Parallel Encounters: Culture at the Canada-US Border

Index

Acknowledgements

THE CONVERSATIONS ABOUT THE CULTURAL implications of the Canada–US border that inform this book began at the Culture and the Canada–US Border Conference at the University of Kent in June 2009. We wish to express our gratitude to our delegates, many of whom travelled a long way from North America in order to discuss that continent’s borders. Your fierce intelligence and commitment have fuelled the production of this volume, as well as the Culture and the Canada–US Border special issue of American Review of Canadian Studies (40.2, 2010). We would like to thank the institutions that supported the conference, namely DFAIT (through its sadly now-defunct Canada Conference Grant), the Foundation for Canadian Studies in the UK, the University of Nottingham’s School of American and Canadian Studies, and the University of Kent’s Faculty of Humanities research development fund, School of English, Centre for American Studies, and Kent Institute for Advanced Studies in the Humanities. For their assistance and support during the planning stages and the conference itself, many thanks to Maureen Kincaid Speller, Gonzalo Ceron García, and Christopher Moore.

We thank our contributors for their enormous amounts of hard work, patience, and perseverance. Thanks too to our editor at Wilfrid Laurier University Press, Lisa Quinn, for her faith in this book. We gratefully acknowledge our anonymous readers for their insightful comments and helpful advice, and the following artists and writers for generous permission to reproduce their work: Rebecca Belmore, Daphne Marlatt, Christian Bök, Alex McKay, and Alan Michelson, and the Anne & Gordon Samstag Museum of Art. For their invaluable support during the production of this volume, we would like to thank Steve Cole, Sheryl Groeneweg, Donna Landry, and John Purdy, in particular, and our colleagues at the Universities of Nottingham and Kent in general. Most especially, we thank our families: Matthew Welton; and Jo, Florence, and Ottilie Stirrup.

one

Introduction

Culture at the 49th Parallel

Nationalism, Indigeneity, and the Hemispheric

Gillian Roberts and David Stirrup

he crossed. the border

line in a northern corner

                                                                                                       four

                                                                                         cardinal                      points

                                                                                              for

a better over there. created a here.

                                                                         one foot in A                 one foot in a

                                                                         merica                                Canada.

Wayde Compton, Legba, Landed, 49th Parallel Psalm

IT IS WIDELY ACKNOWLEDGED that the Canada–US border has long been an important symbol in the Canadian imaginary, considered a site of cultural defence for Canadian identity against US hegemony. Yet it is also plainly the case that the Canada–US border provides a prism through which and at which broader questions of political, economic, and cultural relations within the Americas come into focus. Given the ratification of the Free Trade Agreement in 1989 and of NAFTA in 1994, the events of 11 September 2001 and their fallout for Canada–US relations, the challenges to Canadian nationalism from Indigenous and subnational groups, and recent expansions of how American Studies as a discipline is conceptualized, Parallel Encounters argues that it is imperative that we revisit the cultural implications of what has traditionally been celebrated as the longest undefended border in the world. Cultural texts continue to invoke the Canada–US border, identifying it variously as a protective barrier for Canada against the threat of Americanization; a site of policing bodies and identities marked by racialization, gender, and sexuality; a threat to Indigenous sovereignties; a dividing line between a welfare state and the epitome of capitalism; a zone where state-funded culture meant to be good for us stands guard against imported popular culture; a contact zone where reading and viewing practices might be inflected with national significance; and what appears to be a sharp contrast to the militarized US–Mexico border, even while trade agreements such as NAFTA locate Canada increasingly in relation to Mexico in particular and the Americas more generally. As a result, we see the need for what Bryce Traister terms a critical borderlands practice (34) in order to examine thoroughly the implications of the Canada–US border without romanticizing what the border might represent for what is often misconceived of, particularly in popular border texts, as a homogeneous and unified Canada.

Our focus on the Canada–US border both draws on US–Mexico Border Studies, the birthplace of the Border Studies discipline (Michaelsen and Johnson 1), and tests the limits of how far site-specific analysis of the border can travel from its point of origin. If the US–Mexico border is, to quote a seminal text in US–Mexico Border Studies, "una herida abierta [an open wound] where the Third World grates against the first and bleeds (Anzaldúa 25), the Canada–US border presents less of a brutal juxtaposition. Yet the subtle distinctions between Canada and the United States have long exercised Canadian cultural producers and Canadian Studies scholars, and now more than ever we argue the 49th parallel represents at once a barrier, a conduit and a transition zone (Konrad and Nicol 22), a boundary paradoxically both circumvented and rendered more visible by the forces of globalization. Examination of the cultural import of the Canada–US border, that literal demarcation of difference [that] takes on almost allegorical status (Brown 4) from some Canadian perspectives, might be seen in recent decades to overlap with the aims of a reconfigured American Studies in its new, post-national, transnational, and hemispheric paradigms, which have sought to dislodge the primacy of a hegemonic (white, Anglo) Americanness in favour of approaches that address the multiplicities of American identity and that challenge the conflation of America" with the United States by looking beyond US borders. However, despite John Carlos Rowe’s entreaty in Post-Nationalist American Studies (2000) to take into account at the very least the different nationalities, cultures, and languages of the Western hemisphere, including Canada (25), most of the newly reconfigured American Studies work to date has focused its energies southward to the US–Mexico borderlands and the relationship between the United States and Latin America. In proposing that the new interest in border studies should include investigations of how the many different Americas and Canada have historically influenced and interpreted each other (25), Rowe betrays a conceptual slip (Traister 47) wherein Americas is multiple and Canada singular, yet also abstracted, or indeed extracted, from the Americas.

Canada has been marginalized in these newer disciplinary incarnations of American Studies, despite its invocation in the litany of locations that mount challenges to the US-centric model. While Canada has been included in recent texts by US-based scholars working within Hemispheric American Studies, such as Claudia Sadowski-Smith’s Border Fictions and Rachel Adams’s Continental Divides, many hemispheric projects have often inserted Canada into a pre-existing American Studies framework that, even as an attempt to redefine disciplinary boundaries, fails to take Canadian Studies into account. Moreover, academic interest in Canada–US relations, particularly in the United States, often emerges from political science and international relations frameworks. Canadian Studies has long engaged questions about national borders and cultural comparisons between Canada and the United States, as evidenced by such texts as David Staines’s collection The Canadian Imagination (1977), Robert Lecker’s collection Borderlands (1991), Ian Angus’s A Border Within (1997), W.H. New’s Borderlands: How We Talk about Canada (1998), Laurie Ricou’s The Arbutus/Madrone Files (2002), Arnold E. Davidson, Priscilla L. Walton, and Jennifer Andrews’s Border Crossings: Thomas King’s Comic Inversions (2003), Katherine L. Morrison’s Canadians Are Not Americans (2003), and Winfried Siemerling’s The New North American Studies (2005); however, the offerings of Canadian Studies as a discipline have been largely neglected as many American Studies scholars seek to expand their object, rather than their method, of study. As Traister argues, Simply wanting to move the grasp of American Studies scholarship beyond U.S. borders because its currently ‘embordered’ status represents a form of thinking we distrust fails to account for the persistent realities of meaningful cultural difference that national borders entail (47). These borders, we emphasize, affect and inflect not only cultural products but also disciplinary perspectives. As such, despite their efforts to the contrary, reconfigured American Studies projects often fail to transcend the status of the additive move (Adams, Northern 314) where Canada is concerned, and have not genuinely transformed Canada–US Border Studies in ways that are useful for Canadianist scholars. In Continental Divides, Adams’s own positioning is, perhaps necessarily, exclusive in her discussion of Mohawk artist Shelley Niro’s installation The Border: Given its title, we might expect it to take on the better-known controversies associated with the U.S.–Mexico border (30). Adams’s unspecified we here will come as a surprise to Canadians and Canadian Studies scholars, given the 49th parallel’s long-standing function as a metonym for Canada in Canadian culture, not to mention the prominence of the Mohawks’ relationship to the border, particularly since the so-called Oka Crisis in 1990. Opening up the Canada–US border as discursive terrain to examine its function in and in relation to cultural texts is therefore, we assert here, a timely and necessary move.

Lost Canadians and Nationalist Constructions

The January–February 2011 issue of the Canadian magazine The Walrus includes an article by Grant Stoddard on the lost Canadians, residents of the Northwest Angle and Islands in Minnesota, the only part of the continental US north of the forty-ninth parallel (26). In the Angle, created by a somewhat haphazard process of border surveying, anything from visiting a doctor to buying fabric softener involves crossing an international border four times (27). In 1997, the neighbouring Canadian province of Ontario imposed limits on American fishing in its waters, harming the Angle’s economy, which is underpinned by walleye fishing. The community, feeling that its concerns were not being addressed by Congress, announced their desire to secede and join Canada. Their action, which they admitted to Stoddart had been a publicity stunt, was ultimately resolved: the Ontario laws were found to be in violation of NAFTA.

Throughout his article, Stoddard underscores the artificiality of the nation-state border, which, due to a map-maker’s error (24), has seemingly positioned the residents of the Northwest Angle in the wrong country. The blatantly synthetic (26) border is nothing if not completely and utterly arbitrary (24), Stoddard asserts, and the Northwest Angle’s national location is the product of a comically unwieldy (24) article in the Anglo-American Convention (1818). Yet Stoddard, probing the implications of the lost Canadians, consistently infuses this blatantly synthetic border with meaning, confessing his desire to persuade the residents of the Angle that Canada is the better place (26): Wouldn’t it benefit the Angle to come over to our side? (30). Stoddart comes armed with an array of statistics about quality of life and economic prosperity, yet he finds that he cannot convince the Angle’s residents of the benefits of a mere flag swap (31), even if they already drink Canadian Club and listen to the CBC.

Stoddard asserts at the beginning of his article that [o]ne of the most striking things separating the United States and Canada is the line that divides the United States from Canada (24). The border, then, is both one element among many that testify to Canada–US difference and a symbol of all the other differences between the two countries. His presentation of the border—arbitrary, artificial, yet culturally significant—echoes the position of many Canadian border texts in its simultaneous acknowledgement of the absurdities of cartography and its insistence upon the national implications engendered by the imaginary line between Canada and the United States.

The notion that the Canada–US border safeguards Canadian distinctiveness and cultural sovereignty is nothing new. More than three decades ago, Eli Mandel argued that the border between America and Canada is of enormous importance in the imaginative life of any Canadian (105). The border features in countless Canadian cultural texts, and Mandel’s assignation of its importance exclusively to Canadians is telling here, a tacit acknowledgement that it has less cultural significance to US Americans. Yet it is also telling that he does not qualify which Canadians see it as significant. Ian Angus, meanwhile, argues that "[a]ll concern with English Canadian identity, formulated abstractly, is engaged in maintaining a border between us and the United States" (47). His point—that Anglo-Canadian identity requires the border to function as a kind of buffer—implicitly acknowledges that French Canadian and Québécois identities have another dominant group against which they are defined. But further qualifications to Mandel’s and Angus’s assertions introduce additional complications regarding the border’s relevance to communities living in the territories claimed by the Canadian and American nation-states.

Stoddard’s article gestures briefly toward the colonial legacy that is inherent in the Canada–US border. First, he is introduced to Angle Inlet’s one-room school’s international student, a seven-year-old First Nations child [who] lives on Chippewa land that straddles the United States and Canada (28). But Stoddard focuses more on the student’s need to travel to school by motorboat than on the implications of Indigenous land straddling the nation-state boundary. Second, he similarly invokes the injustice of settler-invader demarcations imposed on Indigenous lands, only to drop the issue when he recounts the Angle’s (white) residents’ announcement of their desire to secede: Those left in the dark included members of the Red Lake Indian band, who hold 70 percent of the Northwest Angle’s land (30). Although we hear that Red Lake chief Bobby Whitefeather received a profus[e] (30) apology, Stoddard does not speak to members of Red Lake themselves, and he continues to ignore the specifically colonial Euro-North American history that produced the cartographic anomaly of the Northwest Angle. It is of course just that—an anomaly—but it offers momentary insight not only into the arbitrary angles of demarcation but also into the ongoing impact of that historic process, while simultaneously conjuring a notion of the borderlands as at once stable and cohesive, and contingent and conditional. In a sense, the Northwest Angle provides a highly visible example of borderlands development, insofar as the borderlands have emerged and have been transformed from distinct places separated by a boundary to a more common place where people co-exist and cooperate across the border (Konrad and Nicol 23). Regardless of the socio-cultural constitution of the Angle and its immediate neighbours, it is precisely the fastness of the border, even in this most counterintuitive of locations, that maintains its citizens’ identities as legally and politically US American.

Indigeneity and Imposition

The above anecdote presents one scenario in which the border figures as solidly for US Americans as it has tended to for Canadians (at least in terms of cultural and national identities). But in that tension between the arbitrariness of the line and the determinacy of what it represents—US citizenship—it also highlights the other pervasive role of the Canada–US border in US cultural narratives: as arbiter, mediator, and moderator of the rights and duties of the citizenry. Two of the most potent instances of the border functioning in this manner for Americans since the mid-twentieth century are the Vietnam War draft resistance and 9/11. While the former carries echoes of nineteenth-century iterations of the Canada–US border as liberating agent—from the Underground Railroad through Sitting Bull’s escape to Canada, to (albeit for very different reasons) the Fenian invasions of Canada in 1865 and 1870)—the latter in fact spells the potential triumph of rightist perceptions in the United States that ultimately, Canada poses more of a threat than a promise. Nevertheless, during the turbulent years of the Civil Rights and antiwar era, Canada provided a vision of safety to the conscientious objector and the draft resister and was the locus of the largest politically motivated outmigration of people in the history of the United States (Hardwick and Mansfield 384). Threat or promise, the border and its crossings signal Canada’s perceived greater liberalism, which is often projected onto real events such as the gathering of the Niagara Movement (later to become the NAACP) at Fort Erie, Ontario, in 1905. Whether W.E.B. Du Bois’s desire for privacy and a modicum of secrecy led him to the secluded Erie Beach Hotel, or whether, as the apocryphal version has it, they failed to secure a venue in Buffalo, New York, due to prejudice, such instances feed both off and into perceptions that Canada is more tolerant of racial, ethnic, sexual, and gender difference. Such perceptions continue to fuel misperceptions in certain quarters on the US right that the 9/11 terrorists were admitted as a consequence of Canada’s lax border controls.

That this greater sense of tolerance can be illusory is arguably nowhere more evident than in the two nation-states’ current treatment of Indigenous peoples. Events more recent than the Angle’s secession publicity stunt emphasize the extent to which the Canada–US border continues to operate as a colonial imposition and contributes to attempts to impose nation-state citizenship on Indigenous communities. In April 2010 a Mohawk delegation from Kahnawake encountered difficulty travelling home from Bolivia, where they had been participating in the World People’s Conference on Climate Change and the Rights of Mother Earth. They experienced a small delay leaving Pearson, with the airline consulting a Canada Customs agent to verify their Haudenosaunee passports: Oh, they’re Indigenous, they can go where they want (Horn), the Customs agent confirmed. However, on their return trip to Toronto via El Salvador, representatives of the Canadian state did not uphold their right to travel without Canadian documents. The Canadian Embassy refused the Mohawks’ request for a letter of explanation to the airline: stating that the Haudenosaunee passports were unsecure document[s] (Horn), the embassy insisted that the Mohawk required an emergency travel document tying them to the Canadian state. For the Mohawk delegation, whose ten-day trip was extended to twenty-nine days as a result of the obstructions to their travel home, the nation-state border between Canada and the United States, with its attendant policing of nation-state citizenship, functions to undermine their own nationhood. As one member of the delegation stated regarding the emergency travel document prescribed by the embassy, We said we can’t do that … We can’t compromise who we are because we left on these passports; we’re not Canadian; we’re not American; our political stance has always been that (qtd. in Horn). Furthermore, for the delegation, resolution of their immediate travel difficulties was superseded by their responsibilities to their nation: "We were sent there by our people. And so any decisions that we were going to make was [sic] going to impact our people[,] … our people who travel on the Haudenosaunee passport, … [and] our people who say we are who we say were [sic] are and act accordingly to that" (qtd. in Horn).

Readers familiar with Thomas King’s work will recognize here echoes of his short story, Borders, in which a Blackfoot woman refuses to identify herself at the Canada–US border as either Canadian or American. Stuck in a limbo between border crossings for a few days, the woman and her son are finally allowed passage into the United States after a television crew appears and broadcasts their story—embarrassing publicity for the two nation-states. In the case of the Mohawk travelling back from Bolivia, the United States proved more accommodating than Canada, and television played a role in the resolution. A Customs and Immigration agent whose father is Apache said, [A]s soon as I found out about you boys I could hear my father say you get those boys home right now; after watching a documentary … about the Mohawk Ironworks in New York on the Discovery Channel, she explained to the US embassy that Mohawks … helped build New York (Horn). Ultimately, the delegation travelled home via the United States, bypassing Canada altogether. Just as the narrator of Borders acknowledges his mother’s refusal to self-identify as Canadian or American, the delegation recognized that the easiest thing would have been to sign those documents right at the get-go (qtd. in Horn). But as explained by a representative of the Haudenosaunee Documentation Committee, The Haudenosaunee Passport is a non-violent expression of our distinct identity as a sovereign people … While both Canada and the United States claim us as their citizens, the Haudenosaunee Passport is a constant reminder that our people have never acquiesced our citizenship as Haudenosaunee people (qtd. in Horn). Crucial to this refusal of nation-state citizenship is the fact that [w]e were here before you and we’re our own Nation … so you can keep your citizenship, we’re not you (qtd. in Horn).

The case of the Mohawk delegation offers a powerful rejoinder to Stoddard’s exploration of the Canada–US border and its significance. Not only does it recall the work of the border-crossing Thomas King in its dislodging of dominant assumptions about the Canada–US border’s function to protect cultural identities perceived to be at risk, but it also resonates with the last decade’s developments in Canada’s relationship to the United States and to the Americas as a whole. First, the concern that the Haudenosaunee passport is an unsecure document emphasizes anxieties about security in a post-9/11 climate. This same theme is explored in different terms by Onondaga writer Eric Gansworth, whose short story Patriot Act (and more recently a play by the same name) explores the ways in which tribal rights are impinged upon and interfered with through mechanisms of control such as the aptly named USA Patriot Act (2001), which stands for Uniting and Strengthening America by Providing Appropriate Tools Required to Intercept and Obstruct Terrorism. In Patriot Act, the Onondaga wife of the narrator is specifically targeted, picked up by Canada–US border security screening for harbouring a radioactive substance (she has recently had an X-ray). With this image of policing the female body specifically, particularly given the health-related circumstances that make her suspicious, Gansworth neatly draws attention to the ways in which such measures at the border explicitly curtail prior rights and freedoms in ways that potentially affect multiple constituencies. A pressing concern for Indigenous people, of course, this issue nevertheless raises urgent questions about potentially insidious delimitations of mobility as a consequence of the War on Terror.

Second, an entirely different conception of security arises in the Mohawk delegation’s participation in the Bolivia conference, which was organized in response to the Climate Conference in Copenhagen (Horn) of December 2009 to address concerns of many governments of developing nations [who] were not pleased with the way the Copenhagen conference turned out, ignoring as it did these developing countries [that] are among the most affected by climate change (Horn). In participating at the conference, the Mohawk delegates not only affiliated themselves with developing nations rather than with the Canadian nation-state, but also engaged in a hemispheric conception of the Americas, one that disregarded nation-state boundaries imposed on the continent. Both of the contexts from which this anecdote develops—the historic legacy of the treaty relationships that underpin Indigenous rights in North America, which in turn provides the foundation for the legal aspects of Indigenous custodianship of the land and environment—have achieved even more prominence in Canada since late 2012 with the foundation of the Idle No More Movement. Idle No More was launched in November 2012, when Nina Wilson, Sheelagh McLean, Sylvia McAdam, and Jessica Gordon held a teach-in to protest the Harper government’s Bill C-45 (see Meekis and Stuteville). Better known as the second omnibus budget bill, Bill C-45 amends sixty-four previous regulations and acts, several of which have a direct impact on Canada’s First Nations. These changes include amendments to the Indian Act, making it easier to open access to treaty lands; to the Navigation Protection Act, removing many of the protections against damage caused by the laying of major pipeline and power projects; and the Environmental Assessment Act, speeding up the approval process for projects that have significant impact on the environment.

On 10 December 2012 the women of Idle No More helped organize a National Day of Solidarity and Resurgence, consisting of protests and rallies across Canada, which were timed to coincide with the hunger strike of Chief Theresa Spence of the beset Attawapiskat First Nation in Northern Ontario. Idle No More has drawn significant public attention to First Nations issues in Canada and beyond; importantly for cross-border analysis, it reminds us once again of the constructed nature of Canada’s more liberal reputation in the arena of Indigenous rights, while simultaneously engendering a sense of the differences either side of the line that Canadian and US American settler-colonialisms have produced. The imposition of that line has clear and readily definable consequences, no matter how arbitrary its tracing, no matter how accidental—or even incidental—the historic location of Native nations on either side may appear to be. Nevertheless, while Idle No More is emphatically rooted in Canadian legal and political contexts, its rallying cries are more widely heard. Demonstrations have been held on and across the border in the United States, and the movement’s spread is not confined to the continent; it has generated support gatherings as far afield as Oxford and London in the UK, from Sweden to South Africa, from France to Greenland. On 4 November 2012, for instance, Jessica Gordon took to Twitter, asking: @shawnatleo wuts being done w #billc45 evry1 wasting time talking about Gwen stefani wth!? #indianact #wheresthedemocracy #IdleNoMore, rapidly turning the movement—and certainly the hashtag—into a global phenomenon. Clearly, while the movement has spread far beyond the border, its local concerns—such as those relating to First Nations–Canadian governance and the legacy of treaties—are undeniably hemispheric in import. These concerns have riveted the attention of First Nations and Native American people, Canadians and US Americans, on the relationship between Indigenous rights and environmental custodianship in ways that the 2010 Mohawk delegates to Bolivia were not yet entirely alert to, as they themselves conceded.

Canada in / the Americas / in Canada

The Bolivian controversy, however, points to another consequence of the focus on borders in an American context—that is, the attribution of Border Studies’ birth to the US–Mexico border. Ifeoma Nwankwo, a contributor to Caroline F. Levander and Robert S. Levine’s special issue of American Literary History (2006) titled Hemispheric American Literary History, notes that in this particular branch of the transnational turn, African American concerns have generally been neglected. As Nwankwo explains, hemispherism has often focused primarily (and appropriately) on the ‘unequal relations’ between the US and the Latin-American nations and states, which has led to a dearth of scholarship on relations between US African Americans and the rest of the Americas (580–81). The US’s long history and strong legacy of constructing and regulating racialized bodies has arguably maintained this tendency for a north–south axis internal to US borders to supersede a more expansive longitudinal paradigm. Nwankwo’s move to highlight the hemispheric (and its current discursive limits) in textual encounters between Latin American and African American concerns in Martin Delany’s Blake and Gayl Jones’s Mosquito is urgent, but it presents only half the story. The other half is categorized by George Elliott Clarke as an immaculate, politic whiteness(100). From a Canadian vantage point, that whiteness forms the exclusionary politics of white privilege throughout US history, while reversing the gaze reveals an occlusive apparatus effectively articulated in Canada’s ideal whiteness (Clarke 100).

Canada’s participation in the black diaspora is frequently accounted for as either the historic terminus in the Underground Railroad, or as a transition point in political and economic exile from the Caribbean. But black North American border crossing, as articulated in Wayde Compton’s 49th Parallel Psalm and C.S. Giscombe’s Giscome Road, among other texts, addresses and assesses Canada’s role in the shaping of localized, regional, and transnational black subjectivities. School segregation in Ontario and Nova Scotia, the Ku Klux Klan in the Canadian West (see Clarke), forms of slavery in Canada (see Ferguson in this volume), and the influence of hip hop and other urban forms on urban black cultures in Canada (see Compton, 49th and After Canaan): all of these elements invite not only comparative but also transnational frameworks for considering historic shifts and cross-border developments in black North American cultures and identities in hemispheric terms.

If that quotation from Nwankwo’s essay in relation to our earlier consideration of the Mohawk in Bolivia prompts us to deliberate on Canada’s exclusion from the African Americas in hemispheric terms, his attentiveness to Latin American contexts also gives us pause to consider another facet of the hemispheric. Or, more particularly, it gives us cause to consider the development from a conceptual contact zone, as articulated for instance in Hinchcliffe and Jewinski’s Magic Realism and Canadian Literature as early as 1986, to a more literal border presence. In Fronteras Americanas, Argentinean Canadian playwright Guillermo Verdecchia has his character Verdecchia tell his audience (originally at Toronto’s Tarragon Theatre), Somos todos Americanos (20). A double irony unfolds from this assertion. First, as Clarke reiterates, "English Canadians—whether black, white, yellow, or brown—only agree that they are not Americans (100, emphasis added); the ambiguity of terms itself enables a collapsing of the border. Second, however, an additional irony is implicit in that ambiguity, for throughout the play those other Americans, US Americans, are absent. Indeed, they are deftly elided as a constituting force, decentred, when Verdecchia says, The border is a tricky place. Take the Latin–North America border (20–21). Here, the border on which he stands is figured as a frame within a frame: within, the US–Mexico border as precisely that border between Latin and North America; and without, the border that constitutes his negotiated identity, the one between Canada and Argentina, a division between two countries … between two cultures and two memories (21). The United States, in this context, merges with Canada to form one giant borderland between the land of his birth and the land of his residence. Following Emmanuel Brunet-Jailly’s assertion that borderland communities also bridge … territories" (638), Verdecchia deftly, wryly, effects one daring hemispheric move. That move draws attention to many of the same contexts and questions invoked in Parallel Encounters: to the mobility of cultural forms and cultural stereotypes; to the circulation and relationality of cultural products; to the political and economic influence of transnational relations and international agreements; and to the heavy presence of the border as well as to its collapsing under the ebbs and flows of pre- and post-9/11 globalization.¹

In-Roads and Interventions

The editors of Hemispheric American Studies offer potentially productive possibilities for examining the cultures of the Americas from a hemispheric perspective by calling for the study of the intricately intertwined geographies, movements, and cross-filiations among peoples, regions, diasporas, and nations of the American hemisphere (Levander and Levine 3). The goals of such a study include decentering the U.S. nation and contextualiz[ing] what can sometimes appear to be the artificially hardened borders and boundaries of the U.S. nation, or for that matter, any nation of the American hemisphere (3). Although it opens up the nations of the Americas that might be fruitfully re-examined, much of even hemispheric American Studies seems to depend on a return to the United States, with the implications for other countries and cultures appearing as a kind of afterthought. As Winfried Siemerling and Sarah Phillips Casteel write, ‘America’ tacitly continues to signify ‘United States’ in a surprising number of avowedly hemispheric academic treatises (10), which has contributed to the anxiety about whether the hemispheric turn is itself an imperializing move (9). Despite the carefully considered hesitation among many Canadianist scholars regarding the hemispheric paradigm, we agree with Siemerling and Casteel that it seems all but impossible to situate Canada effectively without taking into consideration both its North American and its hemispheric contexts (5), particularly in examining the cultural implications of the Canada–US border from a post-FTA, post-NAFTA, and post-9/11 position.

With precisely this difficulty in mind, the chapters in this collection seek to redress the balance of the US-centred narratives that continue to dominate the New American Studies by focusing attention on border-specific and comparative issues through largely Canadian cultural lenses. Taking the wider effects of 9/11 into account, for instance, contributors here reflect not only on the issues of surveillance and security that the post-9/11 terrorist threat has posed to the United States specifically and North America generally, but also on the urgent questions that a hardening border raises for Canadian citizenship, for Indigenous rights in Canada and the United States, for trade from a north–south perspective, and for mobility for communities that traditionally straddle the border. Bringing a wide range of methodological apparatuses to bear on these and similar issues, from health policy to law, from art history to reception theory, from Foucauldian theory to garbology, this volume embodies a broad overview of a nascent branch of the interdisciplinary Border Studies conversation. As such, it brings Canadian Studies to bear in significant ways on the developing contexts of Hemispheric American Studies.

The chapters here focus on a range of regional sites along the border and examine a rich variety of textual forms, including poetry, fiction, drama, visual art, television, and cinema produced on both sides of the 49th parallel. Section 1, Popular Culture and/at the Border, examines how popular cultural products—namely television and film—produced on both sides of the 49th parallel construct the significance of the Canada–US border, how examinations of Canada–US difference circulate via popular media, and how audiences are positioned in relation to their national location. The chapters in this section engage with border crossings both within the texts and of the texts themselves. These texts project, and are read in cross-border viewing practices as shaped by, the values popularly understood to infuse Canadianness with meaning, particularly in distinction to Americanness. Yet, as the chapters in this section demonstrate, popular culture, which includes viewers’ encounters with it, does not simply validate binary oppositions across the border; as Jennifer Andrews writes in her chapter, the 49th parallel [is] a slippery space. These cultural products posit and elicit different modes of citizenship in their concerns with national identity but also in their focus on sexuality, security, race, hemispheric affiliations, and health care provision (and the social contract that underpins it). As the chapters suggest, national viewing is itself tied to the position of the citizen, with differently inflected interpellations of the audience encouraging different visions of what it means to be Canadian, in particular, in the twenty-first century.

Andrews’s "Queer(y)ing Fur: Reading Fashion Television’s Border Crossings" traces the evolution of particular associations with Canada and Canadianness into the twenty-first century by examining City Television’s long-running Fashion Television program in relation to the nation’s settler-invader origins—specifically, to the fur trade. Noting that [f]ur has had a long and complex relationship with Canada, shaping the country’s economic, political, and even sexual identity, Andrews explores how the fur trade’s fundamenta[l] shap[ing of] Canada’s interactions with Britain, Europe, and the United States is reflected in J.W. Bengough’s cartoon A Pertinent Question (1869), which stages the economic, political, and cultural triangulation of Britain, Canada, and the United States. This triangulation has persisted into the present, as attested to by the fashion industry, which was mediated for Canadian viewers until recently by Fashion Television, and by host Jeanne Beker’s determination to foreground Canadian contributions to fashion design. In championing expatriate Canadian twins Dan and Dean Caton, whose DSquared² label both invokes and ironizes stereotypical associations with Canada and the wilderness through its use of fur, Fashion Television performed a series of cultural border crossings even while it appropriated and reconfigured Canada’s in-between stance. In its coverage of DSquared² and the Catens’ queering of fur, Fashion Television ultimately suggested an alternative concept of (Canadian) sexual citizenship and cultivat[ed] new global networks and cross-border linkages that support and indeed celebrate queer identities.

Whereas Andrews’s essay discusses one foundational element of popular notions of Canadianness—the relationship with fur and its queering in the present day—Jan Clarke’s Meanings of Health as Cultural Identity and Ideology Across the Canada–US Border examines a more recently produced yet powerful marker of Canadianness, by juxtaposing Canada’s universal health care with the private health care system in the United States, as represented by US filmmaker Michael Moore in his documentary SiCKO (2007). As Clarke notes, Moore’s film offers the border crossing as the location where these models can be compared. Moore contrasts US health care with the systems in a number of other countries, including Cuba, Britain, and France as well as Canada, and in this regard, his depiction of the differences in health care across the 49th parallel presents a stark juxtaposition of the assumptions that health is a commodity and that health is a human right, reflect[ing] a form of ideological enclosure across the border. Moore’s film bears out the dominant view in Canada that citizenship [is] linked to access to good health regardless of means to pay. Not only do the diverging models of health care lin[k] to cultural identity in terms of what it means to be American or Canadian, but also, fundamentally, they appear to be based on culturally specific individualism in the United States and collectivism in Canada, suggesting even larger ideological differences across the border.

SiCKO projects a cross-border divide insofar as US citizens are depicted as confronting anxieties about health care costs, whereas Canadian citizens are portrayed as assuming that their health care needs will be met without any cost to them individually. In "Television, Nation, and National Security: The CBC’s The Border," Sarah A. Matheson turns to a different source of anxiety in the contemporary world, focusing on The Border’s negotiation of concerns about border security at the 49th parallel. The Border, Matheson argues, emerg[es] from and is shaped by a borderland society, in both its form and its content, produced as it is in a cross-border televisual environment. Michael Moore’s film, as Clarke’s essay observes, confirms meaningful differences between Canada and the United States where collective responsibility and health care are concerned; for her part, Matheson notes that although The Border was premised in part on the perceived notion of a conflict between US and Canadian values and institutions, in adopt[ing] … some of the most problematic aspects of action genres, the series ultimately reproduces a similar kind of politics of paranoia and fear of the sort that pervade so much of post-9/11 television. The Border ostensibly assures Canadian viewers that Canadian approaches to national security are more ethical and conciliatory than those of our cross-border neighbours; however, this articulat[ion of] a sense of difference and resistance to American influence is compromised by the program’s failure to rise above the constraints of genre, and trouble both its pleasures and politics.

In ‘Normalizing Relations’: The Canada/Cuban Imaginary on the Fringe of Border Discourse, Joanne C. Elvy and Luis René Fernández Tabío observe a similar tendency in The Border: US political concerns are allowed to eclipse Canada’s engagement on its own terms with other parts of the hemisphere. Whereas Moore’s SiCKO implicitly aligns Canada and Cuba in opposition to the United States with regard to comprehensive state-sponsored health care, Elvy and Fernández Tabío note that The Border projects Cuba as a site of tension for Canadian viewers. The Border is a cultural product made by Canadians and for Canadians, yet in the episode titled Normalizing Relations, the program’s treatment of Cuba enacts a gross superimposition of an American lens upon the Canadian psyche by adopting US concerns about Cuba. In this episode, Cuba is not only imagined from afar but also constructed as a problem to be normalized for Canadian viewers. This representation of Cuba and its replication of a US perspective prompts Elvy and Fernández Tabío to ask whether Canadians are able to view Cuba in a broader hemispheric context independent of the United States. Given The Border’s replication of US concerns, notwithstanding the program’s celebration of what it perceives to be Canadian values, it appears that the omnipresence of America itself figures as the looming barrier that impedes Canada/Cuba relations and that this episode speaks more of the ‘normalization’ process between Canada and the United States. In this sense, as both Matheson and Elvy and Fernández Tabío argue, The Border undermines its own assertions of cross-border difference, particularly if that difference is understood as resistance to dominant US values and perspectives.

In "How, Exactly, Does the Beaver Bite Back? The Case of Canadian Students Viewing Paul Haggis’s Crash," Lee Easton and Kelly Hewson question their Canadian students about their responses to representations of race in Crash (2005), the successful Oscar-winning film produced in the United States but directed by Canadian Paul Haggis. In discussing the representations of race and racism in Crash, Easton and Hewson observe that their students, for all their seeming cosmopolitanism—their transnational potential and ease in globalized space—constructed their viewing selves in relation to the 49th parallel. Deploying Frank Manning’s concept of reversible resistance, Easton and Hewson theorize their students’ cross-border responses to the film, noting that the students use the border in their viewing practices as a way to position themselves and Canada paradoxically as both inferior and superior to America. They ask their students what Crash might have looked like had it been made and set in Haggis’s own country rather than in the United States; the responses this question elicits configure race relations in Canada in terms of the conflict between Indigenous and settler-invader communities. Indeed, this configuration, Easton and Hewson observe, amounts to cross-border validation of Canadian distinctiveness: reversible resistance requires an Aboriginal presence in order to shape a Canadian identity that resists American assimilation. Ultimately, Easton and Hewson advocate an Indigenized Métis/Canadian spectatorship that will move beyond the protect[ion of] a notion of white Canadianness, the key function that the Canada–US border might be said to fulfil in the dominant Anglo-Canadian imaginary.

Such a function of the Canada–US border participates in the kind of Canadian nationalism that the popular texts under discussion in the first section of this volume posit and/or affirm, either through the texts themselves or through Canadians’ viewing practices. As Easton and Hewson’s observations indicate, however, Indigeneity undermines comfortable notions about Canada’s status as a settler-invader nation-state attempting to position itself as more just than its neighbour across the border. Crucially, as many chapters in Section 2, Indigenous Cultures and North American Borders, point out, Indigeneity troubles the very existence of the border itself. The 49th parallel, which offers a marker of national difference in and in relation to the popular texts, figures as a colonial imposition on Indigenous peoples’ lands. The chapters in this section address the illegitimacy of the Canada–US border through lenses provided by Indigenous texts and the ways in which Indigenous authors and artists represent and negotiate the border and the colonial nation-states it claims to demarcate. As Maggie Ann Bowers argues, [h]owever arbitrary the border is, it has had consequences in terms of the differing experiences of colonization on either side. The chapters in this section examine Indigenous writers and critics’ engagements with postcolonial discourse, as shaped by their position in relation to the border, by Indigenous literature about the border and its relation to questions of citizenship and questions of waste and the environment, by Indigenous border art as contrasted with both non-Indigenous border art and state-sponsored attempts to deploy art to shore up a post-NAFTA version of North American culture, and by mestiza and Métis writings that, positioned alongside each other, map Indigenous struggles with colonial nation-states and their borders in continental terms.

Bowers’s chapter, Discursive Positioning: A Comparative Study of Postcolonialism in Native Studies Across the US–Canada Border, examines the ways in which postcolonial theory has been deployed and discussed by Indigenous writers and critics on either side of the 49th parallel, as well as how different discourses have affected examinations of the border. As she notes, the histories and cultural adaptations of the First Nations and Native American nations divided by the 49th parallel are inevitably different and influenced by the border, whether it is recognized as legitimate or not. Canada’s and the United States’ different histories of postcolonialism … have influenced the debates concerning the acceptance or rejection of postcolonial theory in Native North American Studies. Bowers argues that these different histories have led to a greater tendency among Indigenous critics working south of the Canada–US border to engage elements of postcolonial theory, both directly and counterdiscursively, particularly in their attempts to establish a critical framework that includes not only the specifically Native American but also the transnational postcolonial. If the status of the border is inflected by the discourse used to interrogate it, either as existing in terms of colonialism using a postcolonial theoretical framework, or as an imaginary concept lacking legitimacy in tribal thinking, the adoption and adaptation of some postcolonial theory, such as Bhabha’s notion of the in-between space of the borderlands, provides a means to examine this duality and … articulate a new discursive position.

As Bowers notes, Cherokee writer Thomas King, long resident in Canada, is prominent among critics who reject the postcolonial framework for readings of Indigenous literature. Gillian Roberts’s chapter, "Strategic Parallels: Invoking the Border in Thomas King’s Green Grass, Running Water and Drew Hayden Taylor’s In a World Created by a Drunken