The turn to the 1990s signalled Barbara Godard’s age of matureness as a scholar. It put an end to two decades of in-betweenness throughout which she had operated between professional and academic realms, between mainstream Canadian criticism and feminist literary critique, between Canada and Québec. A due process of dissociation from CanLit’s mainstream structures had taken place between the mid-70s and mid-80s, accompanied by constant production in different capacities at Coach House Press. Throughout the second half of the 80s and the 90s, a stage of overtly feminist operation followed, through both theory (feminist literary criticism); and practice (feminist translation), with the hybrid interspace of Tessera channelling all kinds of discursive political action. This new decade witnessed the ultimate consolidation of Canadian Feminist Translation Studies, with a second generation of scholars contemporary to this more mature phase through which Godard was going. At this last stage, translation clearly becomes the centre of many Canadian scholars’ feminist concerns, pushed to a considerable extent by the parallel academisation of translative activity in mainstream contexts.