Abstract: Tension between Anglophone and Francophone Canadians is well documented, and these disparate parts have been infamously dubbed the “two solitudes.” However, there is another, often ignored solitude – the Indigenous population of Canada. When construction began on the James Bay Hydroelectric facility in the early 70s, the Inuit and Cree of Northern Québec allied to take the provincial government to court for failing to properly consult them before undertaking this project on Indigenous lands. The James Bay and Northern Québec Agreement (JBNQA) was reached in 1975. This is arguably the first modern land claims agreement in Canadian history and is often considered one of the most successful agreements for Indigenous peoples in terms of monetary compensation. For the Inuit of Northern Québec (the Nunavimmiut), this agreement resulted in $90 million in compensation as well as provisions for hunting and fishing rights, and the creation of governance institutions for the Nunavimmiut including the establishment of the Makivik Corporation and the Kativik Regional Government. While these were remarkable achievements for the Inuit negotiation team, the JBNQA has a nuanced legacy. Even today, over 40 years after the signing of the JBNQA, there is still tension and dissatisfaction among Inuit communities over the results of this agreement. How can we explain the paradoxical status of the JBNQA as both a success and a disappointment in the eyes of the Nunavimmiut? How can we better understand the disagreement surrounding the legacy of the JBNQA and the tensions that continue to exist today over this agreement? This paper argues that examining the James Bay and Northern Québec Agreement through a framework of settler colonialism and resurgence explains these seemingly contradictory legacies.


Description: Imagined Homelands chronicles the emerging cultures of nineteenth-century British settler colonialism, focusing on poetry as a genre especially equipped to reflect colonial experience. Jason Rudy argues that the poetry of Victorian-era Australia, New Zealand, South Africa, and Canada—often disparaged as derivative and uncouth—should instead be seen as vitally engaged in the social and political work of settlement. The book illuminates cultural pressures that accompanied the unprecedented growth of British emigration across the nineteenth century. It also explores the role of poetry as a mediator between familiar British ideals and new colonial paradigms within emerging literary markets from Sydney and Melbourne to Cape Town and Halifax.

Rudy focuses on the work of poets both canonical—including Tennyson, Browning, Longfellow, and Hemans—and relatively obscure, from Adam Lindsay Gordon, Susanna Moodie, and Thomas Pringle to Henry Kendall and Alexander McLachlan. He examines in particular the nostalgic relations between home and abroad, core and periphery, whereby British emigrants used both original compositions and canonical British works to imagine connections between their colonial experiences and the lives they left behind in Europe.

Drawing on archival work from four continents, Imagined Homelands insists on a wider geographic frame for nineteenth-century British literature. From lyrics printed in newspapers aboard emigrant ships heading to Australia and South Africa, to ballads circulating in New Zealand and Canadian colonial journals, poetry was a vibrant component of emigrant life. In tracing the histories of these poems and the poets who wrote them, this book provides an alternate account of nineteenth-century British poetry and, more broadly, of settler colonial culture.