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Ekphrastic drag: temporal transgressions in John Barton's West of Darkness: Emily Carr: A Self-Portrait
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Ekphrastic drag: temporal transgressions in John Barton's West of Darkness: Emily Carr: A Self-Portrait
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Journal Article
Ekphrastic drag: temporal transgressions in John Barton's West of Darkness: Emily Carr: A Self-Portrait
2015
Overview
Appropriately, a section of Edge of the Forest provides the cover illustration for both the first (1987) and second (1999) editions of Barton's West of Darkness: Emily Carr: A Self-Portrait, a collection of biographical poems written in the first person that offers a fragmented narrative of Carr's life and work.1 The painting, showing the ragged desolation that comes just before the lusher-if darker-forest, provides the ideal Carrian image for this borderland text on the edges of ekphrastic and documentary modes. In this essay, I demonstrate how ekphrasis, in concert with drag, functions as a queer form of Canadian (auto)biography. When Barton-as-Emily conceives of the future, however, the vision is never explicitly political but rather more suggestive of an embodied union with the natural world and a transcendence of the material \"modern\" world with its attendant limits on gender, sexual, and artistic expression.
Publisher
The University of British Columbia - Canadian Literature,The University of British Columbia/Canadian Literature
Subject
