Bibliographies

Calder, Alison. “What Happened to Regionalism?” Canadian Literature. Spring 2010, Issue 204. Web. 28 Mar. 2019.

In this article, Calder reflects on the fact that Canadian and literary studies seems to have changed and even slightly vanished from academic discourse throughout the years. In other words, she feels as though it is becoming more commonplace to disregard location from literary analysis. The main examples that she highlights regarding this issue are the lack of globalization present in the prairie’s studies conference that she attends every few years, and the idea of “Post-Prairie” noted in an anthology of new poetry a few years ago. The idea of “Post Prairie” is shocking and problematic to her because prairie is an ideological construction imported at a “particular moment by European colonizers that conceives of land and economic systems and Aboriginal people in particular ways, and that as a conception and a practice continues to have devastating effects on people and environments…” (p. 2)

Another very important point that Calder raises is the fact that places are “porous and unique.” (p. 4) Regionalism highlights the fact that a specific place is determined by so many factors ranging from class, gender and race which vary depending on geographical location.

I agree with Calder’s overall message that tries to enforce the importance of developing literary analysis of representations of places – so that we can analyze what is occurring in our communities and how we can respond to these specific forces and events taking place.

Works Cited:

“Regionalism in Literature.” Regionalism in Literature | The Canadian Encyclopedia, http://www.thecanadianencyclopedia.ca/en/article/regionalism-in-literature.

“Does Regionalism Challenge Globalization or Build Upon It?” E, http://www.e-ir.info/2010/07/29/does-regionalism-challenge-globalization-or-build-upon-it/.

Edwards, Justin D., and Douglas Ivison. Downtown Canada: Writing Canadian Cities. Toronto: U of Toronto, 2005. 12-23. Print.

Ivison and Edwards by stating that “Canada is an urban country [as]…80 per cent of Canadians live in cities” (12) yet the meaning of ‘City’ in a Canadian context is somewhat ambiguous.  Comparing a metropolitan like the City of Toronto with the amalgamation of small towns making up the City of Kawartha Lakes has led the authors to assume that urbanism, and “the city, is not yet truly accepted by Canadians.” (13) 

The book explains that Canadian Literature has been historically tasked with representing and finding a ‘sense of place’, using examples like Literary History of Canada by Northrop Frye and Margret Atwood’s criticism in Survival, to articulate how Canadians were overwhelmingly tasked with creating a fixed identity.  Now however, this concern has shifted to finding a ‘sense of self’ and merely using setting as a means for symbolism in order to characterize the characters in the novel as opposed to using it to decipher an overarching Canadian Identity.

The authors explain that despite the population of Canadians living very urban lifestyles, most of the literature is still concerned with the wilderness or rural towns.  The authors argue that by “privileging the wilderness and nordicity as defining characteristics of Canadian identity… [it] fails to recognize the majority of Canadians,… [and] distances Canadian readers from their [national] literature” (16).  They state that Canada is becoming alienated from their own literature.  Almost like the quilt that makes up the country is only being represented by individual pieces.  There is an “immigrant novel, a minority novel, but as yet little in the way of Montreal, Toronto or Vancouver novel’s.” (17)  The novel explains that ‘nature’ had become a privilege term in literature which further calls upon a more diverse representation of urbanism in Canadian Literature.  There are many books about cities, however most are about small and usually impoverished communities, such as Irene Baird’s West Hastings. 

The authors suggest that Canadian writers need to abandon binaries when thinking about setting within the context of Canadian literature.  Cities cannot be associated with exciting new writings, nor can nature be associated with old myths and stories. The goal of the novel is to justify the need for cities to become a central figure in the Canadian landscape, and to no longer see Canadian Literature in a setting that few have even thought of venturing to. 

Works Cited

“Conclusion to a Literary History of Canada.” Conclusion to a Literary History of Canada. Web 27 Mar. 2019.

“Digital Archives, Margaret Atwood on Canadian Literature.” Impressions, 22 July 1973

Hill, Colin. “Edward McCourt and the Prairie Myth.” Journal of Canadian Studies 44.3 (2010): 53,74,203. ProQuest. Web. 27 Mar. 2019.

Edward McCourt was a famous Canadian writer during the twentieth century. Hill’s article evaluates McCourt’s book The Canadian West in Fiction and how it relates to regionalism and how it started criticism on traditional prairie stories. McCourt’s book was the start of a traditional prairie story completely and utterly bound by a strict definition of regionalism and geography. Hill’s article evaluates this idea, establishing an arguments with critics from both sides. One that agrees with this critic and those who do not. The prairie myth is a specific story coming from the geographical area known as the prairies. The criticism comes from newer, more modern versions of storytelling. Many critics believe that McCourt created a layout for a “correct” story that comes from the prairie region. McCourt did not intentionally create this, is was his avid readers and critics who established the prairie myth. Colin argues that the new modern prairie stories are not different from those that were written in the past. They are a new, creative way of writing prairie stories for a modern audience which more liberating for the writer who does not have to stay within a certain paradigm to be considered apart of the prairie region.  -Tamara

Works Cited

“Selling The Prairie Good Life – Canada’s History.” Canadashistory.ca. N.p., 2019. Web. 28 Mar. 2019.

“Canadian Literature.” Encyclopedia Britannica. N.p., 2019. Web. 28 Mar. 2019.

Lochhead, Douglas. “Atlantic Regionalism and Literature: Some Bibliographical Comments.”Essays on Canadian Writing, vol. 31, 1985, pp. 262.

Lochhead’s article highlights the importance of literature specific to a region in Canada. In this case he highlights the the four Atlantic provinces, Newfoundland and Labrador, New Brunswick, Prince Edward Island and Nova Scotia. This short but important article emphasizes the importance of highlighting and telling stories from specific regions for historical, political and social reasons. Specifically from these Atlantic provinces since they have not been highlighted as much as other regions in Canada such as the prairies. Lochhead list four important areas where maritime literature needs to be more researched and shown. The first is editing and printing letters, diaries and journals from the region for first hand accounts of history. Bibliographical research on everything, historical, analytical etc. Biographies of famous writers, people and historical figures. Lastly more scholarly journals on Atlantic literature. Lochhead’s article highlights the importance of regionalism in literature and the work that needs to be done for the Atlantic region of Canada.  

Works Cited

“Writers’ Federation Of Nova Scotia.” Writers.ns.ca. N.p., 2019. Web. 28 Mar. 2019.

“Literary History In English 1867-1914 | The Canadian Encyclopedia.” Thecanadianencyclopedia.ca. N.p., 2019. Web. 28 Mar. 2019.

“Acadian Literature | The Canadian Encyclopedia.” Thecanadianencyclopedia.ca. N.p., 2019. Web. 28 Mar. 2019.

McFarlane, Brandon. Canadian Literary Urbanism. Thesis. University of Toronto, 2012. Web. 25 Mar. 2019.

“The “wheatfield,” as it were, is always in the eye of the beholder, who is, sometimes, in a condo.” (McFarlane 15)

In Canadian Literary Urbanism, Brandon McFarlane examines several pieces of Canadian literature in order to prove his thesis, which is that urbanism in writing plays a much more powerful and necessary role in Canadian literature than many critics have historically acknowledged. For much of the world- and for many Canadians themselves- Canadian writing has always been associated with the wilderness. McFarlane, however asks, “If Canada is one of the most urbanized countries in the world, why has the national imagination failed to come to terms with Canada’s everyday reality and its history of settlement and development?” (23). McFarlane refers to Downtown Canada: Writing Canadian Cities, where authors Justin D. Edwards and Douglas Ivison point out that our national narratives “encourage us to believe that Canadian is synonymous with rural, small town, and northern isolation” (McFarlane 3-4).  Yet McFarlane reminds us that times have changed, stating that the millennial years saw an urban awakening in Canada, due to events such as the 2010 Vancouver Olympics, the 400th anniversary of Quebec City in 2008, and- in what might seem like a small victory at first- Toronto finally being able to play itself in the 2010 mainstream Hollywood film Scott Pilgram vs. the World (a somewhat revolutionary idea, given that Canadian cities rarely get to be themselves in films), just to name a few. As a result,Canadian Literature contributor Eva-Maria Kröller called upon Canadian writers to “redraw their literary maps to reflect the nation’s millennial, urban reality” (McFarlane 2)- though McFarlane is quick to point out that while Canadian literary urbanism only recently started getting attention from literary critics, it has indeed been around a long time. At the same time, McFarlane points out that many Canadians (particularly older generations) are resistant to this change. As an example, he cites an incident from the 1998 Juno music awards, where Canadian hip-hop group Rascalz refused to accept the Best Rap Recording award, as a protest against the fact that the award ceremony did not present this award during the televised show, but rather prior to the ceremony, a gesture which seemed to suggest a lack of inclusion of “urban culture” in Canada’s biggest pop culture event.

While “rural” Canadian stories (including wilderness survival stories, perhaps the most famous of which is Susanna Moodie’s Roughing it in the Bush) depict certain facets of Canadian identity (e.g. the connection to land) and certain facets of Canadian history, urban stories represent different, yet equally valid facets. Among the issues explored in “urban”-set Canadian literature is immigration, racism, sexual identity, and cultural identity, all of which are major issues that require representation and exploration in Canadian literature. McFarlane refers to Hugh MacLennan, who writes in his essay “Everyone Knows the Rules” that the city’s heterogeneity is a more appealing and fertile terrain for him as a writer. McLennan writes that “if a hundred people who live in Montreal were to put their feelings about the city into words, no two portraits would turn out the same” (62).

McFarlane goes on to provide an analysis of three Canadian texts: Bertrand Sinclair’s North of Fifty-Three, Stephen Leacock’s Sunshine Sketches of a Little Town, and Douglas Durkin’s The Magpie. In doing so, McFarlane shows the effects of urbanization on small town living, and, of course, the individual.

McFarlane’s article demonstrates the importance of place in Canadian literature. However, while most proponents of regionalism focus on ruralism in our national writing, McFarlane argues that the representation of the Canadian city is just as valid, if not more so in today’s world. Literary critics have spent a great deal of time exploring Canada’s “two solitudes”, which has typically referred to the English/French identities of Canadian writing. McFarlane seems to be proposing that there are new solitudes,or tensions, in today’s literature: rural and urban. (This dichotomy is also present in Thomas King’s Green Grass, Running Water. Much of the novel portrays characters as they try to balance their search for identity with their physical “home”; consider Charlie’s life in Edmonton, Portland’s trek to Los Angeles, and Eli’s period of time in Toronto).

“Canadian Literary Urbanism” is a dense text that touches upon many different aspects of the role of “the city” in Canadian literature. I find it to be useful to our group because it highlights the fact that urbanism in Canadian writing is not necessarily a new idea- it has been around awhile and is a major (though under-represented) part of our national identity. Canadian cities are home to individuals of all backgrounds and cultures. If we are to tout ourselves as a multi-cultural and inclusive society, our cities must be represented in our literature. Furthermore, McFarlane emphasizes the role that the city plays in the lives of Canadians today, and the important societal issues that arise in an urban setting.

Works Cited

Edwards, Justin D. & Ivison, Douglas. Downtown Canada: Writing Canadian Cities. Toronto: University of Toronto Press, 2005.  Canadian Electronic Library/desLibris. Absolute Page 1. 26 Mar. 2019.

Every Frame a Painting. “Vancouver Never Plays Itself”. Online video clip. YouTube. 13 Sept. 2015. Web. 25 Mar. 2019.

Moodie, Susanna. Roughing it in the Bush. 1871. Project Gutenberg Canada. 17 Feb. 2011. Web. 26 Mar. 2019.

New, W.H.. “Literature in English”. The Canadian Encyclopedia, 27 March 2017, Historica Canada. Web Mar 25. 2019.

New beings his exploration of Canadian Literature by explaining the countless dichotomies associated with Canada Literature.  He explains that “writers have described Canada in many ways; for example, as a French or English colony, a “fifty-first state,” a Pacific Rim country, an Arctic giant, a friendly territory or an uninhabitable wilderness.”  New suggests that it is very difficult for this gigantic country to hold a maintain a uniform national identity in regards to literature.  In fact, much of Canadian Literature stems from pervasive stereotypes such as “portraying Canada as a physical desert, a cultural wasteland and a raw land of investment opportunity and resource extraction” which authors often reinforce by romanticizing the notion of the ‘Great White North’ or the ‘Peaceful Prairies’.

New also explains that the Canadian voice varies across the country due to the “wide variations in geography, social experience, Indigenous cultures, immigration patterns” and proximity to Europe, on the east coast, Asia on the west, and the USA in the southern (more urban) parts of the country. 

A major part of this article is the discussion of both domestic and foreign settings in Canadian Literature and the symbolic dimension they posses within a novel. New describes Quebec as a land of mystery; the Maritimes as one of old values; the North as one of visions.  Every region/province is associated with different connotations which provides the reader with insight into the characters before even beginning a novel.  Yet the one theme that continues throughout any piece of Canadian literature is the association of land and power. 

Rogers, Jaqueline McLeod. “Writing Winnipeg, Manitoba, Canada: Dwelling and Crossing.” Writing on the Edge 21.2 (2010): 37–48. JSTOR.  Web. 27 Mar. 2019.

“To pay attention to how we live where we live can be understood as an act of resistance and appreciation, perhaps even an act of hope.” (Rogers 46)

The article “Writing Winnipeg, Manitoba, Canada: Dwelling and Crossing” was inspired by Jacqueline McLeod Roger’s trip to the Conference on College Composition and Communication in Louisville, Kentucky, where she experienced the highly rigid and invasive security measures taken by airport security at the U.S. border crossing. It was a process that reminded Rogers that the border between Canada and the United States is a “hard and divisive” one, leading her to think about how space is regulated and how borders (the real and the imaginary ones) keep people in their place.

A professor of writing at the University of Winnipeg, Rogers often finds herself “Canadianizing” (her word) much of her material. Her reasoning is that her students “ingest American culture from so many sources that to confront it again in a Canadian institution of higher learning is to affront our claim to sovereignty, to affirm our subordinate status- the U.S. and then us” (39). Rogers recognizes globalization and the “generic city”, and argues that this makes the role of place in Canadian writing even more important, reminding us that “we need to touch ground to find and remember local cadence and culture” (40). She reminds readers that even Marshall McLuhan, who coined the term “the global village”, encouraged local grounding in order to avoid getting “lost in space”.

Rogers goes on to outline her ideas for a place-based course- in this case, the place is Winnipeg, a Canadian “big city” often over-looked in favour of trendier cities such as Montreal, Toronto, or Vancouver. Despite globalization, Winnipeg- like all Canadian cities- possesses its own unique culture, geography, and people. Out of all of the major Canadian cities, Winnipeg has the largest Indigenous population, with over 12% of the population identifying as Aboriginal. It is also a city that struggles with many social issues, most notably social division, racism and homelessness.

The first part of Rogers’ course will focus on the physical and human space, “to remember it, to dream it, and to walk it, cultivating a knowledge that is layered and multi-sensory” (43). The second part will deal with the history of the Winnipeg space and the built environment. The third part will invite students to create memory maps based on their history with the city, with focus on the walkabout. Here, Rogers refers to Nedra Reynolds’ argument that walkabout develop an understanding of diversity, in that it gets us to cross imaginary zones and question how place influences text. The fourth unit will look at how other cities are represented in literature, and this will lead into the fifth unit, which involves student presentations of “their Winnipeg”. The final part will raise questions about the community and its future, exploring tensions, inclusion, and exclusion.

I found this article to be of interest and value for several reasons. In addition to making arguments for the value of place in literature (specifically Canadian literature), Rogers provides concrete examples for ways in which we can “rise to the occasion”. Winnipeg is a unique Canadian city in a love/hate relationship with many of its residents, and it continues to grow and evolve. Given its position as a major city with a high Indigenous population, I find it to be one of the most important cities to represent in Canadian literature, as there are countless stories to tell and issues with which to grapple. As McLeod writes, developing textual representations of the city will allow us to “connect and remember, and eventually map a shared image of our Winnipeg(s)” (46).

Works Cited

Ghorayshi, Parvin. “Diversity and Interculturalism: Learning from Winnipeg’s Inner City.” Canadian Journal of Urban Research, 19.1 (2010): 89-104. ProQuest. Web. 27 Mar. 2019.

Kives, Bartley. “The Great Indigenous Divide: Winnipeg Stares into an Ethnic Chasm.” The Guardian. The Guardian. 21 Oct. 2014. Web. 27 Mar. 2019.

The Weakerthans.”One Great City.” YouTube. YouTube. 10 Aug. 2014. Web. 27 Mar. 2019.

“What is Place-Based Education?” Promise of Place. N.d. Web. Mar. 27 2019.

Zirul, Chelan “Struggling with New Regionalism: Government Trumps Governance in Northern British Columbia, Canada” Journal of rural and community development. Vol. 10, 2015, pp. 136. Web. 28 Mar. 2019.

In this article, the dynamics of a proposed new regionalist development process in rural British Columbia is discussed. The purpose of this new design is in hopes of helping communities in rural British Columbia to gain the ability to begin a new direction for their future development. For example, the Cariboo-Chilcotin Beetle Action Coalition (C-CBAC) was created to carry out and to acknowledge the importance of making change surrounding the mountain pine beetle infestation that has destroyed many of the pine forests located in British Columbia.

The C-CBAC has formed both community and economic transition strategies to help accommodate with long term economic restructuring and environmental changes.

This article emphasizes the importance of the process of co-construction in new regional governance as well as the importance of transitioning from a traditional (top down) regional development approach to a more collaborative approach in relation to the implementation of new regionalism.

Many internal government struggles have occurred such as such as reliance of senior governments on support from traditional vehicles for example. The progression towards co-construction is important because it allows for collaboration and innovation.
The main ways that change can begin to be implemented is by “(1) defining and delineating the redistributed roles concerning development issues, and (2) understanding where the authority (and capacity) resides to make decisions and implement them.” (p. 144)

Works Cited:

“CCBAC | Cariboo-Chilcotin Beetle Action Coalition – Home.” CCBAC | Cariboo-Chilcotin Beetle Action Coalition – Home, http://www.c-cbac.com/.

Regionalism in Canada, bclearningnetwork.com/LOR/media/SS11/COURSE_4034644_M/my_files/module3/section3/lesson1/topic1.html.

“British Columbia.” Strengthening Rural Canada, strengtheningruralcanada.ca/communities/british-columbia/.

“Mountain Pine Beetle.” Natural Resources Canada, 19 Feb. 2019, http://www.nrcan.gc.ca/forests/fire-insects-disturbances/top-insects/13381.r

Ca

22 thoughts on “Bibliographies”

  1. Hi Team! I’ve enjoyed reading about the various articles and books that examine place in Canadian literature. (It makes me wish that I had all the time in the world to fully read each and every source!) While I personally did not annotate Downtown Canada: Writing Canadian Cities, it is a source that showed up in a lot of my own research, and I think this is because it brings up some basic/obvious, yet all too much ignored facts regarding Canadian demographics, especially the idea that 80% of Canadians live in cities, yet Canada is not represented by the city (at least not in literature- those who are for proportional representation in politics might say that cities are TOO represented). The quote “Canada is becoming alienated from their own literature” really struck me. The 2016 Census reports that nearly 1/4 Canadians were or had been a landed immigrant or permanent resident. The majority of immigrants are landing in the city, with very few of them truly experiencing the “wilderness lifestyle” represented in our “Canadian literature”. (Though, sadly, I feel many Canadians whose families have always resided in Canada are also losing touch with nature, which I feel is a whole other argument in itself). If we are to be a country that wants to grow, evolve, and connect to our people, our stories must represent the places in which these people live.

    Like

    Reply

    1. Hi Marianne,
      I enjoyed reading your comment on your experience reading these bibliographies. It is so interesting to read that 80% of Canadians live in cities, with almost 1/4 of Canadians having been landed immigrants or permanent residents. Additionally, it is interesting that the stereotypes that are represented in Canadian literature do not hold true for immigrants coming into Canada who live in small apartments in the city, for example. I personally find it really upsetting for me to constantly see more and more trees being cut down in the city just for more apartment complexes to be put up.
      Besides implementing community and rooftop gardens, how do you think that we can increase the “wilderness lifestyle” that is presented in much of Canadian literature?

      -Alexandra

      Like

      Reply

      1. In the past few years, I’ve really enjoyed reading about “forest schools”. Popular in Scandinavia, these schools (which seem to really be daycares/preschools, but also exist at higher levels) are a somewhat “free-range” school, encouraging children to spend as much time as possible exploring the outdoors, regardless of the weather (with an emphasis on learning to dress appropriately). I know that there are many schools in Indigenous communities where educators have made a conscious shift to connect education and nature, rooting learning in the environment. I think that our schools, from K-12, need to be more nature-based. As our teacher, it has amazed me to go on a field trip snowshoeing, camping, etc., and learn that half my students (Canada-born and immigrants) had never experienced this before.
        I also think that governments (municipal, provincial, and federal) need to create a bigger budget for connecting Canadians to nature. While I am fully for the protection from over-tourism in certain areas, we need more green space that Canadians-even in the city- can access on a daily basis. We are so lucky to have space such as Stanley Park in the heart of our city, but many Canadians do not have access to this kind of nature.
        -Marianne

        Like

      2. Hi Alex and Marianne,

        I found your dialogue on this topic very interesting as you started discussing how to make the urbanscape further resemble that of a nature scape. Having just finished a semester on urban planning, with specific reference to Vancouver this topic appears a lot in terms of more ‘natural’ greens spaces, as well as more equitable green spaces. It is interesting to note that as mention above there is almost an elitism associated with the Canadian wilderness as it not only costs money to camp, however all the gear required is also quite pricey, therefore furthering this by having less green space in lower income areas makes this divide even greater.

        I would like to bring your attention to research the new Oakridge development in Vancouver (https://www.vancourier.com/real-estate/new-condos-at-oakridge-centre-development-do-not-come-cheap-1.23545001) this development is marketing their environment acitivism and the notion that they would be living in a green city. So I would pose to ask how you think this more North American iteration compares to the forest school, as well which one would better fit Canada as an urban center, versus a rugged wilderness one.

        Like

  2. Hi Marianne! I think the article you discussed, “Downtown Canada: Writing Canadian Cities” raises a very important point. That is that a lot of literature in Canada sort of fantasizes what it is. It focuses on the wilderness and nordicity being the defining features of Canada, when the majority of our population lives in urban areas. This emphasizes the disconnect between Canada as a land mass and Canada as a country. If we were to simply to look to Canada as a land mass then indeed, I think it is fair to say that it certainly is wild, and open, and free to explore. But that is not the Canada that most of it’s citizens experience on a regular basis. Canada as a country then is missing the stories of that urban life. What are the experiences that shape the majority of the population? Do the people in urban areas enjoy and experience the wild that is Canada the land mass more than we think? What is the relationship between those two things? How do those experiences then shape the stories they tell? I think this is territory that is certainly worth exploring, as it will certainly lead to greater understanding and greater identity as well.

    Like

    Reply

    1. I fully agree with your use of the term “disconnect”. Its as though the stereotype of Canada (and its literature) has developed a life of its own, one that split off from the reality of most Canadians. I do not think most urban Canadians enjoy or experience the wilderness as much as we think they do (though I certainly wish they did- but that’s another matter). I think that the individuals who truly do have a deep passion for the land and wilderness will end up there, at least eventually. The issues that face urbanites are different ones, maybe because many urbanites are first or second generation Canadians. Even ones whose families have been here for generations face different issues. It is a different time. And I think we need to place more emphasis on the stories that reflect today’s issues.

      Like

      Reply

  3. Hi everyone,

    I have thoroughly enjoyed reading everyone’s bibliographies! I also wish that I had the time to read all of these articles and journals. I think that this is a great way to learn more about articles that we each find interesting and thought-provoking. This process has also made me realize how important it is to read Canadian Literature in order to be more aware of the history and diverse cultures in our own country.
    I found the discussion of “Literature in English” by New to be particularly interesting. It is interesting that New explains various dichotomies existing within Canadian Literature, but the concept of association of land and power in Canadian Literature is always present. It is unfortunate that there are often pervasive stereotypes about Canada existing such as cultural wasteland or desert.

    Do you think that these stereotypes can sometimes be beneficial or do you think that they are always detrimental in how society views Canada? If so, how do you think that we can prevent these stereotypes from being implemented in Canadian literature so heavily?

    -Alexandra

    Like

    Reply

    1. That’s a very interesting question! I wonder… is it that these stereotypes are heavily implemented in Canadian literature, or is it just that these are the stereotypes getting the most attention?
      There are many Canadian/ Indigenous authors who are writing smart, modern, and innovative material, much of which is NOT set in the “wild”. In “Canadian Literary Urbanism”, McFarlane points out that the city has played a role in Canadian literature for a long time. Yet it seems that there is still a stubborn attitude towards urbanism in Canadian lit- it’s as though there is a resistance towards accepting the fact that Canada DOES have a culture outside of the wilderness. Are these stereotypes harmful? In the way that all stereotypes can ultimately lead to harm, yes. Nothing should ever be tidily boxed up into one point of view. It’s all very cute to think of Canadians at their cabins wearing plaid and drinking Tim Hortons, but doing so overlooks the multiculturalism of our country, as well as the major issues we face, such as racism, sexism, and environmental concerns.
      -Marianne

      Like

      Reply

    2. Canada, like many other countries, is tied to a specific identity. For us, it is our nature. When people think of Canada they imagine deep snow, mountains, dense forest and open fields. For Indigenous communities, it is ingrained in the culture that their literature and stories are tied down to the vast landscape. Wilderness, as Marianne pointed out is the dominant stores that come from Canada. This is not super detrimental however it does not leave much room for other works and genres such as urbanism. I big area that is not considered outrightly Canadian unless we know the author’s history would be fiction. The life of Pie and the Handmaid’s tale is more work of Canadian fiction yet they are not talked about as “Canadian” literature as someone like Hemingway is talked about as American literature. Canadian literature has not had the chance to completely develop into a complete and complex genre. The stereotype of Canadian literature is important to include within the umbrella but it must make ways for other genres such as stories of urbanism, fiction etc. It is important to make the right steps so Canadian society and the rest of the world can fully grasp, appreciate and grow within the umbrella term of Canadian literature.-Tamara

      Like

      Reply

    3. What I think about the stereotypes about Canada is that it is beneficial to a point but like with all other stereotypes, it can be harmful. Canada struggles to have a national identity because feeling of Canadian is very limited to an imaginative and cultural feeling. These stereotypes can help in a way to gain a sense of an identity within a nation that many people lost to having. It becomes harmful when all people can think about when thinking about Canada becomes the typical stereotypes of wetlands and desert because obviously there are many other parts of Canada that are great and should be mentioned and acknowledged in the literature such as the Indigenous peoples and other cultural groups.

      Like

      Reply

      1. It’s interesting to hear of the idea that stereotypes can be beneficial in forming a national identity. I can see how this works, but I wonder if this is also harmful. Should our national identity be based on a stereotype? I think many Canadian stereotypes seem harmless (e.g. our apologetic nature, our kindness, our humble attitudes) but I wonder if these positive images prevent us from really addressing our issues. (I recently saw this comedic video https://www.youtube.com/watch?v=CDVxfrQL6I0 of how Americans see the SNC Lavalin case- yes, I can chuckle at it, but at the same time it seems to be brushing aside the problems. Just because the Canadian government’s behaviours may not be as scandalous or newsworthy as American news, it does not mean it’s right or acceptable).
        -Marianne

        Like

      2. On the topic of Canadian stereotyping and identity I would like to draw everyone’s attention back to the Vancouver 2010 Olympic closing ceremonies. https://m.youtube.com/watch?v=I5KSeLxREUo I think that this show goes above and beyond in showcases and poking fun at Canadian stereotypes. However most significantly, nature on its own (therefore not in association with animals) is not viewed as a stereotype.

        I could infer from this two things. In terms of a global presence people know Canada from their cities, further showcasing that the topics in Canadian Literature are quite misrepresented. Or one can argue that this stereotype is only associated to literature. I believe it is the later as looking at other genres of culture including music and television, much of the Canadian substance is actually quite similar to the American substance. However I think this draws back to Tamara’s comment that Canadian works such as the Handmaids Tale are not thought as Canadian works, because of the lack of stereotypical setting.

        So do you believe it is just in literature? And why might this be so?

        Sandra

        Like

  4. You guys had amazing bibliography posts! I mentioned in my reply to Alex’s posts I think Canadian literature needs to branch and become an umbrella term for all kind of literature, ones that involve regionalism and those that don’t. The bibliographies that I chose are definitely a more traditional sense of Canadian literature as it is tied down to specific places such as the Prairies and the Atlantic provinces. Something that I realized is that I have studied an entire sub-genre of Canadian literature in my french immersion studies without even realizing it. I lived in Montreal for some of my younger years before coming out to Vancouver where I was immediately placed into French immersion. I was in a split French and English school in Montreal. My Montreal schooling was based in Quebecois French and when I came to Vancouver it changed to Parisian French. One thing remained the same, we studied Quebecois literature and culture. Quebec contains some of Canada’s oldest history, most of it French speaking. I have read countless pieces of Quebecois literature, historical, fictional, biographical etc. Quebecois literature is obviously strictly tied to the region and province of Quebec, but it has its own unique identity that is somehow separate from the rest of Canadian literature and regionalism despite a specific genre such as the rest of Canadian regionalism. Despite the different language and political separation, why do you think Quebecois literature is not automatically associated with other Canadian works? Is it because it is not marketable to an audience outside of Canada? Is it because it is strictly tied down to the region or because it has a wide variety of genres within its parameters, unlike other traditional regionalistic works? -Tamara

    Like

    Reply

    1. Hi Tamara, I think you raise a really interesting point about the divide between French Canada and English Canada. I’m currently taking a Canadian history course and this divide has been present since even before Canada was a country, so it makes sense that it still shows up in the literature today. To answer your question though, I think it’s really a combination of all the factors you bring up. Canada in and of itself doesn’t market itself with a strong identity to the international community as it is I think. There doesn’t appear to be a lot of interest in what we think, only in what we can provide (land, resources, aid). So it makes sense then that there isn’t a lot of interest either in the specific subset of Canadian culture that is Quebecois literature. not even with those in France, as there is a distinct difference between those two regions. Within Canada, I don’t think Quebecois literature is received well for similar reasons. Canada is so large geographically, that things one region identify strongly with don’t even exist in others. It becomes quite hard to market those ideas then, when they are based in culture and experiences that aren’t relatable to large parts of the country. I think this is a really strong example of the regionalism within the country, and how many provinces think quite insular. How do you think we can get a stronger unifying identity for Canada as a region in and of itself? And in that way have more unifying and connecting ideas. Or do you think it’s possible to do so?

      Like

      Reply

  5. I think you’re right about Quebec literature often being viewed as separate from Canadian literature- and as someone who grew up in Montreal, I think this is the way French Canadian/Quebec writers want it to be. Many of the French-speaking people of Quebec (especially older generations) view themselves as a minority who have been continuously oppressed by English rule since Europeans first started claiming North American land as their own. (Ironically, there seems to be a lack of awareness of their own role as oppressor to Indigenous people). This frustration is certainly a feeling that is expressed in both Quebec’s politics and its writing, and perhaps that does make it hard for an outside audience to appreciate. Place is extremely important to French Canadian writing- not so much with an emphasis on nature or city, but rather on the political atmosphere of the place. I’ve noticed that place is also very important to English Quebec writers, but rather than focusing on the political atmosphere, there is a huge focus on the cultural aspects of the city (often Montreal) and/or the natural land outside the city (Mordecai Richler’s The Apprenticeship of Duddy Kravitz, for example, or any of Heather O’Neill’s stories).
    I think the majority of Canadians and non-Canadians have such a traditional view of Canadian literature that they forget to consider all of the sub-genres and different voices within.
    -Marianne

    Like

    Reply

  6. Hi Marianne,
    I really appreciated your comment about how the creation of such a stereotyped Canadian (the plaid-wearing, TIm Horton’s drinker) does not represent the rich multiculturalism that exists here in Canada. I think that this stereotype can be very ostracizing for immigrants or minority residents who are unable to fit into that ‘box’. Similar to what Alexandra said, how can immigrants living in small apartments be integrated into the literature? This discussion raises a lot of questions: should Canadian literature even be striving to create a national identity, or is this always going to create and perpetuate stereotypes? Perhaps representing Canada’s multiculturalism means progressing past this idea that we need a national identity and unity – rather, Canadian literature should attempt to represent the various, differing identities found in Canada, and how these identities are able to co-exist and interact with each other.
    Definitely a very thought-provoking discussion. – Rachel

    Like

    Reply

    1. I agree- these stereotypes can be ostracizing, for immigrants and minorities, and even for many natural-born Canadians themselves! For example, as a teacher, I’ve seen many young boys who feel “weird” because they aren’t into hockey. Part of this is because many of their classmates ARE into the sport, but part of this is also because there is this expectation/pressure on them to be a certain way and to enjoy certain past-times, as a Canadian.
      One example of Canadian literature that integrates immigrants and the immigrant experience in to writing is The Boat People, by Sharon Bala. I recommend it as a contemporary novel that explores multiple generations of immigrants from various parts of the world, and their experiences coming to and living in Canada.
      You ask the question “should Canadian literature even be striving to create a national identity, or is this always going to create and perpetuate stereotypes?” I like to think these two things aren’t mutually exclusive. I think there are certain stereotypes we can eliminate from our literature/national identity (e.g. the superficial stuff, such as hockey, and snow, and Time Hortons), but perhaps we can focus more on values that we claim to embrace (e.g. diversity and kindness). If we do this, maybe we can have “stereotypes” in our literature that (hopefully) is meaningful to ALL Canadians.
      -Marianne

      Like

      Reply

  7. I really enjoyed the annotated bibliography about Jacqueline Roger’s article. In particular, I really liked what Roger said about “Canadianizing” material. Even though I am Canadian, I find myself ingesting a lot of American and even European material. While this is an awesome thing, and a really great benefit of globalization is being able to experience other cultures, I will so often gravitate towards an American TV show or a European novel, that I have actually enjoyed very little Canadian material. Lately, I have been making more of an effort to learn about Indigenous culture, and read more Canadian literature. But I really like this “Canadianizing” idea, and I think that with this increased awareness of Canadian culture, as a consumer, it will also affect the global works that I read – I will be able to read an American novel, and rather than just taking this as a generalized representation of society, I wish to be aware of how it differs from the Canadian literature I have read. As well, I think this can be applied to more than just the literature being written. As someone who wishes to go into education, I am always trying to apply what I read to that field. I think that as a teacher, I would like to try to “Canadianize” the material I am teaching as well, more often putting it into a Canadian context, so that the students are able to begin forming their identity as a Canadian citizen. As well, I would never wish to do this in a way that is exclusive or only representing a certain kind of Canadian culture. The “Canadianizing” process would need to be done in a way that represents the multiculturalism of our country. – Rachel

    Like

    Reply

    1. Very true. I think many Canadians have a somewhat negative attitude towards Canadian pop culture- it just isn’t “cool”. One body that helps to ensure that Canadian content gets across is the CRTC (https://crtc.gc.ca/eng/cancon.htm) which ensures “Canadian broadcasting content meets the needs and interests of Canadians by delivering compelling, high-quality Canadian-made creative content from diverse sources on a variety of platforms”. Radio stations, television channels (and possibly book stores, but I’m not sure about that) are required to deliver a certain percentage of Canadian content. However, you are absolutely right about the importance of delivering that content through the classroom. I don’t know about you, but in all my years of schooling, I can probably count on 1 hand the number of novels/short stories that we read that were written by a Canadian, and even less (if any!) of those represented the “hidden Canadian” (minorities, Indigenous people, etc.).

      Like

      Reply

  8. Hi Marianne,

    I made this comment a couple days ago, but it seems to have disappeared for some reason…Anyway, I also quite enjoyed the ideas around “Downtown Canada: Writing Canadian Cities”. I think it raises an interesting point that much of Canada is sort of fantasized about. The motto of “we are the North” is almost as fantastical as “winter is coming” in some parts of Canada. Our wilderness, our mountains, our prairies, and even the First Nations people are thought of in a sort of mystical way by both those inside and outside of Canada. But like your article mentions, most of Canada lives in urban areas, and these areas don’t really have any exposure to any of this wilderness that people think of when they think of Canada. Do you think that means that Canada is misrepresented then by people, and by our own literature and stories? Do you think people idolize this idea of “nordicity”, or do you think it holds truth even within our urban landscape?

    Like

    Reply

  9. Hi all, I enjoyed all of your annotated bibliographies! I found what New had said about the Canadian literatures stereotype very interesting. Canada indeed has difficulty in maintaining a uniform national identity in regard to literature. It stems very pervasive stereotypes such as portraying Canada as a physical desert and romanticizing the notion of the “Great White North” or “Peaceful Prairies” In what ways do you think that Canada as a nation could do to gain a sense of uniform national identity within the different provinces and regions? They all seem to have such distinct characteristics that are different. How can they be brought together as a nation? What about the land Quebec, what New calls a mystery land?

    Like

    Reply

    1. Hi Cathy! Canada is extremely difficult to place into a single box as there are so many different genres. The way I have been thinking about it is very much akin to American literature. American literature is also very broad in terms of genre, especially when it comes to distinct places. New York, the midwest, California, Texas. All of these places have produced regionalistic writings but have very broads genres and stories that are told. Yet there is always one word associated with each of these works, American. I mentioned this before in another comment, and the idea of Canadian literature being used as an umbrella term. There are so many stories to be told in Canada, many connected to a certain place but it should still be seen as Canadian work. A major reason why I don’t think they can all be seen as the national identity because there is such a strong stereotype that is expected from Canadian literature. The best way to have a “national identity” is to do away with any stereotypes and perceive all literature that comes from Canada as Candian literature. They can be apart of specific subgroups such as regionalist works but still, be Canadian in their own unique voice. -Tamara

      Like

      Reply

Leave a comment