Central European Journal of Canadian Studies Revue d’Etudes Canadiennes en Europe Centrale Revue d’Etudes Canadiennes en Europe Centrale Central European Journal of Canadian Studies vol. 12/13 ( Central European Journal of Canadian Studies 2018 volume 12/13 ( 2018 ) volume 12/13 ( 2018 ) Revue d’Etudes Canadiennes en Europe Centrale ) CENTRAL EUROPEAN ASSOCIATION FOR CANADIAN STUDIES ASSOCIATION D’ETUDES CANADIENNES EN EUROPE CENTRALE obalka_cejcs_12_13_2018.indd 1 23.8.2018 11:10:35 Central European Journal of Canadian Studies Revue d’Etudes Canadiennes en Europe Centrale volume 12/13 ( 2018 ) CENTRAL EUROPEAN ASSOCIATION FOR CANADIAN STUDIES ASSOCIATION D’EtudES CANADIENNES EN EUROPE CENTRALE cejsc_new_12_13_2018_text.indd 1 23.8.2018 10:05:37 CENTRAL EUROPEAN JOURNAL OF CANADIAN STUDIES The CEJCS, the official journal of the Central European Association for Canadian Studies, has appeared on a regular basis since 2001. All submissions are subject to double blind peer review. REVUE D’ÉTUDES CANADIENNES EN EUROPE CENTRALE La RECEC, qui est le journal officiel de l’Association des études canadiennes en Europe centrale, est publiée régulièrement depuis 2001. Tous les manuscrits soumis sont évalués en double aveugle par les pairs. EDITORIAL BOARD/COMITÉ DE RÉDACTION Editor-in-Chief/Rédacteur en chef : Jason Blake (Slovenia/Slovénie) Advisory Board/Comité consultatif : Michael Devine (Canada), Petr Kyloušek, Don Sparling (Czech Republic/République tchèque), Florence Gacoin Marks, Michelle Gadpaille (Slovenia/Slovénie) Technical Editor/Rédacteur technique : Pavel Křepela (Czech Republic/République tchèque) Cover&typo/Maquette de la couverture et mise en page : Pavel Křepela (Czech Republic/République tchèque) Contact/Contact : www.cecanstud.cz [email protected] 1st edition, 2018. Circulation 100 copies / 1ère édition, 2018. Tirage 100 exemplaires Published by/Publié par Masaryk University, Brno 2018 Printed by/Imprimé par Ctrl P s.r.o., Bezručova 17a, 602 00 Brno Copyright © 2018, Central European Association for Canadian Studies Copyright © 2018, Masarykova univerzita ISBN 978-80-210-9023-1 (paperback) ISBN 978-80-210-9024-8 (online : pdf) ISSN 1213-7715 cejsc_new_12_13_2018_text.indd 2 23.8.2018 10:05:37 content — table des matières interview — entretien The Choreography of Words: An Interview with Montreal Poet Endre Farkas (5–21) Éva Zsizsmann articles — articles Canadienne, américaine, francophone et/ou autochtone : quel destin pour la littérature québécoise? (23–38) Peter G. Klaus Tocqueville, Beaumont, Democracy in America, and (Lower) Canada (39–49) Don Sparling The Book Cover as an Artistic Statement and a Cultural Phenomenon – A Canadian Example (51–62) Nikola Tutek Canada: The Inconspicuous Silent Dreamer on the Other-side of the Americas (63–78) Krisztina Kodó Constructing Diasporic Identities in Austin Clarke’s The Origin of Waves (79–92) Tanja Cvetković L’exil d’espèce dans le roman Espèces de Ying Chen (93–102) Georgeta Prada Cinderella Writes Back: Sara Jeannette Duncan’s Mary Trent as Canada Personified (103–118) Tihana Klepač (Un)Seeing is (Un)Belonging: The (Un)Covering Power of Sight in “Vision” by Alistair MacLeod and “Eyestone” by D. R. MacDonald (119–131) Alexander Kostov Multicultural Identity Negotiation in Recent Canadian Mixed-Blood Narratives: Boyden’s Three Day Road (133–144) Judit Ágnes Kádár Quebec City as Portrayed in Guardian: The Lonely Great God (2016) (145–154) Sangjun Jeong and Judit Nagy cejsc_new_12_13_2018_text.indd 3 23.8.2018 10:05:38 Defining Motherhood – Three Canadian Short Stories (155–168) Sanja Ignjatović René Derouin : art et américanité (169–176) Véronique Millet Perceptions and Misperceptions of Canada among Non-Canadian Students (177–189) Diana Yankova and Andrei Andreev reviews — comptes rendus Ana Olos. Circumstantial Poems, Plagiaries and Versifications / Versuri de circumstanţă, plagiate şi mici însăilări Elena Ştefoi. Canadian Postcards (191–194) Don Sparling Marcin Gabryś and Tomasz Soroka. Canada as a Selective Power: Canada’s Role and International Position after 1989 (195–196) Kenneth Froehling János Kenyeres, Judit Nagy, Enikő Sepsi and Miklós Vassányi (eds). Indigenous Perspectives of North America. A Collection of Studies (197–202) Franciska Kövi Laurie Kruk. Double-Voicing the Canadian Short Story (203–205) Jason Blake cejsc_new_12_13_2018_text.indd 4 23.8.2018 10:05:38 Central European Journal of Canadian Studies Revue d’Etudes Canadiennes en Europe Centrale volume 12/13 (2018) | (5–21) The Choreography of Words An Interview with Montreal Poet Endre Farkas La chorégraphie des mots Une entrevue avec le poète montréalais Endre Farkas interview Interviewd by / Interrogé par Éva Zsizsmann — entretien Preamble By way of introduction I propose a game: I would like to ask you to match a short text to the photographs. Let’s call it ekphrasis or mixed media, to honour your preoccupation with text-image correlations. Revue d’Etudes Canadiennes en Europe Centrale | volume 12/13 (2018) | 5 cejsc_new_12_13_2018_text.indd 5 23.8.2018 10:05:38 Éva Zsizsmann The Choreography of Words: An Interview with Montreal Poet Endre Farkas entretien — interview 6 | The Central European Journal of Canadian Studies | volume 12/13 (2018) cejsc_new_12_13_2018_text.indd 6 23.8.2018 10:05:38 Éva Zsizsmann The Choreography of Words: An Interview with Montreal Poet Endre Farkas Corona This one belonged to my poet/friend Artie Gold A Véhicule poet I travelled with. I took it without his permission: A remembrance of him A memento mori interview A beautiful piece of sculpture A reminder that words are made of letters And letters are concrete symbols of sounds — entretien He painted poems with it The negative space as essential as the positive oh how he fought over spacing Oh how he fought for spacing , for equality of space , the comma ––The dash and the no period I had an Olivetti Lettera 35 and with it took pictures of my world like a poem proud papa The typewriter made printers of poets who could now be mindful/eyeful of the final shape of their art design the page/the frame of mind of writer and reader. I miss and don’t miss the click clack, the stuck keys, the ink of ribbon on fingertips spilling black and red blood onto the white blank canvas the manual labour of the T Y P E W R I T E R. Revue d’Etudes Canadiennes en Europe Centrale | volume 12/13 (2018) | 7 cejsc_new_12_13_2018_text.indd 7 23.8.2018 10:05:38 Éva Zsizsmann The Choreography of Words: An Interview with Montreal Poet Endre Farkas entretien — interview 8 | The Central European Journal of Canadian Studies | volume 12/13 (2018) cejsc_new_12_13_2018_text.indd 8 23.8.2018 10:05:38 Éva Zsizsmann The Choreography of Words: An Interview with Montreal Poet Endre Farkas Puttin’ on the Ritz I imagine myself. This is my fascination with masks and the costumes of who we are. I am the haute couturier, dressing the stars. I am the poet who sits in his underwear in the sweatshop of summer stitching together a wordrobe that I wear to my wordpremiere. interview * * * I first met Endre Farkas in April 2011, when he was touring Hungary and giving — readings together with poet Carolyn Marie Souaid in Budapest, Szeged, Debrecen and entretien Siófok. The poetry reading at the National Library of Foreign Literature in Budapest was more like a performance: they enacted excerpts of the video poem Blood is Blood, winner of the Berlin International Poetry Film Festival in the subsequent year. Dialogue, acting out conflicts, and saying the unsayable seem to be indispensable features of this poem. Breathing, rhythmic utterance, movement and gestures transformed print on the page into a choreography of words. EZ Performance poetry or sound poetry has always been important for you. How do you see the transition from page to stage? EF You have to remember that poetry originally was an oral art. So in a sense poetry first moved from stage to page. In prewriting times people would gather to hear the poet/storyteller. Later s/he would be accompanied by some form of music and, who knows, maybe even movement/dance. The late nineteen sixties and early seventies were times of great change. Poetry was experiencing an escape from the universities where it was confined to the page. It was there that poems were being dissected to death. Young people wanted something more, a lively and relevant experience with poetry. Folk singers like Bob Dylan, Simon and Garfunkel, Leonard Cohen et al were combining poetic lyrics with music. Words in songs were important, relevant, mysterious and marvellous. I saw what I started doing in the seventies as moving poetry back to its oral/stage origins. I was influenced by some of the readings I attended. Most of them were boring. Poets, usually, not the best readers, mumbled, bumbled their way through poems that were meant for a one to one private relationship (reader and poem). At the same time, I was also hearing poets like Allan Ginsberg and Ann Waldman (American beat poets) who sang, wailed and howled. I knew of poets teaming up with jazz musicians. Their poems were lively and performative. Canadian poets bill bissett and the Four Horsemen, sound poets/Dadaists, were chanting and performing. Revue d’Etudes Canadiennes en Europe Centrale | volume 12/13 (2018) | 9 cejsc_new_12_13_2018_text.indd 9 23.8.2018 10:05:38 Éva Zsizsmann The Choreography of Words: An Interview with Montreal Poet Endre Farkas entretien — interview 10 | The Central European Journal of Canadian Studies | volume 12/13 (2018) cejsc_new_12_13_2018_text.indd 10 23.8.2018 10:05:38 Éva Zsizsmann The Choreography of Words: An Interview with Montreal Poet Endre Farkas interview — entretien My other influence was a place: Véhicule Art. I joined Véhicule Art gallery, an alternative art gallery run by young artists who created exhibitions that included performances, instillations and modern dance. I was drawn toward the dance, especially Contact Improvisation. My early off-the-page-onto-the-stage works were concrete poems.