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Victor Enns

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I am a writer with disabilities."Love & Surgery" was published in 2019. In the last year I have been published in "Journal of Mennonite Writing," "Word Gathering" and "Grain," and in 2020 in Rattle with a POSTCARD poem illustrated by Murray Toews. Murray and me have a multi-artist, multi-disciplinary, disability themed exhibition, called "Lookshow"opening this spring based on my writing including a memoir called "Pieces of my mind/My Body in Parts." I live in Kelowna with my wife, disability rights activist and Ph.D. candidate Michelle Hewitt and an our service e dog Leo, and cat Gus. I've changed my profile, moving from a m misrepresentation of Queen Victoria (Thanks to Murray Toews), to this image of sculpture by Ken Gregory presented as part of the Look show. For more information www.victorenns9.com.

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Megan M Metzger

University of Illinois at Urbana-Champaign

Harvard University Extension School

Northwestern University

Elizabeth Hanson-Smith

California State University, Sacramento

Dr.Jay Malarcher

Marloes Matthijssen

Erasmus University Rotterdam

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Books by Victor Enns

Winnipeg Review Excerpt Books Reviewed: Sanctuary Line, City of Refuge

Winnipeg Review , 0

Book Review Reviewed and abecedaried by Victor Enns Sanctuary Line, City of Refuge

BELIEVE YOU ME an introduction to the LOOK show

Believed You Me, 2023

Hi. I'm Victor Enns, and you're not. Sometimes I'm not Victor Enns either. Murray Toews has creat... more Hi. I'm Victor Enns, and you're not. Sometimes I'm not Victor Enns either. Murray Toews has created some wonderful characters from existing artwork; and modified recognizable visages that are a lot of fun. He has his own shows and collaborates on mine. The website that provides a temporary home for work by over a dozen artists is here.

from war (he)art to war

An introduction -the beginning "In the beginning, there was chaos," is the first sound bite heard... more An introduction -the beginning "In the beginning, there was chaos," is the first sound bite heard from a computer synthesized 'voice' in the dark. The sound environment builds to include a jumble of media clips from the weather (very cold in Regina, very hot in the Gulf) to the war (soon). In spotlight silhouette the shadow of the sword of Aeneas (represented by Benoît Lachambre) repeatedly thrust down into what we imagine to be the bodies of some of the less fortunate invading Greeks during the fall of Troy. The six video monitors present the next image -the burning of the Penguin classic edition of The Aeneid (Virgil had wanted it burned just before his death) as the digital sign board on top of a monitor runs some lines selected from its pages. The performance revisions the myth of Dido and Aeneas from Books I to IV of The Aeneid and its appropriation, first by the Romans, and later by Western civilization as a justification for the rejection of love and of the feminine principle of nature in favour of duty, aggression and war to establish empire and as the foundation of the state. This goal is achieved while maintaining a heightened consciousness of how art itself is an act of appropriation, and how art can be appropriated by dominant cultures. History may not be bunk, but it is usually written by or for the winners. Virgil's text provides many of the visual images used in this production. This performance of Dido and Aeneas has a strong narrative impulse following the Virgil text quite closely, an echo of classical ballet structure.

A POEM OF PEARS

A Poem of Pears, 1999

13 poems of pears

A poem of pears

A poem of Pears, 1999

ISBN 0-9685557-0-5 Chapbook .... descended from Robert Kroetsch's "Sketches of a lemon."

Papers by Victor Enns

HOW MUCH DOES IT HURT

People are often asked "how much does it hurt" on a scale of 1-10. This is a comedy sketch, in a ... more

Loss: the principle of dance and performance in Regina

Loss: Brief historical essay on Dance in Regina, Saskatchewan featuring New Dance Horizon who sta... more

Past, Present: Tense

David Elias's first novel Sunday Afternoorz returns to the landscape of his earlier short story c... more David Elias's first novel Sunday Afternoorz returns to the landscape of his earlier short story collections Crossirzg the Line (Orca, 1992) and Places of Grace (Coteau, 1997). In "Hidden Places," a story from the first collection, Elias describes the Mennonite West Reserve through the eyes of a young boy gazing down from an elevated spot in Manitoba's Pembina Hills: Two hours later they were standing in a clearing, high above the valley floor, looking out to the east. It had been a tough ride up, but the view today was worth it. The villages below were so many green islands on a blanket of yellow and black. You could see Rosengart and Blumenfeld, Reinland and Nuehorst. Far off, at the horizon, were the white oil tanks of Gretna. That was almost thirty miles. To the south, across the line, the arrangement was different. Instead of large green clusters, there were smaller patches of green, scattered evenly across the plain, each one standing apart. (Crossing the Line 17-18

A Boy of Good Breeding

Joan Yoder concludes her chapter in this volume by clearly identifying the paradigm shift gender ... more Joan Yoder concludes her chapter in this volume by clearly identifying the paradigm shift gender roles and relationships are currently undergoing. It is not an easy time! It is a time of exploring "new models of life-giving mutuality" (1 38), observes Yoder. With longing, hope, fascination, and wonder she invites us to listen and hear the stories of four individuals, to sense their peace, happiness, and courage as they pursue wholeness for themselves and others. As these life-giving experiences are shared, Yoder creates and protects a sense of being on holy ground and suggests that upon hearing such stories "Perhaps the best we can do is to say amen" (138). This study has a similar impact on readers who are interested in the topic, issues, and personal stories ofwhat it means to be women and men in the church. If readers are looking for a book offering final answers, you will be taken by surprise. If however, you are interested in exploring assumptions about gender roles and in shaping, or more accurately reshaping , a theology of gender, this book promises to enliven your head, heart and spirit. The Women's Concerns committee of Mennonite Central Committee (MCC) have worked on issues of abuse and this volume emerges from that context. After having published several resource materials focusing on what to do after abuse has occurred, MCC is looking for ways to deal with abuse prevention. The project provides a forum for conversation and a stimulus for new thinking. This book is intended as a practical guide offering direction toward a theology of gender and I believe it begins to take the reader on that journey. Carol Penner sets the course as the editor for this study guide. Penner has designed an interesting collection of writing from various authors exploring, with insight and candour, issues around gender and faith. The format for the book is user friendly, for individual or small group study. The 13 chapters follow a standard study guide approach: content based on the authors expertise and experience followed by a prayer, a few questions to facilitate discussion and a listing ofresources to extend the study on that specific issue. The chapters are distinct units, the continuity lies in that each addresses gender issues albeit with a different focus.

Learning to See in the Dark

David Elias's first novel Sunday Afternoorz returns to the landscape of his earlier short story c... more David Elias's first novel Sunday Afternoorz returns to the landscape of his earlier short story collections Crossirzg the Line (Orca, 1992) and Places of Grace (Coteau, 1997). In "Hidden Places," a story from the first collection, Elias describes the Mennonite West Reserve through the eyes of a young boy gazing down from an elevated spot in Manitoba's Pembina Hills: Two hours later they were standing in a clearing, high above the valley floor, looking out to the east. It had been a tough ride up, but the view today was worth it. The villages below were so many green islands on a blanket of yellow and black. You could see Rosengart and Blumenfeld, Reinland and Nuehorst. Far off, at the horizon, were the white oil tanks of Gretna. That was almost thirty miles. To the south, across the line, the arrangement was different. Instead of large green clusters, there were smaller patches of green, scattered evenly across the plain, each one standing apart. (Crossing the Line 17-18

THRENODY, ANXIETY OF INFLUENCE

Depiction of my first performance on the big Concert Hall stage in Winnipeg, and the inspiration ... more

An essay on mobility, lousy cartilage genetics, my bones and joints, living with pain, completed ... more

Past, Present: Tense

Journal of Mennonite Studies, 2005

David Elias's first novel Sunday Afternoorz returns to the landscape of his earlier short story c... more David Elias's first novel Sunday Afternoorz returns to the landscape of his earlier short story collections Crossirzg the Line (Orca, 1992) and Places of Grace (Coteau, 1997). In "Hidden Places," a story from the first collection, Elias describes the Mennonite West Reserve through the eyes of a young boy gazing down from an elevated spot in Manitoba's Pembina Hills: Two hours later they were standing in a clearing, high above the valley floor, looking out to the east. It had been a tough ride up, but the view today was worth it. The villages below were so many green islands on a blanket of yellow and black. You could see Rosengart and Blumenfeld, Reinland and Nuehorst. Far off, at the horizon, were the white oil tanks of Gretna. That was almost thirty miles. To the south, across the line, the arrangement was different. Instead of large green clusters, there were smaller patches of green, scattered evenly across the plain, each one standing apart. (Crossing the Line 17-18

Learning to See in the Dark

Journal of Mennonite Studies, 2005

David Elias's first novel Sunday Afternoorz returns to the landscape of his earlier short story c... more David Elias's first novel Sunday Afternoorz returns to the landscape of his earlier short story collections Crossirzg the Line (Orca, 1992) and Places of Grace (Coteau, 1997). In "Hidden Places," a story from the first collection, Elias describes the Mennonite West Reserve through the eyes of a young boy gazing down from an elevated spot in Manitoba's Pembina Hills: Two hours later they were standing in a clearing, high above the valley floor, looking out to the east. It had been a tough ride up, but the view today was worth it. The villages below were so many green islands on a blanket of yellow and black. You could see Rosengart and Blumenfeld, Reinland and Nuehorst. Far off, at the horizon, were the white oil tanks of Gretna. That was almost thirty miles. To the south, across the line, the arrangement was different. Instead of large green clusters, there were smaller patches of green, scattered evenly across the plain, each one standing apart. (Crossing the Line 17-18

Dido & Aeneas from war (he)art to war

(Editor's Note: this is an in-depth exploration of Dido and Aeneas, presented by New Dance Horizo... more (Editor's Note: this is an in-depth exploration of Dido and Aeneas, presented by New Dance Horizons January 5, 1991 in Regina and January 19 & 20, 1991 in Montreal) Published online celebrating New Dance Horizons in 2002.

An introduction-the beginning "In the beginning, there was chaos," is the first sound bite heard from a computer synthesized 'voice' in the dark. The sound environment builds to include a jumble of media clips from the weather (very cold in Regina, very hot in the Gulf) to the war (soon). In spotlight silhouette the shadow of the sword of Aeneas (represented by Benoît Lachambre) repeatedly thrust down into what we imagine to be the bodies of some of the less fortunate invading Greeks during the fall of Troy.

A Boy of Good Breeding

Journal of Mennonite Studies, 1999

Review of A BOY OF GOOD BREEDING by Miriam Toews

Drafts by Victor Enns

GETTING THE STRAP for Academia U

Corporal punishment in mid-20thcentury memoir

Victorenns9, 2019

UK and Icelandic Cod Wars

Cod Wars between Iceland and UK

HARD LESSON MY FATHER LEARNED AS A CHILD + My Hair epilogue

My father learned parents needed to know where their children were, unsanctioned adventures brewe... more

Winnipeg Review Excerpt Books Reviewed: Sanctuary Line, City of Refuge

Winnipeg Review , 0

Book Review Reviewed and abecedaried by Victor Enns Sanctuary Line, City of Refuge

BELIEVE YOU ME an introduction to the LOOK show

Believed You Me, 2023

Hi. I'm Victor Enns, and you're not. Sometimes I'm not Victor Enns either. Murray Toews has creat... more Hi. I'm Victor Enns, and you're not. Sometimes I'm not Victor Enns either. Murray Toews has created some wonderful characters from existing artwork; and modified recognizable visages that are a lot of fun. He has his own shows and collaborates on mine. The website that provides a temporary home for work by over a dozen artists is here.

from war (he)art to war

An introduction -the beginning "In the beginning, there was chaos," is the first sound bite heard... more An introduction -the beginning "In the beginning, there was chaos," is the first sound bite heard from a computer synthesized 'voice' in the dark. The sound environment builds to include a jumble of media clips from the weather (very cold in Regina, very hot in the Gulf) to the war (soon). In spotlight silhouette the shadow of the sword of Aeneas (represented by Benoît Lachambre) repeatedly thrust down into what we imagine to be the bodies of some of the less fortunate invading Greeks during the fall of Troy. The six video monitors present the next image -the burning of the Penguin classic edition of The Aeneid (Virgil had wanted it burned just before his death) as the digital sign board on top of a monitor runs some lines selected from its pages. The performance revisions the myth of Dido and Aeneas from Books I to IV of The Aeneid and its appropriation, first by the Romans, and later by Western civilization as a justification for the rejection of love and of the feminine principle of nature in favour of duty, aggression and war to establish empire and as the foundation of the state. This goal is achieved while maintaining a heightened consciousness of how art itself is an act of appropriation, and how art can be appropriated by dominant cultures. History may not be bunk, but it is usually written by or for the winners. Virgil's text provides many of the visual images used in this production. This performance of Dido and Aeneas has a strong narrative impulse following the Virgil text quite closely, an echo of classical ballet structure.

A POEM OF PEARS

A Poem of Pears, 1999

13 poems of pears

A poem of pears

A poem of Pears, 1999

ISBN 0-9685557-0-5 Chapbook .... descended from Robert Kroetsch's "Sketches of a lemon."

HOW MUCH DOES IT HURT

People are often asked "how much does it hurt" on a scale of 1-10. This is a comedy sketch, in a ... more

Loss: the principle of dance and performance in Regina

Loss: Brief historical essay on Dance in Regina, Saskatchewan featuring New Dance Horizon who sta... more

Past, Present: Tense

David Elias's first novel Sunday Afternoorz returns to the landscape of his earlier short story c... more David Elias's first novel Sunday Afternoorz returns to the landscape of his earlier short story collections Crossirzg the Line (Orca, 1992) and Places of Grace (Coteau, 1997). In "Hidden Places," a story from the first collection, Elias describes the Mennonite West Reserve through the eyes of a young boy gazing down from an elevated spot in Manitoba's Pembina Hills: Two hours later they were standing in a clearing, high above the valley floor, looking out to the east. It had been a tough ride up, but the view today was worth it. The villages below were so many green islands on a blanket of yellow and black. You could see Rosengart and Blumenfeld, Reinland and Nuehorst. Far off, at the horizon, were the white oil tanks of Gretna. That was almost thirty miles. To the south, across the line, the arrangement was different. Instead of large green clusters, there were smaller patches of green, scattered evenly across the plain, each one standing apart. (Crossing the Line 17-18

A Boy of Good Breeding

Joan Yoder concludes her chapter in this volume by clearly identifying the paradigm shift gender ... more Joan Yoder concludes her chapter in this volume by clearly identifying the paradigm shift gender roles and relationships are currently undergoing. It is not an easy time! It is a time of exploring "new models of life-giving mutuality" (1 38), observes Yoder. With longing, hope, fascination, and wonder she invites us to listen and hear the stories of four individuals, to sense their peace, happiness, and courage as they pursue wholeness for themselves and others. As these life-giving experiences are shared, Yoder creates and protects a sense of being on holy ground and suggests that upon hearing such stories "Perhaps the best we can do is to say amen" (138). This study has a similar impact on readers who are interested in the topic, issues, and personal stories ofwhat it means to be women and men in the church. If readers are looking for a book offering final answers, you will be taken by surprise. If however, you are interested in exploring assumptions about gender roles and in shaping, or more accurately reshaping , a theology of gender, this book promises to enliven your head, heart and spirit. The Women's Concerns committee of Mennonite Central Committee (MCC) have worked on issues of abuse and this volume emerges from that context. After having published several resource materials focusing on what to do after abuse has occurred, MCC is looking for ways to deal with abuse prevention. The project provides a forum for conversation and a stimulus for new thinking. This book is intended as a practical guide offering direction toward a theology of gender and I believe it begins to take the reader on that journey. Carol Penner sets the course as the editor for this study guide. Penner has designed an interesting collection of writing from various authors exploring, with insight and candour, issues around gender and faith. The format for the book is user friendly, for individual or small group study. The 13 chapters follow a standard study guide approach: content based on the authors expertise and experience followed by a prayer, a few questions to facilitate discussion and a listing ofresources to extend the study on that specific issue. The chapters are distinct units, the continuity lies in that each addresses gender issues albeit with a different focus.

Learning to See in the Dark

David Elias's first novel Sunday Afternoorz returns to the landscape of his earlier short story c... more David Elias's first novel Sunday Afternoorz returns to the landscape of his earlier short story collections Crossirzg the Line (Orca, 1992) and Places of Grace (Coteau, 1997). In "Hidden Places," a story from the first collection, Elias describes the Mennonite West Reserve through the eyes of a young boy gazing down from an elevated spot in Manitoba's Pembina Hills: Two hours later they were standing in a clearing, high above the valley floor, looking out to the east. It had been a tough ride up, but the view today was worth it. The villages below were so many green islands on a blanket of yellow and black. You could see Rosengart and Blumenfeld, Reinland and Nuehorst. Far off, at the horizon, were the white oil tanks of Gretna. That was almost thirty miles. To the south, across the line, the arrangement was different. Instead of large green clusters, there were smaller patches of green, scattered evenly across the plain, each one standing apart. (Crossing the Line 17-18

THRENODY, ANXIETY OF INFLUENCE

Depiction of my first performance on the big Concert Hall stage in Winnipeg, and the inspiration ... more

An essay on mobility, lousy cartilage genetics, my bones and joints, living with pain, completed ... more

Past, Present: Tense

Journal of Mennonite Studies, 2005

David Elias's first novel Sunday Afternoorz returns to the landscape of his earlier short story c... more David Elias's first novel Sunday Afternoorz returns to the landscape of his earlier short story collections Crossirzg the Line (Orca, 1992) and Places of Grace (Coteau, 1997). In "Hidden Places," a story from the first collection, Elias describes the Mennonite West Reserve through the eyes of a young boy gazing down from an elevated spot in Manitoba's Pembina Hills: Two hours later they were standing in a clearing, high above the valley floor, looking out to the east. It had been a tough ride up, but the view today was worth it. The villages below were so many green islands on a blanket of yellow and black. You could see Rosengart and Blumenfeld, Reinland and Nuehorst. Far off, at the horizon, were the white oil tanks of Gretna. That was almost thirty miles. To the south, across the line, the arrangement was different. Instead of large green clusters, there were smaller patches of green, scattered evenly across the plain, each one standing apart. (Crossing the Line 17-18

Learning to See in the Dark

Journal of Mennonite Studies, 2005

David Elias's first novel Sunday Afternoorz returns to the landscape of his earlier short story c... more David Elias's first novel Sunday Afternoorz returns to the landscape of his earlier short story collections Crossirzg the Line (Orca, 1992) and Places of Grace (Coteau, 1997). In "Hidden Places," a story from the first collection, Elias describes the Mennonite West Reserve through the eyes of a young boy gazing down from an elevated spot in Manitoba's Pembina Hills: Two hours later they were standing in a clearing, high above the valley floor, looking out to the east. It had been a tough ride up, but the view today was worth it. The villages below were so many green islands on a blanket of yellow and black. You could see Rosengart and Blumenfeld, Reinland and Nuehorst. Far off, at the horizon, were the white oil tanks of Gretna. That was almost thirty miles. To the south, across the line, the arrangement was different. Instead of large green clusters, there were smaller patches of green, scattered evenly across the plain, each one standing apart. (Crossing the Line 17-18

Dido & Aeneas from war (he)art to war

(Editor's Note: this is an in-depth exploration of Dido and Aeneas, presented by New Dance Horizo... more (Editor's Note: this is an in-depth exploration of Dido and Aeneas, presented by New Dance Horizons January 5, 1991 in Regina and January 19 & 20, 1991 in Montreal) Published online celebrating New Dance Horizons in 2002.

An introduction-the beginning "In the beginning, there was chaos," is the first sound bite heard from a computer synthesized 'voice' in the dark. The sound environment builds to include a jumble of media clips from the weather (very cold in Regina, very hot in the Gulf) to the war (soon). In spotlight silhouette the shadow of the sword of Aeneas (represented by Benoît Lachambre) repeatedly thrust down into what we imagine to be the bodies of some of the less fortunate invading Greeks during the fall of Troy.

A Boy of Good Breeding

Journal of Mennonite Studies, 1999

Review of A BOY OF GOOD BREEDING by Miriam Toews

GETTING THE STRAP for Academia U

Corporal punishment in mid-20thcentury memoir

Victorenns9, 2019

UK and Icelandic Cod Wars

Cod Wars between Iceland and UK

HARD LESSON MY FATHER LEARNED AS A CHILD + My Hair epilogue

My father learned parents needed to know where their children were, unsanctioned adventures brewe... more