Homelessness is a risk for growing numbers of immigrants. Largely as a result of low incomes, newcomers are more likely than the Canadian‐born to spend over 50 percent of total household income on housing costs. Many newcomers suffer ‘hidden homelessness’. They do not use shelters and other services, but share accommodation, couch‐surf and rely on their social contacts for temporary and precarious housing. The adverse impact of low incomes on the housing experiences of Canadian newcomers is exacerbated in the outer suburbs of metropolitan areas where the supply of affordable housing is limited. This study explores the social backgrounds and housing experiences of immigrant households that are vulnerable to homelessness in outer suburbs through analysis of special tabulations from the 2001 census for York Region and interviews with representatives from local community organisations serving immigrant and low‐income populations. The initial findings confirm that a high proportion of newcomers in York Region are at‐risk of homelessness during the first 10 years of residence in Canada. Although renters are more vulnerable than homeowners, a substantial percentage of newcomers who are homeowners pay more than 30 percent of their total income on housing costs. The shortage of affordable rental housing in the outer suburbs exacerbates the impacts of low incomes, immigration status, household size and ethnoracial identities on immigrants' housing.

This article focuses on the material and discursive constructions of nature and chil dren in the city. While dominant representations and idealizations of nature and child hood depend on the binary logic of the nature/culture and rural/urban divide, there is also a simplification and romanticization of nature in children's geographies and a lack of chil dren and their spaces in urban political ecology. We argue that children and nature in cities need to be removed from a binary model of being and attended to in more nuanced ways in urban political ecology and children's geographies. In this regard, we suggest that both nature and children in cities need to be queered. We need to ask how the production of urban spaces (re)creates particular romantic and idealized relations with natures that reify the binaries between nature/culture, and male/female through a heteronormative framework. The purpose of this article is to bring the critical nature-society theories of urban political ecology into conversation with work in children's geographies that explores the 'nature' of childhood, and in doing so queer the relationship between children and nature. Drawing on research on queer ecologies, and queered childhoods, we aim to provide a framework to rethink and queer both nature and children in cities.

No abstract

In this article, we examine depictions of race, nature, and childhood in Harlan Ingersoll Smith's early ethnographic films at the National Museum of Canada. Created in the 1920s for a children's education programme, Smith's films construct ethnographic portraits of different Indigenous peoples in Western Canada. We demonstrate how museum education appropriated Indigeneity as a discursive resource to immerse viewing children in particular narratives of Canadian national heritage and development. The films worked through a complex double movement, bringing children in the Ottawa museum audience into association with Indigenous children based on shared experience as children while simultaneously differentiating Indigenous peoples as Other. The films inculcated white youth at the museum in a romanticized connection to Canada's prehistory through knowledge of the nation's Indigenous peoples as well as nature. In the films, the position of Indigeneity within the future remained ambiguous (traditional practices sometimes disappearing, sometimes enduring). Yet, despite Smith's uncertainty about colonial beliefs in the disappearance of Indigeneity, his films nonetheless presented the teleological development of the settler nation as certain. Our article highlights how thinking about children, as audience for and thematic focus of these films, extends discussions of the geographies of film, of children, and of settler colonial nationalism.

No abstract