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A SOCIAL BIOGRAPHY of THOMAS C. CUMMINGS, 1904-1996. by M

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A SOCIAL BIOGRAPHY of THOMAS C. CUMMINGS, 1904-1996. by M COMMUNICATING PLACES, IDEAS AND CANADIAN IDENTITY IN A CHANGING WORLD: A SOCIAL BIOGRAPHY OF THOMAS C. CUMMINGS, 1904-1996. by Mary Bernadette Campeau A thesis submitted to the Graduate Program in the Department of Geography and Planning in conformity with the requirements for the Degree of Doctor of Philosophy Queen’s University Kingston, Ontario, Canada January 2019 Copyright © Mary Bernadette Campeau, January 2019 i Abstract Other than at his birthplace in Pittsburgh Township, Ontario, and his lived-in community of North Bay, Ontario, Thomas Clarence Cummings (T.C.) is a relatively unknown presence in the collectivity of those who have contributed to the representation of Canadian identity at the community, regional, and national levels. Cummings left us a prolific number of statements in several media communicating how he perceived who we were as Canadians in the twentieth century. These are examined through an analysis of several stages in T.C.’s “life-path”: as a youngster on a farm in Pittsburgh Township and as a student in a one-room schoolhouse on Woodburn Road; as a young man in North Bay pursuing a career in education and the initiation of a life-long commitment to international travel; as a volunteer in World War II serving in Atlantic Canada; on his return to teach in North Bay and the resumption of his travels worldwide; as a retired teacher, an active artist, and social critic producing reflexive commentaries on society in a modern and post-modern world. In particular, Cummings’ journals, poems, and artwork are connected to his travels and his commentaries about our evolving Canadian identity and our relationship with a global society. His later allegorical paintings, poetry, and writings expressed his assessment of how Canadian society was being affected by modernity and globalization during his life-time. This thesis examines Cummings’ various messages to demonstrate his appreciation of the complexity of the social landscape in his time, and concludes with an assessment of the significance of his contributions in the context of current priorities and concerns in Canadian society today. i Acknowledgements Since I first became a student at Queen’s University in September 1964, I have enjoyed a wonderful learning experience. I first visited the university as a Grade 13 student at Smiths Falls Collegiate Institute and, on that day, I decided my goal was to walk down the aisle at Grant Hall as a Queen’s graduate. After secondary school, I attended Ottawa Teacher’s College, taught school for two years to receive my Permanent Elementary School Teacher’s Certificate, and then, in 1964, I was accepted into Queen’s by Dean Jean Royce. Dr. Douglas Spettigue was my inspiration for my 1975 Master of Arts with a thesis about Canadian writer, Frederick Philip Grove and he oversaw my introduction to research into literary biography. In subsequent years, whenever I travelled, I attended night school at Queen’s to learn about the culture of the country I planned to visit. Currently, an entirely new group of scholars have had an influence on my later education in the Department of Human Geography and Planning. None can compare with Professor Brian Osborne who is the true definition of a supervisor as mentor, educator, academic, and friend. Dr. Joan Schwartz, my co-supervisor, was the guiding source to demonstrate how Cummings used photography to picture places and shape our perception of the Canadian scene. I would also like to especially thank Dr. Laura Cameron and Dr. Paul Treitz from the Department of Geography and Planning. Dr. Warren Mabee has been very supportive and encouraging during my Ph.D. candidacy journey along with my external examiners Dr. Ian McKay, Dr. Kirsten Greer, and Dr. Deborah Knight. They opened doors and gave a broader, more significant dimension to my research. My initial exposure to the works of Thomas Clarence Cummings was in the attic of his cousin, Helen Acton, at 189 Earl Street in Kingston. My first task was to finish saving Cummings’ ii works for future students. Professor Ian Hodgeson of the Department of Fine Arts at Queen’s University had first recommended preserving Cummings’ works of art and he and Professor Osborne involved the Kingston Historical Society and Kingston Arts Council to begin coding and photographing the 2,500 original sketches. Soon after, I became involved in completing this task by developing Cummings’ negatives, relocating his lost manuscripts, and collecting his poems. Thanks to Jeremy Heil’s guidance, these are now available at Queen’s University Archives. Beyond Kingston, I benefitted much from my research trips to North Bay, Concordia University, and the Banff Centre for the Arts. The archivists, artists, gallery owners, Cummings’ neighbours, students, the staff of the Canadian Legion in North Bay, and professors at Nipissing University have all been helpful in providing me with insightful information about T.C.’s involvement in their community. In such a long journey, it is difficult to mention everyone who wisely influenced and supported me. We all realize that our parents, spouses and family encourage us, and it is from them that we are given the gifts of perseverance, faith and the confidence to finalize such major commitments. All of the above gave me the strength to know who I am, to stand in my own truth, and to do my best in all I endeavour. iii Table of Contents Abstract ............................................................................................................................................ i Acknowledgements ......................................................................................................................... ii Table of Contents ........................................................................................................................... iv List of Figures ............................................................................................................................... vii List of Tables ................................................................................................................................. ix List of Appendices .......................................................................................................................... x Chapter 1: Introduction: Approaching a Social Biography of T.C. Cummings ............................. 1 Chapter 2: Constructing Identity: Theoretical Contributions to Understanding T.C. Cummings .. 6 2.1: The Theoretical Context of Constructing National Identity ............................................... 7 2.2: Experiencing Nationalism: Space, Place, Landscape .......................................................... 9 2.3: Modernity .......................................................................................................................... 15 2.4: Artistic Representations of Identity ................................................................................... 18 2.5: Photography and Identity ................................................................................................... 25 2.6: Reprise: Theory .................................................................................................................. 27 Chapter 3: Methodology and Sources in Constructing T.C. Cummings’ Life-Path ..................... 29 3.1: Cummings’ Life-Path as Social Biographer and Ethnographer ......................................... 30 3.2: Diaries, Journals, Note-Books............................................................................................ 32 3.3: Cummings’ Travels ............................................................................................................ 36 3.4: Cummings’ Personal Library ............................................................................................. 40 3.4.1. Focus ............................................................................................................................ 41 3.4.2. Objects ......................................................................................................................... 42 3.4.3. Dates ............................................................................................................................ 45 3.5: Cummings’ Artistic Creations: Paintings, Sculpture, and Photography ............................ 46 3.5.1. Artistic Influences ........................................................................................................ 47 3.5.2 Sculpture ....................................................................................................................... 49 3.5.3. Photography ................................................................................................................. 51 3.6: Cummings’ Literary Efforts: Poems, Personalised Biographies, and Reflexive Fiction ... 53 3.6.1. Poetry ........................................................................................................................... 53 3.6.2. Gopher Hills ................................................................................................................ 58 3.6.3. Fire on the Sea ............................................................................................................. 60 3.7: Interviews ........................................................................................................................... 62 3.8: Reprise: Methods and Sources ........................................................................................... 64
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