Like Jean Rhys exploring the pre-history of the madwoman in the attic, J.M. Coetzee following the adventures of a female Robinson Crusoe or the numerous Caribbean and Canadian versions of The Tempest, Janice Kulyk Keefer adopts postcolonial strategies in turning T.S. Eliot’s The Waste Land into a scathing satire of capitalist politics enforced at the expense of the poor and the powerless. Using Eliot’s form and technique—from the epitaph and the subtitles of the five sections to the wealth of notes at the end—she evokes the rhythm and music of the modernist poem while radically changing its content. “The Waste Zone” tells the story of the meeting in Québec city of the thirty-four American Heads of State in April 2001 and how they were separated from witnesses and protestors, not only as luxury from destitution, but also by brute force against peaceful demonstrators. The poem paints in lively colours the confrontation between the new geo-political models of free trade and a many-voiced post-national resistance in defence of civil rights and a healthy environment. As Keefer shows, globalization, transnational movement and freedom do indeed require diversified responses.