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"Canadian poetry 20th century History and criticism."
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Sharing the past : the reinvention of history in Canadian poetry since 1960
\"Sharing the Past is an unprecedentedly detailed account of the intertwining discourses of Canadian history and creative literature. When social history emerged as its own field of study in the 1960s, it promised new stories that would bring readers away from the elite writing of academics and closer to the everyday experiences of people. Yet, the academy's continued emphasis on professional distance and objectivity made it difficult for historians to connect with the experiences of those about whom they wrote, and those same emphases made it all but impossible for non-academic experts to be institutionally recognized as historians. Drawing on interviews and new archival materials to construct a history of Canadian poetry written since 1960, Sharing the Past argues that the project of social history has achieved its fullest expression in lyric poetry, a genre in which personal experiences anchor history. Developing this genre since 1960, Canadian poets have provided an inclusive model for a truly social history that indiscriminately shares the right to speak authoritatively of the past. \"-- Provided by publisher.
Book
We Are What We Mourn
In We Are What We Mourn Priscila Uppal examines why and how the work of mourning has drastically changed in the latter half of the twentieth century, focusing on the strong pattern in contemporary English-Canadian elegy that emphasizes connection rather than separation between the living and the dead. Uppal offers a penetrating reading of Canadian elegies that radically challenges English and American elegy traditions as well as long-standing psychological models for successful mourning. She sets up useful categories for elegy study - parental elegies, elegies for places, and elegies for cultural losses and displacements - and suggests where elegy and mourning studies might be headed post 9/11.
eBook
The home place : essays on Robert Kroetsch's poetry
Robert Kroetsch, one of Canada's most important writers, was a fierce regionalist with a porous yet resilient sense of \"home.\" Although his criticism and fiction have received extensive attention, his poetry remains underexplored. This exuberantly polyvocal text by dennis cooley - who knew Kroetsch and worked with him for decades - seeks to correct this imbalance. This work offers a dazzling, playful, and intellectually complex conversation that draws together personal recollections, Kroetsch's archival materials, and the international body of Kroetsch scholarship. For literary scholars and anyone who appreciates Canadian literature, The Home Place will represent the standard critical evaluation of Kroetsch's poetry for years to come.
Book
The Home Place
Dazzling, playful, and intellectually complex examination of personal recollections and archival materials about Kroetsch's poetry.
eBook
The metaphor of celebrity : Canadian poetry and the public, 1955-1980
The Metaphor of Celebrity is an exploration of the significance of literary celebrity in Canadian poetry. It focuses on the lives and writing of four widely recognized authors who wrote about stardom -- Leonard Cohen, Michael Ondaatje, Irving Layton, and Gwendolyn MacEwen -- and the specific moments in Canadian history that affected the ways in which they were received by the broader public. Joel Deshaye elucidates the relationship between literary celebrity and metaphor in the identity crises of celebrities, who must try to balance their public and private selves in the face of considerable publicity. He also examines the ways in which celebrity in Canadian poetry developed in a unique way in light of the significant cultural events of the decades between 1950 and 1980, including the Massey Commission, the flourishing of Canadian publishing, and the considerable interest in poetry in the 1960s and 1970s, which was followed by a rapid fall from public grace, as poetry was overwhelmed by greater popular interest in Canadian novels.\" -- Publisher website.
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When Tish Happens
?In the early 1960s, a group of students at UBC started a magazine called Tish. The name was purposefully an anagram of shit, in order to demonstrate their youthful and iconoclastic attitude. In many ways, Tish, and its editors, became the clear break from older Canadian poets and styles. At the heart of the magazine, and the movement,\" was Frank Davey. And it is Davey who has written this definitive history. Davey has organized the material as a memoir, starting from his own early days in Abbotsford, B.C., and gradually introducing the other poets, including George Bowering, Daphne Marlatt, and Fred Wah, despite the fact that Davey doesn't meet them until they all arrive at UBC. Much of the theory of the Tish poets derives from the Black Mountain poets, an American movement that incorporated the writings of Charles Olson, Robert Creeley, and Robert Duncan who suggested the name itself. The Black Mountain poets believed that writing should be locally based and should grow out of the author's own breathing patterns. The more specific to a locale, the better. The poets are introduced as characters in a play, and when Fred Wah says, Let's start a magazine,\" things happen. The first 19 issues became the calling card for a new type of poetry, but inevitably the writers began to go their own way. It is Davey's commitment that holds the group together, despite their geographical separation. The Tish movement provided the impetus to create a new, more contemporary Canadian poetry. And here, Frank Davey reveals how it started, grew, and became a lasting force.
eBook
In the Belly of a Laughing God
How can humour and irony in writing both create and destroy boundaries? In the Belly of a Laughing God examines how eight contemporary Native women poets in Canada and the United States – Joy Harjo, Louise Halfe, Kimberly Blaeser, Marilyn Dumont, Diane Glancy, Jeannette Armstrong, Wendy Rose, and Marie Annharte Baker – employ humour and irony to address the intricacies of race, gender, and nationality. While recognizing that humour and irony are often employed as methods of resistance, this careful analysis also acknowledges the ways that they can be used to assert or restore order.
Using the framework of humour and irony, five themes emerge from the words of these poets: religious transformations; generic transformations; history, memory, and the nation; photography and representational visibility; and land and the significance of 'home.' Through the double-voice discourse of irony and the textual surprises of humour, these poets challenge hegemonic renderings of themselves and their cultures, even as they enforce their own cultural norms.
eBook