Volume 12, Number 2, Fall–Winter 2025

EN:

Women and gender non-conforming people living in Saskatchewan, Canada, face staggeringly high rates of gender-based violence (GBV). These rates are disproportionately experienced by Indigenous women, girls, and Two-Spirit or gender-queer individuals, which can be attributed to both historical and ongoing settler-colonial practices. This timely article provides a structural analysis linking GBV against women and gender non-conforming people to the province's settler colonial politics. It does so by applying a feminist intersectional research methodology to a literature review of legislation, policy, provincial budgets, peer-reviewed scholarship, industry-related reports, and media documents. As such, this article argues that GBV perpetrated against Indigenous women is central to settler colonial violence, enabling the settler state to foster settler colonial expansion and Indigenous dispossession, which are power imbalances in urgent need of redistribution. These settler colonial mechanics are readily observable in Saskatchewan, a province at the forefront of settler colonial development in Canada, partly through these staggering and disproportionate GBV rates.

EN:

I investigate the public manifestos of Anders Brevik (2011); Patrick Crusius (2019); Payton Gendron (2022); Frazier Glenn Miller, Jr. (1999, 2002); Elliot Rodger (2014); Dylann Roof (2015), and; Brendon Tarrant (2019). I analyze these documents not as reflections of static identities or ideologies but as discursive mechanism that helps reproduce an ideal White masculinity as an ongoing accomplishment via (1) of defining the problem and assignment of blame in the essentialization of difference; (2) the proposal of prognostic strategies and tactics toward exercising dominance, and; (3) a call to arms through an appeal to emotional virtue. In so doing, I confront popular, media, and scholarly tendencies to psychologize and minimize the social dynamics within contemporary assemblages of White masculinity. I also show how some of the central themes within these manifestos are, despite being labeled as radical, extreme, and sporadic, resonate with widespread, banal, and largely accepted attitudes held by many White Americans today. I then turn to why these manifestos evidence the ongoing accomplishment of crisis white masculinity.

EN:

Anne Moody’s 1968 autobiographical text, Coming of Age in Mississippi, is receiving increased interest during this current moment of legislated anti-Blackness, most observable in the removal/outlawing of Black history and thought. Moody’s early life in the Deep South during the 1940s-1950s and as a foot soldier in the Civil Rights Movement inform how we understand the continuity of anti-blackness and racial terror. Glen Conley, an imprisoned citizen, examines and teaches Anne Moody within a Mississippi prison context. While her book is used across several academic disciplines, the study of Moody within the prison context is not well known. Conley’s political poetry explores Moody’s life and text, bringing renewed attention to themes of Black mental health, survival, and resistance under a harsh U.S. Southern regime. Using a prison-praxis framework, this paper centers the knowledge production from the civically dead (imprisoned population), which allows for broader insights into themes of racialized confinement, criminalization and surveillance. Thus, this essay situates Conley’s scholarship within the lineage of Black imprisoned radical tradition where he draws attention to Moody’s prescient voice during a political climate of overt forms of legislated anti-Blackness and systemic erasure.

EN:

Talkin Back to Johnny Mac is a performance series that I curated in response to the 200th birthday celebrations for John A. Macdonald held in Kingston, Ontario in 2015. Many of the 2015 performances that examined and intervened in the Prime Minister’s ongoing memorialization took place at his statue in Kingston. In 2021, the statue was removed by the city after many requests from community members. I returned to the site of the statue in October 2025 with a new performance series in order to explore the ways in which the site had changed since the removal of the statue, and the ways in which it had stayed the same. This essay explores the performances by artists David Garneau, Leah Decter, Peter Morin and Jimmie Kilpatrick in 2015 and 2025 as a way to consider the colonial narratives that continue to be present at the site of the statue, and the ongoing importance of performance to create spaces for critical and community-oriented interventions.