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Anglo-Canadian Modernists in Transit[Ion]: Collectivity and Identity in Mid-Century Canadian Modernist Travel Writing

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Anglo-Canadian Modernists in Transit[Ion]: Collectivity and Identity in Mid-Century Canadian Modernist Travel Writing Anglo-Canadian Modernists in Transit[ion]: Collectivity and Identity in Mid-Century Canadian Modernist Travel Writing by Emily Ballantyne Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy at Dalhousie University Halifax, Nova Scotia April 2019 © Copyright by Emily Ballantyne, 2019 Dedication I would like to dedicate this dissertation to my scholarly community, my friends from the early days of the Editing Modernism in Canada project. You showed me how to perse- vere and overcome with strength, courage, and dignity. I may not have had a PhD cohort, but I always had you. ii Table of Contents Dedication .................................................................................................................. ii Abstract ..................................................................................................................... v List of Abbreviations Used ......................................................................................... vi Acknowledgments .................................................................................................... vii CHAPTER ONE: INTRODUCTION .................................................................................. 1 COMMUNITY AND EXILE: AFFILIATION BEYOND THE NATION ......................................... 6 CANADIAN MODERNIST TRAVEL WITHIN CANADIAN MODERNIST STUDIES ................... 13 CANADIAN MODERNISTS AS TRAVEL/LING WRITERS ..................................................... 22 CHAPTER TWO: EXILE BEYOND RETURN: ZIONISM, NATION, AND DIASPORIC COMMUNITY IN A.M. KLEIN’S JOURNALISM ............................................................. 37 KLEIN’S CULTURAL IDEAL: THE “WONDROUS ASCENT” THROUGH PILGRIMAGE TO ISRAEL ............................................................................................................................ 43 ZIONISM, NATIONALISM, AND COLONIALISM: DESCENT AND REDEMPTION IN MOROCCO AND ISRAEL ................................................................................................... 58 FICTIONALIZING “NOTEBOOK”: THE SECOND SCROLL AS MODERNIST RESPONSE TO “NOTEBOOK” .................................................................................................................. 67 KLEIN AND YERIDA: DIASPORIC IDENTITY AFTER ISRAEL ............................................... 79 CONCLUSION .................................................................................................................. 86 CHAPTER THREE: COLONIAL COSMOPOLITANISM? RESISTANCE, AESTHETICS, AND MODERNISM IN PATRICK ANDERSON’S TRAVEL WRITING ......................................... 90 SELF-REPRESENTATION AND NARRATIVE AUTHORITY AS COSMOPOLITAN ENGAGEMENT IN SNAKE WINE ........................................................................................ 97 TEXTUAL RESISTANCE: AN ALTERNATIVE READING OF COLONIAL COSMOPOLITANISM ...................................................................................................... 108 QUEERING COSMOPOLITANISM, QUEERING NATION..................................................... 118 CONCLUSION ................................................................................................................ 136 iii CHAPTER FOUR: P.K. PAGE’S TRAVEL WRITING: AESTHETICS, COSMOPOLITANISM, ETHNOGRAPHY, AND SURREALISM ....................................... 138 ETHNOGRAPHIC MORAL SUPERIORITY: CIVILITY AND MATURITY IN PAGE’S AUSTRALIAN WRITING ................................................................................................. 142 SURREALIST ETHNOGRAPHY AS COSMOPOLITAN STYLE IN BRAZIL ............................. 150 “A SIZE LARGER THAN SEEING”: SELF-REFLECTION AND SPIRITUAL QUEST IN MEXICO ........................................................................................................................ 167 REVISIONS AND EMPLOTMENT IN PAGE’S LIFE NARRATIVES TO ACHIEVE A COSMOPOLITAN VISION ................................................................................................ 180 CONCLUSION ................................................................................................................ 197 CHAPTER FIVE: REVISIONARY COSMOPOLITANISM, REIMAGINED COMMUNITY: JOHN GLASSCO’S RELATIONAL LOST GENERATION MEMOIR ............................................. 200 DISSEMBLING THE LOST GENERATION: FABRICATION, INVENTION, AND MODERNIST PREEMINENCE IN MEMOIRS OF MONTPARNASSE ............................................................. 205 REVISION, COMMUNITY, AND FABRICATION ACROSS LOST GENERATION MEMOIRS .... 211 EXPATRIATISM, COSMOPOLITANISM, AND COMMUNITY IN MAGAZINE AND MEMOIRS 222 SUBVERSIVE SEXUALITIES AND QUEER COMMUNITIES IN GLASSCO’S MEMOIRS OF MONTPARNASSE ............................................................................................................. 235 COMMUNITY, HOMOSOCIALITY, AND HOMOSEXUALITY IN LOST GENERATION MEMOIRS ...................................................................................................................... 239 CONCLUSION ................................................................................................................ 254 CHAPTER SIX: CONCLUSION .................................................................................... 257 WORKS CITED ......................................................................................................... 275 APPENDIX A: PERMISSION FROM SCL ................................................................... 292 APPENDIX B: PERMISSION FROM CANADIAN LITERATURE ............................... 293 APPENDIX C: PERMISSION FROM U OF OTTAWA PRESS........................................... 295 iv Abstract In the 1940s, A.M. Klein, Patrick Anderson, P.K. Page, and John Glassco contrib- uted to co-edited periodicals, socialized together to various degrees, and enjoyed healthy debates about what constituted modern poetry, what values it should espouse, and how Canada fit into the broader international Anglo-European modernist community with which they felt affiliated. Numerous scholars have explored the ways in which these so- called “Montreal poets” interacted with other modernist traditions while forging a more or less distinct modernist tradition of their own, but few have considered what happened next, after the group disbanded and the writers engaged in their next projects, most of which took them outside of Canada for extended periods of time. I examine journalism, fiction, travel writing, life writing, and memoir written by the “Montreal poets” in the pe- riod from 1948-1970 in order to better understand the consequences of transit for the for- mal, aesthetic, and ideological transitions in their writing. Paying close attention to such tensions, this dissertation maps the emergence of modernist Canadian travel writing, it- self an under-explored subgenre of modernism in Canadian literature, and then charts the changes in its scope over the next two decades. I consider how each writer’s navigation of foreign contexts provoked them to revise their understanding of self in relation to oth- ers, and challenged their notions about such collective identities as nation, ethnicity, gen- der, race, class, sexual orientation, and religion. v List of Abbreviations Used CAA Canadian Authors Association CJC Canadian Jewish Congress CJC Canadian Jewish Chronicle JDC American Jewish Joint Distribution Committee Taiku tishbi yetaraitz kushoith y’abayoth TARR United Nations Technical Assistant Resident Representative UN United Nations UNRWA United Nations Relief and Works Agency for Palestine Refugees in the Near East vi Acknowledgments First and foremost, I’d like to thank my supervisor Carrie Dawson who has stuck with me and cheered me on through the six years of writing and revising this work. Thanks especially for your diligent editorial eye and your willingness to work with my schedule, including several early morning appointments at Cobourg Coffee. I’d also like to thank my committee members and all of the formal readers of this work. Thanks to Te- resa Heffernan for your long standing dedication to this project and for your detailed handwritten notes. Erin Wunker, I am grateful for your thoughtful feedback, your frank- ness, and your willingness to join my committee at a late stage. Thanks Anthony Enns for his close, engaged reading of this work. To my external Tony Tremblay, thank you for agreeing to review this labour of love and for your thoughtful feedback during the de- fense process. I am grateful to all members of my committee for your rigorous discus- sion, your feedback, and your engagement with this work at this critical juncture in my academic life. This work would not have been possible without the dedication and support of my dear friend and copyeditor, Kala Hirtle. Not only did she help me transition this docu- ment to the latest form of MLA, but she cheered me on for eight years with love, friend- ship, and the occasional slice of cheesecake. Thank you from the bottom of my heart. I would like to gratefully acknowledge all of the funding that has helped to sup- port the research and development of this dissertation. Thank you to the Social Sciences and Humanities Research Council (SSHRC) and the Killam Foundation for the five years of funding that allowed me to write the initial draft of this document. Thank you also to vii the generous support of the Editing Modernism in Canada project, which gave me finan- cial support and, through its members, emotional support throughout this project. I would
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