Alberta writing has a long tradition. Beginning with the pictographs of Writing-on-Stone, followed by Euro-Canadian exploration texts, the post-treaty writing of the agrarian colonization period, and into the present era, Alberta writing has come to be seen as a distinct literature. In this volume Melnyk and Coates continue the project of scholarly analysis of Alberta literature that they began with Wild Words: Essays on Alberta Literature (2009). They argue that the essays in their new book confirm that Alberta's literary identity is historically contingent with a diverse, changing content, that makes its definition a work-in-progress. The essays in this volume provide contemporary perspectives on major figures in poetry and fiction, such as Robert Kroetsch, Sheila Watson, Alice Major, and Fred Stenson. Other essays bring to light relatively unknown figures such as the Serbian Canadian writer David Albahari and the pioneer clergyman Nestor Dmytrow. Writing Alberta: Building on a Literary Identity offers a detailed discussion of contemporary Indigenous writers, an overview of Alberta historiography of the past century, and the fascinating autobiographical reflections of the novelist Katherine Govier on her literary career and its Alberta influences. This Collection demonstrates that Alberta writers, especially in the contemporary period, are not afraid to uncover, re-think, and re-imagine parts of Alberta history, thereby exposing what had been lain to rest as an unfinished business needing serious re-consideration.

In the past, Western Canada was a place of new directions in human thought and action, migrations of the mind and body, and personal journeys. This book anthology brings together studies exploring the way the west served as a place of constant movement between places of spiritual, subsistence and aesthetic importance. The region, it would seem, gained its very life in the movement of its people. Finding Directions West: Readings that Locate and Dislocate Western Canada’s Past, showcases new Western Canadian research on the places found and inhabited by indigenous people and newcomers, as well as their strategies to situate themselves, move on to new homes or change their environments to recreate the West in profoundly different ways. These studies range from the way indigenous people found representation in museum displays, to the archival home newcomers found for themselves: how, for instance, the LGBT community found a place, or not, in the historical record itself. Other studies examine the means by which Métis communities, finding the west transforming around them, turned to grassroots narratives and historical preservation in order to produce what is now appreciated as vernacular histories of inestimable value. In another study, the issues confronted by the Stoney Nakoda who found their home territory rapidly changing in the treaty and reserve era is examined: how Stoney connections to Indian agents and missionaries allowed them to pursue long-distance subsistence strategies into the pioneer era. The anthology includes an analysis of a lengthy travel diary of an English visitor to Depression-era Alberta, revealing how she perceived the region in a short government-sponsored inquiry. Other studies examine the ways women, themselves newcomers in pioneering society, evaluated new immigrants to the region and sought to extend, or not, the vote to them; and the ways early suffrage activists in Alberta and England by World War I developed key ideas when they cooperated in publicity work in Western Canada. Finding Directions West also includes a study on ranchers and how they initially sought to circumscribe their practices around large landholdings in periods of drought, to the architectural designs imported to places such as the Banff Centre that defied the natural geography of the Rocky Mountains. Too often, Western Canadian history is understood as a fixed, precisely mapped and authoritatively documented place. This anthology prompts readers to think differently about a region where ideas, people and communities were in a constant but energetic flux, and how newcomers converged into sometimes impermanent homes or moved on to new experiences to leave a significant legacy for the present-day.

As playwright, actor, director, teacher, mentor, theatre administrator, and critic, Sharon Pollock has played an integral role in the shaping of Canada’s national theatre tradition. This collection, comprised entirely of new and original assessments of her work and contribution to theatre, is both timely and long overdue.

The cowboy, as perhaps no other figure, has captured the imagination of North Americans for over a century. Before Owen Wister's publication of The Virginian in 1902, the image of the cowboy was essentially that of the dime novel - a rough, violent, one-dimensional drifter, or the stage cowboy variety found in Buffalo Bill Cody's Wild West show. Wister's novel was to transform, almost overnight, this image of the cowboy. Soon after its publication, Wister sent a copy, inscribed "To the hero from the author," to Everett Johnson, a cowboy from Virginia who had been a friend of Wister's in Wyoming in the 1880s. Johnson had migrated to Alberta by the 1890s, eventually settling in the Calgary area. Before his death in 1946, his daughter-in-law, Jean Johnson, transcribed Everett's stories of the old west and collected them into a manuscript, now on deposit in the Glenbow Archives. In The Cowboy Legend, John Jennings, building on Jean Johnson's work, details the evidence that Everett Johnson was the initial and prime inspiration for Wister's cowboy, and in the process shows that Johnson led a fascinating life in his own right. His memories of both the Wyoming and Alberta cattle frontiers provide insight into ranch life on both sides of the border, and the compelling parallel biographies of Johnson and Wister feature vignettes of legendary period figures such as Buffalo Bill Cody, Wild Bill Hickok, Wyatt Earp, and Butch Cassidy, not to mention the best man at Johnson's wedding, Henry Longabaugh, a.k.a. the Sundance Kid. With an impressive range of scholarship and archival research, Jennings melds this realistic study of the cowboy frontier with an intriguing account of Wister's subsequent creation of the cowboy mystique, aided by two close friends and perhaps somewhat unexpected collaborators, Frederic Remington and Theodore Roosevelt. As compulsively readable as it is informative, this unique contribution to western history and literature will be welcomed by fans and scholars alike.

Promoters, Planters, and Pioneers: The Course and Context of Belgian Settlement in Western Canada is a comprehensive study of Belgian settlement in western Canada, Cornelius Jaenen shows that Belgian immigration was unique in its character and brought with it significant benefits out of proportion to its comparatively small numbers. Canada's first Immigration Act (1869) included Belgium among the "preferred countries" from which immigrants should be sought, but unlike many other European countries, Belgium did not encourage its nationals to emigrate to relieve economic, demographic, and social crises, and Belgian officials took a strong interest in their emigrants, monitoring the conditions of settlement and, where fraud was discovered, intervening diplomatically and paying for repatriation. The result was a resourceful body of settlers adaptable to both anglophone and francophone communities and adept at promotion and raising of capital. The first wave of immigration, beginning in the 1880s, consisted mainly of farmers to southern Manitoba and miners to Vancouver Island. A second wave after 1896, facilitated by a direct steamship link to Antwerp, brought more miners, as well as orchard planters to the Okanagan, sugar beet farmers to Alberta, and dairymen to Manitoba. World War I was followed by a further wave of agriculturally oriented settlement, and World War II by a mainly urban and skill-oriented cohort. In all cases, Belgians differed from the larger immigrant groups in that they were not recruited by important immigration societies and did not settle in ethnic blocs. There is probably no one better equipped than Cornelius Jaenen to write the history of the Belgians in western Canada. An eminent historian and the son of Flemish and Walloon Belgian immigrants himself, Professor Jaenen has gleaned, from Belgian and Canadian archival sources and from local, community, and family histories, a story rich in detail and context that will be invaluable to Canadians of Belgian origin as well as scholars and students of western Canadian ethnic and immigration studies.

"Dirty Thirties" is the sobriquet commonly applied to the agricultural crisis in the drylands of southern Saskatchewan in Canada that coincided with the Great Depression, and it is generally assumed that prior to this period healthier, normal conditions prevailed. In Happyland, Curtis McManus contends that the "Dirty Thirties" actually began much earlier and were connected only peripherally to the Depression itself. McManus has mined the rarely consulted records of Rural Municipalities in Saskatchewan, as well as government documents, ministerial correspondence, local community histories, newspapers, and publications of relevant government departments, to tell a story of a quarter-century of stubborn persistence but also of absurdity, despair, social dislocation, moral corrosion, and inconsistent and often inept government policy. Thanks to McManus's rare and welcome blend of sound scholarship and living breathing prose, it is a gripping and evocative story as well.

Hugh Dempsey has for decades been one of Alberta’s most prolific and influential public historians. Author of more than twenty books, he has also been “in on the ground floor” of the development of many key Alberta institutions, including the Indian Association of Alberta, the Historical Society of Alberta, and most importantly, the Glenbow Museum. Now, in his own words, he recounts his interesting and varied careers as journalist, government publicity writer, popular historian, archivist and museum administrator, speaker, and lecturer. Beginning with a compelling account of his childhood in Edmonton in the 1930s - when his family was for a time on relief during the Depression - and his 1940s teenage escapades hitchhiking across the continent, Dempsey’s narrative moves into the frenetic world of post-war urban journalism. A fateful chance assignment as a reporter for the Edmonton Bulletin in February 1950 led to his involvement with the fledgling Indian Association of Alberta, its secretary John Laurie, president James Gladstone, and Gladstone’s daughter Pauline, whom Dempsey would eventually marry. This in turn led to a strong interest in First Nations culture and biography through which Dempsey was able to combine oral history with scholarly records to produce historical writing with a broad popular appeal. During the 1950s, Dempsey helped design early provincial historical recognition programs and began his lifelong involvement with the Historical Society of Alberta. In 1956 he joined the Glenbow Foundation (later Glenbow Museum), where for the next thirty-five years he would play a crucial part in its growth and reputation for excellence, designing and managing the Glenbow Archives and eventually serving as Acting Director of the Museum before retiring in 1991. Written with the trademark Hugh Dempsey eye for detail and lively anecdote, this memoir will be essential and enjoyable reading for anyone interested in western and First Nations history and the growth of key Alberta cultural institutions.

When we think about women settlers on the Prairies, our notions tend to veer between the nostalgic image of the "cheerful helpmate" and the grim deprivation of the "reluctant immigrant." In Looking Back: Canadian Women's Prairie Memoirs and Intersections of Culture, History, and Identity, Leigh Matthews shows how a critical approach to the life-writing of individual prairie women can broaden and deepen our understanding of the settlement era. Reopening for examination a substantial body of memoirs published after 1950 but now largely out of print, Matthews engages critical and feminist theory to close the gap between our polarized stereotypes and the actual lived experiences of rural prairie women. Addressing both the limitations and possibilities of life writing, Matthews presents a sound, well-developed and well-written case for memoir as reconciling female experience to the dominant historiography of the prairie west. Reading for "failures and incoherences," the memoirs considered here reveal women's voices that probe a community's most cherished values and beliefs, reveal its conflicts and contradictions, and call leaders to account. - Catherine Cavanaugh, Athabasca University

My Name Is Lola, contains the collected memories of Lola Rozsa - of her life and service to her family, her church, and her community as she and her husband, Ted, made their way from the tiny towns of the Depression-era, dust bowl southern plains to the burgeoning oil fields of Alberta in 1949. As Ted struggled to build his first seismic company, Lola raised their children in Calgary, an environment far different from the home in Texas she desperately missed. However, the values taught her by her preacher father stood her in good stead as she immersed herself in service for her new community. For the next sixty years, as Ted prospered, they made Calgary their home and, along with other industry pioneers, helped to build many of the enduring cultural institutions in Calgary.