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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 -
The Underpainter
Canadian Literature / Littérature canadienne A Quarterly of Criticism and Review Number 212, Spring 212 Published by The University of British Columbia, Vancouver Editor: Margery Fee Associate Editors: Judy Brown (Reviews), Joël Castonguay-Bélanger (Francophone Writing), Glenn Deer (Poetry), Laura Moss (Reviews) Past Editors: George Woodcock (1959–1977), W.H. New (1977–1995), Eva-Marie Kröller (1995–23), Laurie Ricou (23–27) Editorial Board Heinz Antor University of Cologne Alison Calder University of Manitoba Cecily Devereux University of Alberta Kristina Fagan University of Saskatchewan Janice Fiamengo University of Ottawa Carole Gerson Simon Fraser University Helen Gilbert University of London Susan Gingell University of Saskatchewan Faye Hammill University of Strathclyde Paul Hjartarson University of Alberta Coral Ann Howells University of Reading Smaro Kamboureli University of Guelph Jon Kertzer University of Calgary Ric Knowles University of Guelph Louise Ladouceur University of Alberta Patricia Merivale University of British Columbia Judit Molnár University of Debrecen Lianne Moyes Université de Montréal Maureen Moynagh St. Francis Xavier University Reingard Nischik University of Constance Ian Rae King’s University College Julie Rak University of Alberta Roxanne Rimstead Université de Sherbrooke Sherry Simon Concordia University Patricia Smart Carleton University David Staines University of Ottawa Cynthia Sugars University of Ottawa Neil ten Kortenaar University of Toronto Marie Vautier University of Victoria Gillian Whitlock University -
THE ONE and the MANY English-Canadian Short Story Cycles
THE ONE AND THE MANY English-Canadian Short Story Cycles Gerald Lynch 'VER THE PAST HUNDRED years the short story cycle has Q 1 become something of a sub-genre within the Canadian short story. This is not to argue that the story cycle has been ignored by American and British writers ( or by French, Australian, and Russian writers, or, for that matter, by the writers of any other national literature) — it hasn't — only that the form has held a special at- traction for Canadian writers. Doubtless there are shared reasons for the story cycle's current popularity internationally and in Canada, even such commercial reasons as its attraction for publishers who assume that readers are more comfort- able with the linkages of the cycle than with the discontinuities of a miscellany. But such matters are not within this paper's literary-historical and theoretical scope. The present study sketches the history of the story cycle in Canada, gives an idea of its diversity and continuing popularity, considers some of the fundamental ques- tions about this comparatively new form, and concludes with an illustrative analysis of the function of one important aspect of story cycles, their concluding stories. Although the short story is the youngest of genres, beginning only in the early nineteenth century, literary historians and theorists often begin their discussions by casting back to the Story of Job, even to pre-literate oral history, so that the epic poems of various cultures are made to seem proto short story cycles.2 Thus aca- demics dress their new subject in the respectable robes of a literary history. -
Jane Urquhart's the Underpainter and the Stone Carvers
Document generated on 09/29/2021 3:26 a.m. Studies in Canadian Literature / Études en littérature canadienne The Artist and the Witness: Jane Urquhart’s The Underpainter and The Stone Carvers Neta Gordon Volume 28, Number 2, Fall 2003 Article abstract Jane Urquhart's The Underpainter takes a different approach than most Great URI: https://id.erudit.org/iderudit/scl28_2art03 War novels: it does not presume the implied authority of combatant's accounts, like Generals Die in Bed, but nor does it interrogate the war novel as a See table of contents postmodern pastiche, as in Timothy Findley's The Wars. She presents a realistically conceived persona, while nevertheless questioning the authority of the unengaged artist to represent an historical event. Her extensive use of Publisher(s) historical data is not applied in a postmodern method, but is rather inspiration for a fiction that refuses to grant itself full authority. Urquhart's The Stone The University of New Brunswick Carversis similarly concerned with the paradoxical combination of control and detachment in the relationship between the artist and her work. ISSN 0380-6995 (print) 1718-7850 (digital) Explore this journal Cite this article Gordon, N. (2003). The Artist and the Witness:: Jane Urquhart’s The Underpainter and The Stone Carvers. Studies in Canadian Literature / Études en littérature canadienne, 28(2), 59–73. All rights reserved © Management Futures, 2003 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. -
Paying Attention to Public Readers of Canadian Literature
PAYING ATTENTION TO PUBLIC READERS OF CANADIAN LITERATURE: POPULAR GENRE SYSTEMS, PUBLICS, AND CANONS by KATHRYN GRAFTON BA, The University of British Columbia, 1992 MPhil, University of Stirling, 1994 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES (English) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) August 2010 © Kathryn Grafton, 2010 ABSTRACT Paying Attention to Public Readers of Canadian Literature examines contemporary moments when Canadian literature has been canonized in the context of popular reading programs. I investigate the canonical agency of public readers who participate in these programs: readers acting in a non-professional capacity who speak and write publicly about their reading experiences. I argue that contemporary popular canons are discursive spaces whose constitution depends upon public readers. My work resists the common critique that these reading programs and their canons produce a mass of readers who read the same work at the same time in the same way. To demonstrate that public readers are canon-makers, I offer a genre approach to contemporary canons that draws upon literary and new rhetorical genre theory. I contend in Chapter One that canons are discursive spaces comprised of public literary texts and public texts about literature, including those produced by readers. I study the intertextual dynamics of canons through Michael Warner’s theory of publics and Anne Freadman’s concept of “uptake.” Canons arise from genre systems that are constituted to respond to exigencies readily recognized by many readers, motivating some to participate. I argue that public readers’ agency lies in the contingent ways they select and interpret a literary work while taking up and instantiating a canonizing genre. -
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. -
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. -
Stuart Ross to Receive the 2019 Harbourfront Festival Prize
Stuart Ross to Receive the 2019 Harbourfront Festival Prize TORONTO, September 17, 2019 – The Toronto International Festival of Authors (TIFA), Canada’s largest and longest-running festival of words and ideas, today announced that this year’s Harbourfront Festival Prize will be awarded to writer and poet Stuart Ross. Established in 1984, the Harbourfront Festival Prize of $10,000 is presented annually in recognition of an author's contribution to the Canadian literature community. The award will be presented to Ross on Sunday, October 27 at 4pm as part of TIFA’s annual GGbooks: A Festival Celebration event, hosted by Carol Off. Ross will also appear at TIFA as part of Small Press, Big Ideas: A Roundtable on Saturday, October 26, 2019 at 5pm. TIFA takes place from October 24 to November 3 and tickets are on sale at FestivalOfAuthors.ca. Stuart Ross is a writer, editor, writing teacher and small press activist living in Cobourg, Ontario. He is the author of 20 books of poetry, fiction and essays, most recently the poetry collection Motel of the Opposable Thumbs and the novel in prose poems Pockets. Ross is a founding member of the Meet The Presses collective, has taught writing workshops across the country, and was the 2010 Writer In Residence at Queen’s University. He is the winner of TIFA’s 2017 PoetryNOW:Battle of the Bards competition, the 2017 Jewish Literary Award for Poetry, and the 2010 ReLit Award for Short Fiction, among others. His micro press, Proper Tales, is in its 40th year. “I am both stunned and honoured to receive this award. -
Death, Animals, and Ethics in David Bergen's the Time in Between
Document generated on 09/26/2021 1 p.m. Studies in Canadian Literature / Études en littérature canadienne Death, Animals, and Ethics in David Bergen’s The Time in Between Katie Mullins Volume 38, Number 1, 2013 URI: https://id.erudit.org/iderudit/scl38_1art013 See table of contents Publisher(s) The University of New Brunswick ISSN 0380-6995 (print) 1718-7850 (digital) Explore this journal Cite this article Mullins, K. (2013). Death, Animals, and Ethics in David Bergen’s The Time in Between. Studies in Canadian Literature / Études en littérature canadienne, 38(1), 248–266. All rights reserved, ©2013 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ Death, Animals, and Ethics in David Bergen’s The Time in Between Katie Mullins eath is a dominating presence in David Bergen’s Giller Prize-winning novel The Time in Between (2005). Although Charles Boatman’s suicide lies at the centre of the narrative, Dthe novel — and Charles himself — is also haunted by other deaths: the death of Charles’s ex-wife, Sara, the deaths of innocents in Vietnam, and the deaths of animals. It rotates around various absences and, as is frequently the case in Bergen’s fiction, highlights individual suffering and alienation within the family unit1: Charles returns to Vietnam in the hope of ascribing meaning to the “great field of nothing” that he has experienced since the war (38), while two of his children, Ada and Jon, travel to Vietnam to search for their missing father only to discover he has committed suicide. -
Read Saskatchewan
Celebrating 30 years saskbooks.com Whoever said “who has time to read anymore” has never turned on the radio and heard “travel not recommended,” or paced in the kitchen, glancing out into the yard wondering when the kids would arrive for the holidays. For the long winter nights ahead, for the lazy days of summer eight months from now, for the seemingly endless, swelteringly hot hours in the truck as you wait for the call that the combine is full, we’ve got you covered. The books featured in this catalogue are produced and published by small and independent Saskatchewan publishers. Your local independent bookseller will have many of these titles in their “local” sections, because they know you want to read local and support local independent prairie businesses. SaskBooks is the non-profit creative industry association for Saskatchewan book publishers. Reviews of our publishers’ books are available at reviews.skbooks.com, and if you can’t find the book you’re looking for in this catalogue or at your local bookstore, visit skbooks.com or look for us at gift markets and trade fairs. If you STILL can’t find us, please do phone us. We’re happy to help. This service and others provided to Saskatchewan publishers by SaskBooks are supported by the Government of Canada through the Canada Book Fund, by the Canada Council for the Arts, and by the Province of Saskatchewan through Creative Saskatchewan. Happy reading! Designed and typeset by LM Publications, Regina Kohkum’s Babushka: A Magical Métis/Ukrainian Tale Marion Mutala Michif Translation by Norman Fleury Illustrated by Donna Lee Dumont Kohkum’s Babushka: A Magical Métis /Ukrainian Tale is a story about two families, one Métis and the other Ukrainian, meeting for the first time. -
Bukowski Agency Backlist Highlights
the bukowski agency backlist highlights 2010 www.thebukowskiagency.com CONTENTS Anita Rau Badami . 2 Judy Fong Bates . 4 Alan Bradley . 6 Catherine Bush . 8 Abigail Carter . 9 Wayson Choy . 10 Austin Clarke . 12 George Elliott Clarke . 14 Anthony De Sa . 15 John Doyle . 16 Liam Durcan . 17 Anosh Irani . 18 Rebecca Eckler . 20 Paul Glennon . 21 Ryan Knighton . 22 Lori Lansens . 24 Sidura Ludwig . 26 Pearl Luke . 27 Annabel Lyon . 28 D .J . McIntosh . 30 Leila Nadir . 31 Shafiq Qaadri . 32 Adria Vasil . 32 Eden Robinson . 33 Kerri Sakamoto . 34 Sandra Sabatini . 36 Cathryn Tobin . 37 Cathleen With . 38 CLIENTS . 39 CO-AGENTS . 40 Anita RAu BadamI Can You Hear the Nightbird Call? Can You Hear the Nightbird Call? traces the epic trajectory of a tale of terrorism through time and space 95,000 words hardcover / Finished books available RIGHTS SOLD Canada: Knopf, September 2006 Italy: Marsilio, Spring 2008 France: Éditions Philippe Rey, India: Penguin, January 2007 March 2007 Australia: Scribe, March 2007 Holland: De Geus, Spring 2008 • Longlisted for the 2008 IMPAC Dublin Literary Award • Shortlisted for the Ontario Library Association 2007 Evergreen Awards The Hero’s Walk The Hero’s Walk traces the terrain of family and forgiveness through the lives of an exuberant cast of characters bewildered by the rapid pace of change in today’s India 368 pages hardcover / Finished books available RIGHTS SOLD US: Algonquin, 2001 Canada: Knopf, 2000 US: Paperback: Ballantine Greece: Kastaniotis Editions UK: Bloomsbury, 2002 Poland: Wydawnictwo Dialog France: -
Guy Vanderhaeghe 2008 Trudeau Fellow, St
Guy Vanderhaeghe 2008 Trudeau Fellow, St. Thomas More College, University of Saskatchewan biography Guy Vanderhaeghe is the author of four novels, three collections of short stories, and two plays. His first collection of short stories, Man Descending, won the Governor’s General Award for fiction and the Faber Prize in Great Britain. His novel Homesick was a co-winner of the 1990 City of Toronto Book Award. In 1993, he received the Canadian Authors Association Award for Drama for I Had a Job I Liked. Once, and in 1996 his novel The Englishman’s Boy won the Governor’s General Award for Fiction and was short-listed for both the Giller Prize and the International IMPAC Dublin Literary Award. Published in 2002, Vanderhaeghe’s novel The Last Crossing won CBC’s Canada Reads, three Saskatchewan Books Awards, and the Canadian Booksellers Association Libris Prize for Fiction Book of the Year. It was also a selection of the British Broadcasting Corporation’s television program “Page Turners.” His latest work was a two-part dramatization of The Englishman’s Boy, which appeared on CBC television in March of 2008. Guy Vanderhaeghe has received both the Harbourfront Literary Prize and the Timothy Findley Prize, given as recognition for a body of work. He is an Officer of the Order of Canada, a Member of the Saskatchewan Order of Merit, and a Fellow of the Royal Society of Canada. He was nominated a Trudeau Fellow in 2008. In 2009, he received the Distinguished Canadian Award presented by the Seniors’ University Group and the Seniors Education Centre of the University of Regina.