Tnbr04de17.Pdf
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
TREVOR CAROLAN / Dorothy Livesay in North Vancouver
TREVOR CAROLAN / Dorothy Livesay in North Vancouver Ten years ago, as a District of North Vancouver Councillor, I proposed to my colleagues in the nearby City of North Vancouver the idea of creating a memorial plaque in honour of Dorothy Livesay. An important twentieth century Canadian poet and social activist, Livesay lived in the city on and off for more than twenty years with her husband, fellow socialist Duncan McNair. They lived in several homes within view of the inner harbour: at Cumberland Crescent, then at 848-6th Street about a block from Sutherland High School, and later on toney Grand Boulevard. Livesay wrote some of her best work here making it an appropriate place to commemorate not only a fine poet, but also a champion of women's rights and family planning before either became fashionable. The idea of a memorial marker-stone failed to gain traction with the politicians of the day; it's an idea that's still out there for commissioning. In her memoir Journ ey with My Selves, Livesay says that she originally arrived in BC wanting to find her way to the San Francisco literary scene. In fact, she came to Vancouver to work as an editor for a communist labour journal. From Vancouver she hoped to travel further south to join the Depression-era's well-established leftist arts community concentrated in the San Francisco Bay Area. This was IWW territory and numerous publications there served the One Big Union labour ideal, which appealed to her political interests. The city also enjoyed a long liberal tradition in its journalism and politics. -
Notes on Contributors
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Calgary Journal Hosting Notes on Contributors MARGARET ATWOOD was born in Ottawa in 1939 and received de• grees from the University of Toronto and Harvard University. She has taught at a number of Canadian universities and last year was Writer in Residence at the University of Toronto. She won the Governor-General's Award in 1966. Her five books of poems include The Circle Game (1966), The Journals of Susanna Moodie (1970) and Power Politics (1971). She has also written two novels, The Edible Woman (1969), and Surfacing (1972) and a critical book Survival (1972). DOUGLAS BARBOUR lives and works in Edmonton, Alberta. He has four books of postry out, of which the latest is songbook (talon- books, 19731. The others are Land Fall (1971), A Poem as Long as the Highway (1971), and White (1972). S. A. DJWA, Associate Professor, teaches Canadian Literature at Simon Fraser University and is a regular contributor to Cana• dian Literature and the Journal of Canadian Fiction. Professor Djwa has recently completed a book on E. J. Pratt (Copp Clark and McGill-Queen's University Press) and has developed com• puter concordances to fourteen Canadian poets in the prepara• tion of a thematic history of English Canadian poetry. She is now working on an edition of Charles Heavysege's poetry for the University of Toronto Press Literature of Canada Reprint Series. RALPH GUSTAFSON'S eighth book of poems, Fire on Stone, will be published by McClelland & Stewart, Toronto, autumn 1974. -
"I "In Miriam Waddington's Poetry
TRANSITIONAL SPACES: CONSTRUCTIONS OF THE MODERNIST “I” IN MIRIAM WADDINGTON’S POETRY Esther Sánchez-Pardo González Universidad Complutense de Madrid ABSTRACT In her first books of poetry (Green World, The Second Silence), Miriam Waddington explores female identity and subjectivity from the perspective of what she refers to in her poem “The Bond” as the “Jewish me.” In these two books, one finds “the credibility of colloquial speech as an alternative to impersonal modernism” (Arnason). My paper is an attempt to approach the construction of the lyric “I” exploring the dialectic between inner and outer world —a transitional space where the subject engages in a process of transformation. In Waddington’s poetry the modernist lyric was a central means to explore a rupture with the old world (colonial and patriarchal) in her own textual terms. KEY WORDS: Miriam Waddington, Modernism, lyric poetry, jewishness, women. RESUMEN En sus dos primeros poemarios (Green World, The Second Silence), Miriam Waddington explora la identidad y subjetividad femeninas desde la perspectiva de lo que en su poema 169 “The Bond” llama el “yo judío”. En estos dos volúmenes encontramos “la credibilidad de la lengua coloquial como alternativa a la impersonalidad modernista” (Arnason). Este ensayo es una aproximación a la construcción del “yo” lírico en este período, que explora la dialéc- tica entre mundo interior y exterior —un espacio transicional donde el sujeto experimenta un proceso de transformación. En la poesía de Waddington, la lírica modernista fue sin duda el medio privilegiado para explorar la ruptura con el viejo mundo (colonial y patriar- cal) de acuerdo a su singular manera de entender el texto poético. -
Miriam Waddington, the Collected Poems of Miriam Waddington. Edit- Ed with an Introduction by Ruth Panofsky
Canadian Jewish Studies / Études juives canadiennes, vol. 23, 2015 165 Miriam Waddington, The Collected Poems of Miriam Waddington. Edit- ed with an introduction by Ruth Panofsky. 2 Volumes. (Ottawa: Univer- sity of Ottawa Press, 2014), 1109 pages. These two beautifully published and scrupulously edited volumes represent the first time that all of Miriam Waddington’s verse has been collected in one edition. Wad- dington was one of the major Canadian poets of the middle decades of the twentieth century. She wrote short stories and essays in addition to poetry, but it is as a poet that she made her mark. She was remarkably prolific, publishing 14 books of verse during her lifetime, not to mention numerous uncollected poems in a variety of journals. In these two volumes, published under the aegis of Editions of Modernism in Canada and edited with an introduction by Ruth Panofsky, Professor of English at Ryerson University, we finally get a comprehensive critical and scholarly edition of all of Waddington’s published poetry, as well as a selection of her uncollected and unpublished poems. The second volume also contains examples of Waddington’s translations from Yiddish, German and Russian into English, a welcome inclusion, since these translations testify not only to Waddington’s skill as a poet, but also as a translator, and they provide a testament to the wide scope of her literary interests. In her excellent introduction, Panofsky contends that Waddington’s career as a modernist has not been sufficiently studied. Despite, or perhaps because of, being a contemporary of Louis Dudek, A. M. -
Equally Quietistic and Ironic Response. There Is Nothing Wrong with These
Douglas Barbour Review Article Poetry Chronicle IV The books of poetry keep coming on; despite the rise in paper costs, despite the ways in which inflation should be cutting down the independents the small presses continue to flourish. To which I can only say, "huzzah", for it is the many small presses which keep the new writers coming, which provide a place for new writers to try their wings. Certainly the large publishers aren't going to do it (except. a curious case, one new book from McClelland and Stewart. and it should have been smaller and come from a small press). So a number of the books under review this time come from new little presses. And what I'm going to do is try to review most of the books from a single press together, -r-ather than try to order them from least to best. To begin, however, I must turn to M & S's big error. It is Catherine Firestone's first book. Daydream Daughter, 1 the very title of which suggests pale imitations of pre-Raphaelite excesses, Victorian children's books, soppy Romanticism. Not a good beginning, and I'm afraid Firestone can't overcome it despite a kind of spurious energy of performance throughout. Most of the poems in Firestone's first hook strike me as five-finger exercises; undoubtedly they were of technical value to her, but they have little if anything to say to me. Indeed, her technical facility is to some degree her undoing, for all too often the techincal problems she has set herself to solve in a poem are an tithetical to whatever mood or emotion she appears to be trying to establish. -
Ruth Panofsky Address: Department of English Member of the Graduate Faculty Ryerson University 350 Victoria Street Toronto, Ontario M5B 2K3 416 979 5000 Ext
CURRICULUM VITAE Name: Ruth Panofsky Address: Department of English Member of the Graduate Faculty Ryerson University 350 Victoria Street Toronto, Ontario M5B 2K3 416 979 5000 ext. 6150 416 979 5387 fax [email protected] Position: . Professor . Research Associate, Modern Literature and Culture Research Centre . Member, Centre for Digital Humanities Citizenship: Canadian Languages: English, French EDUCATION: PhD, York University, English 1991 Examinations: First field: Canadian Literature Second field: Novel and Other Narrative Dissertation: A Bibliographical Study of Thomas Chandler Haliburton’s The Clockmaker, First, Second, and Third Series Supervisor: Professor John Lennox MA, York University, English 1982 MRP: Studies in the Early Poetry of Miriam Waddington Supervisor: Professor John Lennox BA Honours, Carleton University, English 1980 First year, Vanier College, Social Sciences 1976 AWARDS AND FELLOWSHIPS (EXTERNAL): 2016 Rosa and the late David Finestone Canadian Jewish Studies Award for Best Book in English or French, J. I. Segal Awards, Jewish Public Library ($500) 2016 Finalist, Vine Awards for Canadian Jewish Literature 2015 Canadian Jewish Literary Award for Yiddish Culture ($1,000) 2015 PROSE Award for Literature, Professional and Scholarly Publishing Division, Association of American Publishers 2015 Finalist, Eric Hoffer Award for Independent Books 2 – Ruth Panofsky 2013 McCorison Fellowship for the History and Bibliography of Printing in Canada and the United States, Bibliographical Society of America ($2,000US) 2011-14 -
Tnbr05de17.Pdf
IHE HOMEMftKESS the Canadian prairie may also favour the expansion of the spirit and the imagination because, as Lionel Stevenson remarks, "the poetic mind placed in the midst of a natural grandeur, can scarcely avoid mysticism". (="52) The poetry of Miriam Waddington illustrates the latter clearly and beautifully. -224- THE HOMEMAKERS THE PRAIRIE : CHAPTER !FOUR. NOTES 1. Henry Kreisel, "The Prairie: A State of Mind" in An Anthology of Canadian Literature in English, vol.11, Donna Bennett & Russell Brown (eds.). Toronto: Oxford University Press, 1983, p.107. 2. Margaret Avison, "New Year's Poem" in The New Oxford Book of Canadian Verse, Margaret Atwood (ed.). Don Mills, Ontario: Oxford University Press, (1982), 1983, pp.197-198. Elizabeth Brewster, "Deaths" in A Sudden Radiance, Lorna Crozier & Gary Hyland (eds.). Regina, Saskatchewan: coteau books, 1987, p. 11. Elizabeth Brewster, "Munchausen in Alberta" in Selected Poems of Elizabeth Brewster 1944-1977. Ottawa: Oberon Press, 1985, p.100. Elizabeth Brewster, "Road Between Saskatoon and Edmonton" in A Sudden Radiance, op. cit., p.21. Elizabeth Brewster, "The Future of Poetry in Canada", ibid., p.20. -225- THE HOMEMAKERS 7. Carrie MacMillan, "All the Way Out and Back Again" in The Fiddlehead, n,137, October 1983, p.93. 8. Ibid., p.92. 9. Elizabeth Brewster, "The Future of Poetry in Canada" in A Sudden Radiance, op. cit., p.20. 10. Ibid. 11 Elizabeth Brewster, as quoted by Robert Gibbs in "Next Time From a Different Country", Canadian Literature, n.62, Autumn 1974, p.17. 12. Elizabeth Brewster, "Road Between Saskatoon and Edmonton" in A Sudden Radiance, op. -
Miriam Waddington Fonds MG31-D54 Container File File Title Date
Library and Archives Bibliothèque et archives Canada Canada Canadian Archives Direction des archives Branch canadiennes MIRIAM WADDINGTON FONDS MG31-D54 Finding Aid No. 1415 / Instrument de recherche no 1415 Prepared in 1983, revised in 1986 and 1991 Préparé en 1983, revisé en 1986 et 1991 par by Anne Goddard, in 1994 by Sarah Anne Goddard , 1994 par Sarah Montgomery Montgomery of the Social and Cultural des Archives sociales et culturelles et en Archives and in 2007-2008 by Janet Murray 2007-2008 par Janet Murray et Catherine and Catherine Hobbs of Literary Arts. Hobbs des Arts littéraires.. ii TABLE OF CONTENTS NOTEBOOKS, JOURNALS and NOTES SERIES ............................1, 86, 95 GENERAL MANUSCRIPTS FILES SERIES ..............................2, 25, 31, 89 POETRY MANUSCRIPTS SERIES ...............................8, 17, 18, 77, 89, 115 CRITICAL WORKS and EDITIONS SERIES............................10, 16, 90, 132 PERSONAL MATERIAL SERIES ..............14, 27, 29, 30, 35, 42, 86, 87, 128, 132, 134 PRINTED MATERIAL SERIES....................................15, 28, 44, 89, 130 GENERAL CORRESPONDENCE SERIES ..................................18, 29, 66 TRANSLATIONS SERIES.................................................79, 110 TEACHING MATERIAL SERIES........................................36, 88, 113 SUBJECT FILES SERIES............................................... 79, 90, 98 NOMINAL CORRESPONDENCE FILES SERIES ......................44, 65, 69, 90, 92 PERSONAL CORRESPONDENCE FILES SERIES .....................64, 65, 66, 89, 91 FAMILY -
Mrs. Maza's Salon
MRS. MAZA'S SALON Miriam Waddington IIN THE FALL OF 1930 when I was twelve my family moved to Ottawa from Winnipeg. The reason was this : my father had lost his small sausage- making and meat-curing factory to a partner in a lawsuit. The world was then in the grip of the great depression, and the west had been especially hard hit. My father had the idea of starting a small sausage factory in Ottawa, and since there seemed nothing else to do, my parents rented out our Winnipeg house, sold the piano, packed us children into the car and set out. The whole family was unhappy about the move. My parents were secular Jews who had emigrated from Russia in the early years of the century before the First World War. They had met and married in Winnipeg and were firmly integrated in the circle of secular Jews who had founded a Yiddish day school and named it after the famous Yiddish writer, Y. L. Peretz. In Winnipeg my father and mother had led a busy social life and had many close friends. They went to meetings and lectures almost every night and they had family-friend dinners on Friday nights in winter and went picnicking or camping with other families in summer. In Ottawa it was a different story. There were very few non-observant Jews and even fewer Jews who had, like my parents, made Yiddish language and culture their home and community. It took them some months to find congenial friends, especially since their energies were absorbed by the task of finding a place to live and settling us four children — all under the age of fourteen — into a new school environment. -
Apartment Seven: Essays Selected and New. by Miriam Waddington. Toronto: Oxford UP, 1989
Book Reviews Apartment Seven: Essays Selected and New. By Miriam Waddington. Toronto: Oxford UP, 1989. Pp. 214. Paper, $16.95. Miriam Waddington's prose has much in common with her poetry. The language is direct and lucid; the voice, open and personal. The style stems from her conviction that literature has the power to communicate in an immediate way, that it can change lives. The prose collected in Apartment Seven differs, however, from her poetry in one significant aspect-it is charged with a polemic, one which informs practically each of the various essays, critiques and reminiscences that comprise this book and which raises it from being merely good to being important. Waddington's polemic comes out of her belief that there is a suppressed tradition of writing in Canada. Her essay, "Canadian Tradition and Canadian Literature" is central to an understanding of her argument. In it she outlines the history of our literary attitudes and points to the ongoing attempt by critics to describe what they have perceived as a dualism in our literature. Waddington admits it is difficult to pinpoint what that dualism is though she seems certain of what it is not. She dismisses, for example, A. J. M. Smith's division of our writers into "native" and "cosmopolitan." There is, of course, something reductive about any such division for genuine writers and writing in general resist such simplifications. Wad dington seems aware of this. Yet for argument's sake she provides her own dichotomy, dividing our critical attitudes into the mythopoeic-apocalyptic (i.e., Northrop Frye) on the one hand, and the historical socio-economic (i.e., E. -
Mrs. Maza's Salon
Mrs. Maza's Salon by Miriam Waddington fact that Montreal was so dosoonly 120 miles away, with frequent two-dollar weekend train excursions. After L huteure se souvient de saparticipation h un salon LittCraire a year or so, my parents discovered the Jewish community etartistiquc tcnupar Madame Mm,unepohe et mlchre de in Montreal, and we came to know a number of families h communautl montrkahisc. whom we could visit. Among them was a Yiddish poet, Ida Maza. She had published several volumes of poetry and knew all the Yiddish writers and painters in Montreal and New York. Mrs. Mmwas what is calkd a jolie hi&. She Her husband was an agent who represented several manu- lookedJapanese and emphasized her oriental fac~rersof men's haberdashery-mostly shirts and ties. rwoticism with her carriage. She had thick black hair His route took him through the small towns between Ottawa and Montreal, and also past Lachute up into the which she piled up around her* in interesting Laurentians. Whenever he was in Ottawa he stayed with twists and turns like doughnuts and buns. us, and he often took me back with him at times when I had no school. It is hard to describe Mrs. Maza and what I have come to think of as her salon without placing her in the social In the fill of 1930, when I was twelve, my hilymoved context that I remember from my childhood. For exam- to Ottawa from Winnipeg. The reason was this: my father ple, my parents and their friends spoke Yiddish among had lost his small sausage-making and meat-curing factory themselves and regularly addressed one another by their to a partner in a lawsuit. -
Layton, Irving
The Irving Layton Collection: a bibliography The following bibliography lists the contents of the Irving Layton Collection. The Collection is housed in the Special Collections unit of the Queen Elizabeth II Library, Memorial University of Newfoundland. 1. Coleridge, Samuel Taylor. The Poetical Works of Samuel Taylor Coleridge. London: MacMillan & Co., 1924. This copy is inscribed by one “Irving Lazarr, of 4158 City Hall Ave, Montreal, Quebec, 1927. Student of Literature.” It contains on the front endpaper a note from Irving Layton, inscribed to John Metcalf: “who knows a good book and a good investment when he sees one.” There is also a note on the half-title by John Metcalf: “This copy of Coleridge belonged to Irving Layton when he was 15. Throughout the text the various passages marked show the sort of rhetoric that appealed to him then. At the back of the book he has listed pages he has read. When I showed him the book he claimed that he‟d changed his name to Lazarr because he‟d been writing a poems and needed a rhyme for near and „near and far‟.” 2. Flecker, James Elroy. The Collected Poems of James Elroy Flecker. London: Secker & Warburg, 1947. This is Irving Layton‟s copy, bearing his ownership signature on the front endpaper. 3. Plato. Five Dialogues. London: J.M. Dent & Sons, 1942. This copy bears Layton‟s ownership signature on the front endpaper, dated December 1946, with scoring and marginalia in his hand throughout, and a note on the rear endpaper about his reading. There is also what appears to be a poem, in two different states, on the rear endpapers.