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Periods of Poetic Silence in Modern Canadian Creative Careers

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Periods of Poetic Silence in Modern Canadian Creative Careers “A Strange Gestation”: Periods of Poetic Silence in Modern Canadian Creative Careers Laura Cameron Department of English McGill University, Montreal July 2015 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Doctor of Philosophy © Laura Cameron 2015 “The sun climbs to the middle of the sky and stops. It’s noon. It’s the first bell of noon ringing loud from the cathedral tower. … Great shovelfuls of sound dumped in the grave of our activity. The sound fills up every space and every thought. … The future is blocked. The past is plugged up. Layer after layer of the present seizes us, buries us in one vast amber paperweight. Sealed under twelve skyfuls of the only moment.” — Leonard Cohen, Death of a Lady’s Man (1978) “Sit in a chair and keep still. Let the dancer’s shoulders emerge from your shoulders, the dancer’s chest from your chest, the dancer’s loins from your loins, the dancer’s hips and thighs from yours; and from your silence the throat that makes a sound, and from your bafflement a clear song to which the dancer moves, and let him serve God in beauty. When he fails, send him again from your chair.” — Leonard Cohen, Book of Mercy (1984) Table of Contents Abstract ii Résumé iv Acknowledgements vi Abbreviations viii Introduction 1 PART I: Conceptions of Silence Chapter One: “From the Performance Point of View”: Critical Conceptions of Creative Silence 30 Chapter Two: “Why did you stop writing?”: Poets Accounting for Poetic Silence 76 PART II: The Experience of Silence Chapter Three: “The Whole Breathless Predicament”: The Experience of Creative Crisis 121 Chapter Four: “Then let us start again”: Writing Out of Silence 189 Conclusion 288 Works Cited 301 Cameron ii Abstract This dissertation unites a diverse group of Canadian poets who all fell silent for a prolonged period in the middle of otherwise productive and successful poetic careers: P.K. Page, Phyllis Webb, John Newlove, Anne Marriott, and Leonard Cohen. Their “silences” are characterized not by an absence of creative energy or effort, but by the poets’ reluctance to publish and their struggles to bring new work to satisfactory completion. The dissertation’s four chapters approach the gaps in creative careers from several methodological angles in order to develop a multidimensional definition of “poetic silence,” while also offering insight into individual poets and their oeuvres. Part I of the dissertation concerns critical constructions of creative silence, first from the outside looking in—the perspective of critics—and then from the inside looking out—the perspective of poets. “Silence” is a malleable metaphor with both deathly and regenerative connotations, and Chapter One reviews the ways in which critics have seized upon the concept to advance a wide variety of critical and theoretical projects. The poets, meanwhile, have frequently reflected retrospectively on their own fallow periods; Chapter Two surveys the material, psychological, and creative barriers that they have cited as impediments to their progress, and shows that the writers who moved most fully beyond those obstacles also idealized middle silence as a phase of rebirth. Part II of the dissertation narrates the experience of silence as the writers represented and worked through it in their pre- and post-lapsus poetry. Drawing on both published and unpublished, complete and incomplete poetic work, Chapter Three demonstrates that Page, Webb, and Cohen all underwent a crisis of poetic authority in the middle of their careers; when they lost confidence in their mastery as “makers” of artistic order and meaning, “silence,” a feeling of impotence that they often expressed through images of excess and disorder, began to Cameron iii invade the poems. Chapter Four, finally, illustrates that once these three writers stopped fighting against silence, they learned to embrace it as a receptive and fertile creative condition. Newlove and Marriott’s returns to writing were less dramatic than Page, Webb, or Cohen’s because they never fully released the shame and guilt that creative obstruction had initially implied for all five writers. The most innovative and confident post-hiatus poetry was composed by the poets who came to believe that fallow periods were in fact an integral part of their creative careers, and that the most sustainable models of creativity are fuelled by the silences at their core. Cameron iv Résumé Cette thèse traite de cinq poètes canadiens qui ont vécu une période de silence prolongée au milieu d’une carrière poétique productive: P.K. Page, Phyllis Webb, John Newlove, Anne Marriott et Leonard Cohen. Leurs « silences » se caractérisent non pas par une absence d’énergie créative ou d’effort, mais bien par la réticence des poètes à publier et par leurs difficultés à achever de façon satisfaisante leurs nouvelles œuvres. Les quatre chapitres de la thèse abordent ces interruptions de carrières poétiques à partir de plusieurs angles méthodologiques de façon à développer une définition multidimensionnelle du « silence poétique », tout en se penchant sur les poètes individuels et leurs œuvres. La première partie de la thèse concerne les constructions critiques du silence créatif, d’abord d’une perspective extérieure—la perspective des critiques—et puis de la perspective intérieure – la perspective des poètes. Le « silence » est une métaphore malléable aux connotations de mort et de régénération, et le premier chapitre passe en revue les diverses façons dont les critiques se sont servis du concept pour mettre de l’avant une panoplie de projets critiques et théoriques. Les poètes, de leur côté, ont souvent médité de façon rétrospective sur leur période de silence. Ainsi, le deuxième chapitre effectue un survol des barrières matérielles, psychologiques et créatives qu’ils et elles ont invoquées comme des entraves à leur progrès et démontre que les poètes qui ont le mieux surmonté ces barrières idéalisent aussi le silence intermédiaire comme étant une phase de renaissance. La deuxième partie de la thèse raconte l’expérience du silence telle que les poètes l’ont représentée et affrontée dans leur poésie pré- et post-lapsus. En se basant sur des œuvres poétiques publiées et inédites, complètes et incomplètes, le troisième chapitre démontre que Page, Webb et Cohen ont tous vécu une crise d’autorité poétique au milieu de leurs carrières. Lorsqu’ils ont perdu confiance en leur capacité de créer la structure et le sens artistique, le Cameron v « silence », un sentiment d’impuissance souvent exprimé à travers des images d’excès et de désordre, a commencé à envahir leurs poèmes. Finalement, le quatrième chapitre illustre la façon dont, une fois que ces trois poètes ont cessé de combattre le silence, ils ont appris à l’adopter comme une condition créative fertile. Le retour à l’écriture de Newlove et Marriott est moins dramatique que celui de Page, Webb ou Cohen parce qu’ils ne se sont jamais entièrement libérés de la honte et la culpabilité initialement vécue par les cinq poètes à la rencontre du blocage créatif. La poésie post-hiatus la plus innovatrice et confiante a été composée par les poètes qui en sont venus à croire que les périodes d’inactivité formaient en fait une partie intégrante de leurs carrières créatives et qu’au cœur des modèles de créativité les plus durables on retrouve le silence. Cameron vi Acknowledgements In these pages I argue that “struggles of silence” are integral to all creative projects and that the painful and frustrating experience of blockage is crucial for intellectual and artistic growth. I am endlessly grateful to everyone who helped me through my own “struggles of silence” as I undertook this work, and reminded me of my reassuring argument along the way. First and most profound thanks are due to my supervisor, Professor Brian Trehearne, whose unwavering faith in the value of this project and in my ability to do it justice has been immeasurably heartening. I and this dissertation have both benefitted tremendously from his deep expertise in Canadian modernism, his infectious enthusiasm for poetry, his meticulous editorial eye, as well as his remarkable dedication and capacious gifts as a teacher. I have been fortunate at McGill to have had the support of numerous other faculty members who have inspired me and helped to shape this work in diverse and essential ways, and I would particularly like to thank Professors Eli MacLaren, Miranda Hickman, Allan Hepburn, and Peter Gibian. I owe an enormous debt of gratitude to Professor Peter Sabor for much thoughtful advice and encouragement, many jolly lunchtime outings, and for allowing me and my Canadian poetry books to take up residence in the Burney Centre over the last four years. I am extremely grateful for the financial support and professional development opportunities that I have had while writing this dissertation: seven research assistantships for Professor Peter Sabor and one for each of Professors Miranda Hickman and Brian Trehearne; Principal’s and Provost’s Fellowships, as well as six teaching assistantships and three course lectureships from the McGill Department of English; numerous travel awards from the Department of English and Faculty of Arts; and a Canada Graduate Scholarship from the Social Sciences and Humanities Research Council of Canada. Cameron vii The research for this project required that I spend several weeks in archives across Canada, and I would like to thank the librarians and archivists at the Universities of British Columbia, Manitoba, and Toronto, as well as Library and Archives Canada, for their efficient assistance. I am grateful in particular to Professor Zailig Pollock, P.K. Page’s literary executor, and to Catherine Hobbes of LAC, for granting me permission to view Page’s archival material. Some of this work has been published in Canadian Literature and Canadian Poetry: Studies, Documents, Reviews, and I want to thank the editors and reviewers for their suggestions.
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