Destination Nation: Writing the Railway in Canada

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Destination Nation: Writing the Railway in Canada Destination Nation: Writing the Railway in Canada by Kevin Flynn McGill University, Montreal August 2001 A thesis submitted to the faculty of Graduate Studies and Research in partial fulfilment ofthe degree ofDoctor ofPhilosophy. © Kevin Flynn 2001 National Library Bibliothèque nationale ~I of Canada du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395, rue Wellington OttawaON K1A0N4 Ottawa ON K1A ON4 canada canada Your file Votre réliJrem:iJ OUr 6Ie NoIre rëfllrencB The author bas granted a non­ L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library ofCanada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies ofthis thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership ofthe L'auteur conselVe la propriété du copyright inthis thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts frOID it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son pemnSSIOn. autorisation. 0-612-78686-2 Canadâ for Debbie and Connor and in loving memory ofGershwin, who nearly made it to the end iii Contents Acknowledgments IV Abstract VI Résumé VIl Introduction: Points ofDeparture 1 Chapter One Destination Nation: Early Travel Narratives ofthe Canadian Pacifie Railway 28 ChapterTwo Hacking in Ties What Emily Etched in Bone: The Railway in Canadian Poetry 92 Chapter Three Ties That Bind: E. 1. Pratl's Towards the Last Spike 159 Chapter Four The Other Side ofthe Tracks: The Railway in Canadian Fiction 187 Conclusion: The End ofthe Line 248 Works Cited 253 iv Acknowledgments This project began, in a sense, in Mrs. Justason' s eighth-grade Social Studies class, when 1 started to write an essay on the Canadian Pacific Railway but threw in the towel after 1 realized that 1 would never be able to do in ten neady written, double-spaced pages what Harold Innis, Pierre Berton, R. G. MacBeth, and John M. Gibbon, among many others, had done in thousands of pages of printed text. (1 wrote an essay on a more manageable topic instead: Canadian history in the 10 years before and 15 years following Confederation.) Exploring Canada's literary response to the railway has proved to be a smaller task, but not much smaller. And it is a task that 1could not have completed without a lot ofhelp. My research would not have been possible without funding from the Social Sciences and Humanities Research Council of Canada and the generous support of the Max Bell Fellowship in Canadian and Northern Studies and the Robert and Mary Stanfield Dissertation Fellowship. 1 am grateful for the financial assistance provided by these programs. Sincere thanks are due also to friends and colleagues who provided helpful suggestions and guidance while 1 was working on this dissertation. First among these is Joel Baetz, whose willingness to read and make insightful comments on earlier drafts of my work went above and beyond the calI of dutY and friendship. Dean Irvine and Professor D. M. R. Bendey were each kind enough to pass along a handful of relevant poems and articles that they uncovered during their own, unrelated, research. As always, Professor Brian Trehearne's curiosity about my work was a welcome stimulant; our friendly conversations helped me to focus my v thinking at times when 1 felt overwhelmed by the scope of my project. Special thanks are extended to Jennifer du Feu and Col. (ret.) W. K. Bawden OMM, CD for their assistance with the French translation ofmy dissertation abstracto Professor Robert Lecker's advice and supervision have been invaluable. His provocative, pointed questions about my research were both encouraging and daunting, and inspired me to explore avenues of investigation and argument that 1 might not have considered otherwise. Of course, no protracted research project would be possible without the much-needed support and occasional diversions provided by friends and family. Sincere thanks go to my family, for everything; to Merril Bawden and Jennifer and Richard du Feu for their cherished friendship; to Joe Donahue and Huey Lord for helping to fund my work through their abysmal performance in our yearly football pool; to Dan and Kendra Thompson for countless kindnesses; to Sybil Woodford for help in looking after my son, Connor, so that 1 could work as often as possible; and to all of my teammates on the Grace O'Malley's Mighty Nine for giving me something to look forward to on those hot summer nights and for bearing witness to my own personal shot heard 'round the world. John Mclntyre's unfailing good humour was a necessary antidote to the sometimes grim realities ofgraduate study. David McGimpsey has been a constant source offriendship and encouragement; his insightful and heartfelt counsel during our many long lunches helped me to dispel doubts about my work--and myself--that threatened to derail this project. Last of all, thanks to my wife, Debbie, for her love, her confidence in me, and her incredible patience. vi Abstract Since the completion ofthe CPR, the railway has held an important place in the Canadian imagination as a symbol of national unity, industry, and cooperation. It would seem to follow, given the widely held beliefthat nationalliteratures help to engender national self-recognition in their readers, that Canadian literature would make incessant use of the railway to address themes of national community and identity. This assumption is false. With a few notable exceptions, Canadian literature has in fact made very little deliberate effort to propagate the idea that the railway is a vital symbol ofCanadian unity and identity. Literary depictions of the railway do, however, exhibit a tension between communitarian and individualist values that may itself lie at the heart of the Canadian character. Sorne of the earliest representations of the railway, in travel narratives of the late nineteenth century, make explicit reference to the notion that the railway was a sign and a product of a common national imagination. But poets of this period virtually ignored the railway for fear that its presence would disturb the peaceful contemplation, and thus the identity, ofthe individuals who populated the pastoral spaces of their verse. Modern poets did eventually manage to include the train in their work, but used it most often as a vehicle to continue the private musings of their individual lyric speakers rather than to explore the terrain of the national consciousness. One prominent exception to this tendency is E. J. Pratt's Towards the Last Spike, in which imposing individuals such as Sir John A. Macdonald and William Van Horne and thousands of unnamed rail workers combine their efforts in order to construct the railway, which stands as a symbol of vii how individuals and communities can work together in the national interest. Canadian fiction demonstrates the same impulses as Canadian poetry by using the railway as a means of depicting the thoughts, feelings, and experiences of individuals, but it also challenges the myth of the railway' s creation of a unitary national culture by showing how diverse communities--of race, c1ass, and region-­ imagine their relationship to the railway in very different ways. The varied character of Canada's literary treatment of one of the country's central national symbols suggests that a tension between individualism and communitarianism also informs Canadian literature itself, whose writers have used the railway to fulfill their goals in individual texts but have rarely employed it as a symbol ofnational community. viii Résumé Depuis que la société Canadien Pacifique (CPR à l'époque) a établi la première ligne ferroviaire transcontinentale en Amérique du nord, le chemin de fer fut, dans l'imagination canadiaenne, symbole de la cooperation, de l'industrie, et de l'unité nationale. Vu ce phénomène, on croirait que la littérature canadianne soit pleine d'exemples où des auteurs se servent du chemin de fer pour exposer les thèmes de communauté et d'identité nationale. Cette hypothèse est fausse. On trouve rarement dans la littérature canadienne des constations à l'effet que le chemin de fer soit symbole importante de l'identité canadienne ou de l'unité nationale. Toutefois le chemin de fer sert à illustrer le conflit entre les valeurs de communauté et celles de l'individualisme--un conflit au fond du caractère canadien. Les histoires narratives du fin du 1ge siecle suggèrent que le chemin de fer soit la réalisation d'une imagination nationale et commune. Par contre, les poètes de cette époque n'ont presque jamais mentionné le chemin de fer. Des poétes modernes mentionnent le chemin de fer dans leurs oeuvres--mais rarement en tant que quelque chose pour explorer la conscience nationale. Une exception imortante est Towards the Last Spike de E. J. Pratt. Ce dernier parle de l'effort d'individus importants tels que Sir John A. Macdonald et William Van Home ainse que des milliers d'ouvriers anonymes qui, ensemble, ont créé la ligne ferroviaire transcontinentale--symbole des possibilités quand les communautés ets les citoyens coopèrant dans l'intérêt national. Au Canada, les livres de fiction ressemblent ceux de poésie quant au traitement du chemin de fer--il sert à illustrer les pensées et les expériences des individus. Par contre, des livres de fiction démontrent comment les gens de certains classes ou races, ou ix regions, voient différemment leur rélation au chemin de fer. Or, le chemin de fer comme instrument d'unité nationale est un mythe.
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