Contemporary Canadian writing is rich in texts that break the boundaries of genre and gender. The postmodern character of many of these texts often accounts for the former, while the latter is almost inevitably linked to feminist awareness. Women's writing has explored the possibilities of trespassing, of crossing literary borders and of subverting conventions in many areas, but the insistence of feminist discourse has also produced its effects in male writing. This is exemplified by many of Robert Kroetsch's texts, for instance, which are relevant here as an intertext with the two novels we are about to discuss: Aritha van Herk's No Fixed Address (1986) and George Bowering's Caprice (1987).1 These are only two of the travelling women who inhabit recent Canadian narrative, mapping out the country while exploring the limits of a particular fictional genre.
Carrera, Isabel, Caprice and No Fixed Address: Playing with Gender and Genre., Kunapipi, 16(1), 1994.