DOCSLIB.ORG

Sexualized Bodies in Canadian Women's Short Fiction

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sexualized Bodies in Canadian Women's Short Fiction View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Saskatchewan's Research Archive Sexualized Bodies in Canadian Women’s Short Fiction A Dissertation Submitted to the College of Graduate Studies and Research in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in English Department of English University of Saskatchewan, Saskatoon, Canada By AMELIA HORSBURGH 2016 © Copyright Amelia Horsburgh, 2016. All Rights Reserved. PERMISSION TO USE In presenting this dissertation in partial fulfillment of the requirements for a Postgraduate degree from the University of Saskatchewan, I agree that the Libraries of this University may make it freely available for inspection. I further agree that permission for copying of this dissertation in any manner, in whole or in part, for scholarly purposes may be granted by the professor or professors who supervised my dissertation work or, in their absence, by the Head of the Department or the Dean of the College in which my thesis work was done. It is understood that any copying or publication or use of this dissertation or parts thereof for financial gain shall not be allowed without my written permission. It is also understood that due recognition shall be given to me and to the University of Saskatchewan in any scholarly use which may be made of any material in my dissertation. Requests for permission to copy or to make other uses of materials in this dissertation in whole or part should be addressed to: Head of the Department of English University of Saskatchewan Saskatoon, Saskatchewan S7N 5A5 Canada OR Dean College of Graduate Studies and Research University of Saskatchewan 107 Administration Place Saskatoon, Saskatchewan S7N 5A2 Canada i Abstract In this dissertation, I examine short stories by Canadian women writers from the 1970s to the 2000s to answer three overarching questions. First, I analyze, using various theories of corporeality, how bodies of female characters in these short stories perform a wide range of acquiescence and resistance to dominant Western ideals of female beauty. Second, I investigate the relationships between women characters’ gender, sexuality, social class, culture, and age, and their ability to engage in a variety of acts of compliance and defiance through such methods as food restriction, binge and purge, and surgical procedures. Third, I query the linguistic techniques and narrative devices of the short story genre that facilitate Canadian women writers in their exploration of the postmodern body’s fluctuating pleasure, distress, satisfaction, shame, and ultimate instability. The bodies of the female characters in these stories sometimes demonstrate the painfully strict and cumbersome social construction of the feminine body as mandated by Western hegemonic ideals. However, many of the characters devise and utilise specific stratagems to bypass or circumvent the restriction of their bodies, bodies that are perceived to be outside societal norms by the male characters or by society at large. The female characters’ bodily experiences, such as body modification, nudity, and abjection, demonstrate both the innate power of the corporeal, and the difficulty of controlling the message of their performances as understood by masculine watchers. The women resist dominant Western ideals of femaleness and sexuality through varied means, such as embracing an embodied and lived sexuality, making alterations to the appearance of their bodies, or accepting their bodies as unstable and ever changing. These same modes of resistance can and sometimes do hinder the characters’ capacities to inhabit their bodies. The fluidity of the body is both painful and exhilarating to the ii female characters as they seek bodies and gender performances that align with their life experiences of being both in and of the world. iii Acknowledgements My love and thanks to my husband Justin Ymana and son Saul who have supported me through my doctoral studies with unwavering enthusiasm. I thank my parents Dr Martha (Beth) Horsburgh and Greg Horsburgh, my parents-in-law Cris Ymana and Valerie Ymana, my sister Jessica Horsburgh and brother-in-law Ben Woods, brother Thomas (Chad) Horsburgh, and brother-in-law Glenn Ymana, for their love and encouragement. A very special thank you to my supervisor extraordinaire, Dr. Wendy Roy, for her encouragement and supportive feedback throughout my doctoral studies. I also wish to thank my committee members for their thoughtful comments and questions: Dr. Steffler (External Examiner, Trent University), Dr. Muri (Graduate Chair), Dr. Lynes (Specialist Examiner), Dr. James-Cavan (Departmental Examiner), Dr. Biggs (Cognate Examiner), and Dr. Misra (Dean’s Designate). My thanks to the faculty and staff from both the Department of English as well as the Gwenna Moss Centre for Teaching Effectiveness for their encouragement as I completed each step of my PhD. I would not have been able to complete this dissertation without the loving care provided for my son by countless family, friends, and early childcare professionals. My sincere gratitude and thanks to the childcare workers at the CSMFRC (Central Saskatchewan Military Family Resource Centre) Child Care Centre, Tykes & Tots Early Learning Centre, and the Centre Educatif Félix le Chat. Also a big thank you to the world’s greatest neighbour, Joan Linklater, for watching Saul on numerous occasions when I had to attend afternoon meetings on campus and for supplying us with a constant supply of homemade buns and jam. iv Dedication I dedicate Sexualized Bodies in Canadian Women’s Short Fiction to my maternal grandparents and biggest cheerleaders Douglas James Chadwell (1920-2012) and Doris Chadwell (1923-2013). The world’s best grandparents! v Table of Contents PERMISSION TO USE .................................................................................................................. i ABSTRACT .................................................................................................................................... ii ACKNOWLEDGEMENTS .......................................................................................................... iv DEDICATION ................................................................................................................................v TABLE OF CONTENTS .............................................................................................................. vi LIST OF FIGURES ..................................................................................................................... vii Introduction: Sexualized Bodies in Canadian Short Fiction ............................................................1 1. “I Tie It Up with a Bright Red Ribbon”: The Gift of Transgressive Corporeality in Margaret Atwood’s “Hairball” and Eden Robinson’s “Queen of the North” ...................35 2. “Nipples are no-nos”: The Mastectomized Body in Bonnie Burnard’s “Nipple Man,” Carol Shields’s “Eros,” and Linda Svendsen’s “White Shoulders” ..................................60 3. “I Only Throw Up Dinners”: The Anorectic and Bulimic Stance as Parody in Margaret Atwood’s “Spring Song of the Frogs” and Madeleine Thien’s “Alchemy” .....................91 4. Performing Female Heterosexuality: The Teenage Body in Elisabeth Harvor’s “One Whole Hour (Or Even More) with Proust and Novocaine,” Bonnie Burnard’s “Crush,” and Alice Munro’s “Wenlock Edge” ..............................................................................122 5. “My Body is My Canvas”: Transforming and Performing the Female Body in Marian Engel’s “The Tattooed Woman” and Barbara Gowdy’s “Ninety-three Million Miles Away” .............................................................................................................................163 Conclusion: .................................................................................................................................193 Works Cited ................................................................................................................................206 vi List of Figures Figure 1 Dante Rossetti, The Annunciation ................................................................................105 Figure 2 William Hogarth, The Shrimp Girl................................................................................132 vii Introduction: Sexualized Bodies in Canadian Women’s Short Fiction A woman’s performed femininity is a tool of power. She uses it both unconsciously and consciously to influence, control, and command. Judith Butler understands gender, including both femininity and masculinity, as a “corporeal style, an ‘act,’ as it were, which is both intentional and performative, where ‘performative’ suggests a dramatic and contingent construction of meaning” (190). The meaning of the performance is conditional on the audience and time period of the act, what Butler calls “social temporality” (191). In the twenty-first century, a woman’s performance of femininity is continually both formed and assaulted by Western societal tropes about the body and sexuality. Problems associated with women’s bodies and body image are compounded, corrected, and complicated again as women and others in their social world attempt to understand their complex bodily relationships. If, as Butler believes, gender is performative, how are women’s bodies and performances of femininity defined and controlled in ways that disempower them? Take for instance the news
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]
  • Writing Here1
    WRITING HERE1 W.H. NEW n 2003, for the BC Federation of Writers, Susan Musgrave assembled a collection of new fiction and poetry from some fifty-two IBC writers, called The FED Anthology.2 Included in this anthology is a story by Carol Matthews called “Living in ascii,” which begins with a woman recording her husband’s annoyance at whatever he sees as stupidity (noisy traffic and inaccurate grammar, for instance, and the loss of his own words when his computer apparently swallows them). This woman then tells of going to a party, of the shifting (and sometimes divisive) relationships among all the women who were attending, and of the subjects they discussed. These included a rape trial, national survival, men, cliffs, courage, cormorant nests, and endangered species. After reflecting on the etymology of the word “egg” (and its connection with the word “edge”), she then declares her impatience with schisms and losses, and her wish to recover something whole. The story closes this way: “If I were to tell the true story, I would write it not in words but in symbols, [like an] ... ascii printout. It would be very short and very true. It would go like this: moon, woman, woman; man, bird, sun; heart, heart, heart, heart, heart; rock, scissors, paper. The title would be egg. That would be the whole story.”3 This egg is the prologue to my comments here. So is the list of disparate nouns – or only seemingly disparate, in that (by collecting them as she does) the narrator connects them into story.
    [Show full text]
  • Ureceived Their Segregated Work
    Larry "has flown the coop," leaving a to his bed" the day that she was born ­ a growing number of fictional daughters black rabbit ("Satan") and "one measly "November 7, the anniversary of the who is - now that women are writing shirt" to remind Lureen of him. Lureen Bolshevik Revolution." Harris' "The more of the scripts - mis-fathered or has no interest in acting on anything she Soma Building" is the most philosophical, fatherless. It is not an entirely satisfying has learned; she wants her Larry back, polysemous of the realistic stories. In the ending because Lannie leaves too many and she dreams about him, waits for him, end the narrator becomes the creative stones unturned: we wonder what ever and reconstructs conversations with him writer about whom Hams writes, and the came of her university lover, the ''boy'' until Larry finally reappears in the middle father's wisdom initiates her own Tim, or herchildhood friend, Angela- the of the night, and they go off and make revelation, her unfinished fiction, in her only person in whom she confides. And love in the park. office in the Soma Building. Hams' narra­ we also expect there to be a more pro­ This is the only story of its kind in tive voice is complex, butnowhere is voice found reason for getting to know Barney Double Bond, but it is one of the stories as self-consciously intricate as it is in and Iris from the inside, but none which depends very much on its prairie Sharon Butala's first novel, Country of comes.
    [Show full text]
  • Cahiers-Papers 53-1
    The Giller Prize (1994–2004) and Scotiabank Giller Prize (2005–2014): A Bibliography Andrew David Irvine* For the price of a meal in this town you can buy all the books. Eat at home and buy the books. Jack Rabinovitch1 Founded in 1994 by Jack Rabinovitch, the Giller Prize was established to honour Rabinovitch’s late wife, the journalist Doris Giller, who had died from cancer a year earlier.2 Since its inception, the prize has served to recognize excellence in Canadian English-language fiction, including both novels and short stories. Initially the award was endowed to provide an annual cash prize of $25,000.3 In 2005, the Giller Prize partnered with Scotiabank to create the Scotiabank Giller Prize. Under the new arrangement, the annual purse doubled in size to $50,000, with $40,000 going to the winner and $2,500 going to each of four additional finalists.4 Beginning in 2008, $50,000 was given to the winner and $5,000 * Andrew Irvine holds the position of Professor and Head of Economics, Philosophy and Political Science at the University of British Columbia, Okanagan. Errata may be sent to the author at [email protected]. 1 Quoted in Deborah Dundas, “Giller Prize shortlist ‘so good,’ it expands to six,” 6 October 2014, accessed 17 September 2015, www.thestar.com/entertainment/ books/2014/10/06/giller_prize_2014_shortlist_announced.html. 2 “The Giller Prize Story: An Oral History: Part One,” 8 October 2013, accessed 11 November 2014, www.quillandquire.com/awards/2013/10/08/the-giller- prize-story-an-oral-history-part-one; cf.
    [Show full text]
  • On Deformity: Bodies in Contemporary Canadian Fiction
    University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies The Vault: Electronic Theses and Dissertations 2012-10-25 On Deformity: Bodies in Contemporary Canadian Fiction Ram, Véronique Dorais Ram, V. D. (2012). On Deformity: Bodies in Contemporary Canadian Fiction (Unpublished doctoral thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/27175 http://hdl.handle.net/11023/312 doctoral thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY On Deformity: Bodies in Contemporary Canadian Fiction by Véronique Dorais Ram A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF ENGLISH CALGARY, ALBERTA October, 2012 © Véronique Dorais Ram 2012 Abstract This dissertation ponders how deformity acts as an index of resistance to the conventional family saga; it challenges the authority of the genre, which perpetuates conformity to affirm the existence of a national identity. I open with a history of the trope of deformity and a theory on its applicability to questions of the nation in Canadian fiction. Bonnie Burnard’s A Good House begins the literary analysis and considers how Daphne’s asymmetrical face exemplifies the novel’s overarching deformation of the domestic realist text.
    [Show full text]
  • Weather Images in Canadian Short Prose 1945-2000 Phd Dissertation
    But a Few Acres of Snow? − Weather Images in Canadian Short Prose 1945-2000 PhD Dissertation Judit Nagy Acknowledgements First and foremost, I would like to express my sincere and heartfelt thanks to my advisor and director of the Modern English and American Literature, Dr. Aladár Sarbu for his professional support, valuable insights and informative courses, which all markedly prompted the completion of my dissertation. I would also thank Dr. Anna Jakabfi for her assistance with the Canadian content of the dissertation, the cornucopia of short stories she has provided me with, and for her painstaking endeavours to continually update the Canadian Studies section of the ELTE-SEAS library with books that were indispensable for my research. I am also grateful to Dr. Istán Géher, Dr. Géza Kállay, Dr. Péter Dávidházi and Dr. Judit Friedrich, whose courses inspired many of the ideas put forward in the second chapter of the dissertation (“Short Story Text and Weather Image”). I would also like to express my gratitude to the Central European Association of Canadian Studies for the conference grant that made it possible for me to deliver a presentation in the topic of my dissertation at the 2nd IASA Congress and Conference in Ottawa in 2005, to the Embassy of Canada in Hungary, especially Robert Hage, Pierre Guimond, Agnes Pust, Yvon Turcotte, Katalin Csoma and Enikő Lantos, for their on-going support, to the Royal Canadian Geographic Society and Environment Canada for providing me with materials and information regarding the geographical-climatological findings included in my dissertation, and, last but not least, to the chief organisers of the “Canada in the European Mind” series of conferences, Dr.
    [Show full text]
  • Spring 2017 Department of English and Theatre Acadia University
    VOLUME 24 SPRING 2017 DEPARTMENT OF ENGLISH AND THEATRE ACADIA UNIVERSITY Acadia English & Theatre Spring 2017 1 THEATRE REVIEWS dominated areas of the property, while the women, Mrs. Hale (Andrea VOICE Switzer) and Mrs. Peters (Jenna THREE SHORT PLAYS BY Newcomb), search the domestic to SUSAN GLASPELL uncover the truth. The interplay be- 4 (Directed by Anna Migliarisi) tween the men and women of this THEATRE REVIEWS Three Short Plays by Susan Glaspell by Emily MacLeod play is purposefully ironic, in that the Anton in Show Business women make numerous discoveries Minifest 2017 Acadia Theatre Company’s while being belittled by the men for production of three Glaspell plays, paying so much attention to the do- Trifles, Suppressed Desires, and mestic sphere. The detective jokes ATLANTIC UNDERGRADUATE Women’s Honor took place in about the domestics while coming up ENGLISH CONFERENCE November at Lower Denton Theatre. short in the investigation to secure These three plays were written by Minnie’s motive. There are a couple playwright Susan Glaspell in the of key pointed feminist moments that AUTHORS @ ACADIA early 1900s. In Acadia Theatre are not lost on the audience. The play Lee Maracle Armand Ruffo Camilla Gibb Elizabeth Hay Heather O’Neill Lisa Moore André Alexis Eden Robinson Meags Fitzgerald ENGLISH SOCIETY EVENTS Halloween Party Fundraising Bad Poetry Night STAFF Sarah Bishop Laurence Gumbridge Trifles: Andrea Switzer, Marcus Wong, Zachery Craig, & Jenna Newcomb Stuart Harris Nicole Havers Company’s production of these achieves a slow, but powerful, simple Sarah MacDonald plays, director Anna Migliarisi push- moment of feminist subversion when Emily MacLeod es the boundaries in terms of the the two women, Mrs.
    [Show full text]
  • Interior Music: an Examination of the Sociocognitive Abilities of Fiction Writers
    INTERIOR MUSIC: AN EXAMINATION OF THE SOCIOCOGNITIVE ABILITIES OF FICTION WRITERS by Theanna Frances Bischoff A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Human Development and Applied Psychology Ontario Institute for Studies in Education University of Toronto © Copyright by Theanna Frances Bischoff (2013) INTERIOR MUSIC: AN EXAMINATION OF THE SOCIOCOGNITIVE ABILITIES OF FICTION WRITERS Doctor of Philosophy 2013 Theanna Frances Bischoff Department of Human Development and Applied Psychology University of Toronto Abstract A two-part study was undertaken to investigate the relationship between fiction writing and social cognition: the ability to make inferences about the mental states of others. First, an online survey was administered that assessed beliefs held by the general public about the social cognition of fiction writers compared to a variety of other professions. The findings revealed that the general public believes fiction writers demonstrate above average sociocognitive abilities. Next, the possibility of an empirical relationship between social cognition and fiction writing was explored by comparing two groups of fiction writers (established/published and intermediate writers) and a control group on measures directly assessing different facets of social cognition (e.g., social perception, interpreting body language, and making inferences about interpersonal interactions on video and in written vignettes). Participants were also asked to self-report their own sociocognitive abilities via a questionnaire assessing perspective taking. Related variables to social cognition were also tested, including self-reported interpersonal/social reactivity and cognitive complexity/differentiation. Potential confounding variables, including age, level of depression, verbal IQ, and tendency to read fiction were also measured and accounted for.
    [Show full text]
  • Gift of Michael Redhill 2011
    Ms. Michael Redhill papers Coll. 2011 00668 Gift of Michael Redhill 2011 Includes early fiction, 1982-1991, poetry and plays: Be Frank, Heretics, Deadwait, Mr. Stern is Dead, Building Jerusalem, Goodness, literary and personal correspondence, including with many writers such as Michael Ondaatje, Margaret Atwood, Don McKay, Linda Spalding, Esta Spalding, interviews with Dennis Lee, Michael Ondaatje and Don Coles, reviews by and about Michael Redhill; publishing; drafts, editing—including Andre Alexis, Elisabeth Harvor; research for Martin Sloane, Consolation, Goodness; print; Lake Nora Arms, Asphodel, Impromptu Feats of Balance and other poetry; short fiction and prose pieces; screenplays, plays and short stories: The Covered, a screenplay written by Michael Redhill and Michael Helm, Breakthrough, collections of short stories, Fidelity; ‘The Last Resort’ film treatment and other film and television projects; material related to Brick magazine, editing and publishing correspondence and other material. Michael Redhill was the proprietor and publisher of Brick magazine from 2003-2011, and an editor from 1998-2003 Extent: 53 boxes and items (8.5 metres) Biographical information: Michael Redhill was born in Baltimore, Maryland in 1966, but has lived in Toronto most of his life. Educated in the United States and Canada, he took seven years to complete a three-year BA in acting, film, and finally, English. Since 1988, he has published five collections of poetry, had eight plays of varying lengths performed, and been a cultural critic and essayist. He has worked as an editor, a ghost-writer, an anthologist, a scriptwriter for film and television, and in leaner times, as a waiter, a house-painter, and a bookseller.
    [Show full text]
  • Governor General's Literary Awards
    Bibliothèque interculturelle 6767, chemin de la Côte-des-neiges 514.868.4720 Governor General's Literary Awards Fiction Year Winner Finalists Title Editor 2009 Kate Pullinger The Mistress of Nothing McArthur & Company Michael Crummey Galore Doubleday Canada Annabel Lyon The Golden Mean Random House Canada Alice Munro Too Much Happiness McClelland & Steward Deborah Willis Vanishing and Other Stories Penguin Group (Canada) 2008 Nino Ricci The Origins of Species Doubleday Canada Rivka Galchen Atmospheric Disturbances HarperCollins Publishers Ltd. Rawi Hage Cockroach House of Anansi Press David Adams Richards The Lost Highway Doubleday Canada Fred Stenson The Great Karoo Doubleday Canada 2007 Michael Ondaatje Divisadero McClelland & Stewart David Chariandy Soucoupant Arsenal Pulp Press Barbara Gowdy Helpless HarperCollins Publishers Heather O'Neill Lullabies for Little Criminals Harper Perennial M. G. Vassanji The Assassin's Song Doubleday Canada 2006 Peter Behrens The Law of Dreams House of Anansi Press Trevor Cole The Fearsome Particles McClelland & Stewart Bill Gaston Gargoyles House of Anansi Press Paul Glennon The Dodecahedron, or A Frame for Frames The Porcupine's Quill Rawi Hage De Niro's Game House of Anansi Press 2005 David Gilmour A Perfect Night to Go to China Thomas Allen Publishers Joseph Boyden Three Day Road Viking Canada Golda Fried Nellcott Is My Darling Coach House Books Charlotte Gill Ladykiller Thomas Allen Publishers Kathy Page Alphabet McArthur & Company GovernorGeneralAward.xls Fiction Bibliothèque interculturelle 6767,
    [Show full text]
  • 150 Canadian Books to Read
    150 CANADIAN BOOKS TO READ Books for Adults (Fiction) 419 by Will Ferguson Generation X by Douglas Coupland A Better Man by Leah McLaren The Girl who was Saturday Night by Heather A Complicated Kindness by Miriam Toews O’Neill A Fine Balance by Rohinton Mistry The Handmaid’s Tale by Margaret Atwood Across The Bridge by Mavis Gallant Helpless by Barbara Gowdy Alias Grace by Margaret Atwood Home from the Vinyl Café by Stuart McLean All My Puny Sorrows by Miriam Toews Indian Horse by Richard Wagamese And The Birds Rained Down by Jocelyne Saucier The Island Walkers by John Bemrose Anil’s Ghost by Michael Ondaatje The Jade Peony by Wayson Choy Annabel by Kathleen Winter jPod by Douglas Coupland As For Me and My House by Sinclair Ross Late Nights on Air by Elizabeth Hay The Back of the Turtle by Thomas King Lives of the Saints by Nino Ricci Barney’s Version by Mordecai Richler Love and Other Chemical Imbalances by Adam Beatrice & Virgil by Yann Martel Clark Beautiful Losers by Leonard Cohen Luck by Joan Barfoot The Best Kind of People by Zoe Whittall Medicine Walk by Richard Wagamese The Best Laid Plans by Terry Fallis Mercy Among The Children by David Adams The Birth House by Ami McKay Richards The Bishop’s Man by Linden MacIntyre No Great Mischief by Alistair Macleod Black Robe by Brian Moore The Other Side of the Bridge by Mary Lawson Blackfly Season by Giles Blunt The Outlander by Gil Adamson The Book of Negroes by Lawrence Hill The Piano Man’s Daughter by Timothy Findley The Break by Katherena Vermette The Polished Hoe by Austin Clarke The Cat’s Table by Michael Ondaatje Quantum Night by Robert J.
    [Show full text]
  • Harpercollins Canada Fall 2010
    harpercollins canada fall 2010 HarperCollinsCanada is a proud sponsor of www.harpercollins.ca SALES, MARKETING, PUBLICITY & EDITORIAL 2 Bloor Street East, 20th Floor, Toronto, Ontario, M4W 1A8 • Phone: 416.975.9334 • Fax: 416.975.9884 DISTRIBUTION CENTRE 1995 Markham Road, Scarborough, Ontario, M1B 5M8 • Phone: 416.321.2241 • Toll-Free Phone: 1.800.387.0117 • Fax: 416.321.3033 • Toll-Free Fax: 1.800.668.5788 CATALOGUE ISBN: 9780999937204 For your viewing pleasure . a select number of our catalogues are now available online. These electronic catalogues are virtual replicas of our traditional ones, with the Sell what you love added benefit of being on your screen and available to you 24/7. In addition to all the great catalogue material at your fingertips, the online versions include our rich multimedia files (with trailers and author videos), as well as links to any other relevant web materials. And let’s not forget the added value of going green. The In a world where we’re constantly figuring out how to give back to the earth, HarperCollins www.HarperCollinsCatalogues.ca is another way to make a difference. Canada Hand-selling Award Fiction or non-fiction, biography or self-help, debut novel or seasoned classic—expose readers to talent on the page. The top hand-seller will receive $500 and the bookstore will receive $1000 in co-op. Quantity of sales is not the only determining factor— we want to know your hand-selling story. To find out more, visitwww.harpercollins.ca/handsellingaward Managers can email submissions to [email protected] Contents page 2 New Fiction and Non-fiction page 33 Cookbooks page 35 Harper Paperbacks page 57 Children’s Books pages 70-71 Index page 72 Key Contacts Please note: Prices, dates and specifications listed in this catalogue are subject to change without notice.
    [Show full text]