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Submitted to the Faculty of Graduate Studies in Partial Fulfillment of The THE UNIVERSITY OF MANITOBA THE UNGRAMMATICALITY OF GENRE: THE CONTEMPORARY CANADIAN LONG POEM by SMARO KAMBOURELI A Thesis Submitted to the Faculty of Graduate Studies In Partial Fulfillment of the Requirements for the Degree of Doctor of Phílosophy Department of English Vüinnipeg, Manitoba May, I9B7 Permission has been granted L'autorisation a êté accordée to the National LibrarY of à la Bibliothèque nationale Canada to microfilm this du Canada de microf i Imer .. thesis and to lend or sell cette thèse et de prêter ou copies of the fitm. de vendre des exemPlaires du f iIm. The author (copyright owner) L'auteur (titulaire du droit Ïras reserved ot'her d'auteur) se rêserve les publication rights, and autres droits de publication; neither the thesis nor ni la thèse ni de longs extensive extracts frôm it' extraits de celle-ci ne may be printed or otherwise doivent être imprimés ou reþroduced without his/her autrement reproduits sans son written permission. autorisation écrite. r,5BN 0-3i"5-3 7 4L7 *9 .Eß Uì¡GRA}THATICALITY OF GEI{Rß: ffiB CONTE}IPORÁRY CAilADIAN IOtrG POE}I BY S}IARO KAIIBOIIRELI A tl¡esis subnlitted to thc Faculty of Craduate Studies of the U¡riversity of Manitoba in partial fulfillment of the requirenrerrts of the degree of DOCTOR OF PHILOSOPHY @ 1987 Permissio¡r has beer'¡ granted to the LIBRARY OF THE UNIVER- SITY OF MANITOBA to lend or sell copies of this thesis, to the NATIONAL LIBRARY OF CANADA to microfilnr this thesis a¡rd to lend or sell copies of the film, and UNIVERSITY MICROFILMS to publish an abstract of this thesis. The author reserves other publicatio¡r rights, and neither the thesis nor extensive extracts from it may be printed or other- wise reproduced without the author's writte¡r permission. Doctor of Philosophy (1987) University of Manitoba Engl i sh Winnipeg, Manitoba TITLE: The Ungrammaticality of Genre : The Contemporary Canadian Long Poem AUTHoR: Smaro Kamboureli, B.A. (Aristotelian University), M.A. (UniversitY of Manitoba) ADVISOR: Dr. Dennis Cooley Acknowledgments It is with the-greatest pleasure that r acknowledge my numerous debts to my advisor, Professor Dennis Cooley. I am deeply grateful to him for his encouragement and intellectual stimulation. I am also grateful to Professor John T" Teunissen my teacher of Milton for his challenging comments and continuous support of my worki to Professor Frank Davey for raising important questions about this thesis; and to Professor Dawn McCance for providing me with detailed comments. My deep thanks to George Bowering and bpittichol who not only offered me great encouragement, but who listened attentively to my many queries about their work, and granted me informal interviews and access to unpublished material; to Daphne Marlatt many thanks for giving me access to unpublished material concerning her work; to Professor Dougl-as Barbour who l-et me read his soon to be published monograph on Marlattrs work. My participation in conferences related to my study \^ras of great help at the early stages of my research: my thanks to Professor Clive Thomson for accepting my contribution to the International Bakhtin conference he organized at Queenrs University in October l9B3; to Professors Frank Davey, EIi Mandel and Ann Munton for r- l- l- inviting my contribution to the L9B4 long poem conference they organized at York University; to Professor Arnold Davidson for inviting me to give a paper on the long poem at the 1985 Canadian MLA section that he chaired- I would like to acknowledge The School of Criticism and Theory at Dartmouth Coltege for offering me a fellowship which allowed me to exchange ideas on the theories concerning my study with the t9B6 School participants. Special thanks go to Professor J. Hi1lis MiIIer who read a section of my thesis and offered valuable comments and encouragement" I would also like to thank the numerous friends who stood by me when I needed moral and intellectual support' especially Joan (peterson) Doherty, Shirley Newman, Lola Lemire Tostevin, Ken Probert, Fred Wah, Pauline Butling and David Arnason. FinaIIy, I want most of all to acknowledge the many ways in which my husband, Robert Kroetsch, contributed to my study and to my life during the course of this project- It \^ras his great interest in the long poem that encouraged and developed my own interest in the subject. For these reasons, and for many others not listed here, this study ís lovingly dedicated to him. 1V for Robert I often lose the thread and would lose heart as weII if it didnrt leap into my mouth Lola Lemire Tostevin, Double Standards v sometimes when she writes she thinks I must be mad Lola Lemire Tostevin, Double Standards vl- CONTENTS Preamble : Promises 1X In Theory Chapter One: TOVüARD AN ARCHAEOLOGY OF THE CANADIAN LONG POEM I: Recogni tion I II! Anxiety 6 III: Appropriation 24 Chapter T\n¡o: IN THE VüEB OF GENRE 30 r: Genre: Pure or Impure 32 II: In Support of Impur i ty 34 TII: The Legacy 39 IV: Opening up the Category 43 V: Unlawful Acts 4B Chapter Three: AFTER POE: THE CONTEMPORARY LONG POEM AS A NEW GENRE 52 I: Epic and the "Ne\nr" Genre 54 II: Lyric and the "Nehrt'Genre 66 III: A Genre in the Present Tense 80 In Practice Chapter Four: POLYGRAPH OF ITINERARIES: LOCAL I TY IN THE LONG POEM 94 I origins without Beginnings Poems without Endings 95 II: The Eye of the Poet / Locality as Po1is . 111 III: Locality as Archive / The Poem Running Il5 IV: The Poem as Preface / The Poet out of Place L24 V: The Place as Poem / The Poet as Reader 141 VI: From Geography to Genre / The Syntax of Place L46 VII: The Poetrs Chora 164 Chapter Five: THE SELF IN THE LONG POEM I: From the Cartesian Ego to the EIIiptical SeIf t65 ÏI: The Name of the Self 16B IÏI: Signing the Text 172 vii IV: Stealing the Text L75 -lv: The Life-Long Poem 184 (tt: How to Begin 186 ) vrr: SeI f : Identi ty: Pronoun r96 Chapter Six: OUTLAWED NARRATIVE ìr: From Narrative to Discourse 223 II: White Mythology 227 III: Thanatography 235 IV: The lRh) erotic 242 V: The Present Tense 256 Envoi : Not Yet 263 Endnotes. 266 Bibl i ogr aphy 305 v]. t-l- Preamble : PromÍses The long poem is a major literary form in contemporaxy Canada. Many critics would agree with this gnomic statement; few, however, would be willing to declare what exactly makes the contempoYary long poem the distínct poetic form that it is. I take it to be a "new" genre new in quotation marks, for newness or originality is a relative and suspect term in contemporarlt literary theory. The long poem cannot loe read as if it $¡ere an extended lyric, a strange epic strange because of our unheroic times or as if it were simply a narrative poem. For the long poetn may share the emoti.ve tonalities of the lyric, but it doesnrt sanction the lyric's brevity; it may also share the epic's intent to "sing" of national matters and anxieties "O Canada" but it does so in v¡ays that parody the epic ethos; and when it tries to tell a story, it gets sidetracked and tells instead a story about the telling of the promised story. These contradictions, this breach of promise, is what I intend to focus on. Like M.L" Rosenthal and Sally M. t-x GaIl, who co-authored the first comprehensive study of the modern long p oem, The Modern Poetic Seguence: The Genius in Modern PoetrV (1983), I will consider the long poem as a poetic form that invites the reader to see it aS a "neh7" genre. But unlike Rosenthal and Gatl, who tie the long poemrs peculíarities exclusively to the lyrical mode, I wiII follow a different route' one that wilt allow me to speak of the main and mixed generic elements at play in its disparate form. I will argue, in effect, that the long poem registers its contradictions both as a complication and as a simplification. The main characteristic of the contemporar.y Canadian long poem as a "new" genre is that, while it contains other literary kinds, it resists all attempts at precise generic definition, It subordinates itself to other genres, but at the same time it breaks free from their generic specifications. A number of critics (i.e. Joseph Riddel, Eli Mandel, Frank Davey, and Robert Kroetsch) have addressed the difficulty of describing the long poem from a generic point of view, but no critic to my knowledge has so far argued that it is precisely this difficulty that both def ines the contemporaty long poem as a I'ne\nlrr genre, and directs our readÍng of it. In fact, it is the reading of Canadian long poems, individually and as a group, that reveal-s the long poemrs complicitous position as a genre in the poetic tradition. "Readitg," as Maurice Blanchot says, "is not writing the book again but causing the book to write ítself or be 't written."r My reading of the long poem marks a double activity, for before I can make the long poem "write itself t' I have to read i'bs tra jectory as a ttne\nl" genre. But where is the law of the long poem as a new genre? My answer to this question Ís to be found in the structure of this study. The first three chapters explore established theories of genre and help me to construct my ovún theory of the long poem.
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