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volume et demande asile asile demande et Maru Komagata ». Dans ce drame, S. Pollock exprime sa vision sa exprime Pollock S. drame, ce Dans ». Komagata Maru, a Japanese freighter, and appealed Revue d’Etudes Canadiennes en Europe Centrale
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(85–94) . L’action du drame est basée sur un événement réel, l’in- réel, événement un sur basée est drame du L’action Maru. Komagata ollock The Komagata Maru Incident. Based on a real event – the namely, May 23, 1914, Central European Journal of Canadian Studies of Canadian European Journal Central Centrale en Europe Canadiennes Revue d’Etudes l’époque de régnantes idées des pas sert ne critique du Canada blanc fondé sur les préjugés raciaux et sexistes. Il le fait principalement fait le Il sexistes. et raciaux préjugés les sur fondé blanc Canada du critique sikhe. immigrante une et prostituées deux marginalisés, féminins personnages les travers à construc- les que et cours en processus un est Canada du création la que rappelle drame Le être révisées et réinventées. tions du passé doivent Mots-clés : théâtre canadien, l’identité, l’immigration, Sharon Pollock au gouvernement canadien. Ce drame représente une nouvelle écriture réussie de l’histoire de réussie écriture nouvelle une représente drame Ce canadien. gouvernement au et de cet événement oublié que Sharon Pollock réalise en prouvant que son imagination « Tanja Cvetković Tanja Abstract reimagines playwright, Canadian a renowned Pollock, Sharon way the on focuses paper The and reconstructs Canadian history and national identity in her one-act historiographic do- cudrama britan- sujets l’Est, de l’Inde de immigrants 376 de groupe un quand 1914 mai 23 du cident japonais bateau le sur Vancouver de port au arrive niques, Reimagining Canada: Sharon Pollock’s Canada: Reimagining Incident Maru The Komagata Maru Incident : The Komagata le Canada Réimaginer de Sharon P incident when a group of 376 East Indian immigrants who were British subjects arrived in the Vancouver harbour aboard the to the Canadian government for refuge – the play represents successful Pollock’s rewrit- ing of a neglected story from history. It proves that her imagination does not “serve the ruling ideas of the time.” Further, in this play Pollock expresses her critical primarily view, through her marginalized female characters – two prostitutes and a Sikh woman – of the white masculinist Canada shaped by racist and sexist attitudes. The play reminds us that the construction of Canada is an ongoing process and that past constructions should be re-examined and reinvented. immigration, Sharon Pollock Canadian theatre, identity, Keywords: Résumé imagine canadien, dramatique auteur célèbre Pollock, Sharon dont façon la traite travail Ce à nouveau et reconstruit l’histoire canadienne et l’identité nationale dans son docu-drame historiographique cejsc_new_09_text.indd 85 cejsc_new_09_text.indd 86 articles — articles in the following way: the “Illuminating In a story. telling Facets,” of with Anne an F.interview Nothof, she explains the use of the diamond possibilities image different show to a diamond characters, factsreimagines into and how she turns fiction. she how setting, the to respect in play the in event the restructures and reimagines the of story the Pollockpresents how explore I will how [she is] going to tell […] the parts of the story …” (Grace 2008: 406). In this paper order a story, “the telling of act story,the the of meaning the is herfor matters what only to history but also to the Canadian national character. When Pollock tells a story, a basis in history, intobringing awareness significantevents of the past,speaking not an eventturns into Pollocka story, she rewrites it, When adding new meaning. 395). Many of Pollock’s2008: stories (Gracehave was” past the what creating as creating “re- much so not is she past, the from events the using By 396). 2008: (Grace life of Sharon Pollock states that in her creative artistic work she starts from the raw material In the interview “The Many Voicesof Sharon Pollock” conducted byKathleen Flaherty, Reimagining Canada:SharonPollock’s TheKomagataMaruIncident Tanja Cvetković 86 event inher play completely Maru anti-racist. the Komagata of Directing attention to the neglected aspects of events, Pollock expected. makes her one presentation the than perspective a different to rise gives background educational explains, She Incident, Maru Komagata reality creative ina new and re-imagining way. changing reinterprets stories, and rewrites She event. the on light a different casting vision, her expands she eyes, story can be told from many points of view, Pollock uses the image of of image the uses Pollock view, of points many from told be can a story Since The awareness that her angle of observation might result from her personal and personal her from result might observation of angle her that awareness The of case the in as events, historical on perspectives multiple gives Pollock different through event an seeing by storytelling, of boundaries the crossing By largest, most powerful country inthe world. (Nothof, 8) country mostpowerful largest, the to next country,a colonist in country,a racist in country, the of part a conservative in upbringing white middle-class, my of result the I’m observation. of angle my acknowledge to story the of structure the within a way I find as long so story a write I can that I think way,eyes and ina certain (Nothof, to ableto I get expand, be 7) move the light. one way, shine it on one part of the diamond. By being aware of flashlight how my I do hold see only through I can certain boundaries those expand to try I never If a flashlight. I have and experience, and place and time a certain of result the I am and place, one in standing I am diamond. multi-faceted a big is life about writing you’re when truthfulness if It’s as |
The CentralEuropean JournalofCanadianStudies and at the same time she conveys her angle of observation. observation. of angle her conveys she time same the at and
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Walsh Walsh Komagata Tanja Cvetković Cvetković Tanja 09 (2014) Whisky Six Cadenza entered entered Burrard volume to
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is the racial injustice injustice racial the is Walsh Walsh “white” city and its authorities authorities its and city “white”
Komagata Maru head tax of $200 was imposed for an for imposed was $200 of tax head
The The Komagata MaruIncident Revue d’Etudes Canadiennes en Europe Centrale has been approached and discussed from various points various from discussed and approached been has
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de Sharon Pollock Incident de Sharon Maru : The Komagata le Canada Réimaginer (1973), another history play of that period. Both plays deal legal immigrant had to arrive in the Vancouver harbour after harbour had to arrive in legal immigrant the Vancouver
(85–94) Incident (1976) is a history play and belongs early to Pollock’s Walsh Walsh along with play opened at openedat play Pollock’s Sharon Canadiansuntil to reintroduced widely not was 1 Sherrill plays into Grace Pollock’s classifiesthree stages: the early plays The man whowas charged with handling the crisis, inspector WilliamHopkinson Incident Maru Komagata The On May 23, 1914, the Japanese-owned steamer The Komagata Maru non-stop voyage from his or her port of embarkation; this, however, was impossible was impossible however, this, his or from her port voyage of embarkation; non-stop
immigrant to land – an impossible sum for the people on the ship. The authorities and and authorities The ship. the on people the for sum impossible – an land to immigrant out, ran ship the on supplies As the immigrants. the against were sentiment public the 23, July on leave to had months, two after starvation facing board, on immigrants the Canada. enter to allowed 1914. Only 24 of were them of the Immigration Department, is the a psychological central ordeal figure regarding the of issues the of racism play. he faces in undergoes He Hopkinson the was play. murdered The on real October 21, 1914, by Mewa Singh, who was arrested and executed in 1915, by which time the events of I obliterated the War World 1914 Vancouver Harbour incident. Sherrill Grace notes that “the story of the Maru Playhouse in January the 1976” Vancouver (Strong-Boag, et Grace al. 1998: 86). This reinterpreting the event. in significance the play of the to adds plays. Pollock’s other to respect in prominence a significant given been has and view of a a Order, other the to According 1914. in make to did not give permission to the immigrants to disembark. Actually, the passengers were were passengers the Actually, disembark. to immigrants the to permission give not did of One immigration. Canadian of Office the from Orders-in-Council special by blocked that a stated the Orders Inlet with 376 passengers, most of them Sikhs carrying British passports and therefore therefore and passports British carrying Sikhs them of most passengers, 376 with Inlet a was Vancouver 1914, In Canada. in settling for eligible with facts, with real historical events which Pollock started researching as soon as she she as soon as researching started Pollock which events historical real with facts, with realized things that were there that “the historians hadn’t told [her]” (qtd & in Grace La Flamme 2008: 14). Both plays deal with the peaceful settlement of the Canadian West and they both have a central character whose inner conflict is explored. concentrates on Major Walsh of the Northwest Mounted Police, who attempted to prevent Sitting Bull and the Sioux from being sent from Canada back to the United States to stand trial for the death of General Custer LittleBig main The subjectHorn. of and his men at the battle of and inhumanity related to the 1914 historical event when harbour. a group arrivedimmigrants Vancouver at of East Indian plays, (from (from 1973 to 1993), the Garry years (1993 to 1997), when she and her Garry son Theatre in Calgary,Kirk and the third stageCambell from 1998to founded 2007, a more reflective, the philosophical stage in assessed she which artistic the 2008: ix). challenged and contemporary issues life (Grace 1) cejsc_new_09_text.indd 87 cejsc_new_09_text.indd 88 articles — articles the carnivalesque figureof the Masterof Ceremonies, T.S. central (The System) (Strong-Boag, the where play this Gracea playwhich 87), in 1998: al. et circusthe (Strong-Boag, is metaphor theatrical in atmosphere carnival whole the of part 6). (Kelly, is without” A brothel as well as within other as marks it us those remind silences Sophie, society and “that Evy prostitutes, two of voices the and 48) Kelly, in (Bessai events” main the to perspective “peripheral the for setting a fitting provides brothel harbour with the two prostitutes and their lovers. According to Kelly, the space of the into it ananti-racistturning play. discrimination, and sentiments anti-Asian on based is which event an deconstruct ongoing the in play the of process role of the construction of important the nation. time, the Actually, to what same Pollock points does the in the At play criticism is to 87). Helms’ & 1998: Grace al. et Grace (Strong-Boag, Canada” of construction masculinist a white, of construction the support gender and race which through mechanisms the exposes it “how and sexism, and racism interrogating while play the discuss Helms & Grace ” Incident Maru Komagata Pollock’s The Sharon Racism: a In 53). (Bessai, system” the to head-on-challenge Pollock’s Pollock’sincluding play,in women essay her in Bessai, Pollock’s system. dominant “Sharon the opposing of terms in play the discuss the space for recreation and creativity. up opens borders beyond going of idea the but answers; provide they and questions raise because necessary is borders of existence the that message: same the send to attempt to cross the border or are obliged to defend it (Nothof, 84). Both essays seem protagonists the that and 81) (Nothof, property” protecting or securing of interests the in individuals, between countries, between – imposed are “borders that suggests play,Nothof the in borders of existence the about talking when hand, other the On including the idea of border crossing which Pollock pays special attention to in (Kelly,2), moment” the threshold a global Worldplay.War One, of brink the on land, and sea and borderlines between Canada, and on India “between drama caught are characters her her that so borderzones focuses Pollock that argues Kelly . Maru Komagata the of arrival the by raised questions border and borders of terms in play whole the Citizenship and Borderlines in Sharon Pollock’s TheKomagata Maru history, Erica Kelly in her essay “‘This is notwhere Canadian we live’:revising The Productionby of National superiority moral Canadian of myth the shatters Pollock how demonstrates and Canada in exclusion of politics the explains Frontiers” Canadian of Pollock’sSharon Revisitation Borders: “Crossing essay her in Nothof Anne While Reimagining Canada:SharonPollock’s TheKomagataMaruIncident Tanja Cvetković 88 rte i Vancouver in a brothel in play the sets Pollock event, the reinterpreting While essays their in Helms Gabriele & Grace Sherrill and Bessai Diane Both |
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women challenge the system and that “there is something brave in their their in brave something is “there that and system the challenge women
oe: A Women:
Study in Dramatic Process,” discusses the role of of role the discusses Process,” Dramatic in Study , Incident Maru Komagata The
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there there were a number of reasons why I chose the circus. Revue d’Etudes Canadiennes en Europe Centrale
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de Sharon Pollock Incident de Sharon Maru : The Komagata le Canada Réimaginer (85–94) Komagata Maru Incident Mr. Mr. Speaker; Prime Minister; Honourable Members! I am Today opening my heart to you. that – I am affect each andfears fears my telling you my every …for I fear Canadiantoday. this that state to be, you should nor ashamed, not I am … people. my for I fear and country, country! 122) (Pollock, man’s is white Hurry! Hurry! Hurry! Right this way, ladies Komagata and Maru! At gentlemen! this very First moment steaming towards picturesque chance Harbour! Vancouver to view, the 113). (Pollock, With […] When I read the newspaper accounts of the day I discovered the wonderful circus or carnival atmosphere of the dock area with the marching bands and popcorn, the apples and balloons. That is the image that beganto mydominate mind.Then I thought, if this is & Zimmerman, 119) (Wallace of Ceremonies. a Master a carnival, have I could circus, or T.S. is firmly in control, pulling all the strings; he is omnipresent and, by commenting commenting by and, omnipresent is he strings; the all pulling control, in firmly is T.S. When Kelly emphasizes stands the the for fact system that and T.S. the state, that Apart the from play T.S., focuses on five other characters: WilliamHopkinson, the And when he addresses the house, the us: also he to speaksAnd addresses when he audience, the to At the opening of the play, T.S. speaks directly to the audience, setting speaks scene: the audience, the to directly T.S. At opening the of play, the on what is going on, he turns he on, is going be what on as manipulative well. out to role entertaining T.S.’s stresses also she 4), play”(Kelly, the of voice framing “the is he (Kelly, atmosphere circus the to adding and stage the to audience the connecting when reminds stage, 3-4). the Both Kelly controlling and Grace & by Helms discuss T.S. as who, politician“a of 87), Mephistophelean 1998: al. et Grace (Strong-Boag, proportions” us that everything is theatre in the Asstyle a stage.” “all of the Shakespeare’s world’s 7). such it change, is liable construction to reconstruction and (Kelly, Evy two prostitutes and Sophie, and Georg, and a German immigrant. And while T.S. the circus troupe appeal to our and intellect, identification emotional invites as Hopkinson of Grace character the and 94), 1998: Helms al. et notice Grace (Strong-Boag, 121), Zimmerman, & (Wallace Walsh” than man finer far “a as Hopkinson Seeing pity. Grace et al. 1998: 92), comments on, explains and directs the characters, playing many many playing characters, the directs and explains on, comments 92), 1998: al. et Grace seriousmerges Pollock opinions. public of a number incorporating and roles different historical data with the circus in an entertaining Byway. explaining how she builds this highly imaginative historical that: fact, structure says she around cejsc_new_09_text.indd 89 cejsc_new_09_text.indd 90 articles — articles (Bessai in Zimmerman, 70): inZimmerman, (Bessai potential” “a tragic as rather but character a despairing as not him considersPollock Reimagining Canada:SharonPollock’s TheKomagataMaruIncident Tanja Cvetković 90 was Sikh: Maru India: of government the of side self. hisSikh against the on fights he that fact the from arises conflict His past. deepest his and heritage Sikh his rejects he Sikhs, the rejecting in man: a divided be to him reveals Evy past, the and origins his about certainties undermining While Hopkinson’s figure in the play, revealing the impactof the incident on hispersonality. a foil as to prostitute, Evy, time, serves same the At passengers. “his” Maru the Komagata of landing the help to want who community Sikh the against operations brothel the spying from conducts He Sikhs. the to admission the denying and opposing conflict, racial deep a experiences Hopkinson government, a representativethe of As and throughout the play his inner conflictbetween his duty and humanity is displayed. was of East Indian origin on his mother’s side – the part of his self that he repudiated – had his own informants within the East Indian community. As mentioned, he himself Hopkinson. Though Evy cannot ThoughEvy influence andchange Hopkinson’s opinion about the knowledge a profound displays Hopkinson concerned, is background his as far As William who a spy and official on Department Immigration an as life, a double led Hopkinson centring by play the in incident whole the treats Pollock fact, In father. Wonderful craftsmen, the natives. (Pollock, 118) my to belonged It Evy.brooch, your him Show wanted. he anything a dog, a horse, cigars, money, pocket for silver Moradabad, from ornaments brass Kashmir, from carpet a felt was there and a chit, on initials his scrawl to a slave, was summon to a slave, it, father goddamn no, my a child, was I – When a servant – a slave summon to Hai” “Quai shout to people. only had He Punjab. the in stationed its I know and India, I know Hopkinson: for and, it to that’s me, that’s (Wallace 121) despairing; point. not &Zimmerman, ahigh the fatalistically accepts he testify, I’ll manner of his death yes, in the nature of a Sikh, his mother’s religion. He says, accepts responsibility he When death. his of manner the by who has a guilty secret that is used against him by people in power. He atones for his actions I am very fond of Hopkinson; I see him as fara finerman than Walsh. Hopkinson is a person |
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de Sharon Pollock Incident de Sharon Maru : The Komagata le Canada Réimaginer (85–94) know, Evy, is my father didn’t die in the service for the world to be overrun be to world the servicefor the in die didn’t father my is Evy, I know, All Hopkinson: people. a second-rate by (Pollock, people? brown of out run you when second-rate Who’s sense. make don’t Evy:You 122) Evy: brown. mother’s And Billy’s EVYkneels and down, shakes her. throws HOPKINSON Hopkinson: Don’t say that. Don’t say that! I’ll kill you if you say that to me! (slowing down his attack on her) don’t Evy, say that. Please don’t say that … ( stopping) I … I love you, Evy, 130) … ( Pollock, me to that say don’t ThusPollockrewrites the whole incidentby juxtaposing theattitudes of thoseon negotiation continual of “sites as zones border of terms in play Pollock’s discussing In as much as not though Hopkinson, of characterization the to contributes also Sophie At one point they confront their opposing views about the Sikhs on the ship. the side of the government to those who oppose them and who are marginalized. those of who oppose side governmentthe the to who are and them and redefinition” (Kelly, where1) Pollock questions issues national of belonging citizenship, and national identity, Kelly explains that Hopkinson “provides the most localized exploration of borders in production” Pollock’s (Kelly, 4). As a “borderline Canadian of mixed parents” (Nothof, 89), who carries the conflict identity” “repressed Kelly5) which explainsverges (Kelly, on Hopkinson’s the border within himself, zone. Since he could not accomplish the blending of his British and his Sikh self, he exercised white racial stands which ultimately became self-destructive. explaining Moreover, death Hopkinson’s in the play, Kelly argues that reject “Hopkinson one does half of not himself for pieces the the between border other, the “on nor character this does leaves Pollock he that adding achieve identities,” a utopian blending of of his identity, and suggesting that a closed border can be a deadly place to situate oneself” 5). (Kelly, Sikh the directions, stage the to According ship. the on child her with woman Sikh the woman is seated behind “an open grill-like frame” which gives “both the impression of a cage, and of the superstructure of a ship” (Production Note in Pollock, 113). As Kelly points out, this woman caged on stage “challenges the border as an impossible 127), (Pollock, live” we where not is “This says woman Sikh the When 2). (Kelly, space” the space in-between the in borders, between living of impossibility the to alludes she passengers of the ship allfind themselvesthe in. The representing Sikh other woman maintaining further event, the of perspective moral the to adds ship the on passengers of victims as act child the and woman The injustice. and justice polaritiesbetween the Hopkinson expresses his racist viewpoint,racist his expresses Evy and Hopkinson views: antiracist her cejsc_new_09_text.indd 91 cejsc_new_09_text.indd 92 articles — articles him, and struck down. him, and struck at throws ship the on woman Sikh the coal of a lump by struck is he passengers the and party Immigration the between a skirmish of a result as and ship the on people the to supplies deniesHe it. live entirely cannot he power,though of side the chosen has Hopkinson contrast, In rule. imperialist the by them upon inflicted injustice the Reimagining Canada:SharonPollock’s TheKomagataMaruIncident Tanja Cvetković 92 brothel, she fictionalizes the fictionalizes she a brothel, in play the sets (she fiction with information of deal a great mixes and incident by 1914 the event in Sikhs historical the to the done injustice “uncreates”racial criticizing She Canada’s past. in myth and fact between Pollock’s for contribution the play recreation isa special the event. of why is that and fiction, and imagination of of a product facts was result the the story,a real-life were points starting the Although event. the to dimension important another added issues, gender and racial reconsidering by incident, Maru Komagata Pollock’sthe mythology. of national revision to shape gave which ones the including being reconsidered. At that time many important historical events were reinterpreted, play focusing without her attention on the development theircharacters. of nature of Hopkinson, Pollock stresses the importance of the female characters for the adds that: further system. She the function of shedding light on the male characters and undermining the dominant serve While women that event. says Bessai theplay, the recreating in women in Pollock’s of treatment explaining role and place a special them giving characters, of passengers. and discriminated the victimized of justice on the part By fictionalizing documentary elements in her play, Pollock makes a connection makes Pollock her play, in elements documentary fictionalizing By The play waswritten in the 1970s, at a time when racial, gender and ethnic issues were the revealing of service the in albeit play, the in instrument chief the being By group discriminated and marginalized the on mostly play her bases Pollock exact to tries who Singh, Mewa by dead shot is play,Hopkinson the of end the At In this play the women figures, although stereotypical and two dimensional as dimensional 49) Hopkinson. (Bessai, two to and perspective moral stereotypical of character the in centereddimension emotional the to providing contributing for as well as events for although device figures, playwright’s chief the women are characterizations the play this In incentive to leave. (Pollock, 120) Hopkinson: … As conditions deteriorate, we could, at some future date, offersupplies as an T.S.: Continue. morale. It’s only amatterquestion theirleadership… they till time of their weakens It sound. is ship the of supplying the disallowing of policy Our Hopkinson: |
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Painting Painting the Maple: Essays on Volume Volume 33, Number 1, 2008: Toronto: Toronto: Playwrights Canada Press, Toronto: Toronto: Playwrights Canada Press, SCL/ÉLC In
Sharon Pollock: Essays Sharon Pollock: on Her Works. Playing (eds.) Hoffman James and Ratsoy Ginny In A Mazing Space: Writing Canadian Women Writing. Komagata Maru incident from prejudices of racial Revue d’Etudes Canadiennes en Europe Centrale
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de Sharon Pollock Incident de Sharon Maru : The Komagata le Canada Réimaginer Sharon Sharon Pollock: Three Plays. (85–94) The Komagata Maru Incident. Maru Komagata The Guernica, 2000. in The Sharon KomagataPollock’s MaruIncident .” Toronto: Guernica, 2000. Toronto: Essays Works. Her on Pollock: Sharon 2003. 2008. Incident.” In Strong-Boag,Veronica Sherrill Grace et al. (eds.) 1998. UBC Press, Construction and the of Canada. Vancouver: Race, Gender, In Plays Anne of Nothof Sharon (ed.) Pollock.” 1-12. Retrieved at: http://journals.hil.unb.ca/index.php/scl/article/view/11219/11966 Longspoon/Newest,Edmonton: 1986. Guernica, 2000. Toronto: Essays Works. Her on Pollock: (ed.) Sharon Nothof the Pacific Province: An Anthology of British Columbia Plays, Playwrights 1967-2000. Toronto: Canada 2001. Press, Kelly, Erica. “‘This is not where we live’: The Production of National Citizenship and Borderlines Borderlines and Citizenship National of Production The live’: we where not is Erica.“‘This Kelly, Works cited Works Bessai, Diane. “Sharon Women: A Study Pollock’s in Dramatic Process.” In Anne Nothof (ed.) 2008. Talonbooks, Vancouver: Sherrill.Grace, Pollock. of A Life Sharon Making Theatre: ————. (introduction). Grace, Sherrill and Michelle La Flamme. Sharon Pollock. MaruKomagata The Pollock’s Racism: Sharon “Documenting Helms. Gabriele Sherrill and Grace Holder, Heidi J. “Broken Toys: The Destruction ofthe National Hero in the Early History Komagata Maru Incident is a historiographic docudrama, the historical event where merge with fiction. available It is a play about facts real events that of have been rewritten, dramatized and manipulated on stage. Indeed, what Pollock does in her play can be compared to Robert idea ofKroetsch’s digging under the imposed layers of meanings, of unnaming and uninventing If, reality. as Kroetsch says, “we haven’t that so is it if and story”63), our 1970: tells (Kroetsch somebody until identity an got “the fiction makes usreal” (Kroetsch 1970: 63), thenPollock, through theof recreation, process invests Canadian identity and history with a new meaning and truth. She frees the officialstory ofthe paints it Canada. and in new thusinjustice reimagining colours, creating and central figure of Hopkinson, she introduces T.S. and the circus troupe, etc.), conveying conveying etc.), troupe, circus the and T.S. introduces she Hopkinson, of figure central a new truth and creating a new version of Canadian identity and history. Thus, Neuman, Neuman, Shirley and Smaro Kamboureli. Anne In Frontiers.” Canadian of Revisitation Pollock’s Sharon Borders: “Crossing Anne. Nothof, Guernica, 2000. . Toronto: Essays Works Her on Pollock: (ed.). Sharon Anne F. Nothof, Sharon. Pollock, cejsc_new_09_text.indd 93 cejsc_new_09_text.indd 94 articles — articles Zimmerman, Cynthia (ed.). (ed.). Cynthia Zimmerman, Zimmerman. Cynthia and Robert Wallace, TANJA CVETKOVIĆTANJA Veronica,Strong-Boag, Sherrill Grace et al. (eds.). Reimagining Canada:SharonPollock’s TheKomagataMaruIncident Tanja Cvetković 94 Address: demic career.ShehastranslatedRobertKroetsch’s The StudhorseManfromEnglishintoSerbian. - aca her in prominently Toni figure 2008). Novelsof also Grafika, the Translations Morrisonin MB (Niš: Serbian Language and Literature Kroetsch’s Out West Triptych (Beograd: Nolit, 2010); books: following the and articles scholarly published has She English. in literatures other and literature Canadian in is research current Her literature. Canadian in a Ph.D. and literature American in M.A. an holds She Serbia. Niš, ————. Women: Playwriting Female Voices Toronto: Canada. inEnglish 1994. Simon &Pierre, Playwrights. Toronto:Playwrights. The Coach Press,House 1982. Vancouver: Canada. of the Construction UBCPress, 1998. Canada Press, 2006. Canada |
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