Raymond Knister - Poems
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Free of Charge to Individual and Institutional Members of the Association
Jean Barman University of British Columbia Peter Waite Dalhousie University Margaret Conrad University of New Brunswick Alvin Finkel Athabasca University Jean-Francois Cardin Université Laval George Sioui Author, Activist Denis Vaugeois Historien, Auteur Victor Rabinovitch Canadian Museum of Civilization Ian E. Wilson Library and Archives Canada Serge Courville Université Laval Cecilia Morgan OISE/University of Toronto Desmond Morton McGill University Dawn Williams Author Gerald Friesen University of Manitoba Jack Jedwab Association for Canadian Studies Illustration Reid, George Agnew/ARCHIVES NATIONALES DU CANADA/C-011016 Presence of the Past $5.95 Présence du passé on display until November 1st, 2003 disponible jusqu’au 1er novembre 2003 Our Culture Notre culture Our Heritage Notre patrimoine Our Stories Nos histoires Our culture and heritage are the reflection of Notre patrimoine et notre culture sont le our dreams, our values and our way of life. reflet de ce que nous avons été, de ce que That’s how we see ourselves, and how we want nous sommes et de ce que nous voulons the world to see us. They connect us with our devenir. Ils sont le miroir de nos valeurs, de past, with our future — and with one another. nos rêves et de nos aspirations. Ils créent des liens qui nous unissent et qui célèbrent nos différences. Our culture, our heritage. That’s who we are. Notre culture, notre patrimoine. Le reflet de ce que nous sommes. For more information on Canadian Heritage programs and services Pour plus de renseignements sur les programmes www.canadianheritage.gc.ca -
Finding John Keats.Pdf
FINDING JOHN KEATS ______________________ A Play in One Act by Nancy Maki 581 Hillcrest Road R.R. 2 Simcoe ON N3Y 4K1 Canada Phone: 519-428-1386 E-mail: [email protected] INTRODUCTION Early in 1929, Canadian writer Raymond Knister, at the age of thirty, published what would become his best-known novel, WHITE NARCISSUS. Later that same spring, Knister brought his bride of two years, Myrtle Gamble, back to her hometown of Port Dover, Ontario. They rented a small farmhouse, overlooking Lake Erie, on the Old Lakeshore Road a few miles east of the town. It was Knister’s intention to spend the next few months, with the assistance of his wife, researching the life of his favourite English poet, John Keats, and to write a biographical novel about him. The couple needed to escape the distractions of their life in Toronto and find a quiet, congenial place in which to work. NOTE A number of the speeches in this play contain phrases and sentences taken from the writing and the letters of the characters. Cast of Characters Raymond Knister: Canadian writer, age 30 Myrtle Gamble Knister: His wife, age 27 John Keats: English poet, age 23 Fanny Brawne: His beloved, age 18 Charles Brown: His close friend, age 32 Scene Scenes 1-3: A small farmhouse on Lake Erie, two and a half miles east of Port Dover, Ontario. Scenes 4-7: Wentworth Place, a double house in Hampstead, London, England. Time Scenes 1-3: July to mid-October 1929 Scenes 4-7: April 1819 to September 1820 I-1- 1 ACT I Scene 1 SETTING: The livingroom of a small farmhouse overlooking Lake Erie, near Port Dover, Ontario. -
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. -
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. -
Selected English-Canadian Fiction 1925-1932
THE MELODRAMATIC IMAGINATION: SELECTED CANADIAN FICTION THE MELODRAMATIC IMAGINATION: SELECTED ENGLISH-CANADIAN FICTION 1925-1932 By MARILYN J. ROSE, M.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Doctor of Philosophy McMaster University April 1979 DOCTOR OF PHILOSOPHY (1979) McMASTER UNIVERSITY TITLE: The Melodramatic Imagination: Selected English-Canadian Fiction 1925-1932 AUTHOR: Marilyn J. Rose, B.A. (McMaster University) M.A. (Sir George Williams University) SUPERVISOR: Dr. Joan Coldwell NUMBER OF PAGES: x, 193 ii ABSTRACT The decade of the nineteen-twenties has generally been recognized as a dynamic period in English-Canadian literature, but so far as fiction is concerned its achievement is widely assumed to be the introduction of social realism into the Canadian novel. Those novels which employ other than realistic conventions have been assumed by many critics to be inferior because of their non-realistic aspects. 'lllis dissertation examines four such novels, supposedly flawed by melodramatic excess~ Raymond Knister's White Narcissus (1929), Martha Ostenso's Wild Geese (1925), Morley Callaghan's A Broken Journey (1932), and Frederick Philip Grove's The .!2!!_ of Life (1930) - in order to discover the function and significance of melodramatic conventions and the sort of vision they project. The first part of the dissertation defines such terms as "realism" and ''melodrama." and explains the critical approach to be used. In the central four chapters, this critical approach is applied to each novel in turn. When the novels are compared, following the detailed analysis of each, significant similarities emerge. -
For Students Toparticipate Inthe Anthology
DOCUMENT RESUME HE 000 346 ED 025 224 24 By-Robertson, Robert T. Literature for AmericanCollege Students.Final Report. A Planned Survey Course inBritish Commonwealth Virginia Polytechnic Inst.,Blacksburg. Washington, D.C. Bureau ofResearch. Spons Agency-Office ofEducation (DHEW), Report No-CRP-S-471 Bureau No- BR-5-8302 Pub Date Mar 68 Contract- OEC-6- 10- 195 Note- 53p. HC-$2.75 EDRS Price MF-$0.25 Literature, *LiteraturePrograms, *LiteratureReviews, Descriptors-*English Literature,*Higher Education, Poetry, Short Stories,Student Participation,Surveys, *Teaching Identifiers-*British CommonwealthLiterature teaching of BritishCommonwealth literatureto American To encourage the designed in whichthe material university students, abroad ranging survey coursewas of literature fromthe 13 countries was wasthematically organized.A great body for an select 147 representativepoemsand short stories scrutinized in order to for students toparticipate inthe anthology. An effectivemethod was devised anthology: a of the literature.In addition tothe new selection and evaluation countries wascompiled and "Handbook" ofbackground materials onthe authors and incorporated into a newpublished college text onWorld both works willbe largely research concentratedmainly Literature in English.The course thatemerged from this countries--Canada, Australia,New Zealand,South Africa--and on theliteratures of 4 literature but a coursein the tended to become_not asurvey coursein British Although the projectcould have been more comparative studyof those literatures. body of writing inEnglish complete. much waslearned about thislarge but neglected teachingtool--thethematicanthologywas and aneffectivestudent-tested anthology selection, The appendicesinclude a preliminary developed and used. outlines, and classthemes, proposed thematicorganization, coursebook lists and tests and exams.(JS) f*- cA10..5'4111 0E-(312 FINAL REPORT Project No. S-471 Contract No. -
Rhythm and Sound in Contemporary Canadian
RHYTHM AND SOUND IN CONTEMPORARY CANADIAN POETRY by DOROTHY LIVESAY MACNAIR B.A., The University of Toronto, 1931 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR TEE DEGREE OF Master of Education in the Faculty of Education We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA November, I965. In present i ng this thesi s 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 per• mission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representat ives. It is understood that copying or publi• cation 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 I1* > 6 ^ > ACKNOWIEDGEMENTS The writer wishes to thank all those poets who assisted in the recording of their poems on tape: Alfred Purdy, Milton Acorn, Phyllis Webb, George Bowering, Lionel Kearns, Jamie Reid, and John Newlove. It is a matter of regret that space did not permit the'use of similar tapes made by other B. C. poets. She also wishes to acknowledge with thanks the guidance given her by Miss Ruth McConnell and Dr. D. G. Stephens in the preparation of this material. ii ABSTRACT Since World War II Canadian literary criticism has tended to be either historical or aesthetic In its emphasis. Little or no in• terest has been shown In the linguistic approach to criticism; no work has been done on Canadian poets comparable to the writing of Donald David and David Abercrombie on English poets, or of Chatman or Miles on American poets. -
Dalrev Vol66 Iss4 Pp483 496.Pdf (7.527Mb)
A. R. Kizuk The Vernacular in Early Twentieth-Century Canadian Poetry: Arthur Stringer and A. M. Stephen Long before Charles Olson and the Black Mountain poets penetrated Canadian poetics through the Tish poets of Vancouver, Canadian poets were deeply concerned with the living, propulsive breath measure of the speaking voice as an underlying principle of poetic organization. Tom Maclnnes and Wilson MacDonald, like Pound, had made their poetic pacts with Whitman in the first decades of the century.' In 1927 and 1930, Ryerson published a sort of Torontonian "Maximus Poem," Nathaniel Benson's Twenty and After and its sequel The Wanderer. Despite the work of Layton, Dudek and Souster at mid-century, the struggle to bring a recognizable speaking voice to Canadian poetry waned in the 1960s, when the myth-formalism of Reaney and Hine and the oracular or quasi-sibylline tones of Cohen and Atwood were strong. Today, poetry in Canada sports a plenitude of uniquely personal voices -what Dennis Lee has recently called the vernacular, "a sturdy, flexible tone, which draws on the resources of daily speech in Canadian English."2 This contemporary situation, which must be considered a net gain, has not been attained, however, without decades of struggle, the beginnings of which are re-assessed in this essay on two minor poets of the '20s, Arthur Stringer and A. M. Stephen. Olson's "Projective Verse" is an appropriate place to begin because of the essay's metaphysics of place. 3 Dating the "revolution of the ear" in 1910, Olson argues that the "place where breath comes from" is a moment of contact between man and nature in which man "achieves an humilitas sufficient to make him of use." What makes Canadian vernacular verse of use to the locality from which it springs is the promise that it will reveal secrets that have gone unheard or that have not been heard often enough in our literature. -
Canadian Literature at Home and Abroad: International Contexts of W.D
Canadian Literature at Home and Abroad: International Contexts of W.D. Lighthall’s Songs of the Great Dominion (1889) and Robert Weaver’s Canadian Short Stories (1960) Carole Gerson he recently published collection of essays, Anthologizing Canadian Literature: Theoretical and Critical Perspectives (2015), enhances editor Robert Lecker’s groundbreaking Tbook, Keepers of the Code: English-Canadian Literary Anthologies and the Representation of Nation (2013), with in-depth studies by other scholars who address the significance of anthologies in Canadian literary stud- ies by focusing on the contents, editing, production, reception, and/ or cultural contexts of specific examples of the genre. Supporting this aspect of Canada’s literary history is the impressive enumerative bibli- ography of English-Canadian literary anthologies, issued by Lecker in 1997 with the assistance of Colin Hill and Peter Lipert, that lists more than two thousand English-Canadian literary anthologies published from 1837 to 1997. In these endeavours, scholars have concentrated on the Canadian contexts of Canadian literary anthologies, exemplified in Janet Friskney’s chapter on the publishing history of this genre, which analyzes the 94.5% of Lecker’s bibliographic entries that were issued in Canada (184). Missing from all of this fine scholarship is attention to the role of off-shore producers of several important national anthologies that owe their existence to the international reach of British publishers. This essay argues that the full story of Canadian literary anthologies requires recognition of non-Canadian instances of their production, best understood in relation to the aims of each volume’s publishing house and the goals of its editor. -
This Issue Is Not Ended Canadian Poetry 8C the Spanish Civil War
Nicola Vulpe This Issue Is Not Ended Canadian Poetry 8c the Spanish Civil War The most striking characteristic of Canadian poetry about the Spanish Civil War is that although it has so little to do with Spain, nonetheless, it is about the war. The reasons for this rather unlikely state of affairs are several. First, with the exception of Norman Bethune who wrote poetry only occasionally, no Canadian poets went to Spain, during the war. Of the 1,448 Canadians who are known to have served in Spain almost all were genuinely working-class,1 and whatever the ideal might be, the reality is, as Leo Kennedy has noted ("DfCP"), most Canadian poets were (and are) from the middle-class. Of the combatants, only Ted Allan and Hugh Garner were to make a mark on Canadian letters, both as prose writers. Canadian poets thus had little or no first-hand knowledge of Spain.2 Second, until the start of the war on 18 July 1936, few Canadians (poets included) knew or cared much about Spain; and during the war what they did know they learned through the war. Spain thus for them quickly became practically synonymous with the war, or, more accurately, with the issues being decided there: its ideological and international (geopolitical) signifi- cance. Third, the Spanish Civil War coincided with two critical events in Canadian poetry, the one literary, the other social and economic: the arrival of modernism in Canada, and the Great Depression. If modernism had reached Canada more than a decade earlier,3 its confirmation was the publi- cation the same year the war began of the anthology New Provinces: Poems of Several Authors,11 and of the first book-length appraisal of modernism in Canadian literature, W. -
The Poems of AJM Smith and FR Scott in the Canadian Mercury
Between Tradition and Counter-Tradition: The Poems of A.J.M. Smith and F.R. Scott in The Canadian Mercury (1928-29) ALAN RICHARDS UBLISHED IN SEVEN ISSUES between December 1928 and June 1929, the contents of The Canadian Mercury disclose the emer- P gence of a modernist aesthetic that was trying to counter a pre- vailing but lifeless strain of the Romantic tradition in Canada, and which would influence Canadian poetry in the middle decades of the twentieth century. In 1982, Ken Norris, in his essay “The Beginnings of Canadian Modernism,” contended that small magazines became “the breeding ground” for modernism’s influence in Canadian literature (57). Earlier, Frank Davey had suggested, in Louis Dudek and Raymond Souster (1980), that literary modernism first materializes in Canada in the work of A.J.M. Smith (1902-1980) and F.R. Scott (1899-1985) who, in 1925, founded and co-edited the McGill Fortnightly Review (160). Brian Trehearne makes clear, however, in his study of the origins of Canadian modernist poetry, Aestheticism and the Canadian Modernists (1989), that the McGill Fortnightly Review gave voice to undergraduate students and, in particular, to their satirical criticism of Sir Arthur Currie and the administration of McGill University (234); it was not a “vehicle in which a number of brave young Modernists published their defiance of the Victorian literary scene” (233). In 1928, Smith, Scott, and Leo Kennedy (b. 1907) launched The Canadian Mercury. Established at a crucial moment in the formation of the McGill group of poets,1 and thus of a significant strain of Canadian modernism, The Canadian Mercury documents a transition between po- etic traditions. -
Editing Canadian Modernism Dean Irvine Dalhousie University
Editing Canadian Modernism Dean Irvine Dalhousie University I. Modernist Editions and Archives Modernist poetry in English Canada would not have a history without its editors. e history of modernism in Canada has largely been that of editors who were also poets and poets who were also editors. Given that so many American and British modernist authors were active in various capacities as editors, it follows that the conjuncture of poetic and editorial practice has long been recognized as a constitutive narrative of Anglo- American modernism (see Bornstein). Although Canada does not really have its own version of Pound editing e Waste Land, the correlation of authors and editors holds true for scholarship on Canadian modern- ists. e once-dominant critical archive devoted to what Brian Trehearne calls the “two Modernisms” (AestheticismAestheticism ) associated with successive generations of poets, editors, and literary magazines in Montreal in the s and s has, in recent years, undergone revision to include mul- tiple modernisms and little-magazine groups located in cities extending from Halifax to Victoria.¹ Because only a handful of modernist poets in Canada published book collections before the s, and because most For overviews of criticism concerning the Montreal modernists of the s and s, see Trehearne, Aestheticism and “Critical.” For a recent study of the wider dispersion of modernist little-magazine communities in Canada, see Irvine. ESC .–.– (March/June(March/June ):): –– relied on little magazines to serve as outlets for their