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The poems in Souwesto Home are fresh, youthful meditations on such diverse subjects as the Little Lakes near Stratford, Ontario, the flora of Elgin County, the Donnelly feud, lichens, a Department Store Jesus, and so on. The collection ranges widely in tone and technique, from the lyrical to the satirical, from the direct and straightforward to the linguistically playful. As ever, Reaney's signature voice, his inimitable combination of sophistication and child-like simplicity, may be heard in every line. Like his contemporaries, P.K. Page, Margaret Avison and Colleen Thibaudeau (his wife), he has lost nothing of his poetic prowess to advancing years
‘Set up a trellis for flowering plants to climb all over: it’s there but unseen, supporting all that floral leaf-green beauty.’ In James Reaney on the Grid, Stan Dragland examines an artist fiercely loyal to his artistic practice, deploying the metaphor of the grid to explore the inherited literary patterns and archetypes underpinning works of London poet, playwright and educator James Reaney. With extensive references to Reaney’s considerable oeuvre (from early publications such as A Suit of Nettles and The Box Social to what is arguably his master work, The Donnellys), and to an eclectic collection of theorists, artists and contemporaries whose ideas inform and respond to Reaney’s, Dragland seeks to reveal not only what Reaney’s work is about but also what it does. In so doing, he takes readers by the hand in a surprisingly personal ramble through the processes and productions of one of Southern Ontario’s most influential writers.
The literary emblem can trace its roots back to sixteenth-century English collections, which sought to reconcile classical philosophy with Christian doctrine. Consisting of images and verses, emblems challenged readers to use their wit and knowledge to deduce the connection between the visual and the textual. In The Emblems of James Reaney, former Reaney student and professor Thomas Gerry draws on his own considerable wit and knowledge to help readers understand the myth, mystery and meaning behind ten literary emblems, published in 1972 as ?Two Chapters from an Emblem Book? by poet, playwright and painter James Reaney. Gerry conducts an exhaustive investigation of the ?magnetic arrangement? that links each emblem with some of Reaney?s best-known fiction, poetry, drama and painting. His detailed analysis of the visual and verbal aspects of each emblem draws on alchemy, biblical mythology and Haitian voodoo. By referring to the influence and inspiration that Reaney drew from William Blake, Edmund Spenser, Northrop Frye and Carl Jung, Gerry reveals the overall cycle of meaning behind the emblems and shows how Reaney marries the opposing concepts of art and experience into a unified artistic vision. The Emblems of James Reaney presents a fascinating organizational scheme within which to study some of Reaney?s most beloved works, encouraging readers to frolic in the playbox of Reaney?s imagination and to revisit his work – and Canadian literature – with new eyes.
Based on a true story, these three plays explore the saga of a secret society and massacre that stunned the Canadian public in 1880.-Based on a true story, these three plays explore the saga of a secret society and massacre that stunned the Canadian public in 1880.
Despite his amply deserved reputation as the father of Southwestern Ontario Gothic, James Reaney was one of the most playful and buoyant Canadian poets publishing in the 1940s and ’50s. The Essential James Reaney presents an affordable, pocket-sized selection of the poet’s very best work.
Author : Ryan Porter Publisher : University of Toronto Press Page : 225 pages File Size : 49,7 Mb Release : 2019-04-08 Category : History ISBN : 9781487504243
Rather than reading small-town representations in Canadian literature as portraits of a parochial past or a lost golden age, this book claims that they are best understood as sophisticated statements on the effects of modernity in an ever-more cosmopolitan world. In Ontario, as urbanization increased over the past century, small towns became a popular literary trope, and Ryan Porter argues that literary small towns are reflections, and even sublimated explorations, of contemporary life. Referencing the theories of heritage scholars, who view popularly understood pasts as constructions shaped by changing sensibilities, You Can't Get There from Here argues that the literary small-town Ontario past is malleable, consisting of attempts to come to terms with the present in which the narrators find themselves. The book focuses on four key Ontario authors - Stephen Leacock, Robertson Davies, Alice Munro, and Jane Urquhart - as well as many secondary authors, and links the readings to much broader trends in actual Ontario towns and in popular culture.
W. J. Keith has chosen to ignore utterly both the `popular' at the one extreme (Robert Service, Lucy Maud Montgomery) as well as the `avant-garde' at the other (bpnichol, Anne Carson) in favour of those authors whose style lends itself to the simple pleasure of reading, and to that end Keith dedicates his history to `all those -- including those of the general reading public whose endangered status is much lamented -- who recognize and celebrate the dance of words.'
Craig Walker devotes the main body of his work to critical readings of James Reaney, Michael Cook, Sharon Pollock, Michel Tremblay, George F. Walker, and Judith Thompson, respecting the distinctive elements of the writer's voice while helping the reader appreciate the cultural context that informs each play. He analyses the poetics or mythological underpinning of the works and investigates the cultural significance of the tropes that typify their works. The Buried Astrolabe stakes the claim of Canadian playwrights to be considered among the most important in the contemporary world.
If water breathes follows a spiritual seeker through and across Buddhist, Hindu, Greco-Roman, Muslim, Judaic, astrophysical, and Christian cosmologies. In these poems, each moment is ripe with the future it heralds, and the poet lives as witness to the movement of time through love, loss, and longing. Desire remembers, constellates today, and foreshadows tomorrow, while both nature and the word gesture toward a salutary beyond.
The Box Social and Other Stories by James Reaney Pdf
The Box Social & Other Stories gathers together nine of James Reaney's short fictions written in the 40s and early 50s and never previously collected in book form. The collection takes its title from a short piece the author originally published in the University College Undergrad and which provoked a firestorm of eight hundred angry letters from subscribers when it was republished nationally in the New Liberty in the late 40s. It also thwarted the young author's designs on the editorship of the Undergrad because of his clear moral unsuitability for such an august position. (This is doubtful, because the Undergrad eventually came to be edited, thirty years later, by PQL publisher Tim Inkster.) `The Box Social' is remarkable, not only that it introduced the theme of date rape to Canadian literature some thirty years before the phrase was coined, but also that it is told from Sylvia's point of view, and yet again that it ends with one of the quietest lines of literary vitriol imaginable ... ` ``I hated you so much, '' she said softly.' If Alice Munro has put the sexually awakening female under glass in Lives of Girls and Women, then The Box Social could just as easily have been titled Lives of Boys and Men. In `The Bully', the brutality of what passes for etiquette in secondary school is contrasted with the simpler life of the farm personified in Noreen who drops grain in the shape of letters to feed her chickens -- `so that when the hens ate the grain they were forced to spell out Noreen's initials or to form a cross and circle. There were just enough hens to make this rather an interesting game. Sometimes, I know, Noreen spelled out whole sentences in this way, a letter or two each night, and I often wondered to whom she was writing up in the sky.' `The Bully' was included in The New Oxford Book of Canadian Short Stories edited by Margaret Atwood and Robert Weaver. The young Margaret Atwood first encountered `The Bully' as an undergraduate. She read the story, oddly enough, in an anthology edited by Robert Weaver, and the experience was apparently seminal to her own development as a writer of fiction ...
The title of A Suit of Nettles was inspired by a German fairy tale. Seven suits of nettles are woven by the sister of seven brothers who have been changed into swans. When the time comes for the seven swans to put on their suits of nettles and regain human form, the arm of one suit is not finished. Consequently one brother always has one swan’s wing instead of an arm. The poem, like Spenser’s Shepherd’s Calendar, is a sequence of pastoral eclogues, one for each month of the year, but here the dialogues are not between bucolic swans, they are between Ontario geese! Although the goose-eye view is bound to be somewhat restricting there is much carefully observed detail about farm houses, spring in a small pond, summer in a pasture and the small town Ontario Fall Fair. There are some ambitious satirical wallops at the English critical school headed by F. R. Leavis, at philosophy, progressive education and Canadian history. Here is a poet who believes in merry invective. Lively, fanciful, humorous, this poem is also remarkable for its metrical ingenuity and skilful contrasts of harsh, brassy passages with mellifluous lyric. Parts of it were read on the CBC radio programme Anthology in the mid-1950s and the April Eclogue first appeared in The Tamarack Review.
