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Marjorie Lowry Christie Pickthall - Poems
Classic Poetry Series Marjorie Lowry Christie Pickthall - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive www.PoemHunter.com - The World's Poetry Archive 1 Marjorie Lowry Christie Pickthall(14 September 1883 – 19 April 1922) Marjorie Lowry Christie Pickthall (September 14, 1883, Gunnersbury, London, – April 19, 1922, Vancouver), was a Canadian writer who was born in England but lived in Canada from the time she was seven. She was once "thought to be the best Canadian poet of her generation." Marjorie Pickthall was born in 1883 in the west London district of Gunnersbury, to Arthur Christie Pickthall, a surveyor and the son of a Church of England clergyman, and Elizabeth Helen Mary Pickthall (née Mallard), daughter of an officer in the Royal Navy, part Irish and part Huguenot. According to her father, Pickthall had planned her career before she was six; she would be a writer and illustrator of books. Her parents encouraged her artistic talents with lessons in drawing and music; an accomplished violinist, she continued studying violin until she was twenty. By 1890, Pickthall and her family had moved to Toronto, Canada where her father initially worked at the city’s waterworks before becoming an electrical draftsman. Her only brother died in 1894. Marjorie was educated at the Church of England day school on Beverley Street in Toronto, (possibly St. Mildred's College) and from 1899 at the Bishop Strachan School. She developed her skills at composition and made lasting friendships at these schools, despite suffering poor health, suffering from headaches, dental, eye and back problems. -
JOHN GLASSCO (1909-1981) and His Erotic Muse
JOHN GLASSCO (1909-1981) and his Erotic Muse Leon Edel IΌΗΝ GLASSCO CULTIVATED THE LYRIC and erotic muses — Euterpe and Erato. He was, above all, in his later years, a tough-minded poet who mingled reflection with satire, and most of his reflections were on the wear- and-tear of life, the crumbling of man's creations, old houses — like the body — disintegrating in a mournful landscape, mixed with sweet and bitter memories and delicate observations; the triumph of the dust and yet somehow out of death and decay the hardness of reality : It is the world that counts, the endless fever And suffering that is its own and only end. The elegance and polish, rhythm and cadence, the perfect pitch, as it were, is curiously to be found also in his erotic writings which are largely in prose. John Glassco — he had been Buffy to us from his earliest years — made a distinction between "porno" written as art and that which is scribbled as commerce. Yet even when he attempted to write for commerce he proved unfailingly delicate and aristocratic: he wrote in the tradition of Cleland, or the Contes drolatiques, or the French elegants. He captured the spirit of the conte leste, the frivolous and "improper" fantasy, for which the Gallic world has so many more synonyms than we have. The phallus was for Buffy a wanton and pretty bird of flight and repose ; the libido an exquisite gift of nature. His erotic muse was forever young, born of pre-adolescent titillation and exposure. There are brief backward glances in various of Buffy's prose writings — "in view of my own upbringing" and "my own early memories supplied much of the psychology," and an allusion to "that susceptible teen-ager who could never say no to anyone." These brief autobio- graphical references allow us to extrapolate some early governess in Montreal's Simpson Street, where Buffy was born, who perhaps administered spankings that had erotic overtones; or some early housemaid taken with the charms of the juvenile Buffy — he had so many. -
INTERARTISTIC MODERNISM in CANADA, 1930-1960 Michèle
BETWEEN THE LINES: INTERARTISTIC MODERNISM IN CANADA, 1930-1960 Michèle Rackham Department of English McGill University, Montreal November 2011 A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements of the degree of Doctor of Philosophy © Michèle Rackham 2011 for David TABLE OF CONTENTS ABSTRACT / RÉSUMÉ i-iv ACKNOWLEDGEMENTS v-viii INTRODUCTION Contextualizing the Rise of Interartistic 1 Modernism in Canada CHAPTER ONE ―Not nature alone, but nature‘s relationship to man‖: 46 Emily Carr‘s and Dorothy Livesay‘s Landscapes of Affect CHAPTER TWO Montreal Modernisms, Little Magazines, and the 130 Agency of Visual Art in the 1940s CHAPTER THREE ―Let A- / tomic unsplittable REALITY / now at last / 225 be exploded to hell‖: The Energy of Canadian Modernist Poetry and Visual Art in the Fifties CHAPTER FOUR P.K. Page-Irwin‘s ―Geometry Awash‖: Negotiating 332 Modernist Aesthetics Via the Visual Arts CONCLUSION Canada‘s Interartistic Modernism and National Culture 430 WORKS CITED 450 Rackham i ABSTRACT This dissertation offers the first comprehensive examination of the diverse inte- ractions and collaborations among Canadian modernist poets and artists, as well as the aesthetic, thematic, and idiomatic relationships between their poems and works of art. The project incorporates archival and historical research to demon- strate the interartistic nature of modernist poetry in Canada between 1930 and 1960. By establishing that paintings, sculptures, and book designs and illustrations by Canadian artists who knew and worked closely with Canadian modernist poets informed and affirmed the content and aesthetics of the poetry, the dissertation argues for a consideration of the social dimension of literary modernism in Cana- da. -
Canadian Jewish Writing Rebecca Margolis
2 1 Across the Border: Canadian Jewish Writing Rebecca Margolis Canadian Jewish literature has often been compared to its U.S. counterpart, for both geographic and cultural reasons. The two countries share a vast bor- der, are former English colonies with a continual use of that language, and have signifi cant immigrant populations. The two countries absorbed signif- icant numbers of Jewish immigrants, including a mass Eastern European immigration that was Yiddish speaking and working class. The comparison between the two countries should be natural, at least from a Canadian per- spective. However, rather than being a mini–United States, Canada has pro- duced a literature that has evolved its own very distinctive set of defi ning characteristics. Further, the dominating presence of the United States and its overshadowing infl uence on Canada in terms of literature, theater, lm,fi and music are indisputable, and Canadian culture is oft subsumed into the larger category of “American.” Canada’s Jewish writers are confl ated with U.S. writ- ers or neglected altogether . Michael Greenstein’s study Third Solitudes sug- gests marginality as a key feature of Jewish Canadian literature. 1 Intertwining historical realities have informed Canada’s cultural identity and the literature that its Jewish writers have produced. The ideological foun- dation of the country is a French-English bilingualism that dates to its roots as a European colony, and the dynamics of that uneasy duality have permeated the country’s cultural development. Unlike the United States, Canada was not born out of revolution and rejection of the British Empire that dominated it. -
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. -
Download The
READING THE FIELD OF CANADIAN POETRY IN THE ERA OF MODERNITY: THE RYERSON POETRY CHAP-BOOK SERIES, 1925-1962 by Gillian Dunks B.A. (With Distinction), Kwantlen Polytechnic University, 2011 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in The Faculty of Graduate Studies (English) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) April 2013 © Gillian Dunks, 2013 ii Abstract From 1925 to 1962, the Ryerson Press published 200 short, artisanally printed books of poetry by emerging and established Canadian authors. Series editor Lorne Pierce introduced the series alongside other nationalistic projects in the 1920s in order to foster the development of an avowedly Canadian literature. Pierce initially included established Confederation poets in the series, such as Charles G.D. Roberts, and popular late-romantic poets Marjorie Pickthall and Audrey Alexandra Brown. In response to shifting literary trends in the 1940s, Pierce also included the work of modernists such as Anne Marriott, Louis Dudek, and Al Purdy. Following Pierre Bourdieu, I read the Ryerson series as a sub-field of literary production that encapsulates broader trends in the Canadian literary field in the first half of the twentieth century. The struggle between late-romantic and modernist producers to determine literary legitimacy within the series constitutes the history of the field in this period. Pierce’s decision to orient the series towards modernist innovation during the Second World War was due to late romantics’ loss of their dominant cultural position as a result of shifting literary tastes. Modernist poets gained high cultural capital in both the Ryerson series and the broader field of Canadian literary production because of their appeal to an audience of male academics whose approval ensured their legitimacy. -
Marjorie Pickthall & the Quest for Poetic Identity
DEMETER'S DAUGHTER Marjorie Pickthall & the Quest for Poetic Identity Diana M. A. Relke M.LARJORIE PICKTHALL sold her first manuscript to the Toronto Globe in 1899, when she was 15 years old.* Her career ended abruptly in 1922, when, at the age of 39, she died in Vancouver of complications following surgery. Perhaps no other Canadian poet has enjoyed such enormous fashionable success followed by such total eclipse. Canadian critics of the early twentieth century "seized on her poems and stories as works of distinction,"1 and some even hailed her as a genius and seer. "More than any other poet of this century," wrote E. K. Brown in 1943, "she was the object of a cult. .. Unacademic critics boldly placed her among the few, the immortal names."2 Brown might also have noted that unreserved praise was lavished on Pickthall by scholarly critics as well. She was admired and encouraged by Pelham Edgar who, at the time of her death, wrote: "Her talent was strong and pure and tender, and her feeling for beauty was not more remarkable than her unrivalled gift for expressing it."3 Archibald MacMechan wrote: "Her death means the silencing of the truest, sweetest singing voice ever heard in Canada."4 Within 18 months of her death no less than ten articles — all overloaded with superlatives — were published in journals and magazines such as The Canadian Bookman, Dalhousie Review, and Saturday Night. In his biography, Marjorie Pickthall: A Book of Remembrance, Lome Pierce includes ten tributes paid in verse to the memory of Marjorie Pickthall by companion poets; Pierce himself writes rhapsodically of her "Colour, Cadence, Contour and Craftsmanship."5 Modern literary historians have taken the opposite view. -
Ontemporary Poetry and Its Characteristics He Canadian 'Long Poem' Recent Canadian System of Thought and Belief
ontemporary Poetry and its characteristics he Canadian 'Long Poem' Recent Canadian system of thought and belief. There was a weakening of the original impulse which Poetry generated new tendencies in the creative fields as well as in man's nature and goals pertaining to changing response to life, but it is a natural phenomena that one can neither wish to isolate nor escape from the human experience for long. Poets like Dorothy Livesay and E.J. Pratt grew anxious to cultivate a new poetic style which could capture the new substance of life and at the same time make a direct appeal to its readers. Their poetry is man-centered psychologically and intellectually. Like the role of nature, the significance of poetic devices like imagery and symbol is also redefined. Though the earliest Canadian anthology of any importance was E.H. Dewart's Selection from Canadian Poets which was published in 1864, it is A.J.M. Smith's The Book of Canadian Poetry which appeared in 1943 that presented the changes of taste and quality in poetry written between 1948 and 1957. Many subsequent anthologies like Smith's Oxford Book of Canadian Verse (1960) and Modern Canadian Verse (1967) include the representative works in both English and French. To understand Canadian Poetry of the mid-twentieth century one of the fundamental approaches is to look at a historical and insightful critical process, which A.J.M. Smith and E.K. Brown encouraged. It helped in two ways. It established a canon of Canadian poetry and assessed the achievements of individual poets, and it opened up vistas for endless possibilities of having Canadian Criticism with its own traditions and vision of Canadian poetry which means "a poetry appropriate to Canadian experience" to use the words of Geroge Woodcock. -
The Group of Seven, AJM Smith and FR Scott Alexandra M. Roza
Towards a Modern Canadian Art 1910-1936: The Group of Seven, A.J.M. Smith and F.R. Scott Alexandra M. Roza Department of English McGill University. Montreal August 1997 A Thesis subrnitted to the Facdty of Graduate Studies and Researçh in partial fiilfiliment of the requirements of the degree of Master of Arts. O Alexandra Roza, 1997 National Library BiMiotheque nationale du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395. rue Wellingtocl Ottawa ON KIA ON4 OttawaON K1AW Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence aliowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or seii reproduire, prêter, distnibuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/nim, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or othewise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. iii During the 19 los, there was an increasing concerted effort on the part of Canadian artists to create art and literature which would afhn Canada's sense of nationhood and modernity. Although in agreement that Canada desperately required its own culture, the Canadian artistic community was divided on what Canadian culture ought to be- For the majority of Canadian painters, wrïters, critics and readers, the fbture of the Canadian arts, especially poetry and painting, lay in Canada's past. -
Toward an Editorial Poetics of the Maritime Little Magazine
Old Provinces, New Modernisms: Toward an Editorial Poetics of the Maritime Little Magazine by James William Johnson Bachelor of Arts, St. Thomas University, 2012 A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Masters of Arts in the Graduate Academic Unit of English Literature Supervisor: Tony Tremblay, Ph.D., English Literature Demetres Tryphonopoulos, Ph.D., English Literature Examining Board: John Ball, Ph.D., English Literature Gail Campbell, Ph.D., Department of History This thesis is accepted by the Dean of Graduate Studies THE UNIVERSITY OF NEW BRUNSWICK April, 2015 ©James William Johnson, 2015 ABSTRACT As a territory located on Canada's geopolitical periphery-a territory lacking key points of access to large presses, arts capital, and cultural media-the Maritimes has been disproportionately served by alternative media like little magazines. Nevertheless, while there has been a substantial body of research dedicated to little magazine culture in Canada, its urban beginnings, and its contribution to the emergence of literary modernism, few studies have examined the development and influence of the little magazine in the Maritime Provinces. Taking as representative examples The Fiddlehead (1945- ), Katharsis (1967-1971), The Square Deal (1970-1971), Sand Patterns (1972-8), and The Antigonish Review ( 1970- ) - little magazines which have distinguished themselves in the region for breadth of readership and authorship, editorial leadership, and cultural activism - this thesis examines the literary, cultural, and political functions of Maritime literary magazines from the qi.id-nineteenth century up to the 1980s. Paying close attention to the political, social, and economic environments in which these magazines have emerged and to which they have responded, this thesis sets forth an editorial poetics of the Maritime little magazine. -
Little Magazines and Canadian War Poetry 1939-1945 with Some Reference to Poetry of the First World War
LITTLE MAGAZINES AND CANADIAN WAR POETRY 1939-1945 WITH SOME REFERENCE TO POETRY OF THE FIRST WORLD WAR by JOANNE MEIS B.A., University of Calgary, 1966 A Thesis Submitted in Partial Fulfilment of the Requirements for the Degree of Master of Arts in the Department of English We accept this thesis as conforming to the required standard. THE UNIVERSITY OF BRITISH COLUMBIA September, 1971 o In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for .reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of The University of British Columbia Vancouver 8, Canada Date > '77/ While English First World War poetry moved from extolling the Vic• torian versions of chivalric values to the "debunking" realism of some of the soldier poets, Canadian First World War poetry failed to exhibit any such development. Canadian First World War poets write a colonial inter• pretation of what the English inspirational war poets produced, and they did not express any disillusionment with the military-religious dogma of the war. During the Second World War, some Canadian poets produced poetry of a similar type to that which they wrote celebrating the first. But the war years saw the development of a group of young "modernist" poets who followed up the first modernist movement of the Montreal group and New Provinces, and when these poets wrote about war, the idealization of the conflict was not among their aims. -
Giving Ideas Voice
directed by Leonard Enns GIVINg iDEas vOicE Saturday November 11, 8pm St. John the Evangelist, Kitchener Sunday November 12, 3pm St. John’s Lutheran, Waterloo 2017/18 Season Program Horizons – Peter van Dijk Psalm 137 – J. Scott Brubacher Colour of Freedom – Iman Habibi with Amir Haghighi, soloist ~ intermission ~ Song of Invocation – Sheldon Rose Candles – Christine Donkin Tal vez tenemos tiempo – Tarik O’Regan To You before the close of day – Jeff Enns This still room – Jonathan Adams We’d love to visit with you after the concert... please join us to chat over some snacks! Notes & Texts (notes written by L. Enns) With this program, the DaCapo Chamber Choir sets out on a three-year series inspired by the global refugee situation. The series is organized around general themes of Displacement (this season), Resettlement (18/19), and Renewal (19/20). Motivating this plan is the conviction that art is necessary and possibly central to the development and maintenance of civil society, and that it can serve as leaven for peace-making. Today’s global political climate makes this an increasing necessity. The 17/18 season explores the theme of Displacement. The first and final concerts are inspired by several root causes of displacement – war and oppression (today: The Colour of Freedom), and climate change and care for resources (April: This Thirsty Land). Standing between these two, the mid- winter concert (March: Reincarnations) touches on reasons for hope, and on the possibility of transformation. The keystone work of today’s concert is Colour of Freedom by Iranian- Canadian composer Iman Habibi, including texts by Tehran Evin prison survivor Marina Nemat, who has said “If you remain silent, you become an accomplice.” Wilfrid Owen, who was killed 99 years ago, as the “Great War” was exhausting itself, wrote “All a poet can do today is warn.