Frank Davey: Publications

Total Page:16

File Type:pdf, Size:1020Kb

Frank Davey: Publications Frank Davey: Publications Books: Poetry: D-Day and After. Vancouver: Tishbooks, 1962. 32 pp. City of the Gulls and Sea. Victoria, 1964. 34 pp. Bridge Force. Toronto: Contact Press, 1965. 77 pp. The Scarred Hull. Calgary: Imago, 1966. 40 pp. Four Myths for Sam Perry. Vancouver: Talonbooks, 1970. 28 pp. Weeds. Toronto: Coach House Press, 1970. 30 pp. Griffon. Toronto: Massassauga Editions, 1972. 16 pp. King of Swords. Vancouver: Talonbooks, 1972. 38 pp. L’an trentiesme: Selected Poems 1961-70. Vancouver: Vancouver Community Press, 1972. 82 pp. Arcana. Toronto: Coach House Press, 1973. 77 pp. The Clallam. Vancouver: Talonbooks, 1973. 42 pp. War Poems. Toronto: Coach House Press, 1979. 45 pp. The Arches: Selected Poems, edited and introduced by bpNichol. Vancouver: Talonbooks, 1981. 105 pp. Capitalistic Affection!. Toronto: Coach House Press, 1982. 84 pp. Edward & Patricia. Toronto: Coach House Press, 1984. 40 pp. The Louis Riel Organ & Piano Company. Winnipeg: Turnstone Press, 1985. 77 pp. The Abbotsford Guide to India. Victoria, B.C.: Press Porcépic, 1986. 104 pp. Postcard Translations. Toronto: Underwhich Editions, 1988. 32 pp. Postenska Kartichka Tolkuvanja, tr. Julija Veljanoska. Skopje: Ogledalo, 1989. 32 pp. Popular Narratives. Vancouver: Talonbooks, 1991. 88 pp. The Abbotsford Guide to India, Gujarati translation by Nita Ramaiya. Bombay: Press of S.N.D.T. Women's University, 1995. 96 pp. Cultural Mischief: A Practical Guide to Multiculturalism. Vancouver: Talonbooks, 1996. 70 pp. Dog. Calgary: House Press, 2002. 12 pp. Risky Propositions. Ottawa: above/ground press, 2005. 30 pp. Back to the War. Vancouver: Talonbooks, 2005. 126 pp. Johnny Hazard! Armstrong, BC: by the skin of me teeth press, 2009. Lack On! London, ON: Massasauga, 2009. How We Won the War in Iraq. Massassauga, 2009. Bardy Google. Vancouver: Talonbooks, in press for 2010. Literary Criticism and Theory Five Readings of Olson’s ‘Maximus’. Montreal: Beaver-Kosmos, 1970. 56 pp. Earle Birney. Toronto: Copp Clark, 1971 (Studies in Canadian Literature 11). 128 pp. From There to Here: A Guide to English-Canadian Literature since 1960 (Our Nature/Our Voices, Vol. 2). Erin Ont.: Press Porcepic, 1974. 288 pp. Louis Dudek and Raymond Souster. Vancouver: Douglas and McIntyre, 1981 (Studies in Canadian Literature 14). 200 pp. The Contemporary Canadian Long Poem. Lantzville: Island Writing Series, 1983. 10 pp. Surviving the Paraphrase: 11 Essays on Canadian Literature. Winnipeg: Turnstone Press, 1983. 193 pp. Margaret Atwood: a Feminist Poetics. Vancouver: Talonbooks 1984. 178 pp. Reading Canadian Reading. Winnipeg: Turnstone Press, 1988. 278 pp. Post-National Arguments: The Politics of the Anglophone-Canadian Novel Since 1967. Toronto: University of Toronto Press, 1993. 278 pp. Canadian Literary Power: Essays on Anglophone-Canadian Literary Conflict. Edmonton: NeWest Press, 1994. 314 pp. Cultural Criticism: Reading ‘KIM’ Right. Vancouver: Talonbooks, 1993. 175 pp. Karla's Web: A Cultural Examination of the Mahaffy-French Murders. Toronto: Viking/Penguin, 1994. Revised edition 1995. 361 pp. Mr and Mrs G.G. Toronto: ECW Press, 2003. 247 pp. Memoir: How Linda Died: A Memoir. Toronto: ECW Press, 2002. 244 pp. Books Edited Tish 1-19, edited with an introduction and index. Vancouver: Talonbooks, 1975. 433 pp. Mrs. Duke’s Million by Wyndham Lewis, edited with an afterword. Toronto: Coach House Press, 1977; London: Prior, 1978. 367 pp. Given Names: New and Selected Poems 1972-1985 by Judith Fitzgerald, edited with an introduction. Windsor: Black Moss Press, 1985. 126 pp. Deeds/Abstracts by Greg Curnoe, edited with an introduction. London: Brick Books, 1995. 200 pp. With Neal Ferris, Deeds / Nations by Greg Curnoe, with a foreword by Frank Davey. London, ON, London Chapter of the Ontario Archaeological Society, 1996. 240 pp. Poems in Eight poems in J.R. Colombo and J. Godbout, ed., Poetry/Poesie 64 Anthologies: (Toronto: Ryerson Press, 1963), pp. 61-68. “Sam Perry: Terram Intravit,” in F. Wolven et al, ed., The New Generation of Frank Davey: Publications 2 Poets Anthology (Brooklyn: Black Sun Press, 1969), 5 pp. “The Fact,” in A.W. Purdy , ed., Fifteen Winds (Toronto: Ryerson Press, 1969), p. 31. “A Song for Mary,” in J.R. Colombo, ed., How Do I Love Thee (Edmonton: Hurtig, 1970). “Happy Are the Lonesome Pines,” in Maurice Gibbons and John Southward, ed., Solo Flight (Vancouver: Resource Publications, 1970), p. 10. “West Coast,” in W.H. New and Jack Hodgins, ed., Voice and Vision (Toronto: McClelland & Stewart 1972). 11 poems in Eldon Garnet, ed., Where: the Other Canadian Poetry (Erin, Ont.: Press Porcépic, 1974), pp. 103-116. “Vancouver I,” in John Stevens, ed., The Urban Experience (Toronto: Macmillan, 1975), pp. 104-106. “The Deal,” in Gary Geddes, ed., Skookum Wawa (Toronto: Oxford University Press, 1975), p. 285. “The Atalanta,” in Geddes, pp. 66-67. “West Coast,” in Jack Hodgins, ed., The West Coast (Toronto: Macmillan, 1976). “Bust,” in Western Windows: a Comparative Anthology of Poetry in British Columbia (Vancouver: Commcept Publishing, 1977). “The Mirror: XIV,” in J.R. Colombo, ed., The Poets of Canada (Edmonton: Hurtig Publishers, 1978), p. 242. “King of Swords,” in Michael Ondaatje, ed., The Long Poem Anthology (Toronto: The Coach House Press, 1979), pp. 181-202. “The Carelmapu,” in Richard Woolatt and Raymond Souster, ed., Poems from a Snow-eyed Country (Toronto: Academic Press Canada, 1980, pp. 140-141. “At the Drive-in,” in Douglas Barbour and Stephen Scobie, ed., The Maple Laugh Forever (Edmonton: Hurtig Publishers, 1981), pp. 158-159.. “Edward Sticks it In,” in Barbour and Scobie, pp. 159-160. “The Piano,” in Margaret Atwood, ed., The New Oxford Anthology of Canadian Verse. Toronto: Oxford University Press, 1982, pp. 375-376 (invited). “She’d Say,” in Atwood, pp. 377-78 (invited). “The Garden,” in Donna Bennett and Russell Brown, ed., An Anthology of Canadian Literature in English. Toronto: Oxford University Press, 1983: p. 549 (invited). “The Bandit,” in Bennett and Brown, pp. 549-50 (invited). “Weeds,” in Bennett and Brown, p. 550 (invited). “The Reading,” in Bennett and Brown, p. 550 (invited). “What is in the Sky is not Brown,” in Bennett and Brown, p. 552 (invited). “Mealtimes,” in Bennett and Brown, p. 551 (invited) “The Place,” in Bennett and Brown, p. 551 (invited). “A Yellow Page,” in Bennett and Brown, p. 551 (invited). “The Rock,” in Bennett and Brown, p. 552 (invited). “Them Apples,” in Bennett and Brown, p. 552 (invited). “I Do Not Write Poems,” in Bennett and Brown, p. 552 (invited). Frank Davey: Publications 3 “Red,” in Bennett and Brown, p. 553 (invited). “The Mirror,” in Bennett and Brown, pp. 553-558 (invited). “Ballad of the Blue Mumu,” in George Bowering, ed., The Contemporary Canadian Poem Anthology (Toronto: The Coach House Press, 1983), p. 81 (invited). “A Vancouver History,” in Bowering, p. 82 (invited). “The Bridegroom,” in Bowering, p. 83 (invited). “A Song for Mary,” in Bowering, pp. 84-85 (invited). “Watts, 1965,” in Bowering, p.86. (invited). “Moon-Shot,” in Bowering, p.86 (invited). “Weeds,” in Bowering, p. 87 (invited). “Red,” in Bowering, p. 87 (invited). “The Deal,” in Bowering, p. 88 (invited). “To Win at Cards,” in Bowering, p. 89 (invited). “The Tower,” in Bowering, p. 90 (invited). “The Caughnawaga Bell,” in Bowering, pp. 91-92 (invited). “The Locks,” in Bowering, p. 92 (invited). “The Piano,” in Bowering, pp. 93-94 (invited). “The New Car,” in Bowering, pp. 94-95 (invited). “Vancouver I,” in James MacNeill, ed., Sunburst. Toronto: Nelson Canada, 1983 (invited). “She’d Say,” in Glen Kirkland and Richard Davies, ed., Inside Poetry (Toronto: Academic Press Canada, 1984 (invited). “The Piano,” in Kirkland and Davies (invited). “The Piano,” in Mary Alice Downie and Barbara Robertson, ed., The New Wind Has Wings, second edition (Toronto: Oxford University Press, 1984), pp. 86-87 (invited). “Edward Has Too Much,” in John Schoutsen et al., Prism International Anthology (Vancouver: University of British Columbia Press, 1984) (invited). “The Condor,” in Florence McNeil, ed., Here is a Poem (The League of Canadian Poets, 1983), p. 60 (invited). “Riel,” in George Amabile and Kim Dales, ed., No Feather, No Ink (Saskatoon: Thistledown Press, 1985) pp. 171-177. “She’d Say,” in Ken Sherman. ed., Relations (Oakville: Mosaic Press, 1987, pp. 22-23 (invited). “Sarnath,” in Frank Davey and Fred Wah, ed., The Swift Current Anthology (Toronto: Coach House Press, 1986), pp. 11-16. “She’d Say,” in Richard Davies and Glen Kirkland, ed., Connections, Book 2, Toronto: Gage Publishing, 1989 (invited). “The Piano,” in Alan Dawe and Wayne Tefs, ed., Copyright Canada, Toronto: Gage Publishers, 1990 (invited). “She'd Say,” in Judith Barker-Sandbrook, ed., Thinking Through Your Writing Process. Toronto: McGraw- Hill Ryerson, 1990 (invited). “How and Why John Loves Mary,” in Linda Svendsen, ed., Words We Call Home. Frank Davey: Publications 4 Vancouver: University of British Columbia Press, 1990, pp. 30-32 (invited). “Dead in France,” in Douglas Barbour, ed., Beyond Tish. Edmonton: NeWest Press, 1991, pp. 11-21 (invited). “The Piano,” in Kathy Evans, ed., The Issues Collection: Music. Toronto: McGraw-Hill Ryerson, 1993 (invited). “The Piano,” in Jerry George, et al., ed, On Common Ground. Toronto: Oxford UP, 1994: 114-115 (invited). Excerpts from “Dead in France.” In Cary Fagan, ed., A Walk by the Seine: Canadian Poets on Paris. Windsor: Black Moss Press, 1995: 89-93 (invited). “Multiple Choice Games for Hiroshima Day,” in Jack Kimball and David Bromige, ed. New Poetry from Canada, on-line anthology published by the East Village Poetry Web, Vol 4 (March 1999). (invited.) http://www.theeastvillage.com/vc.htm “To the Lions Gate Bridge,” “A Vancouver History,” “West Coast,” and “Vancouver to Vancouver on Leaving. In Meredith Quartermain, ed., Vancouver Writing Vancouver. On-line anthology. (Invited) http://www.interchange.ubc.ca/quarterm/Vancouver.htm “Nice Things.” The Poet Laureate's Poem of the Week, March 22-29, 2004. http://www.parl.gc.ca/information/about/people/poet/index-e.htm “The News.” In Conny Steenman-Marcuse and Aritha Van Herk, ed., Building Liberty: Canada and World Peace, 1945-2005.
Recommended publications
  • Introduction
    Introduction Imagine you’re invited to a party. You arrive at the venue, slip past security, and Margaret Atwood is there; so are Michael Ondaatje, Anne Carson, and Dionne Brand. CanLit’s luminaries surround you, and having never brushed elbows with so many prominent writers, you turn paparazzi and start taking photographs in earnest. Point and click—easy to tell who monopolizes the spotlight and who falls back. It’s only once you focus manually, looking for an unconventional angle, that you begin to notice others: a younger, more anonymous crowd pushing at the margins, trying to bypass the guest list. So you raise your camera to include them too, at least those close enough to see clearly. Some of the shots will turn out perfectly—balanced composition, candid expressions that capture the palpable energy of the event. Some won’t. The blur of time will seep in, poor exposure rendering the photographs unusable. You might think I’m describing a Griffin Poetry Prize gala. I am, of course, but this is also the plight of prospective anthologists. Working without the benefit of hindsight, anthologists are responsible for scouting talent in little magazines, hard-to-find books, and critical periodicals. Canonization is a gamble, and time and time again Canadian editors have either gone all in or hedged their bets, offering up both generation defining compilations and remixed versions of established texts. With New Provinces, F.R. Scott curated 13 The Next Wave the first essential anthology of Canadian poetry in 1936. Providing a platform for future icons like E.J.
    [Show full text]
  • Writing Alberta POD EPDF.Indd
    WRITING ALBERTA: Aberta Building on a Literary Identity Edited by George Melnyk and Donna Coates ISBN 978-1-55238-891-4 THIS BOOK IS AN OPEN ACCESS E-BOOK. It is an electronic version of a book that can be purchased in physical form through any bookseller or on-line retailer, or from our distributors. Please support this open access publication by requesting that your university purchase a print copy of this book, or by purchasing a copy yourself. If you have any questions, please contact us at [email protected] Cover Art: The artwork on the cover of this book is not open access and falls under traditional copyright provisions; it cannot be reproduced in any way without written permission of the artists and their agents. The cover can be displayed as a complete cover image for the purposes of publicizing this work, but the artwork cannot be extracted from the context of the cover of this specific work without breaching the artist’s copyright. COPYRIGHT NOTICE: This open-access work is published under a Creative Commons licence. This means that you are free to copy, distribute, display or perform the work as long as you clearly attribute the work to its authors and publisher, that you do not use this work for any commercial gain in any form, and that you in no way alter, transform, or build on the work outside of its use in normal academic scholarship without our express permission. If you want to reuse or distribute the work, you must inform its new audience of the licence terms of this work.
    [Show full text]
  • (Joe) Papers Coll 00505 1 Gift of Joe Rosenblatt, 2006 Extent
    MS ROSENBLATT (Joe) Papers Coll 00505 Gift of Joe Rosenblatt, 2006 Extent: 14 Boxes (2 metres) Dates: 1990-2005 (bulk 2001-05) This collection consists of manuscript drafts and other material related to various writing projects by poet and visual artist Joe Rosenblatt, including Parrot Fever (published by Exile Editions, 2002) as well two as-yet unpublished works: Dog Poems, a collaboration with Vancouver-based poet Catherine Owen and photographer Karen Moe, and Hogg Variations/The Lunatic Muse, a collaboration with Barry Callaghan. The collection also contains a large volume of correspondence, primarily e-mail. Box 1 Parrot Fever 35 Folders Consists of manuscript drafts, correspondence and reproductions of Michel Christensen’s collages for Rosenblatt’s Parrot Fever, published by Exile Editions, 2002. Folders 1-27 Manuscript drafts Folder 1 “Earliest,” 2000 WP Folders 2 Early drafts, 2001 WP Folders 3-4 Early drafts, “Third Draft,” 2001 WP and WP with holograph revisions Folder 5 Early drafts, 2001 WP with holograph revision Folders 6-7 Early drafts, 2001 WP with holograph revisions Folder 8 Fourth draft, 2001 WP Folder 9 Draft (sent via e-mail to French translator Andree Christensen), 2002 1 MS ROSENBLATT (Joe) Papers Coll 00505 Folder 10 Draft, 2002 WP Folder 11 Draft, 2002 WP with holograph revisions (+ 2 e-mails) Folders 12-15 Drafts, 2002 WP Folder 16 Draft, 2002 WP with holograph revisions (+ 1 e-mail) Folder 17 Draft, 2002 WP (+ editorial correspondence) Folder 18 Draft, 2002 WP Folders 19-20 Drafts, 2002 WP with holograph revisions
    [Show full text]
  • APRIL 2015 - NISSAN-IYAR 5775 Volume 7, Issue 8, April 2015 EDWARD DAVIS, Rabbi YOSEF WEINSTOCK, Associate Rabbi STEPHEN KURTZ, President
    “ YOUNG ISRAEL OF HOLLYWOOD-FT. LAUDERDALE APRIL 2015 - NISSAN-IYAR 5775 Volume 7, Issue 8, April 2015 EDWARD DAVIS, Rabbi YOSEF WEINSTOCK, Associate Rabbi STEPHEN KURTZ, President (picture of Synagogue) , President President , BARATZ MICHAEL Rabbi ociate Ass WEINSTOCK, YOSEF Rabbi DAVIS, EDWARD 2 1 20 June , 10 Issue , 4 Volume 2 1 20 JUNE - 2 7 57 TAMMUZ - IVAN S Requested Service Change 5566 - (up-side down address and bulk mail inditia) 962 (954) Fax: 7877 - 966 (954) Phone: Permit No. 1329 No. Permit www.yih.org FACILITY FL. SO. 33312 FL Lauderdale, Ft. PAID POSTAGE U.S. Road Stirling 3291 Organization FT. LAUDERDALE FT. - HOLLYWOOD of ISRAEL YOUNG Nonprofit “ Page 2 Young Israel Hollywood-Ft. Lauderdale April 2015 SIMCHAS FROM OUR FAMILIES -MAZEL TOV TO: BIRTHS Suchie & Raisy Gittler on the birth of their granddaughter Sophia Rose to Daniel & Dorith Gittler Lenny & Ellen Hoenig on the birth of their grandson Mordechai to Yossi & Zisa Farkas Seth & Rebecca Kinzbrunner on the birth of their daughter Eliana Sara. Mazel Tov to grandparents Norman & Meryl Palgon and great-uncle & aunt Neil & Karen Lyman Michael & Nili Davis on the birth of their son Yehuda & Morit Soffer on the birth of their son Tzvi & Rachael Schachter on the birth of their grandson to Eli & Rachelle Schachter. Mazel Tov to great-grandparents Sam & Malca Schachter ENGAGEMENTS & MARRIAGES Larry &Tobi Reiss on the engagement of their daughter Nina to Mordechai Braun David & Linda Feigenbaum on the marriage of their daughter Kayla to Ariel Levy Jay & Chani Dennis on the marriage of their daughter Talia to Jake Freiman.
    [Show full text]
  • Open Letter Expresses Its Gratitude to the Ontario Arts Council OPEN LETTER Tenth Series, No
    Open Letter expresses its gratitude to the Ontario Arts Council OPEN LETTER Tenth Series, No. 4, Fall 1998 which last year awarded $5,500 bpNichol + 10 in support of its publications Open Letter acknowledges the support of the Canada Council for the Arts which last year invested $7,100 in our organization Open Letter remercie de son soutien le Conseil des Arts du Canada qui lui a accordé $7,100 l’an denier Contents bpNichol + 10 FRANK DAVEY 5 Coach House Letters DAVID ROSENBERG 14 st. Ink BILLY LITTLE 23 Nicholongings: because they is LORI EMERSON 27 False Portrait of bpNichol as Charles Lamb STEVE MCCAFFERY 34 A correction to David Rosenberg’s article “Crossing the Border: A Coach Argument for a Secular Martyrology House Memoir” (Open Letter Series 9, No. 9): David Rosenberg writes, DARREN WERSHLER-HENRY 37 “Abstract Expressionism was the movement I alluded to in ‘Crossing the The bpNichol Archive at Simon Fraser University Border: A Coach House Memoir.’ That it became ‘Im’ in print is a GENE BRIDWELL 48 Freudian slip: I was perhaps overly impressed with my point.” Sounding out the Difference: Orality and Repetition in bpNichol SCOTT POUND 50 flutterings for bpNichol STEVEN SMITH 59 Nickel Linoleum CHRISTIAN BÖK 62 Extreme Positions ROBERT HOGG 75 An Interview with Steve McCaffery on the TRG PETER JAEGER 77 for bpNichol: these re-memberings DOUGLAS BARBOUR 97 Artifacts of Ecological Mind: bp, Gertrude, Alice DAVID ROSENBERG 109 bpNichol is alive and well and living in Bowmanville, ON STEPHEN CAIN 115 “Turn this Page”: Journaling bpNichol’s The Martyrology and the Returns ROY MIKI 116 Contributors 134 6 Open Letter 10:4 Wittgenstein.
    [Show full text]
  • Dalrev Vol51 Iss4 Pp553 558.Pdf (3.200Mb)
    S idney J. Stephen ~ - - : ! • . ? " - • f ■ i - l '' ■ ■ - ADAM IN EXILE: A. M. KLEIN’S PORTRAIT OF THE POET AS LANDSCAPE Tom Marshall ends his introduction to A. M. Klein (Toronto: The Ryerson Press, 1970) by expressing the opinion that t Klein has bequeathed to his successors the task of creating their country. The emphasis on space and landscape in “Grain Elevator” and “Portrait of the Poet as Landscape” is echoed in the work of Margaret Atwood and Margaret Avison. Klein’s “nth Adam”, the unacknowledged legislator of a new Canada of the spirit, may be found in the poems of Gwendolyn MacEwen and joe Rosenblatt, and even in Cohen’s Beautiful Losers (p. 25). Marshall’s point is well taken, even if one does not completely agree with his closing remark that Klein is “the man who has come closer than any other Canadian Poet to greatness” (p 25). The phrase “nth Adam” is taken from “Portrait of the Poet as Landscape”, and this poem, coming as it does after nearly twenty years of writing and publishing poetry1 appears to present a view on what a poet’s role might be in the society in which he finds himself. For this reason alone, if for no other, the poem might be accorded a close reading, an exploration of the idea of the “poet-as-Adam” which seems to have been a personal reflection of the poet. •v Much of Klein’s work is soundly based in Jewish tradition, and his knowledge of (and esteem for) that tradition is always evident, though as M.
    [Show full text]
  • By Frank Davey
    Rampike 15/1 _____________________________________________________________________________________________ INDEX Paul Dutton: “Narcissus A, 7” p. 2 Editorial p. 3 Frank Davey: Interview p. 4 Frank Davey: “Postcards from the Raj” p. 12 Jeanette Lynes: “Frank” p. 17 Michael & Linda Hutcheon: Interview p. 18 Joyce Carol Oates: “The Writer’s (Secret) Life” p. 22 Paul Hegedus: Two Poems p. 29 Darren Wershler-Henry: from The Iron Whim p. 30 Robert Dassanowsky: Three Poems p. 35 George Bowering: “Sworn to Secrecy” p. 36 Gregory Betts “The Geopoetics of Tish” p. 42 Jürgen O. Olbrich: Two Texts p. 55 rob mclennan “Notes on a Day Book” p. 56 Charles Bernstein: Argotist Interview p. 58 Brian Edwards: “Ce n’est pas la guerre!” p. 62 Penn Kemp: “Night Orchestra” p. 66 Matthew Holmes: Two Texts p. 68 Carl Peters: “Writing Should Not Sound Like Writing” p. 70 D. King: “Driving Wheel” p. 72 Louis Cabri: “Foamula” p. 74 Nicole Markotic: Two Poems p. 76 Sandra Alland: Six Poems p. 78 Stan Rogal: “The Celebrity Rag” p. 80 Tanis MacDonald “Practice Lessons” p. 82 Sarah Bonet: “VIP at liquid” p. 83 Anne Walker: 3 Poems p. 84 Lindsey Bannister: “The Tombstone Vandal” p. 85 Photos from the Conference p. 88 1 Rampike 15/1 _____________________________________________________________________________________________ ”NARCISSUS A, 7” BY PAUL DUTTON 2 Rampike 15/1 _____________________________________________________________________________________________ Editorial: This issue of Rampike is dedicated to Frank Davey in response to the conference on “Poetics and Popular Culture” held in his honour at the University of Western Ontario (2005). Keynote speakers at that gathering included Charles Bernstein, Lynette Hunter, and Smaro Kamboureli.
    [Show full text]
  • Critical Canadiana
    Critical Canadiana Jennifer Henderson In 1965, in the concluding essay to the first Literary History New World Myth: of Canada, Northrop Frye wrote that the question “Where is Postmodernism and here?” was the central preoccupation of Canadian culture. He Postcolonialism in equivocated as to the causes of this national condition of disori- Canadian Fiction By Marie Vautier entation, alternately suggesting historical, geographical, and cul- McGill-Queen’s tural explanations—the truncated history of a settler colony, the University Press, 1998 lack of a Western frontier in a country entered as if one were “be- ing silently swallowed by an alien continent” (217), a defensive The House of Difference: colonial “garrison mentality” (226)—explanations that were uni- Cultural Politics and National Identity in fied by their unexamined Eurocentrism. Frye’s thesis has since Canada proven to be an inexhaustible departure point for commentaries By Eva Mackey on Canadian literary criticism—as witnessed by this very essay, by Routledge, 1999 the title of one of the four books under review, as well as a recent issue of the journal Essays in Canadian Writing, organized around Writing a Politics of the question, “Where Is Here Now?” The question was first asked Perception: Memory, Holography, and Women at what many take to be the inaugural moment of the institution- Writers in Canada alization of CanLit, when the field began to be considered a cred- By Dawn Thompson ible area of research specialization.1 Since then, as one of the University of Toronto contributors to “Where Is Here Now?” observes, “Canadian liter- Press, 2000 ature as an area of study has become a rather staid inevitable in Here Is Queer: English departments” (Goldie 224).
    [Show full text]
  • 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.
    [Show full text]
  • I Make Contact: Contributive Bookselling and the Small Press In
    i Make Contact: Contributive Bookselling and the Small Press in Canada Following the Second World War Cameron Alistair Owen Anstee A thesis submitted to the Faculty of Graduate and Postdoctoral Studies in partial fulfillment of the requirements for the Doctorate in Philosophy degree in English Literature Department of English Faculty of Arts University of Ottawa © Cameron Alistair Owen Anstee, Ottawa, Canada, 2017 ii Abstract This dissertation examines booksellers in multiple roles as cultural agents in the small press field. It proposes various ways of understanding the work of booksellers as actively shaping the production, distribution, reception, and preservation of small press works, arguing that bookselling is a small press act unaccounted for in existing scholarship. It is structured around the idea of “contributive” bookselling from Nicky Drumbolis, wherein the bookseller “adds dimension to the cultural exchange […] participates as user, maker, transistor” (“this fiveyear list”). The questions at the heart of this dissertation are: How does the small press, in its material strategies of production and distribution, reshape the terms of reception for readers? How does the bookseller contribute to these processes? What does independent bookselling look like when it is committed to the cultural and aesthetic goals of the small press? And what is absent from literary and cultural records when the bookseller is not accounted for? This dissertation covers a period from 1952 to the present day. I begin by positing Raymond Souster’s “Contact” labour as an influential model for small press publishing in which the writer must adopt multiple roles in the communications circuit in order to construct and educate a community of readers.
    [Show full text]
  • Selected Poems by Merle Amodeo
    Canadian Studies. Language and Literature MARVIN ORBACH, MERLE AMODEO: CANADIAN POETS, UNIVERSAL POETS M.Sc. Miguel Ángel Olivé Iglesias. Associate Professor. University of Holguín, Cuba Abstract This paper aims at revealing universality in Marvin Orbach, an outstanding Canadian book collector and poet, and Merle Amodeo, an exquisite Canadian poet and writer. Orbach´s poems were taken from Redwing, book published by CCLA Hidden Brook Press, Canada in 2018; and Amodeo´s poems from her book After Love, Library of Congress, USA, 2014. Thus, the paper unveils for the general reader the transcendental scope of these two figures of Canadian culture. In view of the fact that they are able to recreate and memorialize their feelings and contexts where they live, and show their capacities to discern beyond the grid of nature, society and human experience, directly and masterfully exposing them, it can be safely stated that both Orbach and Amodeo reach that point where what is singular in them acquires universality, and in return what is universal crystallizes in their singularity. Key Words: universality, Orbach, Redwing, Amodeo, After Love Introduction My connection with universal poetry began during my college years. I enjoyed great English and American classics so much that I even memorized many of their poems. It proved very useful later in my professional career, as I would read excerpts from poems to my students in class. Canada, and Canadian poets, had less presence on the curricular map at the time. Fortunately, I had the chance to become acquainted with Canadian poetry through the Canada Cuba Literary Alliance (CCLA), founded by Richard and Kimberley Grove back in 2004.
    [Show full text]
  • Imperial Commerce and the Canadian Muse the Hudson’S Bay Company’S Poetic Advertising Campaign of 1966–1972
    Michael Ross and Lorraine York Imperial Commerce and the Canadian Muse The Hudson’s Bay Company’s Poetic Advertising Campaign of 1966–1972 In July of 1965, Barbara Kilvert, the Executive Assistant of Public Relations with the Hudson’s Bay Company, kicked off an unusual advertising campaign by buying a poem from Al Purdy. She had come across a review of Cariboo Horses in the May issue of Time magazine, and, in her words, “decided I should make contact.” As she later reminisced, “This was the beginning of it all.” “It all” referred to a promotional venture inaugurated by Purdy’s “Arctic Rhododendrons”—a series of ads featuring “new poems by Canadian poets, with layout design handled by young artists” (Kilvert, Annotation, Purdy Review). Over the next six years, the advertisements appeared in such respected periodicals as Quarry, The Tamarack Review, Canadian Literature, The Malahat Review, Cité Libre, and Liberté. Participants in the ad campaign made for an impressive roster of writers, including, besides Purdy, Margaret Atwood, Earle Birney, Louis Dudek, Joan Finnegan, Phyllis Gotlieb, Ralph Gustafson, D. G. Jones, Gustave Lamarche, Gwendolyn MacEwen, John Newlove, Alden Nowlan, Michael Ondaatje, Fernand Ouellette, P. K. Page, Jean-Guy Pilon, James Reaney, A. J. M. Smith, Raymond Souster, and Miriam Waddington. Focussing on HBC’s use of original works by Canadian poets in three of these journals—Quarry, Tamarack, and Canadian Literature—(See Appendix), this essay assesses the consequences of recontextualizing poems within a commercial frame of reference. Some of those consequences, as we will argue, were positive. Others, however, were troubling; poetic meaning could irresistibly be drawn into the orbit of HBC’s commercial objectives.
    [Show full text]