{'fraction_non_alphanumeric': 0.06407942238267147, 'fraction_numerical': 0.015342960288808664, 'mean_word_length': 5.721212121212122, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
Michel Foucault, The History of Sexuality: An Introduction, Volume 1 (1978)

The publication of Canada In Us Now: The First Anthology of Black Poetry and Prose in Canada (1976), edited by Harold Head, followed by Roman Candles: An Anthology of Poems by Seventeen Italo-Canadian Poets (1978), edited by Pier Giorgio Di Cicco, served notice that Prime Minister Pierre Elliott Trudeau’s promulgation of a statist multiculturalism policy (1971) was already shifting—seismically—the conception of “Canadianness.” True: Head’s writers were explicitly “black,” not Canadian, while Di Cicco writer’s were self-consciously “hyphenated,” so as to spurn the “either/or” of an “Anglo” or “Gallic” identity. Still, these works spearheaded the revolutionary understanding that the “two founding” white Euro “peoples”—the “two solitudes”—pseudo-apartheid notion of Canada was now splintering—or flowering—into the realization that we’re a polyphony, a mosaic, of multitudinous “solitudes” and “societies” (not subcultures). We went from black-and-white to technicolour. None of our art—or culture—has looked the same since.