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The Poet As Novelist
THE POET AS NOVELIST Linda Hutcheon 1IN 1965 NORTHROP FRYE WROTE: "A striking fact about Can- adian poetry is the number of poets who have turned to narrative forms (including closet drama) rather than lyrical ones."1 It is indeed true that we possess a rather rich tradition of narrative poetry in this country, and, as Frye has also pointed out,2 much of our poetry that is lyrical in form is not at all lyrical in spirit. Yet it is also a fact that at least two of our decidedly lyric poets have turned to narrative, but narrative in prose: Leonard Cohen and Margaret Atwood. They have not totally rejected what Frye calls "the more manipulated comic and romantic formu- las of prose fiction" but they do seem to have used narrative for its natural affinities with ironic tones and themes.3 Unlike Pratt's tragic and impersonal narrative poems, the novels of Cohen and Atwood in particular are both ironic and per- sonal — that is, lyrical and not autobiographical. These novels are lyrical or poetic in yet another way, one that seems to set them apart from the creations of Canadian novelists proper. This difference would seem to lie in the particular structural use made of imagery and symbolism within the novels. It is not that the poet/novelists use more oí these devices, but that they use them in a different manner : they appear to be willing to trust the reader with the image. Poets, after all, have no choice; in their poetry, they have to. Novelists, on the other hand, have a different set of rhetorical tools at their command: among these, plot and character exposition and narrative explanation. -
Toronto As Neglected Factor in International Cultural and Intellectual History
MID-ATLANTIC JOURNAL OF CANADIAN STUDIES (1986) 55-70 Toronto as Neglected Factor in International Cultural and Intellectual History Dr. Tomas W. Cooper It is enti e!" #$ssi%!e t&'t T$ $nt$( )* in+ t&e 1950s t& $*+& t&e 1980s( &'s # $,ided 's -*.& inte!!ect*'! di,e sit"( insi+&t( 'nd . $ss-disci#!in' " inte /'ce 's 'n" cit" in N$ t& A-e i.' 'nd #$ssi%!" t&e 0$ !)1 2e &',e &e' d -*.& '%$*t 3e ke!e"( C'-% i)+e( St'n/$ )( 'nd 5 incet$n( %*t !itt!e '%$*t T$ $nt$1 6e $*t#$* in+s $f F "e 'nd D',ies( t&e Innis/McL*&'n .$ es#$ndence( J$&n Le"e !e's Cent e /$ Medie,'! St*dies( 'nd t&e 9'!*es : $*# $f t&e 1940s ' e '-$n+ t&e &i+&!" in<*enti'! .$nste!!'ti$n $f inde#endents 0&$se .$!!ecti,e 0$ k t$*.&es 0$ !d t&$*+&t1 Re.$+niti$n( ese' .&( 'nd 0 itin+s s* $*ndin+ t&e .$!!ecti,e in<*ence $f t&is *n.$nsci$*s .$--*nit" is ,it'! 'nd $,e )*e1 C'n'di'n in<*ence *#$n t&e United St'tes in.!*des t&e in,isi%!e in<*ence $f ide's( .*!t* '! #'tte ns( 'nd # $+ '--in+1 6e ess'" be!$0 0i!! /$.*s e=.!*si,e!" *#$n C'n'di'ns in T$ $nt$ 'nd )$.*-ent t&e in<*ence $f t&e .'se $f !e'din+ .&' 'cte s *#$n U1S t&$*+&t 'nd .*!t* e1 At t&e $*tset .!' i>.'ti$n is e?*i ed e+' din+ *s'+e $f t&e 0$ ds @T$ $nt$ni'n@ 'nd @in<*ence1@ C$--ent' " e+' din+ t&e infuence $f indi,i)*'!s 'nd instit*ti$ns &$*sed in T$ $nt$ (&ence T$ $nt$ni'n)( )$es n$t &$!d 's # e e?*isite t&'t t&e indi,i)*'! be %$ n 'nd e)*.'ted in T$ $nt$( n$ t&'t t&e instit*ti$n be /$*nded n$ e,en ')-iniste ed %" n'ti,e T$ $nt$ni'ns1 Rat&e AT$ $nt$ni'n in<*enceB infe s t&'t t&e # i-' " indi,i)*'!s 'nd instit*ti$ns dis.*ssed ' e $ 0e e %'sed in T$ $nt$ /$ 't !e'st $ne de.'de )* in+ t&e &ei+&t $f t&ei ese' .&( $*t e'.&( 'nd e.$+niti$n1 A!t&$*+& -'n" T$ $nt$ni'ns 0e e %$ n 'nd e)*.'ted /' / $- T$ $nt$( '!! e-e +ed 'n) <$0e ed 0it&in t&e T$ $nt$ inte!!ect*'! 'nd .*!t* '! -i!ie*1 6ei % e'kt& $*+&s( -'C$ #*%!i.'ti$ns( 'nd si+ni>.'nt -eetin+s $..* ed in T$ $nt$1 N$ t& $# F "e is #e &'#s t&e -$st $*tst'ndin+ e='-#!e $f .$ntin*in+ in<*ence *#$n United St'tes 'nd indeed inte n'ti$n'! s.&$!' s&i#1 6e 0$ !d- en$0ned # $fess$ ( '*t&$ ( 'nd !ite ' " . -
Sheila Watson Fonds Finding Guide
SHEILA WATSON FONDS FINDING GUIDE SPECIAL COLLECTIONS JOHN M. KELLY LIBRARY | UNIVERSITY OF ST. MICHAEL’S COLLEGE 113 ST. JOSEPH STREET TORONTO, ONTARIO, CANADA M5S 1J4 ARRANGED AND DESCRIBED BY ANNA ST.ONGE CONTRACT ARCHIVIST JUNE 2007 (LAST UPDATED SEPTEMBER 2012) TABLE OF CONTENTS TAB Part I : Fonds – level description…………………………………………………………A Biographical Sketch HiStory of the Sheila WatSon fondS Extent of fondS DeScription of PaperS AcceSS, copyright and publiShing reStrictionS Note on Arrangement of materialS Related materialS from other fondS and Special collectionS Part II : Series – level descriptions………………………………………………………..B SerieS 1.0. DiarieS, reading journalS and day plannerS………………………………………...1 FileS 2006 01 01 – 2006 01 29 SerieS 2.0 ManuScriptS and draftS……………………………………………………………2 Sub-SerieS 2.1. NovelS Sub-SerieS 2.2. Short StorieS Sub-SerieS 2.3. Poetry Sub-SerieS 2.4. Non-fiction SerieS 3.0 General correSpondence…………………………………………………………..3 Sub-SerieS 3.1. Outgoing correSpondence Sub-SerieS 3.2. Incoming correSpondence SerieS 4.0 PubliShing records and buSineSS correSpondence………………………………….4 SerieS 5.0 ProfeSSional activitieS materialS……………………………………………………5 Sub-SerieS 5.1. Editorial, collaborative and contributive materialS Sub-SerieS 5.2. Canada Council paperS Sub-SerieS 5.3. Public readingS, interviewS and conference material SerieS 6.0 Student material…………………………………………………………………...6 SerieS 7.0 Teaching material………………………………………………………………….7 Sub-SerieS 7.1. Elementary and secondary school teaching material Sub-SerieS 7.2. UniverSity of BritiSh Columbia teaching material Sub-SerieS 7.3. UniverSity of Toronto teaching material Sub-SerieS 7.4. UniverSity of Alberta teaching material Sub-SerieS 7.5. PoSt-retirement teaching material SerieS 8.0 Research and reference materialS…………………………………………………..8 Sub-serieS 8.1. -
150 Canadian Books to Read
150 CANADIAN BOOKS TO READ Books for Adults (Fiction) 419 by Will Ferguson Generation X by Douglas Coupland A Better Man by Leah McLaren The Girl who was Saturday Night by Heather A Complicated Kindness by Miriam Toews O’Neill A Fine Balance by Rohinton Mistry The Handmaid’s Tale by Margaret Atwood Across The Bridge by Mavis Gallant Helpless by Barbara Gowdy Alias Grace by Margaret Atwood Home from the Vinyl Café by Stuart McLean All My Puny Sorrows by Miriam Toews Indian Horse by Richard Wagamese And The Birds Rained Down by Jocelyne Saucier The Island Walkers by John Bemrose Anil’s Ghost by Michael Ondaatje The Jade Peony by Wayson Choy Annabel by Kathleen Winter jPod by Douglas Coupland As For Me and My House by Sinclair Ross Late Nights on Air by Elizabeth Hay The Back of the Turtle by Thomas King Lives of the Saints by Nino Ricci Barney’s Version by Mordecai Richler Love and Other Chemical Imbalances by Adam Beatrice & Virgil by Yann Martel Clark Beautiful Losers by Leonard Cohen Luck by Joan Barfoot The Best Kind of People by Zoe Whittall Medicine Walk by Richard Wagamese The Best Laid Plans by Terry Fallis Mercy Among The Children by David Adams The Birth House by Ami McKay Richards The Bishop’s Man by Linden MacIntyre No Great Mischief by Alistair Macleod Black Robe by Brian Moore The Other Side of the Bridge by Mary Lawson Blackfly Season by Giles Blunt The Outlander by Gil Adamson The Book of Negroes by Lawrence Hill The Piano Man’s Daughter by Timothy Findley The Break by Katherena Vermette The Polished Hoe by Austin Clarke The Cat’s Table by Michael Ondaatje Quantum Night by Robert J. -
Margaret Atwood: a Canadian Novelist
Margaret Atwood: A Canadian Novelist Introduction Contents Margaret Atwood is a name nearly all Canadians know, and now that she has finally won the prestigious Booker Prize her already considerable international Introduction reputation is greatly enhanced. Canadians, however, are often criticized for not celebrating our cultural icons, whether it be from a collective sense of modesty or The Range of The Blind uncertainty as to the elusive Canadian identity. Be that as it may, we do recognize Assassin Margaret Atwood as one of our greatest writers, and this international win for her latest novel, The Blind Assassin, certainly gives us reason to reappraise her Not Just A Novelist considerable contribution to that genre of literature referred to as CanLit. The Booker Prize-considered one of the world's most important literary awards-is given each year to what is judged the best original full-length novel written by a citizen of Subjectivity, Literature, the British Commonwealth or the Republic of Ireland. Atwood's novels have been and The Blind Assassin nominated for the Booker three times, and now The Blind Assassin takes its place among the very best literary works of fiction in the world. As Canadians, we have Themes of Margaret good reason to recognize and validate the talent and achievements of our artists, Atwood and we do so. "Canadian content" is a standard qualifier and indicator of success for us, whether in the form of a Jim Carrey movie, the music of Céline Dion, or the Portraying Women's Lives comedy of John Candy or Dan Ackroyd. -
A QUARTERLY of CRITICISM and R€VI€W a NEW MAGAZINE Always Appears in a Double Guise
per copy $1.00 CANADIAN Summer, 1959 RODERICK HAIG-BROWN Ott The Writer in Isolation A. J. M. SMITH on Duncan Campbell Scott ROY FULLER 071. Recent Canadian Poetry HUGO MCPHERSON 071 Gabrielle Roy GERARD TOUGAS Bilan D'Une Littérature Naissante DWIGHT MACDONALD On Five Canadian Magazines A QUARTERLY OF CRITICISM AND R€VI€W A NEW MAGAZINE always appears in a double guise. It is in one sense the arriving guest, anxious to exert whatever attractions it may possess on its potential host — the particular public to which it has chosen to appeal. But at the same time it sets out to become a host itself, offering its hospitality to writers and their ideas, and ready to welcome to the salon of its pages the most brilliant and the most erudite of guests. During the past months we have spent much time and energy pressing the claims of Canadian Literature as a potential guest of the literary pub- lic of our country. We have pointed out that it will be the first review devoted only to the study of Canadian writers and writing. It will — we have added — throw a concentrated light on a field that has never been illuminated systematically by any previous periodical; and we have em- phasized the kind of services it will provide for writers, scholars, librarians and — by no means least — the curious reader. By the very fact of appearing, a magazine renders obsolete such pro- phecies and projections. It exists, and must become its own justification. But its very existence may have been rendered possible only by the faith of people and institutions who have been willing to become — in one way or another — its hosts. -
Notes on Realism in Modern English-Canadian Fiction
NOTES ON REALISM IN MODERN ENGLISH-CANADIAN FICTION Matt Cohen A REALISTIC NOVEL is USUALLY TAKEN to mean a novel in which narrative is the connecting thread, in which not only does thought or action lead to subsequent connected thought or action, but does so in groups of words organized into logical sentences, paragraphs, chapters, etc. But "realistic novels" are also novels written about "reality" — as opposed to novels perceived to be about something which is not "real." Thus, aside from realistic novels there are novels which are termed gothic, or science fiction, or fantasies, or dream journals, or simply "experimental" — a class of novel which conjures up the image of a fanatically mad scientist blindly pounding at a type- writer (or, latterly, a word processor). In Canada, the novelistic technique most practised by writers, and most accepted by readers, critics, and academics, has been from the beginning and still remains the conventional realistic narrative, though there have been some interesting innovations. One of the characteristics non-Canadians always notice about Canadian novels is that an amazingly large proportion of them are set in the country. Even of that fiction set not in the countryside but in the city, much portrays the city not as a cosmopolitan centre but as a small town. There is, I think, a political reason for this. Canada, like the rest of the "developed" countries, is a place in which the dominant way of life is an urban one. Just as American culture is dominated by Los Angeles and New York, as British culture is dominated by London, as French culture is dominated by Paris, so, too, is English-Canadian culture dominated by Toronto. -
Ms Coll 00050 Davies (Robertson) Papers 1
Ms Coll 00050 Davies (Robertson) Papers Robertson Davies Papers (gift of June Davis) Dates: 1929-2008 Extent: 115 boxes (22 metres) Biographical Description: Robertson Davies was born in Thamesville, Ontario in 1913 and was the third son of W. Rupert Davies and Florence Sheppard McKay. Davies’ father, Rupert Davies was born in Wales and was the publisher of The Kingston Whig Standard and was appointed to the Senate as a Liberal in 1942, a position he would hold until his death in 1967. As a young child, Robertson Davies moved with his family to Renfrew, Ontario, where his father managed the local newspaper, the Renfrew Mercury. The family would later relocate to Kingston in 1925. Between 1928 and 1932, Davies attended Upper Canada College in Toronto, where he performed in theatrical performances and wrote and edited the school paper, The College Times. After graduating, Davies attended Queen’s University in Kingston, where he was enrolled as a special student as he was not working towards a specific degree. Between 1932 and 1935, Davies wrote for the school paper and performed and directed theatrical plays. In 1935, Davies traveled to England to study at Baillol College at Oxford, where he was enrolled in a Bachelor of Letters degree. At Oxford, Davies performed with the Oxford University Dramatic Society and was a co- founder of the Long Christmas Dinner Society. After graduating in 1938, Davies published his thesis, Shakespeare’s Boy Actors through the publisher J.M Dent & Sons in 1939. In 1938, Davies joined the Old Vic theatre company, where he had roles in The Taming of the Shrew, She Stoops to Conquer, and A Midsummer Night’s Dream and also worked as a teacher of dramatic history at their drama school. -
Literary Trivia Challenge
Literary Trivia Challenge 1. Which Nobel Prize-winning author wrote a 6. What is the name of the narrator in short story that took place at Osler? Harper Lee’s To Kill a Mockingbird? A) Margaret Attwood A) Scout Finch B) David Adams Richards B) Boo Radley C) Alice Munro C) Atticus Finch D) W. O. Mitchell D) Dill Harris 2. Where was the location of Collingwood’s 7. What is the first ghost to visit Ebenezer original Public Library? Scrooge on Christmas Eve? A) Simcoe Street A) Ghost of Christmas Past B) Second Street B) Bob Cratchit C) Hurontario Street C) Ghost of Christmas Spirit D) St Paul Street D) Jacob Marley 3. Which Canadian author wrote Luke Baldwin’s Vow, a story of a boy who came to 8. Who is known for collecting folklore tales live in Collingwood? such as Cinderella, Rapunzel, and Snow A) Robertson Davies White? B) Morley Callaghan A) Hans Christian Andersen C) George Bowering B) Brothers Grimm C) Walt Disney D) Gabrielle Roy D) All of the above 4. Who is Collingwood’s poet laureate? A) Susan Wismer 9. What was Mark Twain’s real name? B) Maya Angelou A) Twain Mark B) Samuel Clemens C) Robert Frost C) Henry James D) Day Merrill D) Walt Whitman 5. What book won CBC’s Canada Reads contest in 2019? 10. The Lion King is a Disney re-imagining of A) Bakr al Rabeeah, Winnie Yeung which Shakespeare play? A) King Lear B) The Testaments, Margaret Atwood B) Macbeth C) By Chance Alone, Max Eisen. -
“A Sort of Refusal”: Alice Munro's Reluctant Career
“A Sort of Refusal”: Alice Munro’s Reluctant Career Lorraine York s we look back together in this fortieth anniversary issue of Studies in Canadian Literature to the journal’s founding year, 1976, that date stands out to scholars of Canadian lit- eraryA celebrity for a couple of additional reasons. That was the year that Margaret Atwood took the unprecedented step for a Canadian writer of incorporating the business activities of her career as O.W. Toad Limited (an anagram of “Atwood”). The move, probably undertaken for practical and private financial reasons, was little commented upon at the time, but I have argued that it marks a turning point in the his- tory of Canadian writers’ public visibility and professional organization (Margaret Atwood 7). Atwood’s early recognition of the extent of her literary success signalled a nascent recognition of literary celebrity as an industry. Although there is plenty of evidence that Canadian writ- ers considered their work as a business before this — one thinks, for example, of the founding of the Canadian Authors Association in 1921 — Atwood’s incorporation renders explicit the collaborative labour that supports literary celebrity. The very fact that Atwood’s move was not widely discussed, or even recognized as a sign of something larger taking shape in Canadian literary circles, sheds light on these intervening forty years and on the way in which the growing industrialization of literary celebrity has come up against the persistent image of the Canadian writer as solely concerned with aesthetics and humble, restricted fields of small-scale production. As Kit Dobson observes, interviews with Canadian writers “rarely engage writers in conversations about what it means for them to create artistic works in a market that is necessarily concerned with its economic bottom line” (Dobson and Kamboureli 4). -
“Deep in Mines of Old Belief”: Gnosticism in Modern Canadian Literature
“Deep in Mines of Old Belief”: Gnosticism in Modern Canadian Literature by Ryan Edward Miller M.A. (English), Simon Fraser University, 2001 B.A. (English), University of British Columbia, 1997 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in the Department of English Faculty of Arts and Social Sciences © Ryan Edward Miller 2012 SIMON FRASER UNIVERSITY Summer 2012 All rights reserved. However, in accordance with the Copyright Act of Canada, this work may be reproduced, without authorization, under the conditions for "Fair Dealing." Therefore, limited reproduction of this work for the purposes of private study, research, criticism, review and news reporting is likely to be in accordance with the law, particularly if cited appropriately. APPROVAL Name: Ryan Edward Miller Degree: Doctor of Philosophy, English Title of Thesis: “Deep In Mines of Old Belief”: Modern Gnosticism in Modern Canadian Literature Examining Committee: Chair: Dr. Carolyn Lesjak Associate Professor & Graduate Chair Department of English ______________________________________ Dr. Kathy Mezei, Senior Supervisor Professor Emerita, Department of Humanities ______________________________________ Dr. Sandra Djwa, Supervisor Professor Emerita, Department of English ______________________________________ Dr. Christine Jones, Supervisor Senior Lecturer, Department of Humanities ______________________________________ Dr. Eleanor Stebner, Internal Examiner Associate Professor & Woodsworth Chair, Department of Humanities ______________________________________ -
Censorship and Scares
National Film Board of Canada: 1940-52 censorship and scares by piers handling The uproar over No Act of God is the most recent in a line. Re the National Film Board's classic of inept, inaccurate of political controversies in which the Film Board has been sub· and outrageouly expensive filmmaking, No Act of God (NFB merged throughout its history. There are perhaps more illus Rejects Pressure to Ban Anti-Atomic Film - Nov. 23) trious predecessors which caused far more furore in their day. My "demand" that it be withdrawn was IIOt made on the Denys Arcand's documentary on the textile industry in Quebec, 'Srounds that it was biased and incorrect. Th e NFB has al On est au coton, was banned in 1971 ostensibly over its factual ready acknowledged the jirst charge and call hardly deny inaccuracies. But more to the point its position had shocked the second in view of the eV idence provided it . .. the textiles lobby into insisting on its withdrawal. The en The grounds for my complaint were that as the custodian suring publicity, apart from establishing Arcand's reputation, of film footage for Atomic Energy of Canada Ltd., the NFB ended in the banning of the film. But numerous video "boot had taken footage and maliciously misused it... leg" copies were circulated throughout Quebec, and in fact, although under censure, it became one of the most widely seen A.R. Burge Film Board films in the province. A year later Gilles Groulx's Director, Public Affairs 24 heures ou plus was similarly banned, although this time the Atomic Energy of Canada Ltd.