Abstract
Wild Mother Dancing challenges the historical absence of the mother, who, as subject and character, has been repeatedly suppressed and edited out of the literary canon. In her search for sources for telling the new (or old, forbidden story) against a tradition of narrative absence, Brandt turns to Canadian fiction representing a varety of cultural traditions — Margaret Laurence, Daphne Marlatt, Jovette Marchessault, Joy Kogawa, Sky Lee — and a collection of oral interviews about childbirth told by Mennonite women. The results broaden, enrich, and finally recover the motherstory in ways that have revolutionary implications for our institutions and imaginations.