Canadian Literature
Canadian Literature
Canadian Literature
CANADIAN LITERATURE
Canadian literature was influenced by the 18 th
century British novels of the sketch, the extended
satirical or humorous anecdotes. Beginning with the
19th century Canadian writers turned to the short
story — the most American genre popularized by the
success of
EDGAR ALLAN POE's Tales of the Grotesque and
Arabesque
and
NATHANIEL HAWTHORNE's Twice Told Tales
(1837), Mosses from an Old Manse (1846).
CANADIAN LITERATURE
In the late 19th century and after, the focus of
Canadian short fiction lay in two directions:
the naturalistic animal story
the local — colour story
GILBERT PARKER E. W. THOMSON
DUNCAN CAMPBELL SCOTT
The Canadian critic NORTHROP FRYE described the
impact of a colonial mentality on literary production
calling it "a frostbite at the roots of imagination"
The first novel set in Canada was written by a
woman FRANCES BROOKE in 1759.
CANADIAN LITERATURE
MARGARET ATWOOD once reflected
that Canadian writers had "foremothers
rather than forefathers". She confessed
that when she started out as a writer in
the late 1950's she never felt excluded as
a woman.
CANADIAN LITERATURE
MARGARET ATWOOD (b. 1939) in Ottawa, Toronto
Poetry: Double Persephone (1961), a dozen collections, one of the Morning in the Burned
House (1995)
Novels: The Edible Woman (1969)
Surfacin 1972)
Lady Oracle (1976)
Life Before Man (1979)
Bodily Harm (1981)
The Handmaid's Tale (1985)
Cat's Eye (1988)
The Robber Bride (1993)
Alias Grace (1996) etc.
Booker prize winner of shortfiction:
Dancing Girls (1977)
Murder in the Dark (1983)
Bluebeard's Egg (1983)
Wilderness Tips (1991)
Good Bones (1992)
Criticism:
Survival: A Thematic Guide to Canadian Literature (1972)
Second Words: Selected Critical Prose (1982) Strange Things: To Malevolent North in
Canadian Literature (1995)
CANADIAN LITERATURE
MARGARET LAURENCE, ALICE MUNRO
Collection of shortstories Dance with the Happy
Shades (1968) the novel Lives of Girls &Women
(1971).
Collections: Something I've Been Meaning to Tell You
(1974)
Who Do You Think You Are? (1978), The Moons of
Jupiter (1982)
The Progress of Love (1986)
Friend of My Youth (1990)
Open Secrets (1994)
A television play How I Met My Husband (1976)
CANADIAN LITERATURE
MAVIS GALLANT (b. 1922) Green Water, Green
Sky (1959) A Fairly Good Time (1970)
shortfiction: The Other Paris (1956)
My Heart is Broken (1959)
The Pegnitz Junction (1973)
Home Truths (1981)
Overhead in a Balloon: Stories of
Paris (1985)
Across the Bridge (1993)
The Moslem Wife and Other
Stories (1994)
The Selected Stories (1996)
CANADIAN LITERATURE
Another fundamental tension in Canadian life not
mentioned here by MANDEL is the bilingual and
bicultural split between French and English
Canadian. This concept of two nations within one
makes one of the marked difference between
Canada and the United States. Another essential
difference is the achievement of independence
without revolution.
CANADIAN LITERATURE
NORTHROB FRYE also differentiates between the
Canadian experience of the frontier and that of the
Americans. According to FRYE the American frontier and
journey of settlement moved from one sea coast to another
in an irregular but steady line, whereas the Canadian
movement was originally by water through the maw of St.
Lawrence with the land encroaching on the ships sailing up
river till only small canoes could traverse the waterways to
reach the great inland lakes. The first explorers of Western
Canada went from the lakehead via the vast network of
rivers and lakes. “To enter Canada is a matter of being
silently swallowed by an alien continent.”(C. KLINCK).
CANADIAN LITERATURE
The early settlers were surrounded by the frontier rather than
confronted by it face to face, so the settlers tended to wall
themselves in against nature. In another essay The Narrative
Tradition in English Canadian Poetry, FRYE sees the unique
pastoralism of Canadian literature emerging from a response to
nature as a totally new impression on immigrants with artistic
pretensions:
“It is a country in which nature makes a direct impression on the
artist's mind, an impression of its primeval lawlessness and moral
nihilism, its indifference to the supreme value placed on life within
human society, its faceless, mindless unconsciousness, which
fosters life without benevolence and destroys it without malice.”
Nineteenth century Canadian poetry is certainly full of descriptive
detail about nature but Canadian poets do not appear to be really
seeing the landscape before their eyes, except on a few occasions.
CANADIAN LITERATURE
Poets such as CHARLES SANGSTER, CHARLES MAIR, WILLIAM KIRBY and
ALEXANDER MACLACHLAN give some sense of the landscape, but too often their
view is coloured by the traditional forms they try to use in treating nature. Most of
them model their poems on the Romantic responses of the English poets of the 19 th
century and such responses are not viable in the new world. The emphasis in many
narrative poems of the 19th century shifts to the settler as epic hero, carving out a
living space for himself, digging in, driving off the Indians. Yet the settlers fall
short of epic stature simply because they become merely domesticated in trying to
reproduce a little bit of England within Canadian nature. But the usual polarities
occur in ironic tension in much 19th century writing about settlement and
SUSANNA MOODIE's experience provides a prime example. She came to Canada
in 1832 with her husband to live in Petersborough, Ontario. They had to experience
farming and encountered many difficulties, which Susanna Moodie records in
Roughing It in the Bush (1852). This book has been called |”an unpretentious,
highly literate account of an heroic if not always intelligent struggle against a
hostile environment” (by EDWARD MCCOURT in Masks of Fiction, 1961). For
MARGARET ATWOOD, SUSANNNA MOODIE is an example of the Canadian
national illness, “paranoid schizophrenia”. (The Journals of Susanna Moodie,
1970).
CANADIAN LITERATURE
“The country is too big to inhabit completely and in
parts unknown to us we move in fear, exiles and
invaders. This country is something that must be
chosen — it is so easy to leave —and if we do choose
it we are still choosing a violent duality”
She developes this idea in a critical guide to
Canadian literature in which even the theme of
survival, a theme so strong in Canadian writing, is
strangely metamorphosed into nonsurvival:
“Pushed far enough, the obsession with surviving
can become the will not to survive.|” (M.A.
Survival, 1972, p.34).
CANADIAN LITERATURE
In her poems about Susanna Moodie, Margaret Atwood reconstructs
the earlier writer in poems which mirror the Canadian dilemma of
reconciling oneself with the terrifying landscape outside. In typical
paradoxical fashion, once the attempt to break down the garrison
walls in order to experience the outer continent is made, the real
exploration takes place in the inner continent of the mind:
“We left behind one by one
the cities rotting with cholera,
one by one our civilized
distinctions
and entered a large darkness.
It was our own
Ignorance we entered.
(Further Arrivals)
CANADIAN LITERATURE
The preoccupations of the immigrant have to sloughed
in a sense it is only in the 20 th century that a real
Canadian response to this new kind of nature has been
possible in independent literary terms in works of both
poets and novelists such as F. R. SCOTT, DOUGLAS
LEPAN, E. J. PRATT, F.P. GROVE. The irony of vision
of the prairie farmers is that the one epic structure that
survives is the mill which overwhelms succeeding
generations of one family in The Master of the Mill,
1944.
In the poetry of Al. PURDY, the surface tends to be off
hand, colloquial, tough or prosaic by turns, conjuring up
a sense of the geologic age of Canada but setting it in a
larger cosmic scale.
CANADIAN LITERATURE
“In me, nature's divided things tree, mould on tree — have
their fruition;
I am their core. Let them swap, bandy, like a flame swerve
I am their mouth; as a mouth I serve”.
(The Birth of Tragedy)
CANADIAN LITERATURE
Layton sees the poet's mission as essentially
tragic because he recognizes that there can be no
permanent reconciliation of the divided things. He
can write highly erotic poems as well as satiric
jibes at human sexuality; he can see woman as
creative force and destructive castrator. The poet
for him lives uneasily between two worlds.
CANADIAN LITERATURE
Early in his poetic career Layton attacked Canadian puritanism, stodginess and
dullness in a series of ferocious squibs, loudly proclaiming the incompatibility of this
country's mediocrity with the riching fulfilling life of poetry. For many people this
mediocrity was symbolized by the figure of MacKenzie King who, except for brief
periods, remained in political power from the 1920s till after the end of the Second
World War. King was a master of the balanced statement reduced to meaninglessness;
one of his most quoted expressions was “conscription if necessary but not necessarily
conscription”. It was perhaps this apparent refusal to make a commitment that kept
King in power, but F. R. SCOTT focused on this equivocation in his satiric poem about
the prime minister; for him King is the epitome of mediocrity:
“We had no shape
Because he never took sides,
And no sides
Because he never allowed them to take shape…
Let us raise up a temple
To the cult of mediocrity
Do nothing by halves
Which can be done by quarters.”
(W.L.M.K.)
CANADIAN LITERATURE
And yet MacKenzie King's prosaic dullness and refusal to be definite has
its obverse side. The blandness was balanced by an exotic streak, as
novelist ROBERTSON DAVIES points out in The Manticore (1972).
“Do you realize that man never calls an election without getting a
fortuneteller in Kingston to name a lucky day? Do you realize that he
goes in for automatic writing? And decides important things by
opening his Bible and stabbing at a verse with a paperknife, while his
eyes are shut?”
King is the embodiment of Canada cold and cautious on the outside,
dowdy and pussy in every overt action, but inside a mass of intuition
and dark intimations. These irrational tendencies manifest themselves
in a curious way in Canadian literature: the stark fact of the enormous
land drives poets into the continent of the mind and even in the most
realistic novels a strange irrational element obtrudes almost like a deus
ex machina, to solve the rational problems. Indeed, DAVIES's last two
novels Fifth Business (1970) and The Manticore (1972) with their
insistence on Jungian archetypes and the interest in magic and
sainthood set against the background of Canadian smalltown life and
Canadian middleclass conformity can be seen as representative of
extremes that make up the Canadian tension in polarities.
CANADIAN LITERATURE
In his other novels DAVIES treats comically various aspects of
smalltown life and, as in other literatures the small town in
Canadian literature often stands as a symbol of puritanism, with its
rejection of pleasure as an end in itself, its insistence on work as a
duty, its distrust or beauty and sexuality which tends to cover
highly charged passions. Puritanism of this kind is at the centre of
HUGH MACLENNAN's novel, Each Man's Son (1951) set in Cape
Breton, a part of Nova Scotia settled by Scottish Highlanders. The
inhabitants of the isolated village of Bronghton live under the
ancient curse of Calvinism. The men work in the mines and are
crushed by them until they become as crippled physically as they
are spiritually and mentally. They release their pentup guilts in
roistering drunken brawls on violent Saturday nights and slink
repentant to church on Sundays. These two contrasting sides of
puritanism are elaborated by the central conflicts in the novel.
CANADIAN LITERATURE
Archie MacNeil escapes the life in the mines by turning to the world of
professional boxing, only to be beaten to nearblindness. After years away
he returns home only to find his wife unfaithful and he can only resort to
physical violence as an answer to his own guilt and that of his wife.
The doctor in Bronghton is Daniel Ainslie, an intellectual who resorts to
work as an answer to his fear of love and sexuality. He prides himself on
having escaped the ancient religious curse but he in fact caries a burden
of guilt. Ainslie has a granite exterior but is riddled by guilt on the inside,
afraid of his genuine sexual attraction to his wife.
The novel is a splendid presentation of an enclosed community feeding on
its narrow life, destroying itself through violent outbursts, half
recognizing its own limitations though few people are able to break away.
Although the novel is rigorously MAC LENNAN manages to suggest the
seething unconscious desires of many of the people, catching that strange
paradox of puritanism, its passionate nature beneath its confining
surface.
Such outbursts of violence and feeling seem common in some realistic
Canadian novels, mirroring that unconscious emotional life that
commentators see underneath the placidity of Canadian life.