This study focuses on the current experience of Nanaimo's nonprofit family and child service organizations (N = 29) providing services on behalf of government and their adaptation to this devolution. The effects and consequences of contracting on organizational practices, accountability, and services were explored through interviews and focus groups with executive directors, board members, line staff, government representatives, and the United Way. Results show that a significant proportion of funding comes from provincial government contracts. The funding climate is uncertain, and there is considerable confusion, stress, and time involved with the contracting process. Accountability requirements are demanding and nonprofit organizations (NPOs) express concern about a shift to a business management model. Recommendations include a need for increased collaboration between NPOs, a body that speaks for the voluntary sector, and improved relationships between NPOs and government funders.
Land of Many Shores is a diverse and inclusive anthology held together by its emphasis on the importance of stories and the act of unlearning.The book begins with an effective preface by the editor, Ainsley Hawthorn, "a cultural historian, author, and multidisciplinary artist raised in Steady Brook, Newfoundland and Labrador, and now based in St. John 's" (227). "For a people renowned for pride in our heritage, we have a staggeringly limited view of our history and society" (1), Hawthorn claims. She further asserts that "[b]y dismissing the possibility that people born elsewhere in the world could ever qualify as Newfoundlanders, they set the stage for the exclusion of later immigrants from our understanding of Newfoundland identity" (4). Here, Hawthorn deconstructs the belief that, for the most part, Newfoundlanders are "a group of English and Irish descendants" (1).By their very inclusion, the 24 stories/personal essays in this text support Hawthorn's prefatory remarks, as does the equitable amount of space given to each voice. I wish I could quote from, and draw attention to, each contributor to meet the high standards that Breakwater Books has set with this publication, but limited space does not permit.Overall, Land of Many Shores questions and deconstructs binaries, exposing the fact that dichotomies do not allow for an understanding of the sophistication of human experience. "I'm my own prototype," Julie Bull asserts in her poem "Where I'm From," the opening piece to the collection. Bull, "a queer, non-binary Inuk artist from NunatuKavut"
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