sandilands might suggest that Canadian literary critics take the next step. In her view, is it necessary for ecocritics to engage in the political process directly? I can imagine many European ecocritics becoming uncomfortable with such a suggestion. Then again, the collection is about Canadian approaches to ecocritical thinking. Sandilands says a wider discussion about what constitutes environmental praxis is needed.   Christl Verduyn's "Critical Allegiances" is the final paper in the collection, and reflects on the potential of the TransCanada project. She says the venture is a crucial part of a genuine emergent shift in English-language Canadian studies. While Verduyn is persuasive in arguing for greater transdisciplinary work, I am still left with some questions. I would like to have seen a much more serious discussion of the sometimes-murky distinctions between Canadian and American forms of contemporary ecocritical thinking. Just what exactly constitutes Canadian ecocriticism, and how is it different from American, British, and European manifestations? The TransCanada project is ongoing, so perhaps this question can be addressed more fully in the future.    Critical Collaborations is a successful collection. The development of a confident and sustained Canadian conversation in ecocriticism is long overdue. Critical Collaborations is useful in discovering the diversity of contemporary Canadian ecocriticism, and for this reason, it is very worthwhile.   CHAD WEIDNER teaches English and film at University College Roosevelt, Utrecht University, in the Netherlands. He has published on ecocriticism, experimental aesthetics, Dadaist film, William Burroughs, and other Beat Generation writers.                    2The Goose, Vol. 14, No. 1 [2015], Art. 34https://scholars.wlu.ca/thegoose/vol14/iss1/34

Critical Collaborations: Indigeneity, Diaspora, and Ecology in Canadian Literary Studies edited by Smaro Kamboureli and Christl Verduyn

Scholars Commons

The Goose
Volume 14 | No. 1 Article 34
8-24-2015
Critical Collaborations: Indigeneity, Diaspora, and
Ecology in Canadian Literary Studies edited by
Smaro Kamboureli and Christl Verduyn
Chad Weidner
Utrecht University, UCR
Part of the Critical and Cultural Studies Commons, Literature in English, North America
Commons, Nature and Society Relations Commons, and the Place and Environment Commons
Follow this and additional works at / Suivez-nous ainsi que d’autres travaux et œuvres:
https://scholars.wlu.ca/thegoose
This article is brought to you for free and open access by Scholars Commons @ Laurier. It has been accepted for inclusion in The Goose by an
authorized editor of Scholars Commons @ Laurier. For more information, please contact scholarscommons@wlu.ca.
Cet article vous est accessible gratuitement et en libre accès grâce à Scholars Commons @ Laurier. Le texte a été approuvé pour faire partie intégrante
de la revue The Goose par un rédacteur autorisé de Scholars Commons @ Laurier. Pour de plus amples informations, contactez
scholarscommons@wlu.ca.
Recommended Citation / Citation recommandée
Weidner, Chad. "Critical Collaborations: Indigeneity, Diaspora, and Ecology in Canadian Literary Studies edited by Smaro
Kamboureli and Christl Verduyn." The Goose, vol. 14 , no. 1 , article 34, 2015,
https://scholars.wlu.ca/thegoose/vol14/iss1/34.
Critical Collaborations: Indigeneity, 
Diaspora, and Ecology in Canadian Literary 
Studies edited by SMARO KAMBOURELI 
and CHRISTL VERDUYN  
Wilfrid Laurier UP, 2014 $32.24 
Reviewed by CHAD WEIDNER 
Conferences and workshops in ecocriticism 
abound, but not enough publications 
emerge from these endeavors. Smaro 
Kamboureli and Christl Verduyn's Critical 
Collaborations: Indigeneity, Diaspora, and 
Ecology in Canadian Literary Studies is an 
exception, and tries to show the breadth 
and depth present in contemporary 
Canadian ecocritical scholarship. This book 
is part of the ambitious wider TransCanada 
conferences project. The third volume in 
the series, Critical Collaborations seeks to 
expand the possibilities of Canadian literary 
culture, highlighting modesty and 
community, while acknowledging the real 
limits of present-day systems and thinking. 
While dedicated to Canadianness in a very 
broad sense, the book brings together a 
number of diverse views. In the preface to 
the book, Kamboureli stresses that the 
collection highlights three specific matters 
of importance: "Indigeneity, diaspora, and 
ecology" (4). Kamboureli and Verduyn 
wrote the introduction and conclusion to 
the book and, placed between those 
chapters, are eleven papers by a diverse set 
of Canadian thinkers and critics. Broad both 
in terms of scope and vision, this book will 
be particularly interesting for those working 
in Canadian ecocriticism, Canadian 
literature, diaspora studies, ethnic studies, 
or North American literature more widely. 
While it is not possible to go through every 
essay here, a brief discussion of 
representative chapters should provide a 
good sense of the argumentation and 
direction of the larger collection. 
  Roy Miki's paper, entitled "Belief 
as/in Methodology as/in Form: Doing 
Justice to CanLit Studies," challenges the 
accepted divide between scholarly and 
creative work. The chapter begins with a 
general discussion of Northrop Frye and 
views on the pastoral. Miki says that Frye's 
writing constitutes an important moment in 
the formation of CanLit. More specifically, 
Miki says a number of "connectives . . . 
bring form, belief, and methodology" into 
alignment (35). Miki then discusses relevant 
issues central to current debates in higher 
education today, including "the 
corporatization of university spaces," 
"[r]esearch capitalism," and "maximization 
of profits" (36). I find this section especially 
compelling even if a bit polemical. What 
follows is a very interesting discussion of 
the divide between critical scholarship and 
more creative endeavors. Miki argues: 
"Even when we pay lip service to the 
creative as an embodied mode of 
consciousness, it is the rational that is 
sanctified as the sign of legitimate 
knowledge" (37). Such a view seems to 
challenge existing distinctions between 
critical and creative efforts. Miki then 
suggests that a better way of thinking about 
art might be the development of what he 
calls "Creative Critical Reading Practices 
(39)," a call that has been made elsewhere 
in order to bring criticism and creation 
together. The realization of such practices 
might help us to move beyond present 
modes of thinking. 
  Catriona Sandilands' "Acts of 
Nature: Literature, Excess, and 
Environmental Politics" discusses the role of 
ecocriticism today, especially in terms of 
moving "towards politics" as well as 
possibly finding "particular roles for itself in 
politics" (her emphasis 128). Such an 
obvious ideological ecocriticism puts North 
1
Weidner: Critical Collaborations
Published by / Publié par Scholars Commons @ Laurier, 2015
American variants seemingly as odds with 
European developments in the field, which 
seem more predicated on theoretical 
considerations. Sandilands goes on to 
suggest, "ecocriticism offers the potential to 
constitute, rather than merely represent, a 
world among us" (her emphasis 129). 
Sandilands discusses views of Martha 
Nussbaum, Glen Love, and Greg Garrard. 
Sandilands sees potential problems with 
these views, in a section that I found 
particularly nuanced and insightful. While 
Love and Garrard seem to suggest that 
literary studies should yield to science on 
questions of ecology, Sandilands stresses 
Nussbaum's view that "literary experience 
is a necessary corrective to rational 
deduction," especially in a political sense 
(129). The essay then puts forward an 
"Arendtian view of ecocritical politics" that 
is based on the work of Hannah Arendt 
(136). Sandilands carries out readings of 
pieces by Hannah Arendt and Dionne Brand. 
She eventually concedes both the limits and 
potentials of language to express 
environmental concerns fully. She states 
that the "incompletion of the [poet's] task" 
does not diminish the significance of the 
attempt (140). This is a very intriguing 
essay, and I would like to know how 
Sandilands might suggest that Canadian 
literary critics take the next step. In her 
view, is it necessary for ecocritics to engage 
in the political process directly? I can 
imagine many European ecocritics 
becoming uncomfortable with such a 
suggestion. Then again, the collection is 
about Canadian approaches to ecocritical 
thinking. Sandilands says a wider discussion 
about what constitutes environmental 
praxis is needed. 
  Christl Verduyn's "Critical 
Allegiances" is the final paper in the 
collection, and reflects on the potential of 
the TransCanada project. She says the 
venture is a crucial part of a genuine 
emergent shift in English-language 
Canadian studies. While Verduyn is 
persuasive in arguing for greater 
transdisciplinary work, I am still left with 
some questions. I would like to have seen a 
much more serious discussion of the 
sometimes-murky distinctions between 
Canadian and American forms of 
contemporary ecocritical thinking. Just 
what exactly constitutes Canadian 
ecocriticism, and how is it different from 
American, British, and European 
manifestations? The TransCanada project is 
ongoing, so perhaps this question can be 
addressed more fully in the future.  
  Critical Collaborations is a successful 
collection. The development of a confident 
and sustained Canadian conversation in 
ecocriticism is long overdue. Critical 
Collaborations is useful in discovering the 
diversity of contemporary Canadian 
ecocriticism, and for this reason, it is very 
worthwhile.   
CHAD WEIDNER teaches English and film at 
University College Roosevelt, Utrecht 
University, in the Netherlands. He has 
published on ecocriticism, experimental 
aesthetics, Dadaist film, William Burroughs, 
and other Beat Generation writers.  
 
                 
2
The Goose, Vol. 14, No. 1 [2015], Art. 34
https://scholars.wlu.ca/thegoose/vol14/iss1/34


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Critical Collaborations: Indigeneity, Diaspora, and Ecology in Canadian Literary Studies edited by Smaro Kamboureli and Christl Verduyn

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