The Cambridge Companion to Canadian Literature Edited by Eva-Marie Kröller Frontmatter More Information
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A. Scholarships
A. Scholarships St. Thomas University recognizes academic excellence through a generous scholarship program. The university offers a wide range of entrance awards to highly qualified students admitted on the basis of their high school records, as well as numerous scholarships-in- course to continuing students who have achieved academic distinction at St. Thomas. Entrance Scholarships The Entrance Scholarship program is competitive and is designed to attract outstand- ing scholars to the St. Thomas University campus. Except when otherwise specified, the entrance awards are open to candidates for full-time admission to the first year of the Bachelor of Arts program who are applying on the basis of their high school records. 1. Selection Criteria In selecting entrance scholarship recipients, the primary criterion considered by the Entrance Scholarship Selection Committee is the academic record. The Committee reviews the following: • admission average • Grade 12 program: courses and levels • rank in graduating class • program and performance in grade 11 Note: The admission average is calculated on the senior-level academic English grade and the grades on four other Grade 12 academic courses drawn from our list of approved admis- sions subjects. For details, please consult Section One, Admissions and Registration. At mid year, the admission averages for scholarship purposes is calculated on the overall av- erage of final grades on Grade 11 academic subjects, as well as final first-semester results or mid-year results (for non-semestered schools) on Grade 12 academic subjects. Other factors considered include: • a reference letter from a teacher, principal or guidance counsellor In addition to the academic selection criteria, the following criteria are considered in award- ing some entrance scholarships: • leadership qualities • extracurricular activities • financial status 2. -
Writing Here1
WRITING HERE1 W.H. NEW n 2003, for the BC Federation of Writers, Susan Musgrave assembled a collection of new fiction and poetry from some fifty-two IBC writers, called The FED Anthology.2 Included in this anthology is a story by Carol Matthews called “Living in ascii,” which begins with a woman recording her husband’s annoyance at whatever he sees as stupidity (noisy traffic and inaccurate grammar, for instance, and the loss of his own words when his computer apparently swallows them). This woman then tells of going to a party, of the shifting (and sometimes divisive) relationships among all the women who were attending, and of the subjects they discussed. These included a rape trial, national survival, men, cliffs, courage, cormorant nests, and endangered species. After reflecting on the etymology of the word “egg” (and its connection with the word “edge”), she then declares her impatience with schisms and losses, and her wish to recover something whole. The story closes this way: “If I were to tell the true story, I would write it not in words but in symbols, [like an] ... ascii printout. It would be very short and very true. It would go like this: moon, woman, woman; man, bird, sun; heart, heart, heart, heart, heart; rock, scissors, paper. The title would be egg. That would be the whole story.”3 This egg is the prologue to my comments here. So is the list of disparate nouns – or only seemingly disparate, in that (by collecting them as she does) the narrator connects them into story. -
MS ATWOOD, Margaret Papers Coll
MS ATWOOD, Margaret Papers Coll. 00127L Gift of Margaret Atwood, 2017 Extent: 36 boxes and items (11 metres) Includes extensive family and personal correspondence, 1940s to the present; The Handmaid’s Tale TV series media; Alias Grace TV series media; The Heart Goes Last dead matter; appearances; print; juvenilia including papier mache puppets made in high school; Maternal Aunt Joyce Barkhouse (author of Pit Pony and Anna’s Pet), fan mail; professional correspondence and other material Arrangement note: correspondence was organized in various packets and has been kept in original order, rather than alphabetical or chronological order Restriction note: Puppets are restricted due to their fragility (Boxes 26-29). Box 1 Family correspondence, 1970s-1980s: 95 folders Parents (Carl and Margaret Eleanor Atwood) Aunt Kae Cogswell Aunt Ada Folder 1 Mother to Peggy and Jim ALS and envelope January 2, 1969 [sic] 1970 Folder 2 Mother to Peggy and Jim ALS and envelope March 30, 1970 Folder 3 Mother to Peggy and Jim TLS and envelope April 21, 1970 Folder 4 Mother to Peggy and Jim TLS and ALS, envelope April 29, 1970 Folder 5 Mother to Peggy and Jim ALS August 20, 1970 Folder 6 Mother to Peggy and Jim ALS September 6, 1970 Folder 7 Mother to Peggy and Jim TLS, ANS and envelope September 17, 1970 1 MS ATWOOD, Margaret Papers Coll. 00127L Folder 8 Mother to Peggy ALS September 19, 1970 Folder 9 Dad to Peggy ALS September 26, 1970 Folder 10 Mother to Peggy and Jim TLS (stamps) and envelope October 14, 1970 Folder 11 Mother to Peggy and Jim ALS November 10, 1970 Folder 12 Mother to Peggy ALS November 15, 1970 Folder 13 Mother to Peggy and Jim ALS December 20, 1970 Folder 14 Mother to Peggy and Jim TLS and envelope December 27, 1970 Folder 15 Mother to Peggy and Jim TLS and envelope January 8, 1971 Folder 16 Mother to Peggy and Jim TLS and envelope January 15, 1971 Folder 17 Mother to Peggy and Jim TLS January 20, 1971 TLS and envelope January 27, 1971 Folder 18 Mother to Peggy ALS and envelope November 25, 1973 2 MS ATWOOD, Margaret Papers Coll. -
The Globe 100: Our Favourite Books of 2020
The Globe 100: Our favourite books of 2020 Globe and Mail editors and reviewers offer up our annual guide to the most notable fiction, non- fiction, thrillers, graphic novels, picture books, young adult books and cookbooks of the year MARGARET CANNON, JEFFREY CANTON, JUDITH PEREIRA, SEAN ROGERS, AND ALEC SCOTT SPECIAL TO THE GLOBE AND MAIL PUBLISHED DECEMBER 4, 2020UPDATED 1 MINUTE AGO ILLUSTRATION BY SALINI PERERA Ridgerunner GIL ADAMSON (HOUSE OF ANANSI PRESS) The sequel to The Outlander (2007), this gothic Western was short-listed for this year’s Giller and won the Writers’ Trust Fiction Prize. The novel begins in 1917 with the death of Mary, the first novel’s main character, and focuses on the father of her child, Moreland. He sets out to steal enough cash to give his son a comfortable life. But their boy, who has his parents’ stubbornness and itch for self- sufficiency, doesn’t stay put for long. READ OUR INTERVIEW WITH AUTHOR GIL ADAMSON Homeland Elegies AYAD AKHTAR (LITTLE, BROWN AND COMPANY) This novel by the Pulitzer-winning author of Disgraced provocatively blends fact and fiction, paradox and contradiction, appearing to be a memoir of a man with the same name and pedigree as its author – a Pulitzer-winning American playwright of Pakistani-Muslim extraction whose father, a doctor, became enamoured with Donald Trump after treating him for a heart ailment, and then disillusioned after he assumes the presidency. READ OUR INTERVIEW WITH AUTHOR AYAD AKHTAR Leave The World Behind RUMAAN ALAM (HARPERCOLLINS) The author of Rich and Pretty and That Kind of Mother is back with a look at what happens when a pair of white renters, Clay and Amanda, are startled by the unexpected arrival of the Black property owners, who claim they’re escaping a mysterious blackout in New York. -
Cahiers-Papers 53-1
The Giller Prize (1994–2004) and Scotiabank Giller Prize (2005–2014): A Bibliography Andrew David Irvine* For the price of a meal in this town you can buy all the books. Eat at home and buy the books. Jack Rabinovitch1 Founded in 1994 by Jack Rabinovitch, the Giller Prize was established to honour Rabinovitch’s late wife, the journalist Doris Giller, who had died from cancer a year earlier.2 Since its inception, the prize has served to recognize excellence in Canadian English-language fiction, including both novels and short stories. Initially the award was endowed to provide an annual cash prize of $25,000.3 In 2005, the Giller Prize partnered with Scotiabank to create the Scotiabank Giller Prize. Under the new arrangement, the annual purse doubled in size to $50,000, with $40,000 going to the winner and $2,500 going to each of four additional finalists.4 Beginning in 2008, $50,000 was given to the winner and $5,000 * Andrew Irvine holds the position of Professor and Head of Economics, Philosophy and Political Science at the University of British Columbia, Okanagan. Errata may be sent to the author at [email protected]. 1 Quoted in Deborah Dundas, “Giller Prize shortlist ‘so good,’ it expands to six,” 6 October 2014, accessed 17 September 2015, www.thestar.com/entertainment/ books/2014/10/06/giller_prize_2014_shortlist_announced.html. 2 “The Giller Prize Story: An Oral History: Part One,” 8 October 2013, accessed 11 November 2014, www.quillandquire.com/awards/2013/10/08/the-giller- prize-story-an-oral-history-part-one; cf. -
A Canadian Child's Year by Fran Newman
Volume 8, Number 1 January. 1979 The Ghost Calls You Poor. by PBATURES Andrew Suknaski; lkons of the ILLUSTRATIONS Hunt. by There Kishkan: Once Balanehtg the Book% The results of e When I War Drowning. by Al Cover end drawing on pe8e 5 survey rating CanLit reputations Pittman 14 by Kim la Few bigger some editoriel rdleztions on Some of the Cat Poems. by Anie Drawings by Geor8e Unger 7.8.9 Cumde’s CUltural meturity 3 Gold; The Assumption of Private Othw drawings throughout the issue Rttglii, Our English. An essay by Lives. by Roben Allen; Prisoner. by by loan Acosta George Bowering examines how the Linda Pyke: A Burning Patience language is being tortured by the and Dancing in the House of Card% grammetieal berbariisms and by Pier Giorgio Di Cicco 14 onblocked meuphon that abound in The Trial of Adolf Hitler. by Phillipe daily, weekly. and monthly we Rjndl IS joumalism 7 Canadien Poetry I and 2. edited by Bigger Bmthexhood. Wayne Grady Michael Gnemwski and 0. M. R. reviews 1985 by Anthony Burgess. e Bentley; Book Forum: Canada revised and updated version of Emergent. edited by James Cerley lb George Orwell’s not-so-prophetic Making Arrangements. by Roben nightmare IO Herlow 16 A Dream of Riches: The Japanese Canadians 1877-3977. by the Japanese Centennial Reject 17 Go Do Some Great Thing. by CONTRIBUTORS Crawford Kilian I8 Lost Toronto. by William Dendy: Yesterday’s Toronto. lg70-1910. Tometo frecleecer Msrk Abley rpcn, the part edited by Linda Shapim I9 three years al O&ford es a Rhodes Scholar from Seskatchewm. -
Canada's Façade of Equality: Austin Clarke's More Mary Ma
Ma, “Canada’s Façade of Equality” 11 Canada’s Façade of Equality: Austin Clarke’s More Mary Ma Canada is known as a haven for immigrants. Canadian migrants, their children, and their grandchildren live in the diaspora, a physical community who “acknowledge that ‘the old country’ […] always has some claim on their loyalty and emotions” (Cohen qtd. McLeod 237) and carry a fractured sense of identity through “living in one country but looking across time and space to another” (McLeod 237). Canada prides itself as a multicultural nation that champions inclusivity, diversity, and equality. However, it seems Canada’s often glorified multiculturalism is little more than “a media mask, […] a public advertising campaign” (McLeod 262). This façade seems to be promoted by Canadian media, government, and society to perpetuate an illusion of equality while concurrently “ignor[ing] the underlying and continuing inequalities and prejudices that blight the lives of diasporic peoples” (McLeod 262). In the novel More, Austin Clarke incisively exposes the implicit systemic and societal racism festering in Canada, while also exposing the psychological complexities of living in the diaspora. In More, Clarke unmasks Canada’s systemic discrimination which has long allowed Canadian employers to retain power while subjugating vulnerable immigrant workers. Clarke delineates this systemic racism by describing the limited employment opportunities immigrants, especially Black immigrants, have in Canada. In the novel, Bertram is an apprentice mechanic in Barbados. Upon his arrival in Canada, he earnestly pursues a job in his specialized field. However, “after two months of single-minded perusal of the pages that advertised hundreds of jobs, skilled and unskilled, that related to repairing cars” (Clarke 67), Bertram abandons his dream. -
Narrative Voice in David Elias's Sunday Afternoon
Speaking Redemption: Narrative Voice in David Elias’s Sunday Afternoon Edna A. Froese, St. Thomas More College, Saskatoon Whatever the recent developments in narrative theology have accomplished by way of allowing Christian believers to negotiate postmodern challenges to the authority of the scriptural foundations of their beliefs, the newly emphasized parallels between theology and literature open up wonderful possibilities for reading fiction as well as the Bible itself. Catherine Wallace, for example, in “Faith and Fiction: Literature as Revelation,” argues that literature “has much to offer religion that religion fails to understand and to accept” (2). With Coleridge and then Steiner, Wallace observes that faith is neither “an act of will [nor] an act of knowledge” but “a creative act, the act of imagination”; thus “art and the encounter with God share a common origin in the human spirit” (5). Since “the knowledge of God is not propositional but visionary” (5-6), the poet (or novelist or playwright) is also an “autonomous and significant theologian” (1), whose task it is “to take all the muddled disruptive incoherence of real fact and actual memory – whether communal or personal – and then select and arrange, reform and recast them into a coherent aesthetic whole that tells a visionary truth that facts alone cannot reveal” (10).1 If the 202 Journal of Mennonite Studies truth that the poet thus reveals is to be understood, whether that poet happens to be the redactor of Scripture or a contemporary novelist, “we must first of all read properly, which is to say attentively, details regarded not as historical facts but as poetic choices” (Wallace 10). -
The Canadian Writer & the Iowa Experience
THE CANADIAN WRITER & THE IOWA EXPERIENCE Anthony Bukoski Τ PURPOSE OF THIS PAPER IS TWO-FOLD: to try to piece together from interviewlHsE and correspondence I have had with a number of Canadian authors — twenty-seven to be exact — a sort of general history, a chronological overview of their involvement in the Iowa Writers' Workshop, and to try to assess the significance of that involvement not only to the writers them- selves but to Canadian literature in general. I intend hedging a bit by including some writers who became Canadians only after leaving Iowa.1 Could so many writers have studied at the same institution in the United States without its having left some mark? What attitudes about teaching creative writing or the commitment to the writer's life and craft did they form? Given the method of Workshop investigation, the fragile egos of most young writers, and the fact that the Workshop is in another country, not all of them profited from the experi- ence of studying at Iowa. Speaking of her experiences there in the late 1950's, for instance, Carol Johnson, who teaches at the University of Victoria, noted, "Writ- ers on the whole seem notorious for their unhappiness. Legends of particularly unhappy types prevailed [though not necessarily Canadians]. Since writers are apparently predisposed to neurosis, it would be safe to assume that most of them would be unhappy anywhere."2 Those who were satisfied found the programme valuable, the atmosphere con- ducive to work — though perhaps neither so attractive nor congenial as the main character finds Iowa in W. -
Imaginary) Boyfriend
! "! (Imaginary) Boyfriend by Toby Cygman A thesis submitted to the Faculty of Graduate Studies of the University of Manitoba in partial fulfilment of the requirements of the degree of MASTER OF ARTS Department of English, Film, and Theatre University of Manitoba Winnipeg Copyright © 2011 by Toby Cygman ! ! #! ! Table of Contents Abstract…………………………………………………………………………………...ii Preface (read at thesis defense)……………………………………………………….1 Mobile……………………………………………………………………………………..7 Internets………...………………………………………………………………………12 Baggage…………………………………………………...……………………………18 Effexor for the Win……………………………………………………………………..23 Minor Injuries………………………………………………...…………………………37 Past Perfect……………………………………………………...……………………..47 Stories to My (Imaginary) Boyfriend………………………………………………….50 Lady, Motorbike………………………………………………………………………...53 Afterword………………………………………………………………………………..62 Bibliography…………………………………………………………………………….79 ! ##! Abstract (Imaginary) Boyfriend is a cycle of short stories that addresses the tension between stasis and locomotion. The eight stories feature characters who are addicted to motion, but paralyzed by anxiety. This theme manifests itself in both the internal and external spaces the characters occupy. ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! "! Preface As I was working on my thesis, I looked at other U of M creative theses for direction and inspiration. I found that the large majority of creative theses from the last few years are novellas and began to wonder about my chosen genre, the short story. My preference for this medium has to do with immediacy. -
On Deformity: Bodies in Contemporary Canadian Fiction
University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies The Vault: Electronic Theses and Dissertations 2012-10-25 On Deformity: Bodies in Contemporary Canadian Fiction Ram, Véronique Dorais Ram, V. D. (2012). On Deformity: Bodies in Contemporary Canadian Fiction (Unpublished doctoral thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/27175 http://hdl.handle.net/11023/312 doctoral thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY On Deformity: Bodies in Contemporary Canadian Fiction by Véronique Dorais Ram A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF ENGLISH CALGARY, ALBERTA October, 2012 © Véronique Dorais Ram 2012 Abstract This dissertation ponders how deformity acts as an index of resistance to the conventional family saga; it challenges the authority of the genre, which perpetuates conformity to affirm the existence of a national identity. I open with a history of the trope of deformity and a theory on its applicability to questions of the nation in Canadian fiction. Bonnie Burnard’s A Good House begins the literary analysis and considers how Daphne’s asymmetrical face exemplifies the novel’s overarching deformation of the domestic realist text. -
Spring 2015 Special Section: the Modernist Short Story, and Varia
Journal of the Short Story in English Les Cahiers de la nouvelle 64 | Spring 2015 Special Section: The Modernist Short Story, and Varia The Tales of Frederick Philip Grove Andrew James Electronic version URL: http://journals.openedition.org/jsse/1569 ISSN: 1969-6108 Publisher Presses universitaires de Rennes Printed version Date of publication: 1 March 2015 ISBN: 978-2-7535-5056-8 ISSN: 0294-04442 Electronic reference Andrew James, « The Tales of Frederick Philip Grove », Journal of the Short Story in English [Online], 64 | Spring 2015, Online since 01 March 2017, connection on 03 December 2020. URL : http:// journals.openedition.org/jsse/1569 This text was automatically generated on 3 December 2020. © All rights reserved The Tales of Frederick Philip Grove 1 The Tales of Frederick Philip Grove Andrew James 1 The twenty-three stories in the original version of Frederick Philip Grove’s Tales from the Margin comprise a cycle: characters recur and the locale is limited to Saskatchewan, Manitoba, and Alberta: the Canadian Prairies. This paper will examine how our perception of Grove’s cycle alters when the stories are viewed as tales. This is the label the author preferred. As he explained in his essay “The Novel,” while the short story deals with characters and incidents “excised” from the “social body” (It Needs to Be Said 120), the tale is concerned with the “border-provinces of human life” or life “on the margin.” Because tales belong to the oral tradition, the style of oration and identity of the teller are also important. Chaucer democratized tales by proving that anyone, irrespective of economic class or educational background, could tell a tale so long as it had sustaining interest to command an audience; Poe used the genre as an invitation to a fantastic, psychologically layered fictional world; and Washington Irving employed narrators who were dramatic figures in their own right, filtering his tales through them (Fallon xvii).