DOCSLIB.ORG

Filgate's First Person Singular

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
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. orley Callaghan - First Person Callaghan returned to Paris for this about Morley Callaghan, to read or re­ Singular is a documentary made film, and roams and remembers in a read his books, and perhaps to sit at his Control screams for dialogue; there Mby a master - Terence Macartney­ sprightly, cheerful manner sitting in feet and hear more stories and reminis­ is nothing else happening down there in Filgate - in first-class form. Of course, cafe-bars conjuring up the past, a fund cences. the static grey concrete! An opportuni­ he's more than ably aided by his sub­ of stories spilling from his lips as though ty for subtle acting and bright writing, ject, Morley Callaghan, a runaway talker the action all took place yesterday. Pat Thompson • missed. Here, we might have seen if ever there was one, whose reminis­ Callaghan's lengthy and prolific characterization at its best with the cences of his early life run by in breath­ career is commented on by (among various actors adapting the different less Qrofusion. others) Margaret Atwood, Mordecai personae of the nuclear arms debate - Callaghan walks each day in the To­ Richler, publisher Louise Dennys, and p.ld. Terence Macartney-Filgate. sc. Marilyn Powell. the dove, the hawk, those who believe ronto where he was born - Irish and his longtime lunch companion Robert cam. Andrew Binnington. Terence Macartney·Filgate. that building a super bomb shelter is ed. Christopher ReiUy. Robert St. Hilaire sd Edmund fatalistic and those who say it is a wise Catholic - at the turn of the century. He Weaver. His two sons, Michael and Chong. Pierre Camacho. Jim Ollolini. nan. R.H. remarks that he never felt different, and Barry, provide more personal glimpses. Thompson. Readings by Michael Kamer. Lorna precaution. only later realized that he was born in He is now 84, and still writing. He Jackson. col. 48 mins. Instead, we get Ben Gazzara, who an outpost of the British Empire. walks aggreSSively, incessantly, does not cease being Ben Gazzara (as In addition to Callaghan's own voice, throughout the film - and talks the we've come to know hjm) literally sum­ R.H. Thompson chronicles the early same way. The opinions, anecdotes, and Giuliano Montaldo's ming up the story for a reporter after days, while the period is visualized ideas flow back and forth like the tides. emerging from the big bunker. through some lovely archival footage of The vitality leaps from the screen and Control "You can't escape nuclear war even in a Toronto - its streets thronged with rushes nonstop over the viewer. In­ bomb shelter," says Gazzara. people served by streetcars and graced deed, if there's a complaint, it's that 48 The film ends on a freeze-frame by noble buildings. The '20s, with jazz minutes is not long enough, and the film close-up of Lancaster's best imploring and speakeasies and bright young things is jam-packed with incident and move­ stare. Lancaster is another actor whose whooping it up, flashes by. Amid all this ment. It should have been 90 minutes at star status exceeds his acting skill. nostalgia, Callaghan tells of his student least. Overworn Hollywood faces are some­ summer job at the Toronto Star, and of This is an effervescent look at one of what of a distraction that tend to shine how he met Ernest Hemingway who Canada's enduring literary figures, di­ through and obscure the characters was a foreign correspondent for a while. rected by an enduring filmmaker, Ter­ they portray. It was at the Toronto Star that Heming- enceMccartney-Filgate, a pioneer of Control is a well-intended television Mercifully, Lancaster appears only at movie which raises the morality quo­ the beginning and end of the program tient of prime-time television. For this but it is cleverly suggested, halfway reason alone, this international co-pro­ through the story, that the prof is be­ duction deserves a large audience. It hind the scenes and in control. His should be seen. human subjects, under close observa­ Unfortunately, the script is not as de­ tion, are by this time convinced that nu- veloped as one would ' expect from clear war is imminent. ~ Irish-born Brian Moore, a preeminent Fear reigns, there is the inevitable Canadian author now living in Califor­ moment of truth in which the 14 (there nia. The screenplay starts slowly and has been one defector) evenly divide ends abruptly; characterization is weak. themselves into the saints (read: Gaz­ One is left with the unresolved odyssey zara, Nelligan and among others Kate of 15 individuals who, after spending 20 Reid, whose acting skills are left unchal­ days locked in a bomb shelter, emerge lenged) and rogues. The saints vote asking themselves 'why can't we live with moral conscience to allow the with each other without fear and loath­ clamoring unwashed into the antiseptic ing?' bomb shelter while the rogues vote Commendably, this question is with the survivalist instinct of the war­ clearly framed on prime-time televi­ ring human being - to kill or be killed. sion. A distinguished professor (Burt The rogues get the guns and thus Lancaster) is employed by a politically their own way. They go out shooting motivated peace organization to lend (blanks) only to find the purging rays of his fme name to the publicity of a new the bright sunshine, the world in its state-of-the-art bomb shelter. The same perpetual state of pre-annihilation pre­ international mix of 15 unwitting indi­ paredness and lancaster's sullen viduals are each offered 510,000 upon (blank) face asking the television audi­ completion of a 20-day stretch inside ence ... "Would you attempt to save your the luxury shelter and a S5,000 bonus if neighbour if doing so jeopardized your there are no early defectors. own chances of survival?" We are not aware, however, that the Commendably, the question is asked. prof is scheming to turn this publicity Regrettably, no effort is made to help stunt into a gut-wrenching experiment the viewer comes to terms with an an­ in human behaviour by simulating a nu­ swer. clear attack outside the shelter. He does this by means of phony television and Jean Chantale • radio transmissions and a hysterical cast of thousands clamOring to break into the bomb shelter and hog all the CONTROL exec_ p. Denis Heroux p_ Franco bunkbeds. Cristaldi cOop Alexandre Mnouchkine d_ Giuliano Our friendly castaways on this nucle­ Montaldo sc_ Brian Moore. Jeremy Hole d_o.p_ Ar­ ar age Gilligan's Island are in turn cast mand Nannuzzi. J.p. Burt Lancaster. Kate Nelligan. Ben Gazzara. Kate Reid. Erland Josephson. Ingrid Thulin. into a series of desperately predictable Andrea Ferriol. A CanadalFrancelltaly co-production mini-misadventures in a weak attempt produced by Alliance Entertainment Corp. (Canada). to profile and build character. The heat­ Les Films Ariane (France). Cristaldi Film (Italy). in as­ • Morley Callaghan speaks in First Person Singular sociation with CTV. J;UDDing time 120 min. Broad­ ing system overloads, (it gets really cast April 6. ·S7. 34/Cinema Canada - May 1987 .
Load more

Recommended publications
  • 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
    [Show full text]
  • 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
    [Show full text]
  • Short Stories in the Classroom. INSTITUTION National Council of Teachers of English, Urbana, IL
    DOCUMENT RESUME ED 430 231 CS 216 694 AUTHOR Hamilton, Carole L., Ed.; Kratzke, Peter, Ed. TITLE Short Stories in the Classroom. INSTITUTION National Council of Teachers of English, Urbana, IL. ISBN ISBN-0-8141-0399-5 PUB DATE 1999-00-00 NOTE 219p. AVAILABLE FROM National Council of Teachers of English, 1111 W. Kenyon Road, Urbana, IL 61801-1096 (Stock No. 03995-0015: $16.95 members, $22.95 nonmembers). PUB TYPE Books (010) Guides Classroom Teacher (052) EDRS PRICE MF01/PC09 Plus Postage. DESCRIPTORS Class Activities; *English Instruction; Literature Appreciation; *Reader Text Relationship; Secondary Education; *Short Stories IDENTIFIERS *Response to Literature ABSTRACT Examining how teachers help students respond to short fiction, this book presents 25 essays that look closely at "teachable" short stories by a diverse group of classic and contemporary writers. The approaches shared by the contributors move from readers' first personal connections to a story, through a growing facility with the structure of stories and the perception of their varied cultural contexts, to a refined and discriminating sense of taste in short fiction. After a foreword ("What Is a Short Story and How Do We Teach It?"), essays in the book are: (1) "Shared Weight: Tim O'Brien's 'The Things They Carried'" (Susanne Rubenstein); (2) "Being People Together: Toni Cade Bambara's 'Raymond's Run'" (Janet Ellen Kaufman); (3) "Destruct to Instruct: 'Teaching' Graham Greene's 'The Destructors'" (Sara R. Joranko); (4) "Zora Neale Hurston's 'How It Feels to Be Colored Me': A Writing and Self-Discovery Process" (Judy L. Isaksen); (5) "Forcing Readers to Read Carefully: William Carlos Williams's 'The Use of Force'" (Charles E.
    [Show full text]
  • "Sexual Provinciality" and Characterization: a Study of Some Recent Canadian Fiction
    "SEXUAL PROVINCIALITY" AND CHARACTERIZATION: A STUDY OF SOME RECENT CANADIAN FICTION by NANCY JEAN CORBETT B.A. , University of British Columbia, 1969 A THESIS SUBMITTED IN .PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF Master of Arts in the Department of ENGLISH We accept this thesis as conforming to the required standard TEE UNIVERSITY OF BRITISH COLUMBIA April, 1971 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Depa rtment The University of British Columbia Vancouver 8, Canada CONTENTS. Chapter Page INTRODUCTION ....... .. ...... .. ... T I. THE BIOLOGICAL THEORY," OF FEMALE PERSONALITYt BRIAN MOORE . ..... ^ .. ... TO II.. AS FOR NE AND MY HOUSE: THE. COMPLEX MRS. III. CHARACTER AS SYMBOL AND THE THEME OF SACRIFICE: THE LOVED AND THE LOST AND THE WATCH THAT ENDS THE NIGHT .... 42 IV.. CHARACTER AS SYMBOL AND THE THEME OF SACRIFICE: THE DOUBLE HOOK AND THE SACRIFICE" ............. 61' V. THE IMPORTANCE OF POINT OF VIEW: DISTANCE. AND IDENTIFICATION IN TWO NOVELS BY ETHEL WILSON .. .. .. „ . .... 78 Vr. WOMEN OF THE GARRISON:: THREE NOVELS BY MARGARET LAURENCE 99 CONCLUSION . 121 WORKS" CITED ................. 128 ABSTRACT From its earliest beginning in Frances Brooke"s The History of Emily Montague, set.
    [Show full text]
  • The Mainstream
    THE MAINSTREAM Ronald Sutherland A.LONG WITH A NUMBER of other activities in Canada, literary criticism has picked up a great deal of momentum in the last decade. Like the St. Lawrence River it has deepened and broadened as it moved along, and to a large extent it also has divided in two at the Island of Montreal. In view of the mighty St. Lawrence's present state of pollution, however, it would perhaps be injudicious to pursue the analogy. But it can be said with reasonable confidence that the steady increase in the volume of Canadian literary criticism is having and will continue to have a beneficial effect on creative writing in this country. I imagine that there is nothing more debilitating for a writer than to be ignored, to be working in a vacuum as it were. Frederick Philip Grove comes immediately to mind. Despite the recent increase in the volume of literary criticism, however, several major problems remain to be resolved. They are basic problems which glare like a hole in a girl's stocking or a pair of mismatched shoes, but they can also be covered up and ignored. They would seem to invite attention, and then again they do not. For they are often charged with emotional overtones. For instance, there is the question of who precisely is a Canadian author. Anthologies and literary histories, to say the least, have tended to be gloriously free of discrimina- tion, grabbing all that could possibly be grabbed. One wonders, indeed, how Jacques Maritain, Wyndham Lewis, Willa Cather and Ernest Hemingway, all of whom lived for a time in Canada, escaped the conscription, not to mention Alexis de Tocqueville, Charles Dickens and Henry David Thoreau.
    [Show full text]
  • Ms Coll 00050 Davies (Robertson) Papers 1
    Ms Coll 00050 Davies (Robertson) Papers Robertson Davies Papers (gift of June Davis) Dates: 1929-2008 Extent: 115 boxes (22 metres) Biographical Description: Robertson Davies was born in Thamesville, Ontario in 1913 and was the third son of W. Rupert Davies and Florence Sheppard McKay. Davies’ father, Rupert Davies was born in Wales and was the publisher of The Kingston Whig Standard and was appointed to the Senate as a Liberal in 1942, a position he would hold until his death in 1967. As a young child, Robertson Davies moved with his family to Renfrew, Ontario, where his father managed the local newspaper, the Renfrew Mercury. The family would later relocate to Kingston in 1925. Between 1928 and 1932, Davies attended Upper Canada College in Toronto, where he performed in theatrical performances and wrote and edited the school paper, The College Times. After graduating, Davies attended Queen’s University in Kingston, where he was enrolled as a special student as he was not working towards a specific degree. Between 1932 and 1935, Davies wrote for the school paper and performed and directed theatrical plays. In 1935, Davies traveled to England to study at Baillol College at Oxford, where he was enrolled in a Bachelor of Letters degree. At Oxford, Davies performed with the Oxford University Dramatic Society and was a co- founder of the Long Christmas Dinner Society. After graduating in 1938, Davies published his thesis, Shakespeare’s Boy Actors through the publisher J.M Dent & Sons in 1939. In 1938, Davies joined the Old Vic theatre company, where he had roles in The Taming of the Shrew, She Stoops to Conquer, and A Midsummer Night’s Dream and also worked as a teacher of dramatic history at their drama school.
    [Show full text]
  • Literary Trivia Challenge
    Literary Trivia Challenge 1. Which Nobel Prize-winning author wrote a 6. What is the name of the narrator in short story that took place at Osler? Harper Lee’s To Kill a Mockingbird? A) Margaret Attwood A) Scout Finch B) David Adams Richards B) Boo Radley C) Alice Munro C) Atticus Finch D) W. O. Mitchell D) Dill Harris 2. Where was the location of Collingwood’s 7. What is the first ghost to visit Ebenezer original Public Library? Scrooge on Christmas Eve? A) Simcoe Street A) Ghost of Christmas Past B) Second Street B) Bob Cratchit C) Hurontario Street C) Ghost of Christmas Spirit D) St Paul Street D) Jacob Marley 3. Which Canadian author wrote Luke Baldwin’s Vow, a story of a boy who came to 8. Who is known for collecting folklore tales live in Collingwood? such as Cinderella, Rapunzel, and Snow A) Robertson Davies White? B) Morley Callaghan A) Hans Christian Andersen C) George Bowering B) Brothers Grimm C) Walt Disney D) Gabrielle Roy D) All of the above 4. Who is Collingwood’s poet laureate? A) Susan Wismer 9. What was Mark Twain’s real name? B) Maya Angelou A) Twain Mark B) Samuel Clemens C) Robert Frost C) Henry James D) Day Merrill D) Walt Whitman 5. What book won CBC’s Canada Reads contest in 2019? 10. The Lion King is a Disney re-imagining of A) Bakr al Rabeeah, Winnie Yeung which Shakespeare play? A) King Lear B) The Testaments, Margaret Atwood B) Macbeth C) By Chance Alone, Max Eisen.
    [Show full text]
  • “Deep in Mines of Old Belief”: Gnosticism in Modern Canadian Literature
    “Deep in Mines of Old Belief”: Gnosticism in Modern Canadian Literature by Ryan Edward Miller M.A. (English), Simon Fraser University, 2001 B.A. (English), University of British Columbia, 1997 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in the Department of English Faculty of Arts and Social Sciences © Ryan Edward Miller 2012 SIMON FRASER UNIVERSITY Summer 2012 All rights reserved. However, in accordance with the Copyright Act of Canada, this work may be reproduced, without authorization, under the conditions for "Fair Dealing." Therefore, limited reproduction of this work for the purposes of private study, research, criticism, review and news reporting is likely to be in accordance with the law, particularly if cited appropriately. APPROVAL Name: Ryan Edward Miller Degree: Doctor of Philosophy, English Title of Thesis: “Deep In Mines of Old Belief”: Modern Gnosticism in Modern Canadian Literature Examining Committee: Chair: Dr. Carolyn Lesjak Associate Professor & Graduate Chair Department of English ______________________________________ Dr. Kathy Mezei, Senior Supervisor Professor Emerita, Department of Humanities ______________________________________ Dr. Sandra Djwa, Supervisor Professor Emerita, Department of English ______________________________________ Dr. Christine Jones, Supervisor Senior Lecturer, Department of Humanities ______________________________________ Dr. Eleanor Stebner, Internal Examiner Associate Professor & Woodsworth Chair, Department of Humanities ______________________________________
    [Show full text]
  • Canadian Literature I Fall 2009, Room 2041, Wednesdays, 6:30-9:30 Pm
    ENGL 3853 Canadian Literature I Fall 2009, Room 2041, Wednesdays, 6:30-9:30 pm Instructor: Professor Elizabeth Davey Office: Rm. 2098 Phone: 416-226-6620 ext. 6713 E-mail: [email protected] Office Hours: Tuesdays, Thursdays; 10:00-11:00; Wednesdays 1:00-4:00; or by appointment Commuter Hotline: 416-226-6620 ext. 2187 Class cancellations due to inclement weather or illness will be announced/posted on the commuter hotline. Mailboxes: Every student is responsible for information communicated through the student mailboxes. A mailbox directory is posted beside the mailboxes. For more information contact the Registrar's office. COURSE DESCRIPTION: This course is an introduction to Canadian literature from its beginnings through the 1960s. [Authors include some of the following: Moodie, Leacock, Pratt, Davies, Laurence, Callaghan, Roy, Wiebe, Carr, Richler, Avison, Purdy, Page and Layton.] Texts are chosen from works in both English and French (in translation). Among significant themes discussed are relationship to the land and struggle to define identity as Canadians. INTRODUCTION: Included in the course is a field trip to The McMichael Canadian Art Collection. “They were both Canadians, so they had this much together—the knowledge of the little you dare admit. .” Mavis Gallant, “The Ice Wagon Going Down the Street” “He doesn’t want to talk about Canada. .There you have the Canadian dilemma in a sentence. Nobody wants to talk about Canada, not even us Canadians. You’re right, Paddy. Canada is a bore .” Brian Moore, The Luck of Ginger Coffey I come from a country of slow and diffident words of broken rhythms of unsaid feelings Next time I am born I intend to come from a different country.
    [Show full text]
  • The Collection Offiles for Exile, Which Is Published in Toronto, Contains
    MS. CALLAGHAN (BARRY) COLLECTION COLL. 268 SCOPE AND CONTENT: EXILE: A LITERARY QUARTERLY The collection offiles for Exile, which is published in Toronto, contains manuscripts with notes, revisions, instructions to the printer, and galley proofs for poems, short stories, essays, plays and art which appeared in Exile from 1972 to 1995. Exile was founded in 1972 by Barry Callaghan, a Toronto writer and teacher. The first three issues were published by Atkinson College, York University, Toronto. Since volume 1, number 4 (1974) Callaghan has published it. He is and has been the sole editor. Exile aims to publish the best Canadian and international writing by known and unknown writers. It has published short stories by Margaret Atwood, Marie-Claire Blais, Morley Callaghan, Timothy Findley, Mavis Gallant, Robert Markle, Joyce Carol Oates; poems by Yehuda Amichai, Margaret Avison, Leonard Cohen, Michael Lally, John Montague; plays by the Armchambault Theatre Collective; drawings by David Annesley, Marcel Marceau, Robert Zend; photographs by David Goldblatt. The matenal was given in two sections and there is, therefore, some overlap. Boxes 1-22 were donated in 1988 and contain material up to volume 13. Boxes 23-56 were donated in 1995 and contain material fi'om volume 11 to volume 19. Each volume has about 160 pages except for the double issues which have 260 pages. Volume 16 is a special large-format retrospective. EXTENT: 56boxes9.5 metres Edna Hajnal June 1989 Richard Moll June 1996 (-><. I. ). MS CALLAGHAN (BARRY) COLLECTION 2 COLL. 268 CHRONOLOGY:CALLAGHAN,BARRY 1937 Born in Toronto 1960 Received B.A. j]-om St.
    [Show full text]
  • Morra for Printing
    Identifying Canada Linda Morra IN THE FALL of 2000, a special issue of Essays on Canadian Writing was given over to the question famously posed by Northrop Frye, “Where is Here?” Kevin Flynn, the editor of that issue, postulated that the millennium was an appropriate moment to take stock, to consider how “we, as a community, were thinking and feeling about the past, present, and future of Canadian literature.” Not strictly focused on literature, the essays were broader in scope, as was in part evidenced by Diana Brydon’s contribution, “It’s Time for a New Set of Questions.” Therein, she raised other pointed questions, including how it might be possible “to conceive of a nation as a ‘viable cultural form’ without this nostalgic evocation of a lost authenticity that never, in truth, existed?” The special issue registered a desire to return to a new set of considerations and questions about Canadian identity - in spite of Flynn’s expressed concerns about our indifference to it. Initially Flynn was dismayed by the lack of response to his invitation to discuss the topic; apparently, it was one that made most critics stretch, yawn, and beg off from further discussion rather than rush to the aid of that seemingly ever damsel-in-distress, Canadian identity. Yet the critical mass about constructions of Canadian national identity that has since appeared would surely assuage at least Flynn’s fears about such purported indifference. Daniel Coleman’s White Civility: The Literary Project of English Canada (2006) is one such contribution to that critical mass. Therein, he investigates how, in approaching English-Canadian UNDERHILL REVIEW FALL 2009 1 national identity, critics have tended to celebrate, first, our departure from strict bi-culturalism and, second, the advent of multiculturalism as the subsequent prevailing cultural ethos.
    [Show full text]
  • The New Yorker and Canadian Short Story Writers
    Western University Scholarship@Western Electronic Thesis and Dissertation Repository 6-30-2014 12:00 AM Transnational Conversations: The New Yorker and Canadian Short Story Writers Nadine Fladd The University of Western Ontario Supervisor Dr. Manina Jones The University of Western Ontario Graduate Program in English A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Philosophy © Nadine Fladd 2014 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the American Literature Commons, American Material Culture Commons, Literature in English, North America Commons, and the Visual Studies Commons Recommended Citation Fladd, Nadine, "Transnational Conversations: The New Yorker and Canadian Short Story Writers" (2014). Electronic Thesis and Dissertation Repository. 2425. https://ir.lib.uwo.ca/etd/2425 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. TRANSNATIONAL CONVERSATIONS: THE NEW YORKER AND CANADIAN SHORT STORY WRITERS (Thesis format: Monograph) by Nadine Louise Fladd Graduate Program in English A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Nadine Fladd 2014 ii Abstract This dissertation
    [Show full text]