Preface to the 2014 Edition

If wide Internet searching had been available in 1992, when The Fra- grance of Sweet-Grass was first published, I would only have had to scroll through a couple of dozen entries to explore the critical field concerning Lucy Maud Montgomery (1874-1942), respectfully but concise- ly catalogued as a late nineteenth- and early twentieth-century Canadian author. Today, when I enter 'L.M. Montgomery' into the University of Prince Edward Island Robertson Library search engine, I find more than twenty-five thousand items. What has happened to the study of L.M. Montgomery? Why do her works seem to matter still? And, more point- edly, why make freshly available to new and seasoned scholars my critical study of Montgomery's novels, now more than twenty years old? I can sum up my answer to these questions with four concepts: context, confluence, community, and creativity - which may in time prove to be the ones we use to assess what creates a fifth c, classic. I undertook the writing of Sweet-Grass at a very special time in my own life and academic career and was able to do so because of certain cultural forces and opportunities converging at precisely that moment; through that writing, I engage with a growing number of Montgomery readers, fans, and scholars determined to inquire meaningfully, through multiple dis- x Preface to the 2014 Edition ciplines and perspectives, into the ways particular texts impact our lives and the ways we shape virtual and actual communities.1 Creativity has been a focus and will be, newly I think, a distinct focus for Montgomery reading and research in the future. A reading of creative patterns is what 2 makes Sweet-Grass a 'pioneering' text and perhaps a place to begin a critical engagement with Montgomery's novels, even yet. Before I begin to break down my answer into some of its component parts, I want to identify something that motivated me to write this book initially - and that continues to inspire me - about Montgomery's writing: concepts and creative tensions. Montgomery continues to hold my attention because she exploits tensions so well: between realism and romance, sentiment and sentimentality, humour and gravity, exuberance and tranquility, interior and exterior.3 The telling of Anne's story, or for that matter, the telling of Emily's or Valancy's or Pat's or Jane's, is ren- dered through tensions and release of tensions I still find poignant and potent. In addition, I now see my writing about Montgomery and, in the larger picture, even Montgomery's evolving reputation as a writer for different audiences, as manifestations of culturally constructed creative tensions. The writing of Sweet-Grass as an academic book also intended for a popular audience was a declaration of tensions: to defy and at the same time to celebrate. I had earned tenure and promotion along more con- ventional lines before I dared to take a year's leave without pay to write a book from the core of my heart. I would never have used the expres- sion 'core of my heart' then; it would have embarrassed me and fellow scholars who were trying to establish Montgomery as a serious subject for study. With a perspective shaped largely by feminist literary criticism, I was writing for an academic audience I hoped very much would include Montgomery readers and fans curious about their beloved author. I thought the non-academic readers would not be conversant with academic shorthand, which would have made my study sound more accept- ably rigorous and detached. I wanted the title to declare my intention to include non-academic readers and fans; we compromised with a title and subtitle. The light, sentimental sounding metaphor from Montgomery's fiction, 'the fragrance of sweet-grass,' introduces the heavier freight of the subtitle ('L.M. Montgomery's Heroines and the Pursuit of Romance'): the sporadically overpowering and persistently motivating influence of Preface to the 2014 Edition xi a complexly constructed romance in the lives of women, both as readers and as people operating within particular cultural expectations. So, the writing of what was arguably4 the first full-length, single- authored work of literary criticism dealing with all of Montgomery's novels relied on sustaining a tension between (at least) two supposedly different ways of seeing and talking. One of the most inspiring tensions I experience with Montgomery's writing is this simultaneous reading as both life-time fan and literary critic. Pleasure keeps me reading as a fan; curiosity compels me to question and to explore the patterns I perceive within the texts and in my engagement. More than this, I want to know why Montgomery is read by so many different kinds of people in so many different countries. What is there about her creativity that crosses supposed boundaries of culture, gender, and time? What can I learn, and invite others to see with me, about the human brain and mind (and perhaps about the conventionally perceived mind and body split) from assessing her creative works and processes? Because of the volume of her output of fiction and self-revealing non-fiction, and the degree and history of her popularity, Montgomery's writing is, I think, an ideal place for science and the arts together - more fruitful tensions! - to explore creativity itself. In the 2011 preface to his groundbreaking 1993 book Creating Minds, Howard Gardner speculates that we may now be on the 'cusp of important breakthroughs in two areas' where creativity is concerned; one is in artificial intelligence, the other in 'the biological understanding of creativity':

I do not mean that we will discover the genetics of creativity; I believe that creativity is an emergent of individuals 'at promise' when they live in a specified society, with certain values and opportunities. But I do believe that we will discover a good deal about what happens in the brains, as well as the minds, of creative individuals. Perhaps we will discover the extent to which those brains and those minds may have been different from the beginning or, more likely, how they learn and how they make use of what they have learned. And these lessons, in turn, may help us to encourage creativity in a larger portion of the populations, in domains new as well as old.5

Interestingly, a focus on creativity, in studying Montgomery, is exact- xii Preface to the 2014 Edition ly what Elizabeth Waterston suggested in her landmark essay of 1966, which is widely credited with starting what was to become the field of Montgomery studies. In outlining Montgomery's remarkable achieve- ment as an artist, Waterston says, 'If we re-examine her life story and look at her books as in part an unconscious supplement to the biography, we come close to watching the miracle of the creative imagination.'6 Not only was Waterston declaring Montgomery to be worthy of study (no small assertion for an academic to make in 1966), but she was claiming that by studying Montgomery's artistic uses of the archetypal in the everyday, we were 'watching the miracle of the creative imagination,' presumably thereby coming to understand something profoundly human and instructively promising in so doing. Fast forward to 2008, when Elizabeth Waterston published Magic Is- land: The Fictions ofL.M. Montgomery, even the title of which suggests all of Montgomery's writing is fiction - creative narrative, construct. This book was meant to be the literary companion to Mary Rubio's long-awaited biography, Lucy Maud Montgomery: The Gift of Wings, which was also released in 2008. Waterston's study takes up each of Montgomery's novels, just as I did in The Fragrance of Sweet-Grass, but places the writing of each book within the framework of Montgomery's life as a context for their creation. Waterston's highly readable book ends with these comments on biography, art, creativity, and a neuroscience that seeks to understand them:

Biography does not explain the alchemy of art. Readers recognize much more than confession or auto-therapy in the Montgomery novels. They find, for one thing, deep symbolic meditations on art and life, male and female, home and away. Such wisdom is surely not attributable simply to an individual's mood shifts. What she did with her island reveals the mystery of talent, or genius. ... Some day neurologists may trace the flukey heritage path to a Pavarotti or a Thompson, or the genetic thread that gives narrative genius to an Austen, an Aesop, a Montgomery. Meantime, let's call it magic.7

And I think this is exactly - again - where Montgomery criticism is go- ing to go. We will continue to consult the journals, of course, looking at them not just for what she said or did, or did not say or do, but for how she presented those thoughts and doings. We may treat them as fasci- Preface to the 2014 Edition xiii nating fictions, as Elizabeth Waterston's title suggests. So long as we discuss L.M. Montgomery, we will probably debate interpretations of her life and death,8 and we may consider in discussions of her novels, short stories, essays, letters, photographs, scrapbooks, poetry, and journals, circumstances from her life. But I think the most exciting readings of Montgomery to come will be concerned with her creativity, her genius, and these researches will take us right back to the novels, her public productions, her creative sustaining of multiple tensions: the grounding for The Fragrance of Sweet-Grass. When I wrote the introduction to Sweet-Grass more than twenty years ago, I began with an assumption worthy of debate: 'L.M. Montgomery's writing changes people's lives.' That early line may have lost its shock value because it is more widely acknowledged, but the precise reasons for its acceptance and the grounds on which it is accepted are still hotly contested. Why do so many people read her? And re-read her over a lifetime? How does what we have learned from the journals and biographies and fine critical works and newly published and re-published older works change how we - as readers and critics - think about why and how she changes people? What exactly do I mean by 'changes'? Do I still, in 2014, think about Montgomery's novels as I did in 1992? Decidedly 'yes' in most cases, and happily 'no' in a few others. My admi- ration has increased through the years of debates and sharings that Sweet- Grass itself helped to foster. A feminist perspective still informs what I now write, and gender and genre figure in most explorations I undertake. But other tools and others' writings have helped me to question some of my earlier assumptions, among them my relationship to any kind of 'truth' position. I wrote Sweet-Grass when only two of the five volumes of the Selected Journals had been published, and though Mary Rubio and Elizabeth Waterston generously answered any questions I asked, I didn't know to ask some questions. Their joint and independent books must af- fect all subsequent Montgomery assessments, I think. All the discussions engendered by the L.M. Montgomery Institute conferences and projects, and by so many excellent critical studies, have inevitably affected my thinking. Literary criticism itself has changed radically in twenty years, and a vibrant multidisciplinarity has expanded investigations and dis- course. My evaluation of Anne oflngleside (1939) has probably changed most since the 19908; I am astounded by what learning more about Mont- xiv Preface to the 2014 Edition gomery's life circumstances can suggest about the complexities of writ- 9 ing that book. I'm not sure yet how the publication of The Blythes Are Quoted (2009), an important work that must now be recognized as the last book Montgomery wrote in her lifetime, affects my own and others' readings of Montgomery's career, poetry, and perhaps especially Rilla 10 of Ingle side (i92i). Certainly what I learned, subsequent to writing Sweet-Grass and partly because of it, directed me to Montgomery's photography and scrapbooks and further study of patterns of literary and conceptual metaphors and metaphoric shapes and colours. What intrigued me most in 1992 is still what grounds my searching and reading: how Montgomery's writing encourages readers - me - to understand several things simultaneously. In Sweet-Grass, I tried to show how Montgomery's use of romance - with place and nature, home, cou- ples, and with the centred self - is a way of addressing multiple levels of 11 understanding at the same time. If I were writing Sweet-Grass today, in addition to claiming that Montgomery's writing changes people's lives, I would add, more explicitly, that L.M. Montgomery's writing (also) changes people's minds: not their opinions necessarily, but possibly their processes of thinking. Engaging with her writing, I think, can teach re- ceptive readers to read on several levels at once, to experience metaphoric thinking and analogies, and, in so experiencing, possibly increase their capacities to recognize and to create alternatives and choices within their own lives. Studying Montgomery's metaphoric power, her complex creativity, also takes me right back to a close reading of the novels themselves: the grounding for Sweet-Grass. To situate the writing of Sweet-Grass in its own time and in ours as I see it, I want to mention a few of the projects and people I think are key. Irene Gammel and Carole Gerson have presented excellent histories of Montgomery studies. Gammel's introduction to the collection of essays she co-edited with Benjamin Lefebvre, Anne's World: A New Century of Anne of Green Gables, offers a succinct and insightful identification of trends, events, and publications while explaining the importance of using the 2008 centenary year of Anne as a place to pause and reconsider not only that past but also new trajectories and possibilities for scholarship. I will come back to some of her points. In that same volume, Carole Gerson outlines 'Seven Milestones' that have made Anne a 'Canadian Icon.'I2 What I offer below, by contrast, is a selective conceptual framing for my understanding of the growth of Montgomery studies. Preface to the 2014 Edition xv

Personal Context

In 1988,1 was invited to write a review article on Montgomery for Aca- diensis: Journal of the History of the Atlantic Region. The editors were interested to know why such a large number of Montgomery publications seemed suddenly to be appearing, and they wanted me to investi- gate and comment. This sounds straightforward, but the request took me aback at first, and why it did is, I think, important for new readers of The Fragrance of Sweet-Grass to understand. Such was the state of much formal academic criticism at the time, and the state of investigations of Montgomery, that I wondered, 'Who am I to write a review article about Montgomery?' Even though I had come from Virginia in 1969 to be, as it turned out, the first student to register at the newly created University of Prince Edward Island because I wanted to experience Montgomery's real Island; even though Dr F.W.P. Bolger and I had spent two years select- ing, editing, and publishing L.M. Montgomery's letters to her Scottish pen pal, George Boyd MacMillan; even though I read every new book or article on Montgomery I could find, thrilled to become acquainted with the Montgomery-positive pieces of a critic such as T.D. MacLulich13 and generally in the pages of CCL: Canadian Children's Literature / Litterature canadienne pour la jeunesse; even though I read the first two volumes of the Selected Journals immediately when they appeared and reviewed them in print. I had been trained to think of myself as a nineteenth-century British literature specialist researching the works of Anthony Trollope. Reading Montgomery was a vital part of my life, even a guilty pleasure, but not, surely, something I could pursue as more than a sideline in my academic career. Women's studies programs were only just being established in Canadian universities and a feminist perspective was still considered, in some places, a dangerous thing if you wanted to secure tenure and promotion. That the Kevin Sullivan Montgomery serials had appeared on television and that Anne of Green Gables - The Musical had been running for twenty-four years at the Confederation Centre of the Arts in Charlottetown and had toured internationally added to the perception that Montgomery belonged to popular audiences but not to academic ones. There it was: a perceived split between the academic and the popular that was very soon to re-form into a new relationship. But not quite yet, and not everywhere. I ended the review article with this prediction: xvi Preface to the 2014 Edition

Though Lucy Maud Montgomery may not become for scholars and critics the comfortable, solid industry she has clearly become for Prince Edward Island Tourism, she will gain more credibility and be given more generous (and meticulous) criticism as more and more is found out about her and as more of her writing is republished or published for the first time. And as she is discussed more openly and fairly, perhaps the new Montgomery critics will be able to ignore with impunity any residual disdain, embarrassment, or incredulity among their critical colleagues.14

Today, I wouldn't call Montgomery criticism 'comfortable' nor would I call it an 'industry'; but I would say the scholarship is indeed 'solid.' Writing the review article in 1988 galvanized me into action. A year later, I took a year's leave without pay from my university to write Sweet- Grass. Its acceptance by the University of Toronto Press says as much, maybe even more, about the editor, Gerry Hallowell, as it does about the book and its 'time.' Gerry Hallowell bravely, foresightedly perhaps, made that time happen. That a respected editor at a reputable Canadian academic press would even consider the book in 1990 was, I still think, a minor miracle.

Confluence

Looking back, of course the publication of Sweet-Grass seems part of the currents of the time. Discussions of canonicity, demands for revaluing Ca- nadian authors and books amid discussions about Canadian identity, the emergence of women's studies courses and programs, more widespread reading of feminist scholarship, the emergence of children's literature as a field where old assumptions could be sidelined and daring assertions made, the gradual but steady increase in the number of women faculty: these were just some of the forces at work which validated Montgomery scholarship and which were strengthened immeasurably by the appear- ance of the first two volumes of the Selected Journals of L.M. Mont- gomery in 1985 and 1987. Mary Rubio's description of the difficulties of getting those volumes funded and published is a story very much worth reading by anyone who wants to appreciate how the academy's attitude to Montgomery has changed.15 The best Montgomery criticism, arguably, was coming from the University of Guelph, where Elizabeth Waterston Preface to the 2014 Edition xvii and Mary Rubio were. It was also where CCL: Canadian Children's Lit- erature/Litterature canadienne pour la jeunesse was being published, a journal which had already produced a special number in book form in 1976: L.M. Montgomery: An Assessment, edited by John Robert Sorfleet. But this was the academic side of things, primarily. In the popular world of readers and fans, Montgomery's books had been selling - and most of them were still in print - since they first appeared.16 The soon- to-be-released final volume of the three-volume The L.M. Montgomery Reader, edited by Benjamin Lefebvre, offers a sample of over four hun- dred original reviews of Montgomery's books published between 1908 and 1942. Like nothing else, this collection makes it perfectly clear that Montgomery was and remained a popular and respected author among the general reading public, no matter how modernist and academic critics had disparaged her works. In 1960, to this popular audience, Wilfrid Eggleston had presented a sample of Montgomery's letters to pen pal Ephraim Weber, as The Green Gables Letters. To this same audience Dr F.W.P. Bolger and I had directed, in 1980, a larger selection of letters by Montgomery to her Scottish pen pal, George Boyd MacMillan, in My Dear Mr. M. Mollie Gillen had discovered MacMillan's letters in Scotland, and she used them as a basis for her accessible biography, The Wheel of Things, in 1975. And here it seems appropriate to relate a story about one of the early champions of Montgomery, Rev. Dr Francis William Pius Bolger, Prince Edward Island historian and respected history professor. It is precisely because Dr Bolger did not begin as a Montgomery reader or fan that his story is poignant and perhaps suggestive of the larger forces that were converging to make Montgomery studies possible. Father Bolger had grown up believing that Montgomery was a writer for girls, and while her family lines and ties featured naturally in his larger pictures of Island history, politics, economy, and literature, he had not accorded much space to her. Exactly while people beyond and around the Island were questioning assumptions about scholarship itself - what gets put in and what gets left out, especially concerning women and anything popular - Father Bolger was given a gift. A relative of Montgomery discovered in an attic in Cavendish a cache of letters written by her in 1890 and 1891, when she was 15 and 16, to her cousin Penzie Macneill of Cavendish. Mont- gomery was away for the year in Prince Albert, Saskatchewan, visiting xviii Preface to the 2014 Edition her father. Written on the long letter bills of the kind that Emily Byrd Starr prized, the letters are packed with descriptions and insights. They are a remarkable record not only of life at the time but also of a young, observ- ant, self-dramatizing writer who has since become for some synonymous with Canada itself. Young Maud undertook the cross-Canada trip with her senator grandfather, and began that venture by meeting the first prime minister of Canada. Captivated by the content and the style of the letters, Father Bolger then read all of the Montgomery books, finding that the canny observer of fifteen had grown into an incomparable chronicler of Island life, its natural beauty, and especially its people - conveying what historian Alan Wilson today calls a distinctly Maritime 'particularism.'17 I think this conversion of conservative F.W.P. Bolger, from benign indifference to passionate advocacy, suggests just how powerfully the critical times were changing, and he helped them to change. Dr Bolger's 1974 book, The Years Before "Anne", not only transcribes and situates the Penzie Macneill letters, but also recovers many of the poems and stories Montgomery wrote during her youth and apprenticeship. It helped to whet appetites for more about and by Montgomery. Almost at the same time that Bolger's and Gillen's books were appearing, the publisher Fitzhenry & Whiteside decided to issue in book form the only acknowledged autobiographical piece that Montgomery published in her lifetime: The Alpine Path. So while Dr Bolger was filling in gaps in the early Montgomery story, and Mollie Gillen was offering an overview of Montgomery's life as reconstructed primarily from the literary friendship Montgomery had established with a young journalist in Scotland, Mont- gomery was telling her own story, in a colourful and highly self-edited and entertaining form. The Sorfleet Assessment was only a year away. Scholarship and entertainment were flowing together.

Community - The L.M. Montgomery Institute

The founding of the L.M. Montgomery Institute (LMMI) at the University of Prince Edward Island in the spring of 1993 was one of the happiest results of publishing Sweet-Grass. Pleased with its early sales and joy- ous to be rejoining UPEI as a tenured English professor after waiting for sixteen years for a position to open up there, I was dry tinder for women Preface to the 2014 Edition xix

studies professor Beth Percival's spark: 'Isn't now the time to do something about Montgomery on the campus?' I did not know that Adrienne Clarkson, who was at that time sought after as a savvy cultural and media critic and star of CBC'S The Fifth Estate, had recently been advising the Department of Tourism to support the serious study of Montgomery on P.E.I.l8 Since the establishment of the National Park in Cavendish in 1936 because of Montgomery's fame, the tourism emphasis had been largely on Anne and on the house called Green Gables. The Campbells in Park Corner had operated a tour- ist business for years, but even it needed the name of 'Anne' to attract the many who did not know the Campbell-Montgomery-Macneill family connections. The L.M. Montgomery Birthplace in New London was not the thriving place in the summer that it has since become. With the publication of the journals, people were beginning to wonder more about Anne's creator, and new authentic sites opened, such as the Macneills in Cavendish, the Site of L.M. Montgomery's Cavendish Home, where Montgomery spent her apprenticeship and early success as a novelist. The Macneills and Campbells were among the most enthusiastic supporters of the creation of the LMMI. From the beginning, with limited funds and more enthusiasm than material resources, the LMMI was an idea that belonged to and created a community of scholars and fans.19 Since scholars and fans now study Montgomery together so often, it is significant, I think, that the launching of the LMMI was attended not only by prominent scholars Mary Rubio, Elizabeth Waterston, and Father Bolger, but also by lifelong Montgomery readers; members of the extended Island Montgomery, Campbell, and Macneill families;20 and Montgomery's daughter-in- law and granddaughter. The mandate, then and now, of the LMMI is to promote the study and informed celebration of the life, works, culture, and influence of L.M. Montgomery.21 As a body initially funded by the Social Sciences and Humanities Research Council of Canada,22 the LMMI is obliged to create opportunities for the sharing of research, and so we held what turned out to be the first-ever academic conference to focus on L.M. Montgomery. So successful was this 1994 symposium that it grew into a biennial international conference series still running today. It may be impossible to estimate the impact the LMMI has had on Montgomery scholarship and conversations; Carole Gerson numbers it xx Preface to the 2014 Edition among the seven milestones in the creation of Montgomery studies.23 Irene Gammel became a leading Montgomery scholar while at UPEI, and her work with the LMMI (1996-2002) brought a new level of academic professionalism to it and its conferences. Many of the young graduate students who attended and presented at LMMI conferences have since gone on to become publishing academics themselves. The general sub- jects of the LMMI conferences will sound familiar to those who follow the published scholarship on Montgomery: LMM and Her Works; LMM and Canadian Culture; Message in a Bottle: the Literature of Small Islands;24 LMM and Popular Culture; LMM and Life Writing; LMM and Interior and Exterior Landscapes; Storm and Dissonance: LMM and Conflict; LMM, Anne of Green Gables, and the Idea of Classic; LMM and the Matter of Nature; LMM and Cultural Memory; and the 2014 theme: LMM and War. To these gatherings, Mary Rubio, Elizabeth Waterston, and, more recently, Irene Gammel have also directed many graduate students and researchers, keeping the Montgomery conversations academically focused and broadly appealing. The LMMI conferences, from the first, offered a gathering place and time for researchers to meet, to deepen and extend the Montgomery conversation and community. Some of the international participants and readers of Montgomery scholarship came from countries where Mont- gomery had been a popular author for decades. For example, Sweden, Ja- pan, and Finland had large Montgomery readerships with fans becoming scholars who wanted to analyse and share Montgomery research. A huge Montgomery readership in Sweden was established when Anne of Green Gables was translated into Swedish in 1909, just one year after its initial publication in Boston. In 1994, Gabriella Ahmansson, an internationally recognized Montgomery authority and charter member of the LMMI, told the story of five generations of Swedish women who grew up with Anne as friend and inspiration.25 In 2009, she and recent Montgomery PhD graduate Asa Warnquist organized an international Montgomery symposium in English, at Uppsala University in Sweden, to commemorate the Swedish centenary of Anne, inviting talks from (among others) Mary Rubio, Elizabeth Waterston, Irene Gammel, Benjamin Lefebvre, and myself, all veteran LMMI presenters. The story of Japanese interest in Montgomery is well known: a New Brunswick missionary, Loretta Leonard Shaw, gave to her fellow teacher Preface to the 2014 Edition xxi and renowned translator, Hanako Muraoka, her copy of Anne of Green Gables when foreigners were expelled from Japan in 1939. Muraoka's translation,26 made available to the public in 1952 when educators were looking for something upbeat and Western to introduce into the schools, is still in print and its differences from newer translations provide Jap- anese women scholars, such as Yoshiko Akamatsu, Yuko Katsura, and the late revered Yuko Izawa, with much to analyse, to reconsider, and to share with LMMI conference-goers as well as in Japanese and English publications. UPEI graduate and native Islander Mary MacDonald-Rissanen discovered while living and teaching in Finland how eagerly generations of Finnish girls and women had been reading the Anne and Emily books. She urged two Finnish journalists to share, at an LMMI conference, high- lights of their hundreds of interviews with Montgomery readers.27 The LMMI conversations ripple outward and back. An emblematic moment: L.M. Montgomery's daughter-in-law and granddaughter listen with rapt attention during a special convocation in the fall of 2004 at the University of Prince Edward Island. Her Imperial Highness, Princess Takamado of Japan, just presented with an honorary degree, is speaking. After her mesmerizing talk about the power of Anne in Japan to give hope, HIH Princess (Dr) Takamado is invested by Dr Gabriella Ahmansson of Sweden as the Official International Patron of the L.M. Montgomery Institute. At the reception afterwards, HIH Prin- cess Takamado discovers a Japanese artist friend she has in common with Montgomery scholars Terry and Mark Kamikawa, owners of the Blue Winds Tea Room in New London, P.E.I., who have made their home on Prince Edward Island because of their love for Montgomery's writing and who are active supporters of the work of the LMMI.

Community - Some Fan/Scholar Bases

The customary border between 'fan' and 'scholar' can be meaningless concerning study of Montgomery's writing and life. Some begin as fans and become scholars; others are scholars and become fans. Scholars paid and unpaid work together. For example, one of the most conspicuously creative long-time Montgomery fan clubs, based in Minnesota, is also now providing invaluable scholarship. The L.M. Montgomery Lit- xxii Preface to the 2014 Edition erary Society hosts the informative 'Shining Scroll' website.28 One of the Minnesota group's founders, Carolyn Strom Collins, was one of the presenters at the first LMMI symposium in 1994 and has continued to contribute to knowledge about Montgomery's writing and life through conferences, online essays, and in print.29 Fellow member Mary Beth Cavert is completing a book on Montgomery's book dedications, and is working with Scottish Montgomery scholar Jennifer Litster (who, as a graduate student, worked with Mary Rubio and Elizabeth Waterston) to produce a complete edition of Montgomery's letters to George Boyd MacMillan, a very small sample of which Father Bolger and I selected in 1980, when things Montgomery did not yet have a large enough audience to support complete scholarly editions.30 Also among the Minne- sota group are Christy Woster, Montgomery collector and indefatigable sleuth, and her daughter Emily Woster, now an academic. Emily Woster, while still an undergraduate at an American college, became the young- est person ever to present a paper at an LMMI conference. She is currently a new academic at an American university, having recently completed a PhD on Montgomery's reading. In late October 2013, I received an email from Elizabeth Waterston attaching the glowing Times Literary Supplement review of the second volume of the Complete Journals?1 The email was sent to those Water- ston wanted to thank for help with footnotes and fact finding. Four of the eight people on the recipient list were originally from the Minnesota group: Cavert, Collins, and Emily and Christy Woster; two of the others, Jennifer Litster and Benjamin Lefebvre, work online with the Minnesota scholars (in addition to sharing LMMI conference time with them) and rely on their individual and collective talents for meticulous searching and creative problem solving. Montgomery circles have interesting ways of expanding and completing themselves. Another more recent fan group of astounding activity and resolve is based in Leaskdale and Uxbridge, Ontario, under the name of the LMMSO - the L.M. Montgomery Society of Ontario. They have purchased and restored St Paul's Presbyterian Church in Leaskdale, the parish church to which the Rev. Ewan Macdonald brought Montgomery as his bride in 1911. The Leaskdale Manse, across the street, was declared a Na- tional Historic Site in 1997, thanks in large part to the society's efforts, and is being restored inside and out to resemble the house as it was in Preface to the 2014 Edition xxiii

Montgomery's fifteen years there. In 2008 the LMMSO hosted readings from several of the new Montgomery-focused publications as well as presentations for school children and the public. In 2011, to celebrate the centenary of Montgomery's arrival in Ontario, the LMMSO put together a conference with popular events aimed at school groups and the general public and a full roster of scholarly presentations. The executive of the LMMSO has presented as a group at LMMI conferences and has done much to raise awareness of the connections between Ontario and Prince Ed- ward Island - and to keep readers and scholars aware of the Canada-wide and international importance of Montgomery sites and presence. Like the scholars and fans who share their ideas and writing through the LMMI, and of course well beyond it, the archives and collections of Montgomery materials also share their resources. In 2002, the Confeder- ation Centre of the Arts Gallery and Museum was successful in drawing together Montgomery resources from its own archives and from the collections at the National Archives, the University of Guelph Montgomery Special Collection, the Lucy Maud Montgomery Birthplace Museum, and the LMMI to digitize and create a Virtual Museum of Canada exhibition entitled 'Picturing a Canadian Life: L.M. Montgomery's Personal Scrapbooks and Book Covers.'32 In 2005, one of Canada's gifts to Japan Expo was to add a Japanese translation to the English and French ver- sions of this site.33 Four internationally renowned Canadian writers (Margaret Atwood, Alice Munro, Jane Urquhart, and P.K. Page) have suggested in afterwords to Montgomery novels34 why they think Montgomery's appeal is so broad and long-lasting. While they identify the patterns of her successful orphans, Anne and Emily, with classic literary stories such as Jane Eyre and David Copperfield, they attribute her lasting appeal to the way she uniquely mirrors in her people and landscapes life as it was and is, and also life as she wished it - and we wish it - to be: hearts can open, love can transform the everyday (or the thwarted) into the extraordinary, beauty may thrive within a firmly rooted commonplace. Munro, Atwood, and Urquhart read and re-read Montgomery when they were girls, and it is Montgomery's passion for writing, perhaps, as much as any one story or character, that inspired them to pursue and later to analyse, and share, their own need to write. Montgomery's creativity, I suggest, encourages creativity and connection. Jane Urquhart, who has served as writer-in- xxiv Preface to the 2014 Edition residence with the LMMI, also connects scholarship and creative writing in her 2009 biography L.M. Montgomery, she dedicated the book to her former teachers, Elizabeth Waterston and Mary Rubio.

Context, Confluence, Community - Currently

With more and more databases and full texts made available to readers internationally, and with fan sites and research sites available for studying Montgomery online as well as through printed books and articles, and with international conferences, the difficulty now with Montgomery studies is to keep up. Publication of new Montgomery materials - including essays, letters, scrapbook pages, photographs, and even her last completed book, The Blythes Are Quoted - challenge readers to follow periodicals and online Montgomery sites regularly.35 The LMMI continues to operate, through the Robertson Library of UPEI, with modest means but enormous energy borrowed from volunteers and splendid donations of Montgomery materials.36 Meanwhile, the L.M. Montgomery Collection in the Archival and Special Collections of University of Guelph Library - home base and brainchild of Mary Rubio and Elizabeth Waterston - houses the largest collection of Montgomery materials in Canada and the world, many key items of which were acquired from L.M. Montgomery's son, Dr Stuart Macdonald, and his estate.37 More recently, Dr Irene Gammel founded the Centre for Modernist Popular Literature at Ryerson University, with a focus on Montgomery's work, and has introduced many recent graduate students to Montgomery research.38 Volume two of The L.M. Montgomery Reader provides an overview of Montgomery scholarship and a representative sample of the 'critical heritage' of Montgomery scholars. Perhaps it is enough to point out here that since the publication of Sweet-Grass and the establishment of the LMMI conferences, some eleven volumes of essays on Montgomery have been published.39 Add to these the single articles and reviews that have appeared in years of issues of CCL: Canadian Children's Literature', or a collection such as Windows and Words, which was edited by Aida Hud- son and Susan-Ann Cooper and was based on the Canadian Children's Literature Symposium held at the University of Ottawa in 1999 and features Montgomery in almost half of the essays. And then add again Preface to the 2014 Edition xxv the reviews and essays in other academic journals devoted to Canadian literature, women's writing, and children's literature. To this scholarly publishing, add a vibrant popular press with dozens of articles about Montgomery and Anne and a cyberspace network buzzing with opinions and information about Montgomery and you have a very wide community of Montgomery fans and scholars. This energy was concentrated into a firework explosion in 2008 - the 'Year of Anne' - which saw the publication of a major biography, two full-length critical studies, Mont- gomery's first-time-ever-printed-in-colour scrapbooks with annotations, and media hype around an authorized Anne of Green Gables prequel, creating a staggering amount of material to consider. Any current discussion of Montgomery and Montgomery scholarship needs to take into consideration the 'Year of Anne' and the media hype generated through conferences, exhibitions, special ceremonies, publications, and tourism programs and packages. Penguin Canada won a publishing award for its media strategies that year, creating a national i oo Years of Anne campaign that included letter-writing contests, readings, and, of course, a huge launch in Toronto for the three Montgomery books it was publishing: a facsimile reprinting of the L.C. Page June 1908 first edition of Anne of Green Gables', the Montgomery heirs' authorized prequel of Anne, entitled Before Green Gables, by award- 40 winning author Budge Wilson; and Imagining Anne: The Island Scrap- books of L.M. Montgomery, with full-colour reproductions of personal scrapbook collage pages which I selected and annotated. The Canadian mint launched a commemorative quarter; Canada Post launched (another) Anne stamp; Ryerson University had a series of events in April; Leaskdale had its readings; the University of Guelph hosted a special scholarly conference in October (since the LMMI had had its customary biennial slot at the end of June) and Mary Rubio curated an exhibition at the University of Guelph using materials from that library's L.M. Montgomery Collection. The LMMI'S conference was accompanied by two exhibitions at the Confederation Centre of the Arts: Irene Gammel's multimedia exhibition panels and specially created video to accompany her book Looking for Anne and a full-wing exhibition that I put together of Montgomery's photographs, manuscripts, international first editions, and memorabilia entitled 'Imagining Anne: Celebrating the Creation and Centenary of L.M. Montgomery Classic, Anne of Green Gables'41 xxvi Preface to the 2014 Edition

In 2008, Mary Henley Rubio published the Montgomery biography that scholars and fans had been eagerly awaiting for twenty-five years. Shortlisted for the most prestigious non-fiction prize in Canada, The Gift of Wings is meticulously researched, authoritatively written, and impres- sive in its scope. While I do not share Mary Rubio's trust in a medical model as a perspective for analysing Montgomery's writing and creative impulses, I acknowledge readily that her reconstruction of contexts and probabilities make this deservedly a book against which future portraits 42 of Montgomery will be assessed. Elizabeth Waterston's Magic Island, using the contexts of Montgomery's life stories to look at the novels, rounded out the most prominent 2008 publications. No one works on Montgomery now without working also with materials Mary Rubio and Elizabeth Waterston have edited and written. Irene Gammel and Benjamin Lefebvre's Anne's World identifies the 2008 celebratory year as a watershed in Montgomery criticism. Gammel describes their collection's purposes as 'two-fold: to consolidate a vast amount of information, carefully tracing the previous scholarship and signalling extensions; and to establish new points of departure' and 'new domains of study for future research.' The essays are meant to 'engage a broad range of interdisciplinary perspectives, including geography, fash- ion, ethics, clinical psychology, film studies, new media studies, early childhood education, and translation studies' by 'mobilizing feminist, cultural, historical, spatial, educational, and psychological theories.'43 Whether or not the 'new departures' do indeed create trajectories that open new conversations and contexts will be decided by new generations of critics, of course, but the very act of gathering together and 'tracing' previous scholarship in order to signal 'extensions' suggests how robust the critical study of Montgomery is.

Current and Classic

We can trace the field of Montgomery studies from Elizabeth Waterston's essay in 1966 right through to her Magic Island in 2008 and on again to the two volumes of the Complete Journals, which she edited with Mary Rubio, published in 2012 and 2013. In linking the life and the novels and suggesting that readers will want to read one to know the other, Water- Preface to the 2014 Edition xxvii

ston presciently established a path for critics. It seems rare now to read an essay that does not quote the journals or somehow use details from and about Montgomery's life to situate an argument convincingly or lend authority to a speculative point. While Gammel, among others, argues that the journals are Montgomery's 'truly modernist masterpiece'44 some others may think that especially with so many letters, photographs, and scrapbook pages in the mix along with the journals, we may get a few too many details about Montgomery's life.45 A greater danger than having too many details about Montgomery's life to consider, perhaps, is in reading the journals as though they are a last word and not also works in progress, a personal progress that ended when Montgomery died, not when the journals were published. Barbara Carman Garner may be warn- ing us of a tendency to misread the journals as 'sequels to her life': 'the journals are only "sequels" in that they were published posthumously, and may not represent reality or the final word, as most critics who write about the tension between the inner and outer lives of Montgomery argue.'46 What interests me most is where scholars and readers position themselves in relation to the fiction and the (supposed) non-fiction. Do they read the journals and other life texts as the ground of understanding and the novels as extensions of (or contrasts with) what they find in her life? Or do they read the novels as the ground for investigation and the life-texts as sup- plementary background? Or do they negotiate between and among these positions, privileging some comments and patterns from each in a fluidly negotiated reading? Whether or not a 'tension between the inner and outer lives' is inap- propriately over-read, and the critical debates will continue to sift this, it is almost impossible to read the journals without being struck by it. The inner and outer (private and public) tension is also allied to other forms of contrast - most commonly, dark and light. The October 2013 Times Lit- erary Supplement review of the second volume of the Complete Journals begins with this contrast between the novels and the journals: 'The first remarkable thing about L.M. Montgomery's Journals is their darkness, their enormous distance from the sunny world of her novels.'47 As Jean Mitchell says, 'Public enchantment and private discontent characterize the storm, dissonance and conflict of Montgomery's work and life.'48 Reading the seven volumes of the journals together with letters, pho- xxviii Preface to the 2014 Edition tographs, and scrapbooks, makes even the question of what constitutes 'inner' and what constitutes 'outer,' for a writer so aware of audience and capturing drama, almost impossibly complex. Tensions and contrasts in general characterize the scholarship, how- ever divergent may be the perspectives and methodologies (Romantic, modernist, post-modernist, feminist, deconstructionist, reader response, newly reclaimed New Criticism, historical, psychological, anthropo- logical, economic, environmental, cognitive linguistic, eco-feminist, neuroscientific, to name but a few of the strategies pursued in the eleven collections of essays since 1992), because tensions underlie Mont- gomery's preferred narrative and descriptive patterns. Contrasts and tensions are vital, I think, to her uses of metaphor, of how she suggests multiple meanings and levels of meaning (consciously and unconscious- ly). The levels may be ironic subtexts, what Mary Rubio described as strategies for 'subverting the trite,'49 and they may be parallels and alternatives, metonyms and personifications that encourage readers to perceive one thing (a house, a brook, a bend in a road) as many other things simultaneously. The landscape descriptions, for example, can be inter- preted on so many different levels: as generic and infinitely individu- alizable and 'portable,' as Fiamengo argues;50 as safely signalling the erotic fantasies of girls, as Irene Gammel has suggested;51 as stimulat- ing multiple complex cognitive processes involved in reading and healing;52 as sites for perceiving gendered conflicts in a 'highly contested' concept of 'nature' that makes Nancy Holmes claim Montgomery as a 'protoecofeminist writer.'53 Montgomery repeats. Like Anthony Trollope, she uses repetition as a narrative strategy, perhaps because she saw in patterns that repeated. In that same recent TLS review of the Complete Journals quoted above, Faye Hammill notes:

Montgomery's repetitions reveal her obsessions. She interprets her emotional experience through descriptions of landscape, trees, and weather, and this results in a cyclical, seasonal patterning. Even the photographs she pasted in, which are all reproduced in this edition, show up the recursive tendency of her mind as well as her intense attachment to place. The same image of her beloved bedroom ap- pears seven times, and her favourite outdoor spot, "Lover's Lane," is illustrated over and over. Preface to the 2014 Edition xxix

In Montgomery's fiction, I think the landscapes are emotions; the sea- sons are our lives; the photographs create a parallel narrative, repeating in metaphoric shapes what the words also express. Repeating a story in different forms, she is also suggesting multiple readings of a single image. Repeating myself, I note that the opening 148-word sentence in Anne of Green Gables uses the brook to articulate several voices and levels of meaning in Avonlea: that sentence is typical of the book and of Montgomery's creative imagining.54 Creative tensions - within and among the stories in the works, between the stories and their creator, between the creator and the created and the readers: creative tensions illuminate different contexts and relationships. I suggest Montgomery's genius is for the relational: interactions between and among people, ideas, concepts, positions, levels of meaning. Within the context of Anne's story or Emily's or any of Montgomery's heroines', the tension between imagined romance and everyday reality is palpable. In every Montgomery novel, 'beauty is home' is a central, organizing (though unwritten) metaphor that is also part of each novel's tensions between what is and what might be; the unspoken metaphor is also conjured repeatedly through descriptions, especially of the land. There are patterns in Montgomery's narratives, patterns in her favourite images, patterns to the tensions themselves. And when I, as a critic and lifelong reader of Montgomery, recognize these patterns resonating between the telling of the story of her life and in her acknowledged fiction, I suggest I am on to something important not just about Montgomery (though that would be enough) but also about creative genius itself. How do we recognize this creative genius? By increasing and repeating expo- sure to the patterns or ideas or images of genius, can I generate or affirm something in myself or my life? What does an acknowledged classic suggest to us about genius? Even this identification of 'classic' is, as Irene Gammel points out, contested ground: 'Anne was born by merging the "popular" with the "classical," which is perhaps an apt signal to alert us to the ways in which these categories are constructed and contested, as Anne circu- lates as a "classic" into a second century.'55 I suggest a classic - and the writing of what we choose to call a classic text - is full of the creative tensions that define and expand our humanness and our relationships. Perennially popular Montgomery offers so many choices of contexts in xxx Preface to the 2014 Edition which to consider where tensions can be negotiated creatively. I think relational creativity is Montgomery's hallmark, her sustaining and abiding genius. When I wrote The Fragrance of Sweet-Grass, I was intrigued by the repeated patterns in Montgomery's narratives; I used romance as a metaphor whose multiple meanings and expressions are surprisingly con- nected and repeated. I was interested in what she chose to highlight and to repeat especially as they had an impact on (my) questions of gender and genre. I was interested in subtexts and ironies and how the patterns of descriptions and poetic interludes about natural beauty featured in the development of character and dilemma. I had not yet read theories about conceptual metaphors, nor could my delving at the time have been informed by developments in neuroscience. I had not speculated that Montgomery's preferences for colours and certain shapes could offer any clues to her creativity. What little I knew about synaesthesia came from the Romantics and I knew nothing about eco-feminism. But this is the wonderful thing about reading and studying Montgomery: because she was such a complex and creative person, interested in so many things and bringing them into her daily life or her imagined lives, there are always new questions and new contexts to explore, on my own and with others. Studying Montgomery's photographs took me to conceptual metaphors as well as to metaphoric shapes as parallel texts.56 Counting the sunset and twilight descriptions for Sweet-Grass, which suggested something to me about the careful way Montgomery chose to make key events stand out similarly in pattern, much later led me to question Montgomery's uses of colour, the physiology of that use as well as the psychology and artistry of it.57 Montgomery continues to speak to new generations of scholars, with their own assumptions to question and to assert.58 The fragrance of sweet-grass' as a metaphor suggests the elusive power of romance to enter and to sweeten our lives. This elusiveness matters not just as it pertains to romance but because romance is a metaphor for an altered and heighted state of consciousness (perhaps love itself, perhaps inspiration). Fragrance, involving a sense that grounds memory and meaning, suggests the in-body humanness of our responses to this sensory world and our interactions with it. Sweet-grass suggests rarity and also that which is of this earth. By linking a concept - romance - with a Preface to the 2014 Edition xxxi

sensory experience we are reading on several levels at once, and we are also effortlessly following the story of Captain Jim and his memories of his mother and his love for Anne. Metaphors - conceptual59 and literary - matter because they indicate culturally constructed states of mind and assumptions, and they come directly out of our lived bodily experience. As Lakoff and Johnson assert, individual metaphors may be rooted in particular cultures, but metaphoric ability is universal.60 To underestimate metaphor is to minimize something profoundly of the mind and of the body that connects us as human beings. Tracing Montgomery's characteristic metaphoric patterns may enlighten us about her humanness and her genius; such enlighten- ing may even increase our own consciousness and abilities. Simply to read her with willing engagement, much less to study the assumptions detected in the preferences for repetitions and for the negotiations of contrasting states, is, I think, to practice and extend our own metaphoric ability, giving us more choices of perspective, more choices of action and reaction, in short, to enlarge our living. Montgomery's patterns of metaphor connect people to themselves and to each other. Irene Gam- 61 mel began Anne's World with 'Anne is an liber-connector' and I agree because Montgomery herself is the 'liber-connector' with a genius for relational creations. I could not now write The Fragrance of Sweet-Grass as I wrote it more than twenty years ago. Then, writing against the academic grain, I was bent on proving Montgomery's worth and artistry. Now, her worth and artistry are taken for granted by many - and I hope this study contributed and continues to contribute to that change of estimation. I will let Sweet-Grass stand as a product of its time in history and in my life. I am still drawn by much of what I tried to describe in the final lines of the epilogue. Now I might identify and define 'romance' and some cultural tensions differently, but I will spend the rest of my life wondering just how Montgomery perceived and created those tensions and inspired others to perceive and recreate them. And so now, as then, I am questioning how I 'separate Montgomery's confinements by genre and expectations from her liberations of imagination and perception' while I continue to 62 discover a passion for living, for the meaning in life, she inspires me to experience for myself. xxxii Preface to the 2014 Edition

Acknowledgments

I can never adequately thank Ruth Macdonald, David Macdonald, and Kate Macdonald Butler for all their personal support and for their nu- merous contributions to the L.M. Montgomery Institute (LMMI) at the University of Prince Edward Island, which have enriched Montgomery studies, and my own work, immeasurably. Sally Keefe Cohen, their am- bassador, has been good to me in too many ways to name. It has been a privilege to serve on the Anne of Green Gables Licensing Authority Inc. (AGGLA), which is owned by the heirs of L.M. Montgomery and the province of Prince Edward Island, since 1994. To Gerald Hallowell, the University of Toronto Press editor who championed Sweet-Grass in 1990, and to Siobhan McMenemy, my current UTP editor and guide through several scholarly ventures now, I offer my sincere thanks. Gerry and Siobhan: your kindness and acuity give me hope for the future of academic presses. A special thank you to Frances Mundy for help with several projects and to Lisa Jemison for helpful advice about this preface. In recent years Donna Jane Campbell has established and developed the Ryrie-Campbell Collection within the LMMI archives, housed in the UPEI Robertson Library. Studying this collection will inspire generations of Montgomery scholars, as it has me. It is impossible to write anything about Montgomery now without ow- ing a debt to Mary Henley Rubio and Elizabeth Hillman Waterston. I thank them for years of generosity with ideas and opinions, and for sharing contacts and scholarship so readily. I am grateful for their support for republishing my work. I am indebted to Dr Francis W.P. Bolger for inviting me to share his Montgomery work more than thirty years ago, and then for supporting the LMMI. It is a privilege to know that our joint work on Montgomery will be preserved and augmented through two favourite scholars, Mary Beth Cavert and Jennifer Litster. I am grateful to Irene Gammel for anchoring Montgomery studies in Ryerson University. On Prince Edward Island and at UPEI, my Montgomery debts are le- gion; I will mention only a few. I thank John, Jennie, and now David Preface to the 2014 Edition xxxiii

Macneill for their unfailing hospitality and friendship. The restoration and dedication of the Site of L.M. Montgomery's Cavendish Home, as the centrepiece of the National Historic Sites designation, is a gift to Canada and to the world. I thank George and Maureen Campbell for car- rying on the Campbell family tradition of welcome to all Montgomery scholars and fans. At the Confederation Centre of the Arts, I am especially grateful to Kevin Rice, Director of the Art Gallery, one of the most generously creative people with whom I have had the pleasure to work. I thank Jean Mitchell - a native Islander and life-time Montgomery reader who is sharing her fine mind with Montgomery studies. I am grateful to Robertson Library's chief librarian, Mark Leggott, for adopting the LMMI. Thank you, Simon Lloyd, for the professional care and personal attention you give to the Montgomery materials entrusted to the LMMI. It is a great pleasure to know that my former beloved professor and col- league, Frank Ledwell, has such a brilliant daughter (Jane) who, along with her mother and siblings, carries on the family tradition of helping others to appreciate what the best of Islandness means. The networking vital to Montgomery studies, including the LMMI and its international conferences, would probably not exist without the Social Sciences and Humanities Research Council of Canada. If gratitude were dollars, arts researchers would be rich. In alphabetical order, I thank the following for key contributions to my Montgomery work and understanding: Lesley-Anne Bourne, Patri- cia Campbell, Mona Clay, Elizabeth DeBlois, Moira Devereaux, Tracy Doucette, Lorna Drew, Carolyn Epperly, Judy Epperly, Terry Kamikawa, Jessica Brookes Parkhill, Lottie Phillips, Cathy Ryan, Dea Sagnella, and Budge Wilson. I offer deepest personal thanks and love to Anne-Louise Brookes, most astute and most trusted critic.

NOTES

1 For example, a group of women artists, activists, writers, readers, and academics meet regularly in St. John's, Newfoundland, to read and discuss papers. Inspired by Montgomery's writing, the organizers named the group The Blue Castle: Conversa- tions on Women, Culture and the Spaces of the Imagination. 2 I borrow the word from Gabriella Ahmansson's 2009 'Preface to the Facsimile Edition' of her 1991 feminist reading of Montgomery. I echo also her reasons for xxxiv Preface to the 2014 Edition

leaving the text as it originally appeared: 'It will remain a pioneering effort and the flaws and inconsistencies that it contains, especially in the light of later research, are an integral part of its scope and originality.' 3 Jean Mitchell identifies 'shadows and light,' 'embracing the everyday and crafting cosmopolitanism,' and 'place and displacement,' as organizing themes in the publication she edited that was inspired by the 2006 LMMI conference of the same name: Storm and Dissonance: L.M. Montgomery and Conflict. 4 I did not know, until my book was in press, that Gabriella Ahmansson, in Sweden, had completed and defended a doctoral thesis on Montgomery at Uppsala Universi- ty in 1991, with none other than Elizabeth Waterston as the official, sword-wielding, external examiner. I also did not know that Genevieve Wiggins from Tennessee was publishing a bio-critical Twayne series book on Montgomery, which also appeared some time in 1992. 5 Gardner, Creating Minds, xx-xxi. 6 'Lucy Maud Montgomery 1874-1942,' 199. 7 Magic Island, 220. 8 Reactions blazed in the press, in 2008 especially, concerning Montgomery's possible suicide. It is instructive to read L.M. Montgomery's granddaughter's Globe and Mail article that began the furor (Kate Macdonald Butler, 'The Heartbreaking Truth about Anne's Creator,' Globe and Mail, 20 September 2008, Fi, F6) alongside Mary Rubio's discussion in The Gift of Wings (575-79), and then consider Rubio's essay 'Uncertainties Surrounding the Death of L.M. Montgomery' in Ledwell and Mitch- ell, Anne around the World, 45-62. 9 In addition to the Selected Journals, see Rubio and Waterston, 'Untangling the Web,' in Gammel, The Intimate Life, 273-90. 10 Noreen Golfman ends 'Bleak Island,' her 2009 review of The Blythes Are Quoted, with this positive assessment: 'These are not sunshine sketches of little town life so much as darkening narratives in which humans are up against their own weaknesses and fears, anxieties and delusions. This fine and respectful collection will sustain and enhance the Montgomery legacy, deservedly so.' See the 2010 'restored' edition of Rilla edited by Benjamin Lefebvre and Andrea McKenzie. 11 In introducing the 1994 collection of essays entitled Harvesting Thistles: The Textu- al Garden of L.M. Montgomery, Mary Rubio explained that subtextual ironies give bite and currency to Montgomery's apparent romances. While seeming to provide marriages and happy endings, Montgomery, she says, 'found strategies for writing on two levels at the same time' (5). 12 Gammel, 'Introduction: Reconsidering Anne's World,' in Gammel and Lefebvre, Anne's World, 3-16; Gerson, 'Seven Milestones,' in Gammel and Lefebvre, Anne's World, 17-34. 13 'L.M. Montgomery and the Literary Heroine' in CCL: Canadian Children's Litera- Preface to the 2014 Edition xxxv

ture/Litterature canadienne pour lajeunesse and 'L.M. Montgomery's Portraits of the Artist' in English Studies in Canada. 14 'L.M. Montgomery and the Changing Times,' 185. 15 See '"A Dusting Off: An Anecdotal Account of Editing the L.M. Montgomery Journals' in Buss and Kadar, Working in Women's Archives, 51-75. 16 Clarence Karr's book Authors and Audiences is most helpful for understanding the sales of Montgomery's books in relation to those of her direct contemporaries such as Arthur Stringer, Robert Stead, Ralph Connor, and Nellie McClung. 17 In Dr Alan Wilson's fall 2013 lectures on Maritime history at the Mahone Bay Centre in Nova Scotia, he introduced a very useful concept that he has developed through his academic career. He has coined 'particularism' to characterize the deeply influential received assumptions - economic, religious, political, familial - that contribute to the ingrained practices and beliefs of communities in the Canadian Maritimes, reflecting their characteristic historical diversity. See also his book High- land Shepherd: Rev. James MacGregor, 1759-1831, forthcoming from the Univer- sity of Toronto Press. 18 The Right Hon. Adrienne Clarkson addressed the new LMMI, wrote a foreword for L.M. Montgomery and Canadian Culture, provided text for the CD-ROM The Bend in the Road, became the Honorary Canadian Patron of the LMMI while she was gov- ernor general, served on the International Advisory Board of the LMMI, and wrote a foreword for Imagining Anne. 19 I presented the proposal for the institute to the UPEI Senate in the fall of 1992 under the names of Dr Elizabeth Epperly, Dr Elizabeth Percival, Dr F.W.P. Bolger, and Dean Robert Campbell. We secured Social Sciences and Humanities Research Council of Canada funding, and the LMMI was officially launched in April 1993.1 was its first chair (its structure has since changed) and official spokesperson. 20 The Campbell family owns and operates the Anne of Green Gables Museum and the historic family home called Silver Bush; the Macneills have preserved the sand- stone foundation and cellar of the Macneill home where Montgomery wrote Anne of Green Gables, and the surrounding fields she captured in so many landscape descriptions. The Macneills operate the Site of L.M. Montgomery's Cavendish Home. 21 See http://www.lmmontgomery.ca. 22 At the time, small universities were given three-year grants, as start-up funds, to promote research partnerships or institutes. We were fortunate to persuade the university Senate (against competition) to give the guaranteed grant money to our proposal for the LMMI. Had such a grant not been available to UPEI, it is doubtful the LMMI would have been founded or certainly not within the first year of my rejoining the UPEI faculty. 23 'Seven Milestones,' in Gammel and Lefebvre, Anne's World, 28-9. 24 Run jointly with the Institute of Island Studies at UPEI. xxxvi Preface to the 2014 Edition

25 See '"Mayflowers Grow in Sweden Too,'" in Rubio, Harvesting Thistles, 14-22. 26 Gerson directs us to Sean Somers' corrective about 'Muraoka Hanako' and Kake- gawa Yasuko's intentions with their translation: 'Anne of Green Gables/ Akage No An: The Flowers of Quiet Happiness'; Gerson, 'Seven Milestones,' in Gammel and Lefebvre, Anne's World, 25. 27 Ahola and Koskimies, 'Love and Controversy for Over Eighty Years,' in Mitchell, Storm and Dissonance, 238-44. 28 The L.M. Montgomery Literary Society publishes its 'Shining Scroll' newsletter on http://home.earthlink.net/~bcavert/. 29 Today, Collins is a key organizer behind the Friends of the L.M. Montgomery Insti- tute, raising funds and awareness concerning the ongoing acquisition, conservation, and study of Montgomery materials. 30 Montgomery's letters to Ephraim Weber, beyond those published as the Green Ga- bles Letters in 1960, have been produced in a full scholarly edition by Hildi Froese Ties sen and Paul Gerard Ties sen as After Green Gables. 31 Faye Hammill, '"Something wild and sweet and unutterable,'" Times Literary Sup- plement. 32 The exhibition is accessible at http://lmm.confederationcentre.com. 33 Building on the new media experience of working with Anne-Louise Brookes and Deirdre Kessler in 2000 to create the CD-ROM The Bend in the Road, I served as principal writer and curator for the Virtual Museum of Canada exhibition. 34 The afterwords were for McClelland and Stewart's New Canadian Library series: three in 1989 - Alice Munro's for Emily of New Moon, Jane Urquhart's for Emily Climbs, and P.K. Page's for Emily's Quest - followed by Margaret Atwood's for Anne of Green Gables in 1992. Margaret Atwood gave permission for hers to be republished in Gammel and Epperly, L.M. Montgomery and Canadian Culture, 222-6. 35 Volume one of The L.M. Montgomery Reader, ed. Lefebvre, republished some Montgomery pieces that had not reappeared since their original publication and have been largely forgotten. 36 The Macdonald family has very generously contributed autographed first editions and early editions and precious memorabilia and Donna Jane Campbell has donated, as the Ryrie-Campbell Collection, her massive collection of foreign and first editions (the largest in North America and possibly the world) along with hundreds of original magazines in which Montgomery's short stories and poems appeared. 37 Much of the archival material is now online for study through Guelph's exemplary site: http://www.lmmrc.ca. 38 See http://www.ryerson.ca/mlc. 39 The volumes are: Harvesting Thistles: The Textual Garden of L.M. Montgomery (ed. by Mary Rubio, 1994), L.M. Montgomery and Canadian Culture (ed. by Irene Gammel and Elizabeth Epperly, 1999), Making Avonlea: L.M. Montgomery and Preface to the 2014 Edition xxxvii

Popular Culture (ed. by Irene Gammel, 2002), Reassessments of L.M. Montgomery (a special issue of CCL: Canadian Children's Literature / Litterature canadienne pour lajuenesse ed. by Benjamin Lefebvre, 2004), The Intimate Life of L.M. Montgomery (ed. by Irene Gammel, 2005), L.M. Montgomery's Interior and Ex- terior Landscapes (as a special issue of the Australian CREArTA: Journal of the Centre for Research and Education in the Arts, ed. by Rosemary Ross Johnston, 2005), Storm and Dissonance: L.M. Montgomery and Conflict (ed. by Jean Mitch- ell, 2008), 100 Years of Anne with an 'e': The Centennial Study of Anne of Green Gables (ed. by Holly Blackford, 2009), Anne's World: A New Century o/Anne of Green Gables (ed. by Irene Gammel and Benjamin Lefebvre, 2010), and Anne around the World: L.M. Montgomery and Her Classic (ed. by Jane Ledwell and Jean Mitchell, 2013). 40 A 31 October 2013 online review of Before Green Gables in the UK'S The Guardian says 'This stunning 6oo-page novel is true gold to read.' 41 I could not have put together this exhibition without Donna Jane Campbell and the materials she has donated to the LMMI as the Ryrie-Campbell Collection. 42 Rubio dedicated the book to her daughters and to Elizabeth Waterston. The colle- gial, literary-based, conspicuously productive friendship between Mary Rubio and Elizabeth Waterston is a byword among Montgomery scholars - and deserves to be so in scholarly circles in general. 43 'Introduction,' in Gammel and Lefebvre, Anne's World, 8-9; 10. 44 Ibid., 8. 45 E. Holly Pike, in 'Who Do We Think You Are?,' an omnibus review published in 2008 covering six Montgomery-related books, sounds almost driven to exaspera- tion: 'Considering how much we all forget about our own lives, it might seem that we are accumulating a ridiculous amount of detail about Montgomery's life' (121). 46 'A Century of Critical Reflection on Anne of Green Gables,' in Ledwell and Mitch- ell, Anne around the World, 72. 47 Hammill, '"Something wild and sweet and unutterable.'" 48 'Introduction,' in Mitchell, Storm and Dissonance, 2. 49 'Subverting the Trite: L.M. Montgomery's "Room of Her Own,'" Canadian Chil- dren's Literature 65 (1992): 6-39. 50 'Towards a Theory of the Popular Landscape in Anne of Green Gables,' in Gammel, Making Avonlea, 228. 51 'Safe Pleasures for Girls,' in Gammel, Making Avonlea, 114-27. 52 'Reading to Heal,' in Gammel and Lefebvre, Anne's World, 82-99. While Gammel does not single out the landscapes in Anne of Green Gables when she talks about reading and healing, I think this is a reasonable use of her general argument. 53 'How Green is Green Gablesll in Mitchell, Storm and Dissonance, 374. 54 Epperly, Fragrance of Sweet-Grass, 18-20; Through Lover's Lane, 104. xxxviii Preface to the 2014 Edition

55 'Introduction,' in Gammel and Lefebvre, Anne's World, 8. 56 This study resulted in Through Lover's Lane: L.M. Montgomery's Photography and Visual Imagination. 57 In 'L.M. Montgomery and the Colour of Home,' a paper I delivered in Sweden at the 2009 centenary celebration of the publication of Anne of Green Gables, I counted the colour words in Montgomery's fiction - suggesting patterns of change through her career. The research for that paper suggested to me that Montgomery may have been synaesthetic, privileging colour. This is a point I am currently pursu- ing in a study on Montgomery's creative life. 58 The three volumes of Benjamin Lefevbre's The L.M. Montgomery Reader should serve as a caution to any reader who thinks 'well, surely now we know all there is to know.' The overview and selected history of Montgomery scholarship (volume two) and the parallel history of popular reviews (volume three) together suggest how con- flicting readings are part of the rich texture of Montgomery studies. 59 For an understanding of conceptual metaphors, I follow the work of Lakoff and Johnson, which has itself given rise to a whole field of inquiry through cognitive linguistics, neural theories of language, and cognitive poetics. See especially Lakoff and Johnson, Metaphors We Live By; Lakoff and Turner, More Than Cool Reason; Kovecses, Metaphor; Feldman, From Molecule to Metaphor; Freeman, 'Cognitive Linguistic Approaches to Literary Studies: State of the Art in Cognitive Poetics,' in The Oxford Handbook of Cognitive Linguistics, ed. Geeraerts and Cuyckens, 1175-1202. 60 Metaphors We Live By, 274. 61 'Introduction,' in Gammel and Lefebvre, Anne's World, 3. 62 At the launching of Through Lover's Lane, master of ceremonies Simon Lloyd of the Robertson Library of UPEI observed, 'My favourite line in the book is, forgive me, Betsy, not yours but Anne-Louise's.' The passage he cited was: 'Ultimately, Montgomery's books address what Anne-Louise Brookes told me was "not the meaning of life but the meaning in life,'" (personal interview, 22 August 2003); Through Lover's Lane, 25.

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