Irene Gammel – författare

For Canadian impressionist Mary Riter Hamilton, capturing the emotional landscape of battlefields and graveyards in the months after the Great War''s armistice became an artistic calling and defined her work. A woman alone after the storm had passed, she found that her life after the war was indelibly marked by the experience. Undeterred by a rejection from the Canadian War Memorials Fund, who nominated only male war artists abroad, in 1919 Hamilton received a commission from the Amputation Club of British Columbia (now the War Amps) to commemorate those lost at war. She travelled from Victoria to the pre-reconstruction battlefields and towns of the Somme, Vimy Ridge, and the Ypres Salient where amid harsh conditions - inadequate shelter and food, surroundings littered with unexploded shells - she recorded with determination, pride, and grace the ruins of war. Based on intensive archival research in Canada, France, and Belgium, and using many previously unpublished letters, I Can Only Paint offers an insider''s view of the artist''s vast, underexplored body of war work and the conditions in which she created it. It places this period, central though it was, in the context of a full understanding of her life and restores the work she created there to its proper place in the canon of war art in Canada and abroad. Irene Gammel argues that Hamilton''s work encoded a female perspective that distinguishes her paintings from the work of official Canadian war artists. The first reliable account of Hamilton''s impressions of Canada''s most haunting sites of conflict, I Can Only Paint captures with detail and sensitivity an experience that defined her life and recovers a body of work that stands as a unique and enduring portrait of the effects of the Great War.

Creative Resilience and COVID-19 examines arts, culture, and everyday life as a way of navigating through and past COVID-19. Drawing together the voices of international experts and emerging scholars, this volume explores themes of creativity and resilience in relation to the crisis, trauma, cultural alterity, and social change wrought by the pandemic.

The cultural, social, and political concerns that have arisen due to COVID-19 are inextricably intertwined with the ways the pandemic has been discussed, represented, and visualized in global media. The essays included in this volume are concerned with how artists, writers, and advocates uncover the hope, plasticity, and empowerment evident in periods of worldwide loss and struggle—factors which are critical to both overcoming the COVID-19 pandemic and fashioning the post-COVID-19 era. Elaborating on concepts of the everyday and the outbreak narrative, Creative Resilience and COVID-19 explores diverse themes including coping with the crisis through digital distractions, diary writing, and sounds; the unequal vulnerabilities of gender, ethnicity, and age; the role of visuality and creativity including comics and community theatre; and the hopeful vision for the future through urban placemaking, nighttime sociability, and cinema.

The book fills an important scholarly gap, providing foundational knowledge from the frontlines of the COVID-19 pandemic through a consideration of the arts, humanities, and social sciences. In doing so, Creative Resilience and COVID-19 expands non-medical COVID-19 studies at the intersection of media and communication studies, cultural criticism, and the pandemic.

Creative Resilience and COVID-19 examines arts, culture, and everyday life as a way of navigating through and past COVID-19. Drawing together the voices of international experts and emerging scholars, this volume explores themes of creativity and resilience in relation to the crisis, trauma, cultural alterity, and social change wrought by the pandemic.

The cultural, social, and political concerns that have arisen due to COVID-19 are inextricably intertwined with the ways the pandemic has been discussed, represented, and visualized in global media. The essays included in this volume are concerned with how artists, writers, and advocates uncover the hope, plasticity, and empowerment evident in periods of worldwide loss and struggle—factors which are critical to both overcoming the COVID-19 pandemic and fashioning the post-COVID-19 era. Elaborating on concepts of the everyday and the outbreak narrative, Creative Resilience and COVID-19 explores diverse themes including coping with the crisis through digital distractions, diary writing, and sounds; the unequal vulnerabilities of gender, ethnicity, and age; the role of visuality and creativity including comics and community theatre; and the hopeful vision for the future through urban placemaking, nighttime sociability, and cinema.

The book fills an important scholarly gap, providing foundational knowledge from the frontlines of the COVID-19 pandemic through a consideration of the arts, humanities, and social sciences. In doing so, Creative Resilience and COVID-19 expands non-medical COVID-19 studies at the intersection of media and communication studies, cultural criticism, and the pandemic.

Writing COVID-19 Lives examines how people turned to life writing—often in fragile, makeshift forms—to make sense of the pandemic. Across poetry, memoir, autofiction, photography, sketchbooks, diaries, postcards, and digital storytelling, the collection traces a pandemic aesthetic marked by brevity, fracture, and pause: an autobiographical “I” that is unsettled, doubled, or dispersed. As Chimamanda Ngozi Adichie writes in Notes on Grief, “You learn how much grief is about language, the failure of language and the grasping for language.” That grasping—the search for a voice that could still speak—threads through these essays.

Spanning case studies from Canada, the United States, China, Latvia, Peru, the United Kingdom, and Spain, the volume situates these works amid uneven conditions of care, precarity, surveillance, and loss. We encounter poetry written into silence; memoirs shaped by Zoom-mediated mourning; autofiction working through trauma; and photographic diaries—such as Marvin Heiferman’s Photographic Shiva—that turn domestic objects into charged residues of grief.

Rather than offering a single story of “the pandemic,” the volume assembles a textured archive of how lives were written—tenderly, urgently, and sometimes beautifully—under unprecedented constraint.

Writing COVID-19 Lives examines how people turned to life writing—often in fragile, makeshift forms—to make sense of the pandemic. Across poetry, memoir, autofiction, photography, sketchbooks, diaries, postcards, and digital storytelling, the collection traces a pandemic aesthetic marked by brevity, fracture, and pause: an autobiographical “I” that is unsettled, doubled, or dispersed. As Chimamanda Ngozi Adichie writes in Notes on Grief, “You learn how much grief is about language, the failure of language and the grasping for language.” That grasping—the search for a voice that could still speak—threads through these essays.

Spanning case studies from Canada, the United States, China, Latvia, Peru, the United Kingdom, and Spain, the volume situates these works amid uneven conditions of care, precarity, surveillance, and loss. We encounter poetry written into silence; memoirs shaped by Zoom-mediated mourning; autofiction working through trauma; and photographic diaries—such as Marvin Heiferman’s Photographic Shiva—that turn domestic objects into charged residues of grief.

Rather than offering a single story of “the pandemic,” the volume assembles a textured archive of how lives were written—tenderly, urgently, and sometimes beautifully—under unprecedented constraint.