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Malcolm Lowry: a Study of the Sea Metaphor in "Ultramarine" and "Under the Volcano"
University of Windsor Scholarship at UWindsor Electronic Theses and Dissertations Theses, Dissertations, and Major Papers 1-1-1967 Malcolm Lowry: A study of the sea metaphor in "Ultramarine" and "Under the Volcano". Bernadette Wild University of Windsor Follow this and additional works at: https://scholar.uwindsor.ca/etd Recommended Citation Wild, Bernadette, "Malcolm Lowry: A study of the sea metaphor in "Ultramarine" and "Under the Volcano"." (1967). Electronic Theses and Dissertations. 6505. https://scholar.uwindsor.ca/etd/6505 This online database contains the full-text of PhD dissertations and Masters’ theses of University of Windsor students from 1954 forward. These documents are made available for personal study and research purposes only, in accordance with the Canadian Copyright Act and the Creative Commons license—CC BY-NC-ND (Attribution, Non-Commercial, No Derivative Works). Under this license, works must always be attributed to the copyright holder (original author), cannot be used for any commercial purposes, and may not be altered. Any other use would require the permission of the copyright holder. Students may inquire about withdrawing their dissertation and/or thesis from this database. For additional inquiries, please contact the repository administrator via email ([email protected]) or by telephone at 519-253-3000ext. 3208. MALCOLM LOWRY: A STUDY OF THE SEA METAPHOR IN ULTRAMARINE AND UNDER THE VOLCANO BY SISTER BERNADETTE WILD A T hesis Submitted to the Faculty of Graduate Studies through the Department of English in Partial Fulfillment of the Requirements for the Degree of Master of Arts at the University of Windsor Windsor, Ontario 1967 Reproduced with permission of the copyright owner. -
MARGARET ATWOOD: WRITING and SUBJECTIVITY Also by Colin Nicholson
MARGARET ATWOOD: WRITING AND SUBJECTIVITY Also by Colin Nicholson POEM, PURPOSE, PLACE: Shaping Identity in Contemporary Scottish Verse ALEXANDER POPE: Essays for the Tercentenary (editor) CRITICAL APPROACHES TO THE FICTION OF MARGARET LAURENCE (editor) IAN CRICHTON SMITH: New Critical Essays (editor) Margaret Atwood photo credit: Graeme Gibson Margaret Atwood: Writing and Subjectivity New Critical Essays Edited by Colin Nicholson Senior Lecturer in English University of Edinburgh M St. Martin's Press Editorial material and selection © Colin Nicholson 1994 Text © The Macmillan Press Ltd 1994 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London W1P 9HE. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. First published in Great Britain 1994 by THE MACMILLAN PRESS LTD Houndmills, Basingstoke, Hampshire RG21 2XS and London Companies and representatives throughout the world A catalogue record for this book is available from the British Library. ISBN 978-0-333-61181-4 ISBN 978-1-349-23282-6 (eBook) DOI 10.1007/978-1-349-23282-6 First published in the United States of America 1994 by Scholarly and Reference Division, ST. MARTIN'S PRESS, INC., 175 Fifth Avenue, New York, N.Y. 10010 ISBN 978-0-312-10644-7 Library of Congress Cataloging-in-Publication Data Margaret Atwood : writing and subjectivity I edited by Colin Nicholson. -
Four Poems by Malcolm Lowry
383 FOUR POEMS BY MALCOLM LOWRY Quartermaster at the Wheel The Harkness light! Another hour spelled out, Struck by myself with unction but with doubt. A man is killed but does not hear the shot Which kills him; four bells kills me. Lucky to hear it jf I killed myself,- Whose age haunts calendars upon the screen; The heroine horn in nineteen eighteen, Who yesterday was born in nineteen eight. A pile of magazines assess dead love On shore, where one light burns no love will wait. -Past years are volcanoes beyond the wake, Tomorrow is the sea and then the sea, To both least faithless when we most forsake, The one unsealed, the other vomltless Of Jonah to his gourd or Nineveh .... It is a straw to tickle bloodshot eyes Of quartermasters soldered to darkness, The stiff wheel and the remembrance of the drowned, For sinking men to suck at or to claw, The thought that what we saw we often hear Too late or not at all, or cannot bear To know resounding eardrums register ... Our siren now! What ugliest ship has not Borne heart from heart with that deep plangency, Sadder than masthead's light, a soul In mourning whose voice is grief gone by. Roll on, you witless, dark brown ocean, roll, And light light years and grey ones let us live Within that gracious nexus of reprieve Between the fated sight and fatal sound - Now leave the world to Harkness and to me. 384 THE DALHOUSIE REVIEW [This Bitterest Coast] This is the end but since it is the end, You are happy at least in this one certainty, As you were in the eternity Of childhood's blue summer with seagull and yacht for friend, When God was good; love, true; sea, sea; land, land. -
Myth As Redemption in Three Canadian Novels Elizabeth A
Northern Michigan University NMU Commons All NMU Master's Theses Student Works 2009 Myth as Redemption in Three Canadian Novels Elizabeth A. Crachiolo Northern Michigan University Follow this and additional works at: https://commons.nmu.edu/theses Recommended Citation Crachiolo, Elizabeth A., "Myth as Redemption in Three Canadian Novels" (2009). All NMU Master's Theses. 371. https://commons.nmu.edu/theses/371 This Open Access is brought to you for free and open access by the Student Works at NMU Commons. It has been accepted for inclusion in All NMU Master's Theses by an authorized administrator of NMU Commons. For more information, please contact [email protected],[email protected]. MYTH AS REDEMPTION IN THREE CANADIAN NOVELS By Elizabeth A. Crachiolo THESIS Submitted to Northern Michigan University In partial fulfillment of the requirements For the degree of MASTER OF ARTS Graduate Studies Office 2009 SIGNATURE APPROVAL FORM This thesis by Elizabeth A. Crachiolo is recommended for approval by the student’s thesis committee in the Department of English and by the Dean of Graduate Studies. _________________________________________________________________ Committee Chair: Dr. Dominic Ording Date __________________________________________________________________ Reader: Dr. David Wood Date __________________________________________________________________ Department Head: Dr. Ray Ventre Date __________________________________________________________________ Dean of Graduate Studies: Dr. Cynthia Prosen Date OLSON LIBRARY NORTHERN MICHIGAN UNIVERSITY THESIS DATA FORM In order to catalogue your thesis properly and enter a record in the OCLC international bibliographic data base, Olson Library must have the following requested information to distinguish you from others with the same or similar names and to provide appropriate subject access for other researchers. NAME: Crachiolo, Elizabeth A. -
WEST of the GREAT DIVIDE a View of the Literature of British Columbia
WEST OF THE GREAT DIVIDE A View of the Literature of British Columbia Allan Pritchard MASIASHION: S IN LITERARY CRITICISM change rapidly. The "sur- vival" thesis that has dominated the thematic criticism of Canadian literature in recent years may be about due to fall from favour. Yet it has proved highly stimulating, and its usefulness has still not been totally exhausted. Before it recedes from its present prominence at least one further value can be extracted from it, although of a paradoxical kind. It serves admirably as a means of defining the regional characteristics of the literature of British Columbia — if one merely reverses its central propositions. The survival thesis is now so familiar that little reminder is needed of its salient points. Like much of the best in our criticism, the view that conflict between man and nature is central in Canadian literature seems to have developed from some brief but perceptive remarks of Northrop Frye. It has been elaborated by many critics and given its fullest and most influential formulation by Margaret Atwood. According to Atwood, the essential literary symbol for Canada is survival in the face of hostile nature. In our literature, she suggests, man is seen predominantly as a victim and nature as a monster. The land is alien. Of the seasons only winter is real. The characteristic experience of the immigrant and settler is exile and defeat. Canadian books are populated by life-denying women and trapped, defeated characters. The central experience represented is death, and as a whole the literature is "undeniably sombre and negative."1 If one turns from these propositions about the nature of Canadian literature and looks at the work of such notable writers of British Columbia as Roderick Haig-Brown, Malcolm Lowry, Ethel Wilson, and Jack Hodgins, the sense of contrast is so strong as to suggest the scene in October Ferry to Gabriola where Lowry describes the journey of his central characters, the Llewelyns, westward from Ontario. -
“On Being a Woman Writer”: Atwood's Canadian and Feminist Contexts
“On Being a Woman Writer”: Atwood’s Canadian and Feminist Contexts Heidi Slettedahl Macpherson When you begin to write you’re in love with the language, the act of cre- ation, with yourself partly; but as you go on, the writing—if you follow it—will take you places you never intended to go and show you things you would never otherwise have seen. I began as a profoundly apolitical writer, but then I began to do what all novelists and some poets do: I began to describe the world around me. (Atwood, Second Words 15) Margaret Atwood began her writing career at a time when Canadian literature did not have a clearly established canon or identity. In fact, she has been credited with helping to “invent” Canadian literature as a critical concept, both because she herself is a proli¿c poet, novelist and short story writer, but also because she has published books of literary and cultural criticism throughout her long career. As she noted in the early 1970s, “Until recently, reading Canadian literature has been for me and for everyone else who did it a personal interest, since it was not taught, required or even mentioned (except with derision) in the public sphere” (Survival 13). That attitude has clearly changed, not only be- cause of Atwood’s own position as a very important cultural icon, but also because of the preeminence of contemporary Canadian writers on the world literary stage. Atwood’s contemporaries include Alice Mun- ro, Carol Shields, Margaret Laurence, and Marian Engel, among oth- ers; Joan Barfoot and Michael Ondaatje are only a few years younger than she is. -
Cahiers-Papers 50-1
Notes Bibliographical Errata Regarding the Cumulative List of Winners of the Governor General’s Literary Awards / Liste cumulative des lauréates et des lauréats des Prix littéraires du Gouverneur général, 2011 Andrew David Irvine* Several years ago a friend recommended I read E. Bennett Metcalfe’s 1985 biography of Roderick Haig-Brown, A Man of Some Importance. Chancellor of the University of Victoria from 1970 to 1973, Haig- Brown (1908-76) was an early British Columbia environmentalist, a sometime logger, trapper and fisherman, and a long-serving magistrate of the juvenile court of Campbell River. According to his biographer, he also received the first Governor General’s Medal for Juvenile Literature for his 1948 book, Saltwater Summer.1 Even so, Haig-Brown’s name and book appear nowhere on the official list of award-winners maintained by the Canada Council for the Arts: the Cumulative List of Winners of the Governor General’s Literary Awards / Liste cumulative des lauréates et des lauréats des Prix littéraires du Gouverneur général.2 Explaining the omission is not straightforward. The most plausible explanation is that Haig-Brown was likely the first (and to date the only) author to receive a Governor General’s Citation for his work,3 rather than the then-traditional medal. In the minds of some, it * Andrew Irvine holds the position of Professor of Philosophy at the University of British Columbia, Vancouver. 1 E. Bennett Metcalfe, A Man of Some Importance: The Life of Roderick Langmere Haig-Brown (Vancouver: James W. Wood, 1985), 202. 2 Canada Council for the Arts, Cumulative List of Winners of the Governor General’s Literary Awards / Liste cumulative des lauréates et des lauréats des Prix littéraires du Gouverneur général, 2011, accessed 5 April 2012, http://987321654.canadacouncil. -
The Mainstream
THE MAINSTREAM Ronald Sutherland A.LONG WITH A NUMBER of other activities in Canada, literary criticism has picked up a great deal of momentum in the last decade. Like the St. Lawrence River it has deepened and broadened as it moved along, and to a large extent it also has divided in two at the Island of Montreal. In view of the mighty St. Lawrence's present state of pollution, however, it would perhaps be injudicious to pursue the analogy. But it can be said with reasonable confidence that the steady increase in the volume of Canadian literary criticism is having and will continue to have a beneficial effect on creative writing in this country. I imagine that there is nothing more debilitating for a writer than to be ignored, to be working in a vacuum as it were. Frederick Philip Grove comes immediately to mind. Despite the recent increase in the volume of literary criticism, however, several major problems remain to be resolved. They are basic problems which glare like a hole in a girl's stocking or a pair of mismatched shoes, but they can also be covered up and ignored. They would seem to invite attention, and then again they do not. For they are often charged with emotional overtones. For instance, there is the question of who precisely is a Canadian author. Anthologies and literary histories, to say the least, have tended to be gloriously free of discrimina- tion, grabbing all that could possibly be grabbed. One wonders, indeed, how Jacques Maritain, Wyndham Lewis, Willa Cather and Ernest Hemingway, all of whom lived for a time in Canada, escaped the conscription, not to mention Alexis de Tocqueville, Charles Dickens and Henry David Thoreau. -
Harpercollins Canada Fall 2010
harpercollins canada fall 2010 HarperCollinsCanada is a proud sponsor of www.harpercollins.ca SALES, MARKETING, PUBLICITY & EDITORIAL 2 Bloor Street East, 20th Floor, Toronto, Ontario, M4W 1A8 • Phone: 416.975.9334 • Fax: 416.975.9884 DISTRIBUTION CENTRE 1995 Markham Road, Scarborough, Ontario, M1B 5M8 • Phone: 416.321.2241 • Toll-Free Phone: 1.800.387.0117 • Fax: 416.321.3033 • Toll-Free Fax: 1.800.668.5788 CATALOGUE ISBN: 9780999937204 For your viewing pleasure . a select number of our catalogues are now available online. These electronic catalogues are virtual replicas of our traditional ones, with the Sell what you love added benefit of being on your screen and available to you 24/7. In addition to all the great catalogue material at your fingertips, the online versions include our rich multimedia files (with trailers and author videos), as well as links to any other relevant web materials. And let’s not forget the added value of going green. The In a world where we’re constantly figuring out how to give back to the earth, HarperCollins www.HarperCollinsCatalogues.ca is another way to make a difference. Canada Hand-selling Award Fiction or non-fiction, biography or self-help, debut novel or seasoned classic—expose readers to talent on the page. The top hand-seller will receive $500 and the bookstore will receive $1000 in co-op. Quantity of sales is not the only determining factor— we want to know your hand-selling story. To find out more, visitwww.harpercollins.ca/handsellingaward Managers can email submissions to [email protected] Contents page 2 New Fiction and Non-fiction page 33 Cookbooks page 35 Harper Paperbacks page 57 Children’s Books pages 70-71 Index page 72 Key Contacts Please note: Prices, dates and specifications listed in this catalogue are subject to change without notice. -
Bear Marian Engel. Toronto: Mcclelland to Affection And, Finally, to Love for and Stewart, 1976
CORE Metadata, citation and similar papers at core.ac.uk Provided by Journals @ The Mount Bear Marian Engel. Toronto: McClelland to affection and, finally, to love for and Stewart, 1976. Pp. 141. the an i ma 1. Surrounding this framework is a nimbus of suggestion and meaning. The novel's central theme is certainly that of iso• Nothing I had read by Marian Engel pre• lation. Lou is an urban creature who pared me for this book. Her previous has had an unhappy emotional life up novels, notably Sarah Bastard's Note• until the time the novel opens. She is books and The Honeyman Festival, are intelligent, cosmopolitan and quite obviously written by the author of Bear: out of touch with her intuitive self. the introspection of sensitive, educa• Her encounter with the bear instigates ted females is the subject matter of all emotions in her which a"re, in turn, three. In Bear, however, her prose wonderful and terrifying. The novel reaches a level of craftsmanship that opens quietly and ends in the same way, makes her other novels appear garrulous Lou in the intervening pages having ex• by comparison. To paraphrase the story perienced a sort of redemption. Clear• of Bear is to invite ridicule, for few ly, some of her new emotions shock and potential readers are apt to take ser• frighten her: her former attempts to iously an invitation to read about a love between a bear and a womaYi. Few recent novels have required the sus• pension of as much disbelief as this one, but few have been, in return, as rev/arding. -
University of British Columbia. Library, Collector
MALCOLM LOWR Y 1909-195 7 AN INVENTORY TO THE MALCOLM LOWRY MANUSCRIPT COLLECTION S I N THE LIBRARY OF THE UNIVERSITY OF BRITISH COLUMIBA SPECIAL COLLECTIONS DIVISIO N PREPARED BY : JUDITH O . COMBS, 197 .3 REVISED BY : CYNTHIA SUGARS, 1985 1 INTRODUCTIO N Clarence Malcolm Lowry, the fourth son of a Liverpool cotto n broker, was born on July 28th, 1909, in Birkenhead, Cheshire , England . Lowry's writing career began early . As a young man a t The Leys Public School, he wrote short stories and'articles fo r The Leys Fortnightly and, by the age of twenty-four, he ha d published his first novel, Ultramarine . After six months aboard the S .S . Pyrrhus as a deck-hand , the experience upon which Ultramarine is based, Lowry travelle d to the United States to visit the American writer Conrad Aiken , the man who was later to become not only Lowry ' s guardian bu t also one of his closest friends . In 1933, a year after graduatin g from Cambridge University with a B .A ., Lowry met his first wife , Jan Gabrial, with whom he moved to Cuernavaca, Mexico in 1936 . It was in Cuernavaca that Lowry began work on his major novel , UndertheVolcano, which was to take him more than ten years t o complete . In 1940, with his second wife, Margerie Bonner, Lowry move d to Dollarton, British Columbia, where he lived for the nex t fourteen years . During this period, Malcolm continued to wor k on Under the Volcano and, despite numerous set-backs, includin g the destruction of their shack by fire in 1944, the novel wa s finally published in 1947 . -
A Thematic Study of Some British Columbia Novels GEORGE BOWERING
Home Away : A Thematic Study of Some British Columbia Novels GEORGE BOWERING £ In Survival9 her popular 'thematic guide to Canadian literature" (1972 ), Margaret Atwood began with what she called a "sweeping gen eralization," that "every country or culture has a simple unifying and informing symbol at its core" and that it will be discoverable in that culture's literature. She suggested that for the U.S., or, as she called it, "America," the symbol is the Frontier, that for England it is the Island and that for Canada it is Survival. Leaving aside argument that these assignments might be acts of fiction themselves — that Survival, for in stance, seems as important to Australian literature as to Canadian — I would like to take up the amusement for a while and say something about my choice for the unifying and informing symbol for the culture (dare we say country?) of British Columbia. The symbol is Home, or, more specifically, the attempt to find or make a home. Home, of course, means family, means a place where people have interpersonal rather than societal rituals, means, literally and etymologi- cally, a place where one may lie down. The common way to symbolize it in art is to construct the picture of a house. The main livelihood of the province of British Columbia is the harvesting and processing of house building materials. But the houses that the families of the harvesters and processors live in most often seem temporary and unstable. In Survival, Atwood has this to say about the literary meanings of families: "if in England the family is a mansion you live in, and if in America it's a skin you shed, then in Canada it's a trap in which you're caught." Like a lot of the things in Survival, this notion is likely feasible in the imaginations of central and eastern Canada but not easily appli cable to the situation in B.C.