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The Cambridge Companion to Canadian Literature Edited by Eva-Marie Kröller Frontmatter More Information
Cambridge University Press 978-1-107-15962-4 — The Cambridge Companion to Canadian Literature Edited by Eva-Marie Kröller Frontmatter More Information The Cambridge Companion to Canadian Literature This fully revised second edition of The Cambridge Companion to Canadian Literature offers a comprehensive introduction to major writers, genres, and topics. For this edition several chapters have been completely re-written to relect major developments in Canadian literature since 2004. Surveys of ic- tion, drama, and poetry are complemented by chapters on Aboriginal writ- ing, autobiography, literary criticism, writing by women, and the emergence of urban writing. Areas of research that have expanded since the irst edition include environmental concerns and questions of sexuality which are freshly explored across several different chapters. A substantial chapter on franco- phone writing is included. Authors such as Margaret Atwood, noted for her experiments in multiple literary genres, are given full consideration, as is the work of authors who have achieved major recognition, such as Alice Munro, recipient of the Nobel Prize for literature. Eva-Marie Kröller edited the Cambridge Companion to Canadian Literature (irst edn., 2004) and, with Coral Ann Howells, the Cambridge History of Canadian Literature (2009). She has published widely on travel writing and cultural semiotics, and won a Killam Research Prize as well as the Distin- guished Editor Award of the Council of Editors of Learned Journals for her work as editor of the journal Canadian -
Refractions of Germany in Canadian Literature and Culture
Refractions of Germany in Canadian Literature and Culture Edited by Hein2 Antor Sylvia Brown John Considine Klaus Stierstorfer Walter de Gruyter • Berlin • New York Contents Foreword V JOHN CONSIDINE, Introduction 1 ROBERT KROETSCH, Occupying Landscape We Occupy Story We Occupy Landscape 23 Diaspora and Settledness 31 SYLVIA BROWN, Voices From the Borderlands: The Problem of "Home" in the Oral Histories of German Expellees in Canada 33 ANNA WITTMANN, From Hungary to Germany to Canada: Gheorghiu's Twenty-Fifth Hour and Shifting Swabian Identities 57 PETER WEBB, Martin Blecher: Tom Thomson's Murderer or Victim of War- time Prejudice? 91 THOMAS MENGEL, Der deutsche Katholik in Kanada: An Approach to the Mentalite of German-speaking Catholics in Canada through an Analysis of their Journal 105 HEINZ ANTOR, The Mennonite Experience in the Novels of Rudy Wiebe ... 121 JOHN CONSIDINE, Dialectology, Storytelling, and Memory: Jack Thiessen's Mennonite Dictionaries 145 Jewish Experience and the Holocaust 169 AXEL STAHLER, The Black Forest, the Unspeakable Nefas, and the Mountains of Galilee: Germany and Zionism in the Works of A. M.Klein 171 VIII Contents KLAUS STIERSTORFER, Canadian Recontextualizations of a German Nightmare: Henry Kreisel's Betrayal (1964) 195 LAURENZ VOLKMANN, "Flowers for Hitler": Leonard Cohen's Holocaust Poetry in the Context of Jewish and Jewish-Canadian Literature .... 207 ALBERT-REINER GLAAP, Views on the Holocaust in Contemporary Canadian Plays . 239 Literature and Cultural Exchange 257 ANNETTE KERN-STAHLER, "The inability to mourn": the Post-war German Psyche in Mavis Gallant's Fiction 259 DORIS WOLF, Dividing and Reuniting Grandmothers, Mothers and Daughters: the Black Motherline, Vergangenheitsbewdltigung Studies, and the Road Genre in Suzette Mayr's The Widows . -
Writers Chimamanda Ngozi Adichie Monica Ali Isabel Allende Martin Amis Kurt Andersen K
Writers Chimamanda Ngozi Adichie Monica Ali Isabel Allende Martin Amis Kurt Andersen K. A. Applegate Jeffrey Archer Diana Athill Paul Auster Wasi Ahmed Victoria Aveyard Kevin Baker Mark Allen Baker Nicholson Baker Iain Banks Russell Banks Julian Barnes Andrea Barrett Max Barry Sebastian Barry Louis Bayard Peter Behrens Elizabeth Berg Wendell Berry Maeve Binchy Dustin Lance Black Holly Black Amy Bloom Chris Bohjalian Roberto Bolano S. J. Bolton William Boyd T. C. Boyle John Boyne Paula Brackston Adam Braver Libba Bray Alan Brennert Andre Brink Max Brooks Dan Brown Don Brown www.downloadexcelfiles.com Christopher Buckley John Burdett James Lee Burke Augusten Burroughs A. S. Byatt Bhalchandra Nemade Peter Cameron W. Bruce Cameron Jacqueline Carey Peter Carey Ron Carlson Stephen L. Carter Eleanor Catton Michael Chabon Diane Chamberlain Jung Chang Kate Christensen Dan Chaon Kelly Cherry Tracy Chevalier Noam Chomsky Tom Clancy Cassandra Clare Susanna Clarke Chris Cleave Ernest Cline Harlan Coben Paulo Coelho J. M. Coetzee Eoin Colfer Suzanne Collins Michael Connelly Pat Conroy Claire Cook Bernard Cornwell Douglas Coupland Michael Cox Jim Crace Michael Crichton Justin Cronin John Crowley Clive Cussler Fred D'Aguiar www.downloadexcelfiles.com Sandra Dallas Edwidge Danticat Kathryn Davis Richard Dawkins Jonathan Dee Frank Delaney Charles de Lint Tatiana de Rosnay Kiran Desai Pete Dexter Anita Diamant Junot Diaz Chitra Banerjee Divakaruni E. L. Doctorow Ivan Doig Stephen R. Donaldson Sara Donati Jennifer Donnelly Emma Donoghue Keith Donohue Roddy Doyle Margaret Drabble Dinesh D'Souza John Dufresne Sarah Dunant Helen Dunmore Mark Dunn James Dashner Elisabetta Dami Jennifer Egan Dave Eggers Tan Twan Eng Louise Erdrich Eugene Dubois Diana Evans Percival Everett J. -
Observance Without Belief
OBSERVANCE WITHOUT BELIEF David Staines 'RIAN MOORE has the distinction of being a writer with two nationalities, Canadian and Irish, though he now lives in California.1 While proud of his Canadian citizenship and his ten-year residence in Canada, where he wrote his first three novels, he acknowledges his primary debt to Ireland: "I'm an Irish writer in this way. I was brought up in Ireland, and Mauriac once said 'the door closes at twenty on a writer and that forms him.' So I am an Irish writer in that I was formed by Ireland, not by Canada." A crucial part of his Irish formation is the world of Irish Catholicism, a religion prominent throughout his fiction. "I'm interested in Catholicism in a non-religious way," he continues, "I'm inter- ested in the traditions that it sets up, and the conflicts."2 Born in Belfast of Catholic parents, Moore received a Catholic education of narrow religiosity. Like Stephen Dedalus of Joyce's Portrait of the Artist, he attended Catholic schools that perpetuated a rigorous and bigoted training, and this schooling stands behind the indictment of Saint Michan's College in The Feast of Lupercal and later novels. Like Dedalus, Moore rejected the indoctrina- tion of his Catholic education, though it did leave a powerful and lasting impres- sion upon him and his fiction : I felt, and I still feel, bitterly against the school system I was brought up on. It was a system of beating and teaching by rote, and when I saw other children and how bright they were able to become under American methods, it was around that time that I started to write Lupercal. -
Alice Munro and the Anatomy of the Short Story
Alice Munro and the Anatomy of the Short Story Alice Munro and the Anatomy of the Short Story Edited by Oriana Palusci Alice Munro and the Anatomy of the Short Story Edited by Oriana Palusci This book first published 2017 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2017 by Oriana Palusci and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-0353-4 ISBN (13): 978-1-5275-0353-3 CONTENTS Introduction ................................................................................................. 1 Alice Munro’s Short Stories in the Anatomy Theatre Oriana Palusci Section I: The Resonance of Language Chapter One ............................................................................................... 13 Dance of Happy Polysemy: The Reverberations of Alice Munro’s Language Héliane Ventura Chapter Two .............................................................................................. 27 Too Much Curiosity? The Late Fiction of Alice Munro Janice Kulyk Keefer Section II: Story Bricks Chapter Three ............................................................................................ 45 Alice Munro as the Master -
Malcolm Lowry: a Study of the Sea Metaphor in "Ultramarine" and "Under the Volcano"
University of Windsor Scholarship at UWindsor Electronic Theses and Dissertations Theses, Dissertations, and Major Papers 1-1-1967 Malcolm Lowry: A study of the sea metaphor in "Ultramarine" and "Under the Volcano". Bernadette Wild University of Windsor Follow this and additional works at: https://scholar.uwindsor.ca/etd Recommended Citation Wild, Bernadette, "Malcolm Lowry: A study of the sea metaphor in "Ultramarine" and "Under the Volcano"." (1967). Electronic Theses and Dissertations. 6505. https://scholar.uwindsor.ca/etd/6505 This online database contains the full-text of PhD dissertations and Masters’ theses of University of Windsor students from 1954 forward. These documents are made available for personal study and research purposes only, in accordance with the Canadian Copyright Act and the Creative Commons license—CC BY-NC-ND (Attribution, Non-Commercial, No Derivative Works). Under this license, works must always be attributed to the copyright holder (original author), cannot be used for any commercial purposes, and may not be altered. Any other use would require the permission of the copyright holder. Students may inquire about withdrawing their dissertation and/or thesis from this database. For additional inquiries, please contact the repository administrator via email ([email protected]) or by telephone at 519-253-3000ext. 3208. MALCOLM LOWRY: A STUDY OF THE SEA METAPHOR IN ULTRAMARINE AND UNDER THE VOLCANO BY SISTER BERNADETTE WILD A T hesis Submitted to the Faculty of Graduate Studies through the Department of English in Partial Fulfillment of the Requirements for the Degree of Master of Arts at the University of Windsor Windsor, Ontario 1967 Reproduced with permission of the copyright owner. -
Filgate's First Person Singular
= F I L M R E v I E w 5 • • the Candid Eye technique at the Nation hot); the young son of peace activist way read one of Callaghan's short Terence Maccartney stories, while the young writer sat op al Film Board in the '50s. Filgate dis Kate Nelligan disappears - "where's Gil posite him with the galleys of an early plays all his formidable background and ligan!" - (worries a lot of people includ Filgate's Hemingway novel. expertise in this fine example of a docu ing his mom) and is eventually found This encounter led Hemingway to get mentary that captures the flavour, merit alive (but really cold) in a secret bomb shelter morgue. Morley Callaghan some of Callaghan's short stories pub and yes, ego of a leading Canadian writ lished in American magazines in Paris, er, and a lot of details and tales of his There are many such diversionary, and to Morley and his bride arriving at early life. The weaving of the present time-killing subplots in which several First Person that fabulous city in the '20s, where day with the past, the setting of the relationships begin to take shape. But they met with Hemingway and other il period, all skilfully blend to capture and only in one instance do two characters Singular: lustrious literary leading lights -F. Scott enthrall the imagination, so that the engage in a straightforward dialogue Fitzerald, Ezra Pound, James Joyce. viewer is left wanting to know more about the greater implications of living in a bomb shelter in 1987. -
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. -
Notes for an Unwritten Biography of William Trevor
Colby Quarterly Volume 38 Issue 3 September Article 4 September 2002 "Bleak Splendour": Notes for an Unwritten Biography of William Trevor Denis Sampson Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Quarterly, Volume 38, no.3, September 2002, p. 280-294 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized editor of Digital Commons @ Colby. Sampson: "Bleak Splendour": Notes for an Unwritten Biography of William Tr "Bleak Splendour": Notes for an Unwritten Biography of William Trevor By DENIS SAMPSON IILITERARY BIOGRAPHERS," William Trevor has ren1arked, "often make the mistake of choosing the wrong subjects. A novelist-or any artist admired for what he produces, may not necessarily have lived anything but the most mundane of lives" (Excursions 176). His remark is a warning to any prospective biographer of Trevor himself, his way of implying that his own life has no worthwhile story. Yet the warning has its own paradoxical interest, for surely it is Trevor's particular gift to make literature out of the mundane. His refusal to dramatize the artistic self, to adopt heroic or romantic postures, somehow allows him to absorb and honor his mundane material, to find a tone that mirrors the inner lives of his unheroic characters. The consistency of that tone is his major accomplishment, according to John Banville: "his inimitable, calmly ambiguous voice can mingle in a single sentence pathos and humor, outrage and irony, mockery and love.... He is almost unique among n10dem novelists in that his own voice is never allowed to intrude into his fiction" (Paulson 166-67). -
MARGARET ATWOOD: WRITING and SUBJECTIVITY Also by Colin Nicholson
MARGARET ATWOOD: WRITING AND SUBJECTIVITY Also by Colin Nicholson POEM, PURPOSE, PLACE: Shaping Identity in Contemporary Scottish Verse ALEXANDER POPE: Essays for the Tercentenary (editor) CRITICAL APPROACHES TO THE FICTION OF MARGARET LAURENCE (editor) IAN CRICHTON SMITH: New Critical Essays (editor) Margaret Atwood photo credit: Graeme Gibson Margaret Atwood: Writing and Subjectivity New Critical Essays Edited by Colin Nicholson Senior Lecturer in English University of Edinburgh M St. Martin's Press Editorial material and selection © Colin Nicholson 1994 Text © The Macmillan Press Ltd 1994 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London W1P 9HE. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. First published in Great Britain 1994 by THE MACMILLAN PRESS LTD Houndmills, Basingstoke, Hampshire RG21 2XS and London Companies and representatives throughout the world A catalogue record for this book is available from the British Library. ISBN 978-0-333-61181-4 ISBN 978-1-349-23282-6 (eBook) DOI 10.1007/978-1-349-23282-6 First published in the United States of America 1994 by Scholarly and Reference Division, ST. MARTIN'S PRESS, INC., 175 Fifth Avenue, New York, N.Y. 10010 ISBN 978-0-312-10644-7 Library of Congress Cataloging-in-Publication Data Margaret Atwood : writing and subjectivity I edited by Colin Nicholson. -
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.