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Feats and Defeats of Memory: Exploring Spaces of Canadian Magic Realism

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Feats and Defeats of Memory: Exploring Spaces of Canadian Magic Realism Feats and Defeats of Memory: Exploring Spaces of Canadian Magic Realism Agnieszka Rzepa Feats and Defeats of Memory: Exploring Spaces of Canadian Magic Realism WYDAWNICTWO UAM Contents Acknowledgments .................................................................................. 7 Introduction: Preliminaries and Memorabilia .................................... 9 Chapter I Opening Spaces of “An Invisible Country”: Contexts of Canadian Magic Realism .......................................................... 27 Chapter II Broad Vistas, Open Spaces: Memory and Place ............................. 65 Chapter III House, Home, Community: Dimensions of Memory and Domesticity ............................................................................... 93 Chapter IV Other Spaces: Memory, Trauma, Representation, Culture ............ 129 Coda: Homecomings .......................................................................... 157 Works Cited ....................................................................................... 161 Streszczenie ....................................................................................... 173 Acknowledgements I would like to extend my gratitude to the small, but active, intellectually vigorous and inspiring Polish Canadianist community. The book has benefited greatly from discussions I have had with numerous colleagues, as well as their support and encouragement. The opportunity to conduct an important part of my research on the key issues discussed in this book was provided by the Faculty Research Grant of the Department of Foreign Affairs and Trade, Canada; and the Visitorship Grant of the Institute of Canadian Studies, University of Ottawa, which I received in 2004. Financial and institutional support was also consistently provided by Adam Mickiewicz University in Poznań and the AMU School of English. I am particularly grateful to Prof. Jacek Fisiak, the former Head of the School, and the late Prof. Andrzej Kopcewicz for encouraging me to take up Canadian literary studies and for providing institutional space for Canada-centred research and teaching. The support provided by the AMU School of English continues under the leadership of Prof. Katarzyna Dziubalska-Kołaczyk, which I also gratefully acknowledge. Heartfelt thanks and much love go to Robert and Bartek: to the former for his unfailing support and relieving me of too many responsibilities than could have been reasonably expected as I was writing the book; to the latter for providing distractions and diversions. I am also grateful, as always, to my parents. Introduction Preliminaries and Memorabilia Contemporary literary magic realism is without doubt an international phenomenon. It can no longer be treated exclusively as the Latin American domain, or even, more broadly, as a particular mode of expression employed by the postcolonial “fringe” to the exclusion of the hegemonic “centre,” as the popularity of magic realist expression among, for example, British writers makes clear (see Hegerfeldt 2005). It still, however, remains tied to a broad and varied area of “marginality,” to the expression of minority discourses. The omnipresence of the mode in world literature has encouraged critics to attempt syntheses related to its nature and characteristics. While the concept and practice of magic realism has drawn a steady stream of scholars rooted in Anglo-American academia at least since the publication of Angel Flores’s seminal (though by now controversial) essay “Magical Realism in Spanish American Fiction” in 1955, the “internationalisation” of the mode justifying comparativist perspectives has gained legitimacy with the publication of Magical Realism: Theory, History, Community (1995), edited by Wendy Faris and Lois Parkinson Zamora. The influential anthology of critical texts spanning 70 years of critical discussions on magic realism has undoubtedly contributed to the renewed interest in both the critical constructions and literary practice of magic realism, as attested to by many recent English-language book-length studies on the subject (for example Schroeder 2004; Aldama 2003; Faris 2004; Hegerfeldt 2005). It seems that after a long period of terminological and generic confusion Anglo-American critics have now reached a broad, though only tentative, agreement on the definition of the mode, and, to a certain extent also on related terminology. This does not mean that the discussion does not rage on—it does—but as Christopher Warnes concludes, “magical realism seems finally to have gained definitional legitimacy in a global literary critical context (Warnes 2005 8). In spite of the international appeal of magic realism, its rise in particular locations is conditioned by specific national, cultural and literary histories. While the story of Latin American magic realism has 10 Introduction been quite extensively documented and discussed (e.g., in Bravo 1978; Chiampi 1983; Ricci 1985; Bautista Gutiérrez 1991; Angulo 1995; Camayd-Freixas 1998) most of those other “local” stories of magic realism remain untold other than in scattered articles. Studies on West African (Cooper 1998), and British (Hegerfeldt 2005; Klonowska 2006) magic realism constitute partial exceptions to this trend. Only recently has there appeared a comparative study of magic realism in the Americas by Shannin Schroeder (2004), which addresses U.S. and Canadian examples of magic realist texts as well as Latin American ones. Schroeder’s study is valid for my own work on Canadian magic realism, though it also disappoints by its privileging of texts by U.S. authors, especially those by ethnic minority writers. The only Canadian novels the author discusses are Robert Kroetsch’s admittedly paradigmatic What the Crow Said (1978) and Thomas King’s Green Grass, Running Water (1993), so in effect Schroeder theorizes North American magic realism almost exclusively on U.S. examples. She also ignores some of the crucial differences between Canada and the United States, which in effect produce distinct magic realist practices and critical discourses. She concludes that “North American magical realism is distinguished by its intensive preoccupation with pop culture and capitalism.” This focus contrasts with the Latin American variety’s assumption of a more “historically based” perspective (Schroeder 2004 159), which Schroeder calls, after Frederic Jameson, “anthropological,” and which relies on “the coexistence of pre-capitalist with nascent capitalist or technological features” (Jameson 1986 302) The former makes assertions rooted in the social and cultural realms, the claims of the latter spring from political foundations (Schroeder 2004 66). Some works of Canadian authors, especially examples of more recent magic realist production, do support these conclusions: the authority of consumer capitalist and/or pop cultures is seriously questioned by, for example, Tomson Highway’s Kiss of the Fur Queen (1998) and Margaret Sweatman’s When Alice Lay Down with Peter (2001). There are many others, however, in which concerns related to consumer culture are not structurally important, as in Kroetsch’s What the Crow Said or Jack Hodgins’s The Invention of the World (1977). This does not necessarily invalidate Schroeder’s argument, but rather underlines the specific nature and location of Canadian magic realism, which she does not do justice to. She ignores, for example, the fact that much of Canadian magic realist Preliminaries and Memorabilia 11 production, while concerned with “the reviewing and revision” (Schroeder 2004 64) of the narrative of the nation, conducts it from the dominant cultural perspective. The revisions are not necessarily culturally or politically disruptive, even though also in Canada the mode provides a space for voicing marginalised perspectives. My book constitutes an attempt to address Canadian magic realism in its specific context, and examine different approaches to individual and cultural memory in selected Canadian magic realist prose. *** As the term “magic realism” started to be applied to literary works produced outside of Latin America, including English-speaking countries, critics set out on the ongoing work of re-defining and at the same time questioning the validity of the term as a generic label. The term has been applied to such a wide variety of texts as to become in some critical opinions almost meaningless: many have claimed that it has lost its discriminatory capacity and therefore has outlived its usefulness. Critics have identified Rabelais and Sterne as important predecessors of the contemporary practitioners of the genre, looked for its roots in the American romance tradition, and frequently related it to Bakhtinian “rhetoric (or poetics) of excess” (Durix 1998 42-143; Danow 1995 67). As Rawdon Wilson suggests, magical realism can be, and indeed is, used to describe virtually any literary text in which binary oppositions, or antinomies, can be discovered. Furthermore, it is often employed so loosely as a historical-geographical term that its textual implications tend to become obscured. (Wilson 1995 223) The currency of the term is particularly frequently both questioned and confirmed (often in the same text) by many practitioners of the relatively new field of postcolonial studies. Critics tend agree, however, that magic realism seems to be a mode particularly well suited for the expression of the native element in cultures of postcolonial countries, the element previously suppressed or misrepresented (see Durix 1998). Wendy Faris
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