Over the past forty years, Canadian literature has found its way to the silver screen with increasing regularity. Beginning with the adaptation of Margaret Laurence’s to the Hollywood film in 1966, Canadian writing would appear to have found a doubly successful life for itself at the movies: from the critically acclaimed and in the 1970s through to the award-winning in the 1990s. With the more recent notoriety surrounding the Oscar-nominated , and the screen appearances of , this seems like an appropriate time for a collection of essays to reflect on the intersection between literary publication in Canada, and its various screen transformations. This volume discusses and debates several double-edged issues: the extent to which the literary artefact extends its artfulness to the film artefact, the degree to which literary communities stand to gain (or lose) in contact with film communities, and perhaps most of all, the measure by which a viable relation between fiction and film can be said to exist in Canada, and where that double-life precisely manifests itself, if at all.