Cover -- Acknowledgments -- Contents -- 1. Introduction: Border Contexts and the Notion of the Beyond -- 1.1 Poetic Border Approaches -- 1.1.1 "At the Un-National Monument along the Canadian Border" -- 1.1.2 "Mending Wall" -- 1.1.3 Echoing the Poetic in Border Fiction: The "Un-National" and Walls -- 1.2 Beyond, "Betwixt, and Between" -- 1.2.1 Literary Analysis: The Confluence of Border and North American Studies -- 1.2.2 Interdisciplinary Significance: Borders, Borderlands, and De/Bordering -- 1.2.3 Procedure: Situating Canada-U.S. Border Fiction -- 2. Theoretical Frame: At the Interface of Literatures, Cultures, and Borders -- 2.1 Poetic Prisms: The Cultural and Literary Turns in Border Studies -- 2.1.1 Border(ing) Studies, Border Theory, and Border Poetics -- 2.1.2 The Canada-U.S. Border/lands -- 2.1.3 Border Conceptualizations: Parallax and Paradox -- 2.2 Border Prisms: The Spatial Turn in North American Literatures and Cultures -- 2.2.1 Transnational American Studies -- 2.2.2 Transnational Canadian Studies -- 2.2.3 Native/Indigenous Studies -- 2.3 Beyond Disciplinary Boundaries -- 2.3.1 North American Studies -- 2.3.2 The Notion of "Worlding" -- 2.3.3 Comparative Border Studies -- 2.3.4 Palimpsests: Remapping and Rewriting -- 3 Thomas King's "Truth & Bright Water" (1999): Native De/Bordering -- 3.1 "Turtle Island": Border Crossings and Transgressions -- 3.1.1 Fluvial Boundary: The Stygian "Shield" -- 3.1.2 Unfinished Bridge: Ambiguous Ampersand -- 3.1.3 Cross-Border Communities: Truth & Bright Water -- 3.1.4 Border Performance: State of the Art, Art of the State -- 3.2 Diorama: Bordered Native-White Relations -- 3.2.1 Pan-Tribalism: Haunting Past and "Happy Trails" -- 3.2.2 Charades: Screening Stereotypes at the "Frontier" and Indian Days -- 3.2.3 Cousins: Transcending the Liminal Abyss -- 3.2.4 Quilt: Palimpsest and Map.

3.3 Turning the Tide: Monroe Swimmer's "Survivance" -- 3.3.1 Subversion: Monroe as Trickster -- 3.3.2 Western Anthropology: Native Remains -- 3.3.3 Colonial Legacy: Churches, Canvasses, and Carcasses -- 3.4 Summary -- 4. Howard Frank Mosher's "On Kingdom Mountain" (2007): Borderlands as Utopia -- 4.1 Kingdom Rules: The Duchess and Subversion Strategies -- 4.1.1 "Lady Justice": Humor, Naming, Historical and Literary Allusions -- 4.1.2 Religious Rewriting: Reclaiming by Renaming and Reappropriating -- 4.1.3 Dual Perspectives and "Second Sight": Ghosts, Mysteries, and Myths -- 4.2 "The Flying Lovebirds": The Clash and the Reversal of Stereotypes -- 4.2.1 The Duchess: Heiress of Kingdom Mountain and Memphremagog Abenaki -- 4.2.2 The Aviator: Southern Mixed-Race "Stranger" "from Away" -- 4.2.3 Community Borders: Representing Racial Relations in 1930 White Vermont -- 4.3 Blurred Color Lines: Kingdom Mountain as Utopian In-Between Space -- 4.3.1 Contested Geopolitics: The Canada-U.S. Border and Kingdom Mountain -- 4.3.2 Disconnected "Connector": Ecology vs. Economy, or Past vs. Present -- 4.3.3 Crossing the Mason-Dixon Line: En Route from Civil War to Civil Rights -- 4.4 Summary -- 5. Jim Lynch's "Border Songs" (2009): Power, Permeability, and Mobility -- 5.1 Counterpoint: Natural Bird Songs, Constructed Border Songs -- 5.1.1 "Big Bird": Border Patrol Agent Brandon Vanderkool -- 5.1.2 Budding Relationship: Agent Brandon vs. Smuggler Madeline -- 5.1.3 In/Security and In/Sanity: American Norman vs. Canadian Wayne -- 5.2 Borderlands Requiem: Security Paranoia in Cascadia -- 5.2.1 "Nonchalant Border:" The Canada-U.S. Border (Ditch) -- 5.2.2 Borderlands Transformations: Globalization and Securitization -- 5.2.3 Border as Frontline: Farewell to a "Geographical Handshake" -- 5.3 Border Echoes: Beyond Bodies, Buds, and Birds.

5.3.1 Liminal Limbo: "Line Dancing" -- 5.3.2 Anthropomorphous Aviary: Arresting Art and Migrants -- 5.3.3 Airborne: Brandon "Free as a Bird" -- 5.4 Summary -- 6. Conclusion -- 7 Works Cited -- 8 Index.