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Unravelling Research is about the ethics and politics of knowledge production in the social sciences at a time when the academy is pressed to contend with the historical inequities associated with established research practices. Written by an impressive range of scholars whose work is shaped by their commitment to social justice, the chapters grapple with different methodologies, geographical locations and communities and cover a wide range of inquiry, including ethnography in Africa, archival research in South America and research with marginalized, racialized, poor, mad, homeless and Indigenous communities in Canada. Each chapter is written from the perspective of researchers who, due to their race, class, sexual/gender identity, ability and geographical location, labour at the margins of their disciplines. By using their own research projects as sites, contributors probe the ethicality of long-established and cutting-edge methodological frameworks to theorize the indivisible relationship between methodology, ethics and politics, elucidating key challenges and dilemmas confronting marginalized researchers and research subjects alike.
Richard Outram has long been accused (there are those who will protest, wrongly accused) of being a `difficult' poet. An ascetic traditionalist perhaps, as opposed to a populist the likes of cigar-smoking Al Purdy or whiskey-ravaged Milton Acorn. Some, notably the formidable critic Peter Sanger, prefer the term `challenging' in describing Outram's poetry. Alberto Manguel has written that Richard Outram is `one of the finest poets in the English language'. But then there are those fervent, vocal dissidents who will insist that not only is the thicker of Outram's poetry `impenetrable', but also that Sanger's criticism is equally incomprehensible, if not more so. South of North presents a very different side of the polarizing Richard Outram. Consider ... `Outram's ``perfect burden'' is the necessity of human ignorance and confusion, the burden of the ``sad man'' in ``Autumn'' which, like the riddle-work of material lattice both intercepting and allowing the passage of light in The Promise of Light, is the only possible preliminary to an accurate and profound experience of love.' -- Peter Sanger, `Her kindled shadow, ' An Introduction to the Work of Richard Outram In South of North, by way of stark contrast, Outram's azure mariner compares the `waves of Whiffinspit' with the `waves of Pond Inlet' and finds the waters to be remarkably similar. As might be expected; nothing more complicated than that. South of North depicts a landscape that is distinctly rural -- a weathervane, dogwood in a marsh, and raucous crows; the whitened skeleton of a vole in a fallow field. Tantramar Marsh, the Saugeen River and the horses of Bonavista. A summer storm building over Cobourg; the hefty bulk of a snapping turtle surfacing, trailing a rank ooze.