DOCSLIB.ORG

Layton, Irving

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

The Irving Layton Collection: a bibliography The following bibliography lists the contents of the Irving Layton Collection. The Collection is housed in the Special Collections unit of the Queen Elizabeth II Library, Memorial University of Newfoundland. 1. Coleridge, Samuel Taylor. The Poetical Works of Samuel Taylor Coleridge. London: MacMillan & Co., 1924. This copy is inscribed by one “Irving Lazarr, of 4158 City Hall Ave, Montreal, Quebec, 1927. Student of Literature.” It contains on the front endpaper a note from Irving Layton, inscribed to John Metcalf: “who knows a good book and a good investment when he sees one.” There is also a note on the half-title by John Metcalf: “This copy of Coleridge belonged to Irving Layton when he was 15. Throughout the text the various passages marked show the sort of rhetoric that appealed to him then. At the back of the book he has listed pages he has read. When I showed him the book he claimed that he‟d changed his name to Lazarr because he‟d been writing a poems and needed a rhyme for near and „near and far‟.” 2. Flecker, James Elroy. The Collected Poems of James Elroy Flecker. London: Secker & Warburg, 1947. This is Irving Layton‟s copy, bearing his ownership signature on the front endpaper. 3. Plato. Five Dialogues. London: J.M. Dent & Sons, 1942. This copy bears Layton‟s ownership signature on the front endpaper, dated December 1946, with scoring and marginalia in his hand throughout, and a note on the rear endpaper about his reading. There is also what appears to be a poem, in two different states, on the rear endpapers. 4. Layton, Irving. Here and Now. Montreal: First Statement Press, 1945. This is the first edition of Layton‟s first book and also the inaugural book of First Statement Press. This copy is inscribed by Layton on front endpaper: “For John Metcalf, who, I declare, here and now, is a very excellent writer and, to boot, a truly noble man.” 5. Other Canadians: An Anthology of the New Poetry in Canada 1940-1946. John Sutherland (ed.). Montreal: First Statement Press, 1946. This copy is inscribed by Layton to John Metcalf on front endpaper, with an author sketch: “This book, John, holds many memories for me … you keep adding to them.” 6. Other Canadians: An Anthology of the New Poetry in Canada 1940-1946. John Sutherland (ed.). Montreal: First Statement Press, 1946. The front endpaper of this copy bears a poem penned by Layton, “Schoolteacher in Late November,” followed by his signature and a date of December 16, 1947. 7. Layton, Irving. Now is the Place. Montreal: First Statement Press, 1948. This copy of Irving Layton‟s second book bears his signature twice on the front endpaper, the second time with the following inscription: “Now is the Place to declare my admiration for the distinguished heart and talent of John Metcalf.” 8. Layton, Irving. Now is the Place. Montreal: First Statement Press, 1948. This copy is signed twice by Layton, the first dated in the year of publication, and the second in 1991 to John Metcalf. Layton misspells Metcalf‟s name (Metcalfe). At rear of the book Layton has written a poem in what appears to be the same blue ink with which he signed his name in 1948. 9. Layton, Irving. The Black Huntsmen. Montreal: Self-published, 1951. Layton‟s third book, and the scarce first state, without the additional poems in the centre selected from Here and Now and Now is the Place. After the book was distributed, Layton added 12 additional poems to the remaining copies, with an explanatory note at the rear about the additions. Though both states are very, very scarce, this is the more uncommon of the two. This copy is signed twice by Layton, the second with an inscription to John Metcalf: “Another odd ball on the Canadian literary landscape. With pleasure and gratitude.” 10. Layton, Irving. The Black Huntsmen. Montreal: Self-published. 1951. This second state copy has the additional 12 poems (marked by roman numerals) added to centre). The book is inscribed by Layton to “John Metcalfe, with a warm handshake.” Also bears Metcalf‟s ownership signature. This is a review copy and contains a hand written review slip from contact Press (in Raymond Souster‟s hand), and with “contact Press/ 29 Mayfield Ave/ Toronto 3, Ont./ Canada hand-written in blue ink at bottom of title page, again by Souster. Also loosely inserted is a mimeographed fact sheet from the Contact Press listing CEREBUS, Dudek‟s TWENTY-FOUR POEMS. Though this book is not a Contact Press book, it was distributed by them. 11. Dudek, Louis; Layton, Irving; Souster, Raymond. Cerberus. Toronto: Contact Press, 1952. The first publication of Contact Press, this copy is inscribed by Layton on the front endpaper: “With affectionate regards for John Metcalf.” Also bears Metcalf‟s ownership signature. 12. Dudek, Louis; Layton, Irving; Souster, Raymond. Cerberus. Toronto: Contact Press, 1952. This copy is signed by Layton, Dudek and Souster. 13. Canadian Poems, 1850-1952. Louis Dudek and Irving Layton (Eds.). Toronto: Contact Press, 1952. This copy is signed by Louis Dudek and Irving Layton. 14. Canadian Poems, 1850-1952. Louis Dudek and Irving Layton (Eds.). Toronto: Contact Press, 1952. This is the second printing of the first edition, bearings both John Metcalf‟s and previous owner‟s signatures. 15. Canadian Poems, 1850-1952. Louis Dudek and Irving Layton (Eds.). Toronto: Contact Press, 1952. 16. Layton, Irving. love the conqueror worm. Toronto: Contact Press, 1953. This copy is inscribed by the author to Howard Sergeant, dated February 6, 1953. Also written in the same blue pen, is an address, presumably Layton‟s, on Cote St. Luc. This copy is also inscribed to John Metcalfe, March 6, 1991. 17. Layton, Irving. The Long Pea-Shooter. Montreal: Laocoon Press, 1954. This copy is signed by Layton on the front endpaper. It also bears ownership signature of John Metcalf. There is a tipped in frontispiece, a drawing of Layton by Betty Sutherland. There is a small Harvard Library release stamp to inside cover. 18. Layton, Irving. The Long Pea-Shooter. Montreal: Laocoon Press, 1954. This copy is inscribed by Layton in red pen to William Carlos Williams on front endpaper. “For W. C. Williams, Great poet, and friend to poets. With affectionate regards. Dec. 2, 1954.” There is a tipped in frontispiece, a drawing of Layton by Betty Sutherland. 19. Layton, Irving. The Long Pea-Shooter. Montreal: Laocoon Press, 1954. This copy bears the ownership signature of John Metcalf. There is a tipped in frontispiece, a drawing of Layton by Betty Sutherland. 20. Layton, Irving. In The Midst Of My Fever. Palma de Mallorca: The Divers Press, 1954. This copy is inscribed by Layton to Metcalf, “Sept/88”. It also bears Metcalf‟s ownership signature. The dust jacket is illustrated by Jonathan Williams, Layton‟s nephew. An errata slip is laid in. 21. Layton, Irving. In The Midst Of My Fever. Palma de Mallorca: The Divers Press, 1954. This copy bears John Metcalf‟s ownership signature. 22. Layton, Irving. In The Midst Of My Fever. Palma de Mallorca: The Divers Press, 1954. This copy is inscribed by Layton to Robert Weaver: “cordially as ever,” It also bears Weaver‟s ownership signature. 23. Layton, Irving. the cold green element. Toronto: Contact Press, 1955. This copy is signed by the author on the front endpaper, which also carries John Metcalf‟s ownership signature. 24. Layton, Irving. the cold green element. Toronto: Contact Press, 1955. This copy is signed by the author on front endpaper. There is an also an inscription by Layton to Metcalf, “friend and favourite book-collector.” There are two corrections in black pen, on page 9 and page 20: for the latter Layton has crossed out “worms” and replaced it with “birds.” 25. Layton, Irving. the cold green element. Toronto: Contact Press, 1955. This copy is inscribed by the author on the front endpaper: “To Siseyboo: With all my Love, Father. 2 April 1955.” 26. Layton, Irving. The Blue Propeller. Toronto: Contact Press, 1955. This first edition is inscribed by the author to John Metcalf on the front endpaper: “in friendship, with my warmest best wishes and my compliments.” Designed by the Divers Press, and printed in two colours and handset in Futura and Mercedes types by Mossen Alcover in Palma de Mallorca, April 1955. 27. Layton, Irving. The Blue Propeller. Toronto: Contact Press, 1955. This copy is signed by Layton on the front endpaper. It also bears John Metcalf‟s ownership signature. 28. Layton, Irving. Music on a Kazoo. Toronto: Contact Press, 1956. This copy bears John Metcalf‟s ownership signature. 29. Layton, Irving. Music on a Kazoo. Toronto: Contact Press, 1956. This copy is inscribed by Layton to Louise Scott on front endpaper, “with love and kisses. Sept 20, 1956.” 30. Layton, Irving. The Bull Calf and Other Poems. Toronto: Contact Press, 1956. This copy is inscribed by the author to John Metcalf: “With esteem and fellowship. For an ongoing warm friendship. Best wishes. Irving Layton.” It also bears the ownership signature of John Metcalf. 31. Layton, Irving. The Bull Calf and Other Poems. Toronto: Contact Press, 1956. This copy is inscribed by the author to his daughter, “For my dearest Naomi, with love, Father. March 15, 1956.” 32. Layton, Irving. The Bull Calf and Other Poems. Toronto: Contact Press, 1956. Simultaneous paperbound edition: this copy is inscribed by the author to George Johnston, “cordially as ever. March 10, 1956.” 33. Layton, Irving. The Improved Binoculars. Highlands: Jonathan Williams, 1956. This copy is inscribed by Frank Scott to John Newlove.
Recommended publications
  • A Voice of English-Montreal the First Twenty Years of Véhicule Press

    A Voice of English-Montreal the First Twenty Years of Véhicule Press

    A Voice of English-Montreal The First Twenty Years of Véhicule Press, 1973–1993 Amy Hemond Department of English McGill University, Montreal April 2019 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Master of Arts © Amy Hemond 2019 Hemond ii Table of Contents Abstract ................................................................................................................................................................ iii Résumé ................................................................................................................................................................. iv Acknowledgements ............................................................................................................................................... v Introduction ........................................................................................................................................................... 6 The Véhicule fonds .................................................................................................................................................. 13 The History of English-Quebec Publishing ............................................................................................................... 16 Discussion ................................................................................................................................................................ 26 Chapter 1: The Poetic Prelude to a Small Press, 1972–1976 ................................................................................
  • TREVOR CAROLAN / Dorothy Livesay in North Vancouver

    TREVOR CAROLAN / Dorothy Livesay in North Vancouver

    TREVOR CAROLAN / Dorothy Livesay in North Vancouver Ten years ago, as a District of North Vancouver Councillor, I proposed to my colleagues in the nearby City of North Vancouver the idea of creating a memorial plaque in honour of Dorothy Livesay. An important twentieth century Canadian poet and social activist, Livesay lived in the city on and off for more than twenty years with her husband, fellow socialist Duncan McNair. They lived in several homes within view of the inner harbour: at Cumberland Crescent, then at 848-6th Street about a block from Sutherland High School, and later on toney Grand Boulevard. Livesay wrote some of her best work here­ making it an appropriate place to commemorate not only a fine poet, but also a champion of women's rights and family planning before either became fashionable. The idea of a memorial marker-stone failed to gain traction with the politicians of the day; it's an idea that's still out there for commissioning. In her memoir Journ ey with My Selves, Livesay says that she originally arrived in BC wanting to find her way to the San Francisco literary scene. In fact, she came to Vancouver to work as an editor for a communist labour journal. From Vancouver she hoped to travel further south to join the Depression-era's well-established leftist arts community concentrated in the San Francisco Bay Area. This was IWW territory and numerous publications there served the One Big Union labour ideal, which appealed to her political interests. The city also enjoyed a long liberal tradition in its journalism and politics.
  • Bailey Among the Modernists

    Bailey Among the Modernists

    5 PREFACE Rummagings, 20: A.G. Bailey among the Modernists My relationship with Alfred Bailey began in the late 1970s when he kindly agreed to serve on the Editorial Board of Canadian Poetry. I was never fortunate enough to meet him, but from that time until before his death in April 1997 we corresponded sporadically, and I benefitted greatly from his comments on my work and his learned and wise observations on such subjects as poetic form, the Fredericton members of the Confederation group,1 and the literary culture of New Brunswick and Canada. It was Bailey who pointed me in the direction of Arnold Toynbee’s remarks on “The Stimulus of Migration Overseas” in A Study of History” (1934-61) that provided the basis for my essay entitled “Breaking the ‘Cake of Custom’: The Atlantic Crossing as a Rubicon for Female Emigrants to Canada,” which appeared in Re(Dis)covering Our Foremothers (1989), Lorraine McMullen’s edition of the proceedings of a conference in the University of Ottawa’s Reappraisals: Canadian Writers series, so clearly I owe him a lasting debt of gratitude. I still deeply regret that in The Gay]Grey Moose: Essays on the Ecologies and Mythologies of Canadian Poetry, 1690-1990 (1992) I did not discuss Bailey’s “The Muskrat and the Whale” (1973), an ecologically resonant poem in his Thanks for a Drowned Island (1973) whose muskrat M. Travis Lane sees as a “lithe animal unobliged to make Great Pronouncements” and as typifying not just Bailey’s lyric voice, but a “certain kind” of Canadian poetry: “frisk[y],” “moderate,” “medium-conscious,” and characterized “by gaiety and seriousness together” (“A Sense of the Medium” 8).2 Several years before he died, Bailey sent me a copy of his “Literary Memories,” on the understanding that the manuscript was not for publication in Canadian Poetry but for interest as a source of information and insights about his evolution as a poet and thinker and about his involvement in the literary and intellectual currents of his day.
  • On the Road to Nijmegen— Earle Birney and Alex Colville, 1944

    On the Road to Nijmegen— Earle Birney and Alex Colville, 1944

    On the Road to Nijmegen— Earle Birney and Alex Colville, 1944– 1945 Hans Bak Introduction1 That the Canadian army played a significant role in liberating the Netherlands from German occupation between D-Day (June 6, 1944) and the unconditional surrender of Germany on May 5, 1945 has been well- documented by historians, diarists, and even— if to a lesser extent than the contributions made by the British and American forces—by novelists and poets (Bosscher; Davey; Zuehlke). The carefully maintained Canadian Military Cemeteries in the Netherlands— at Bergen op Zoom (968 graves), Groesbeek (2,400 graves) and Holten (close to 1,400 graves)—form a com- pelling memorial to the sacrifice of many Canadian lives. The Canadian war effort was decisive on at least three major fronts. In November 1944, in the Southwest, Canadians fought the Germans at the battle of Walcheren, to keep control over the Scheldt estuary and thus ensure open access to the Antwerp harbor for the Allied forces. In September 1944, in the Southeast, the Allied forces, predominantly American, marched through a narrow cor- ridor from Belgium into the Eindhoven area and on to Nijmegen, as part of Operation Market Garden— its aim being to secure the two strategic bridges, one at Nijmegen across the river Waal, the other at Arnhem, across the Rhine. The city of Nijmegen was technically liberated by the Allied forces on September 20, but with Operation Market Garden grinding to a halt just north of Nijmegen— the bridge at Arnhem proving, in Cornelius Ryan’s famous words “a bridge too far”— the city remained under German fire and shelling through the winter and spring of 1944– 1945.
  • Purdy-Al-2071A.Pdf

    Purdy-Al-2071A.Pdf

    AL PURDY PAPERS PRELIMINARY INVENTORY Table of Contents Biographical Sketch .................................. page 1 Provenance •••••••••••••••••••••••••••••••• 0 ••••••••• page 1 Restrictions ..................................... 0 ••• page 1 General Description of Papers ••••••••••••••••••••••• page 2 Detailed Listing of Papers ............................ page 3 Appendix •••••••••••••••••••••••••••••••••••••••••••• page 52 • AL f'lJRDY PAPEllS PRELnlI~ARY INVENroRY BIOGRAPHICAL SKETCH Al Purdy was born in 1918 in Hoo ler, Ontario . His formal education eeied after only two years of high scnool. He spent the next years of his life wandering from job to job, spending the war years with the R.C.A.F. He spent some time on the West Coast and in 1956 be returned east.. He has received Canada Council Grants wbich enabled him to t ravel into the interior of British Columbia (1960) and to Baffin Island (1965) and a tour of Greece (1967). He has published 10 books of poetry and edited three books, and has contributed to various magazines. His published books are; The En ch~"ted Echo (1944) Pr. ssed 00 Sand (1955) Emu Remember (1957) Tne Grafte So Longe to Lerne (1959) r Poems for all the AnnetteG (1962) The Blur in Between (1963 earihoo Horses (1965) Covernor Ceneral'5 weda1 North of Summer (1967) ·Wild Grape Wine (1968) The New Romans (1968) Fifteeo Wind. (1969) l've Tasted My Blood. Selected poems of Mil ton Acorn (1969) He has also reviel-.'ed many new books and h&s written some scripts for the C.B.C. PROVENANCE These paperG were purchased from Al Purdy witb fun~from The Chancellor Richardson Memorial Fu.."'\d in 1969. RESTRICTIONS None.
  • The Publishing of a Poet: an Empirical Examination of the Social Characteristics of Canadian Poets As Revealed in Small Press Literary Magazines

    The Publishing of a Poet: an Empirical Examination of the Social Characteristics of Canadian Poets As Revealed in Small Press Literary Magazines

    The Publishing of a Poet: An Empirical Examination of the Social Characteristics of Canadian Poets as Revealed in Small Press Literary Magazines by Diane Monique Barlee B.A., University of Victoria, 2008 A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS in the Department of Sociology ! Diane Monique Barlee, 2011 University of Victoria All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. ii Supervisory Committee The Publishing of a Poet: An Empirical Examination of the Social Characteristics of Canadian Poets as Revealed in Small Press Literary Magazines by Diane Monique Barlee B.A., University of Victoria, 2008 Supervisory Committee Dr. Richard Ogmundson (Department of Sociology) Supervisor Dr. Peyman Vehabzadeh (Department of Sociology) Departmental Member Dr. Iain Macleod Higgins (Department of English) Outside Member iii Abstract Supervisory Committee Dr. Richard Ogmundson (Department of Sociology) Supervisor Dr. Peyman Vehabzadeh (Department of Sociology) Departmental Member Dr. Iain Macleod Higgins (Department of English) Outside Member This thesis is an exploratory examination of the social characteristics of 139 poets featured in a selection of five small press Canadian literary journals. The investigation charts and analyzes the demographics of 64 poets who were published in 1967, and 75 poets who were published in four small press literary magazines in 2010. The 2010 magazines were purposely sampled as representatives of specific geographical areas in Canada (i.e., the West Coast, the Prairies, Central Canada, and the East Coast). The results indicate that in 1967 female poets were less likely to be published; however, 43 years later, this bias has been rectified.
  • Selected Poems by Merle Amodeo

    Selected Poems by Merle Amodeo

    Canadian Studies. Language and Literature MARVIN ORBACH, MERLE AMODEO: CANADIAN POETS, UNIVERSAL POETS M.Sc. Miguel Ángel Olivé Iglesias. Associate Professor. University of Holguín, Cuba Abstract This paper aims at revealing universality in Marvin Orbach, an outstanding Canadian book collector and poet, and Merle Amodeo, an exquisite Canadian poet and writer. Orbach´s poems were taken from Redwing, book published by CCLA Hidden Brook Press, Canada in 2018; and Amodeo´s poems from her book After Love, Library of Congress, USA, 2014. Thus, the paper unveils for the general reader the transcendental scope of these two figures of Canadian culture. In view of the fact that they are able to recreate and memorialize their feelings and contexts where they live, and show their capacities to discern beyond the grid of nature, society and human experience, directly and masterfully exposing them, it can be safely stated that both Orbach and Amodeo reach that point where what is singular in them acquires universality, and in return what is universal crystallizes in their singularity. Key Words: universality, Orbach, Redwing, Amodeo, After Love Introduction My connection with universal poetry began during my college years. I enjoyed great English and American classics so much that I even memorized many of their poems. It proved very useful later in my professional career, as I would read excerpts from poems to my students in class. Canada, and Canadian poets, had less presence on the curricular map at the time. Fortunately, I had the chance to become acquainted with Canadian poetry through the Canada Cuba Literary Alliance (CCLA), founded by Richard and Kimberley Grove back in 2004.
  • Index to the Tamarack Review

    Index to the Tamarack Review

    The Tamarack Review ROBERT WEAVER, IVON M. OWEN, WILLIAM TOYE WILLIAM KILBOURNE, JOHN ROBERT COLOMBO, KILDARE DOBBS AND JANIS RAPOPORT Issue 1 Issue 21 Issue 41 Issue 62 Issue 2 Issue 22 Issue 42 Issue 63 Issue 3 Issue 23 Issue 43 Issue 64 Issue 4 Issue 24 Issue 44 Issue 65 Issue 5 Issue 25 Issue 45 Issue 66 Issue 6 Issue 26 Issue 46 Issue 67 Issue 7 Issue 27 Issue 47 Issue 68 Issue 8 Issue 28 Issue 48 Issue 69 Issue 9 Issue 29 Issue 49 Issue 70 Issue 10 Issue 30 Issue 50-1 Issue 71 Issue 11 Issue 31 Issue 52 Issue 72 Issue 12 Issue 32 Issue 53 Issue 73 Issue 13 Issue 33 Issue 54 Issue 74 Issue 14 Issue 34 Issue 55 Issue 75 Issue 15 Issue 35 Issue 56 Issue 76 Issue 16 Issue 36 Issue 57 Issue 77-8 Issue 17 Issue 37 Issue 58 Issue 79 Issue 18 Issue 38 Issue 59 Issue 80 Issue 19 Issue 39 Issue 60 Issue 81-2 Issue 20 Issue 40 Issue 61 Issue 83-4 ISBN 978-1-55246-804-3 The Tamarack Review Index Volume 81-84 “109 Poets.” Rosemary Aubert article 81- Bickerstaff 83-84:40 82:94-99 “Concerning a Certain Thing Called “A Deposition” J.D. Carpenter poem 81- Houths” Robert Priest poem 81- 82:8-9 82:68-69 “A Mansion in Winter” Daniel David “Control Data” Chris Dewdney, poem, Moses poem 81-82:30-31 81-82:21 “Above an Excavation” Al Moritz poem “Croquet” Al Moritz poem 83-84:98 83-84:99 “Daybook” Ken Cathers poem 81-82:10- “Again” Al Moritz poem 83-84:101 11 “Air Show” J.D.
  • Notes on Contributors

    Notes on Contributors

    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Calgary Journal Hosting Notes on Contributors MARGARET ATWOOD was born in Ottawa in 1939 and received de• grees from the University of Toronto and Harvard University. She has taught at a number of Canadian universities and last year was Writer in Residence at the University of Toronto. She won the Governor-General's Award in 1966. Her five books of poems include The Circle Game (1966), The Journals of Susanna Moodie (1970) and Power Politics (1971). She has also written two novels, The Edible Woman (1969), and Surfacing (1972) and a critical book Survival (1972). DOUGLAS BARBOUR lives and works in Edmonton, Alberta. He has four books of postry out, of which the latest is songbook (talon- books, 19731. The others are Land Fall (1971), A Poem as Long as the Highway (1971), and White (1972). S. A. DJWA, Associate Professor, teaches Canadian Literature at Simon Fraser University and is a regular contributor to Cana• dian Literature and the Journal of Canadian Fiction. Professor Djwa has recently completed a book on E. J. Pratt (Copp Clark and McGill-Queen's University Press) and has developed com• puter concordances to fourteen Canadian poets in the prepara• tion of a thematic history of English Canadian poetry. She is now working on an edition of Charles Heavysege's poetry for the University of Toronto Press Literature of Canada Reprint Series. RALPH GUSTAFSON'S eighth book of poems, Fire on Stone, will be published by McClelland & Stewart, Toronto, autumn 1974.
  • Montreal Poet Seymour Mayne Remembers His Friend Leonard Cohen

    Montreal Poet Seymour Mayne Remembers His Friend Leonard Cohen

    BY SEYMOUR MAYNE Leonard was holding court at the front table unit of the café on upper Stanley Street one Sunday in 1960, when our mutual friend, the poet Henry Moscovitch, ushered me forward to meet him. He was twenty-six that spring, the lion of the McGill University arts crowd, and I was a high school student aged sixteen. I had just entered the Canadian literary world, small as it was then, having published several poems in The Canadian Forum. THE The first sight of the debonair figure, with two beautiful young women who flanked him on his left and right side, remains framed in my memory. He must have said something encouraging to me. And that is how our long friendship began. As he grew older, the strength of affection and respect he inspired in his old Montreal friends increased in depth and intensity. When he left us this November, he was still that gracious Davidic figure. How Jewish was Leonard Cohen? He had no way not to be, born into the unique Montreal Jewish community, sandwiched as it was between the French-speaking working-class quartiers to the east and the English- speaking middle-class suburbs to the west. While Yiddish was the first language of many Jewish immigrants in the SEYMOUR MAYNE MAYNE SEYMOUR working-class neighbourhoods of Montreal, it did not have the same currency among the wealthier members Montreal poet Seymour Mayne of the community. Leonard’s home was not suffused with the expressive language. At school he studied mainly BET in English, with French added as a second language.
  • CHEZ NOUS a Staged-Reading Series Showcasing English-Language Drama in Quebec (1930-1979)

    CHEZ NOUS a Staged-Reading Series Showcasing English-Language Drama in Quebec (1930-1979)

    CHEZ NOUS A Staged-Reading Series Showcasing English-Language Drama in Quebec (1930-1979) EVENING TWO “HE SAID X, SHE ASKED, WHY” Director: Eda Holmes, Artistic and Executive Director of Centaur Theatre Stage Manager: Aida Jamil Produced by Professor Erin Hurley, Department of English, McGill University in collaboration with Playwrights’ Workshop Montréal and research team members Alison Bowie (Concordia University), Alexis Diamond, and Emma Tibaldo (PWM). A Man Was Killed by Irving Layton and Leonard Cohen (1959) Henderson: Jean Marchand* Jeff: Ryan Bommarito* Mort: Alain Goulem* Eve: Lucinda Davis* Pig: Alex Petrachuk* Blackie: Josh Johnston* Cupid: Sophie-Thérèse Stone-Richards* Napoleon: Ryan Bommarito* Stage-directions: Rebecca Gibian A Man Was Killed is read with the kind permission of the estates of Irving Layton and Leonard Cohen. Big X Little Y by Elinore Siminovitch (1974) Lori: Rebecca Gibian* John: Ryan Bommarito* Woman 1: Lucinda Davis* Woman 2: Sophie-Therese Stone-Richards* Woman 3: Alex Petrachuk* Man 1: Jean Marchand* Man 2: Alain Goulem* Man 3: Josh Johnston* Big X, Little Y is read with the kind permission of the estate of Elinore Siminovitch. *The participation of these Artists is arranged by permission of Canadian Actors’ Equity Association under the provisions of the Dance•Opera•Theatre Policy. A Man was Killed by Irving Layton and Leonard Cohen (1959) Synopsis: A Man was Killed is a black comedy about violence and the breakdown of human social interaction. The play intertwines the lives of people living in the same Montreal neighbourhood, as they fail to connect with each other in a meaningful way. A Man Was Killed, one of Cohen’s few dramatic works, was co- written with his friend, fellow poet and fellow Montrealer, Irving Layton, in the winter of 1959, before Cohen travelled to Greece.
  • The Poetry of Raymond Souster and Margaret Avison

    The Poetry of Raymond Souster and Margaret Avison

    THE POETRY OF RAYMOND SOUSTER AND MARGARET AVISON by Francis Mansbridge Thesis presented to the School of Graduate Studies in partial fulfillment of the requirements for the degree of Ph.D. in English literature UNIVERSITY OF OTTAWA OTTAWA, CANADA, 1975 dge, Ottawa, Canada, 1975 UMI Number: DC53320 INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. UMI® UMI Microform DC53320 Copyright 2011 by ProQuest LLC All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 TABLE OP CONTENTS INTRODUCTION 1 CHAPTER I. POETIC ROOTS OP MARGARET AVISON AND RAYMOND SOUSTER 8 CHAPTER II. CRITICAL VIEWS ON AVISON AND SOUSTER . 46 CHAPTER III. MARGARET AVISON 67 CHAPTER IV. RAYMOND SOUSTER 154 CHAPTER V. SUMMARY AND CONCLUSIONS 225 BIBLIOGRAPHY 241 LIST OP ABBREVIATIONS BCP The Book of Canadian Poetry, ed. by A.J.M. Smith CT The Colour of the Times D The Dumbfounding PM Place of Meeting PMC Poetry of Mid-Century, ed. by Milton Wilson SF So Par So Good SP 1956 Selected Poems (1956 edition) SP 1972 Selected Poems (1972 edition) TE Ten Elephants on Yonge Street WS Winter Sun Y The Years 111 ACKNOWLEDGMENTS Special thanks to Raymond Souster for his generous hospi­ tality on my trips to Toronto, and his interest and perceptive comnusnts that opened up new perspectives on his work; to the Inter- Library Loan department of the University of Ottawa Library, whose never-failing dependability saved much time; and finally to my Directress, Dr.