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Canada's
premier woman of letters takes a razor-sharp look at the state of Canadian
literature
As Canada's
international writing superstar, Margaret Atwood has won more than 50 major
awards, from the Governor General's Award for her first book of poetry,
The Circle Game, in 1966, to the Giller Prize for her latest novel, Alias
Grace, in 1996. Surprisingly, only the Swedish Humour Association, which
honoured her with its International Humorous Writer Award for The Robber
Bride in 1995, has explicitly recognized one of her most attractive qualities.
In this essay, the 59-year-old author turns her finely honed wit on a topic
she effectively defined nearly three decades ago: Canadian literature.
In 1972, I wrote
and published a book called Survival: A Thematic Guide to Canadian Literature,
which ignited a ferocious debate and became, as they say, a runaway best-seller.
This was a shock to everyone, including me. Canadian writing, interesting?
Among the bulk of readers at that time it was largely unknown and among
the cognoscenti it was frequently treated as a dreary joke, an oxymoron,
a big yawn, or the hole in a non-existent doughnut.
At the beginning
of the '60s, the usual sales of poetry books numbered in the hundreds,
and a novel was doing well if it hit a thousand copies. But over that decade,
things changed rapidly. After the wartime '40s and the beige '50s, Canada
was showing a renewed interest in its own cultural doings. The Canada Council
began supporting writers in earnest in 1965. In Quebec, the Quiet Revolution
had generated an outburst of literary activity; in the ROC (the Rest of
Canada as we call it now but did not then), many poets had emerged through
coffee houses and public readings, more novelists and short-story writers
were becoming known, and Expo 67, the Montreal world's fair, had created
a fresh national self-confidence. Audiences had been building steadily,
and by 1972 there was a critical mass of readers who wanted to hear more;
and thus, through a combination of good luck, good timing and good reviews,
Survival became an "overnight publishing sensation," and I myself became
an instant sacred monster. "Now you're a target," Farley Mowat said to
me, "and they will shoot at you."
How prescient
he was. Who could have suspected that this modest cultural artifact would
have got so thoroughly up the noses of my elders and betters? If the book
had sold the 3,000 copies initially projected, nobody would have bothered
their heads much about it, but in the first year alone it sold 10 times
that number, and suddenly CanLit was everybody's business. The few dedicated
academic souls who had cultivated this neglected pumpkin patch over the
meagre years were affronted because a mere chit of a girl had appropriated
a pumpkin they regarded as theirs, and the rest were affronted because
I had obnoxiously pointed out that there was in fact a pumpkin to appropriate.
Even now, after 27 years, some Jack or Jackess emerges with seasonal regularity
to take one more crack at moi, the supposed Giant, in a never-ending game
of Let Us Now Blame Famous Women. You get to feel like the mechanical duck
at the fun-fair shooting gallery, though no one has won the oversized panda
yet, because I still seem to be quacking.
Over the years,
I've been accused of just about everything, from bourgeois superstition
to communist rabble-rousing to not being Marshall McLuhan. (I would have
liked to have been Marshall McLuhan--it seemed a ton o' fun--but he had
the job pretty much cornered.) Yet when I was writing this book--or rather
when I was putting it together, for it was more an act of synthesis than
of authorship--I attached no particular importance to it. I was, after
all, a poet and novelist, wasn't I? I did not consider myself a real critic--just
a kind of bake-sale muffin lady, doing a little cottage-industry fundraising
in a worthy cause.
The worthy cause
was The House of Anansi Press, a small literary publisher formed in 1967
by writers Dennis Lee and David Godfrey as a response to the dearth of
publishing opportunities for new writing at that time. Anansi was diverse
in scope--Austin Clarke, Harold Sonny Ladoo, Roch Carrier and Jacques Ferron
were some of its authors--and had already made quite a few waves by 1971,
when Dennis, an old college friend, buttonhooked me onto its board. So
there we were one grey November day, a tiny, intrepid, overworked, underpaid
band, glumly contemplating the balance sheet, which showed an alarming
amount of red ink. Publishing Rule No. 1 is that it's hard to keep small
literary publishers solvent unless you have the equivalent of knitting
books to support them.
To pay the bills,
Anansi had begun a line of user-friendly self-help guides, which had done
moderately well: Law Law Law, by Clayton Ruby and Paul Copeland, which
set forth how to disinherit your relatives, avoid being bled dry by your
estranged spouse, and so forth; and VD, one of the first venereal disease
books, which explicated unwanted goo and warts and such, though AIDS was
still a decade into the future.
Thus was born
Survival. As I'd travelled the country's byways, giving poetry readings
and toting cardboard boxes of my own books to sell afterwards because often
enough there was no bookstore, the absence of views on the subject was
spectacular. The two questions I was asked most frequently by audience
members were, "Is there any Canadian literature?" and, "Supposing there
is, isn't it just a second-rate copy of real literature, which comes from
England and the United States?" In Australia they called this attitude
the Cultural Cringe; in Canada it was the Colonial Mentality. In both--and
in many smaller countries around the world, as it turned out --it was part
of a tendency to believe that the Great Good Place was, culturally speaking,
elsewhere.
Through no fault
of my own, I happened to be doing a one-year teaching stint at York University.
Canadian literature formed part of the course load, so I'd had to come
up with some easily grasped approaches to it--easily grasped by me as well
as by my students, because I was, by training, a Victorianist, and had
never formally studied Canadian literature. (Not surprising: it wasn't
taught.) I discovered that previous thinkers on the subject, although pithy
enough, had been few in number: there was not exactly a wealth of existing
lore.
Back to the
Anansi meeting. "Hey, I know," I cried, in my Mickey Rooneyish way. "Let's
do a VD of Canadian literature!" What I meant, I explained, was a sort
of handbook for the average reader--for all those people I'd met on my
tours who'd wanted to know more, but didn't know where to start. This book
would not be for academics. It would have no footnotes, and would not employ
the phrase "on the other hand," or at least not much. It would also contain
lists of other books that people could actually go into a bookstore and
buy. This was a fairly revolutionary concept, because the CanLit of the
past was mostly out of print, and that of the present was kept well hidden
at the back of the store, in among the Beautiful Canadiana fall foliage
calendars.
We now take
it for granted that Canadian literature exists as a category, but this
proposition was not always self-evident. To have any excuse for being,
the kind of book I had in mind would have to prove several points. First,
that, yes, there was a Canadian literature--such a thing did indeed exist.
(This turned out to be a radical proposition at the time, and was disputed
by many when the book appeared.) Second, that this body of work was not
just a second-rate version of English or American, or, in the case of francophone
books, of French literature, but that it had different preoccupations which
were specific to its own history and geopolitics. This too was a radical
proposition, although common sense ought to have indicated that it was
just common sense: if you were a rocky, watery northern country, cool in
climate, large in geographical expanse, small but diverse in population,
and with a huge aggressive neighbour to the south, why wouldn't you have
concerns that varied from those of the huge aggressive neighbour? Or indeed
from those of the crowded, history-packed, tight little island, recently
but no longer an imperial power, that had once ruled the waves? Well, you'd
think they'd be different, wouldn't you? To justify the teaching of Canadian
literature as such, you'd still have to start from the same axioms: i)
it exists, and ii) it's distinct.
Back to the
Anansi meeting. The desperate will try anything, so the board agreed that
this idea should be given a whirl. Over the next four or five months, I
wrote away at it, and as I finished each section Dennis Lee edited it,
and under Dennis's blue pencil the book grew from the proposed hundred-page
handbook to a length of 246 pages. It also took on a more coherent shape
and direction. The book's subtitle A Thematic Guide to Canadian Literature--meant
that we were aiming, not at an all-inclusive cross-indexed survey such
as was provided in 1997 by the 1,199-page The Oxford Companion to Canadian
Literature, nor at a series of studies of this author or that, nor at a
collection of New-critical close readings or explications du texte. We
were doing the sort of thing that art historian Nikolaus Pevsner had done
in The Englishness of English Art, or that the American literary critics
Perry Miller and Leslie Fiedler were doing in their examinations of American
literature: the identification of a series of characteristics and leitmotifs,
and a comparison of the varying treatments of them in different national
and cultural environments.
For example:
money as a sign of divine grace or providence is present in the American
tradition from the Puritans through Benjamin Franklin through Moby-Dick
through Henry James through The Great Gatsby. The theme is treated now
seriously, now cynically, now tragically, now ironically, just as a leitmotif
in a symphony may be played in different keys and in different tempos.
It varies as time unrolls and circumstances change, of course: the 18th
century is not the 20th. Yet the leitmotif persists as a dominating concern--a
persistent cultural obsession, if you like.
The persistent
cultural obsession of Canadian literature, said Survival, was, well, survival.
In actual life, and in both the anglophone and the francophone sectors,
this concern is often enough a factor of the weather, as when the ice storm
cuts off the electrical power. La survivance has long been an overt theme
in Quebec political life, currently manifesting itself as anxiety about
the survival of French. In the ROC, it's more like a nervous tic: what'cher
gonner do when free trade trashes your ability to control your water supply,
or when the Mounties sell themselves to Disney, or when your government
says that the magazines from the huge aggressive neighbour to the south
are the same as yours really, or when there's a chance that after the next
Quebec referendum, that part of the country will no longer be that part
of the country? And so on and so forth.
Survival, therefore,
began with this dominant note. It then postulated a number of other motifs
in Canadian literature-motifs that either did not exist at all in one of
the literatures chosen for comparison (for instance, there are almost no
"Indians" in English novels), or which did exist, but were not handled
in the same way. The Canadian "immigrant story," from fleeing Loyalists,
to Scots kicked off their land, to starving Irish, to Latvians emigrating
after the Second World War, to the economic refugees of the '70s and '80s,
tends to be very different from the one told by Americans: none of their
stories is likely to say that the immigrants were really trying to get
into Canada but ended up in the United States faute de mieux. Canada has
rarely been the promised land. About the closest we've come is the title
of Wayne Johnston's 1998 novel, The Colony of Unrequited Dreams.
The tradition
identified in Survival was not a bundle of uplifting Pollyanna cheer: quite
the reverse. CanLit, at least up until 1970, was on balance a somewhat
dour concoction. Some critics who couldn't read very well--a widespread
occupational hazard, it seems--thought I was somehow advocating this state
of affairs. Au contraire: if the book has attitude, it's more like you
are here, you really do exist and this is where, so pull up your socks
and quit whining. As Alice Munro says, "Do what you want and live with
the consequences." Or as Survival itself says in its last chapter, "Having
bleak ground under your feet is better than having no ground at all ...
a tradition doesn't necessarily exist to bury you: it can also be used
as material for new departures."
Many things
have happened in the 27 years since Survival was published. In politics,
the Quebec cliffhanger and loss of national control and increased U.S.
domination brought about by free trade have become, not the tentative warning
notes they were in Survival, but everyday realities. Canada's well-known
failure to embrace a single "identity" of the yodelling or Beefeater variety
has come to seem less like a failure than a deliberate and rather brave
refusal. In literary criticism, Regionalism, Feminism, Deconstructionism,
Political Correctness, Appropriation of Voice, and Identity Politics have
all swept across the scene, leaving their traces. The former Canadian-identity
question, "Where is here?" has been replaced by "Who are we?" "Discourse"
and "text" are the new words for "debate" and "book." "Problematize" has
became a verb, "postmodern"--once a cutting-edge adjective--is used to
describe kicky little handbags, and obfuscation, in some academic quarters,
has become a mode of being.
Survival the
book, seemed quainter and more out-of-date as these various years went
by, and--incidentally--as its wishes were granted and its predictions realized.
Yet its central concerns remain with us, and must still be confronted.
Are we really that different from anybody else? If so, how? And is that
how something worth preserving? In 1972, Survival concluded with two questions:
Have we survived? If so, what happens after Survival? We're still asking
the same questions.
People often
ask me what I would change about Survival if I were writing it today. The
obvious answer is that I wouldn't write it today, because I wouldn't need
to. The thing I set out to prove has been proven beyond a doubt: few would
seriously argue, anymore, that there is no Canadian literature. The other
answer is that I wouldn't be able to write it, not only because of my own
hardening brain, but because the quantity, range and diversity of books
now published would defeat any such effort. Mordecai Richler's well-known
jest, "world-famous in Canada," ceased to be such a laugh--many Canadian
writers are now world-famous, period. The erstwhile molehill of CanLit
has grown to a mountain. The year-old, fully bilingual Institute for Canadian
Studies at the University of Ottawa lists some 279 Canadian studies centres
located in other countries, including 20 in France, 65 in the United States,
16 in Germany and 22 in India. Canadian writers regularly achieve foreign
publication, win major prizes, sign movie deals. In fact, so voguish is
Canadian writing--or writing in English, at least--that it's become almost
embarrassing.
All the more
curious that Lucien Bouchard, visiting Paris in March, would quip that
he had never seen Canadian culture walking along the street, "but apparently
it exists in Ottawa." Of course you don't see much walking along the street
if what you're looking at is not the bookstore window, but your own reflection
in it. Though even M. Bouchard's reflection is "Canadian culture," considering
his status as that archetypical folkloric bogey, the vengeful Scissors
Man, used from time immemorial to frighten the fractious: If you don't
sit down and shut up, M. Bouchard will climb in through your window at
night and SEPARATE you!
In Canadian
culture, however, there's always a negative side. At present we have cuts
to grants, threats to magazines, publishers in peril through withdrawal
of funding, writers struggling with the effects upon their royalties of
book-chain deep discounting, and so forth--not to mention the homogenizing
effect of the global economy. Have we survived? But this is Canada, land
of contrasts. Indeed it is Canada, land of rugs: no sooner has a rug been
placed beneath the nation's artistic feet than it is pulled out, but no
sooner has it been pulled out in one place than it is inserted in another.
Now, in an astonishing but gratifying development, Quebec has announced
that the first $15,000 of income from copyrights--from songs to books to
computer software-will be tax exempt. (By no great coincidence, $15,000
is the average income from writing in this country.) Will there be unforeseen
consequences? Will Quebec become the Ireland of Canada, haven for writers,
and the Prague of Europe, the latest chic destination? Will every young,
mean and lean creator from all over the country stampede to Montreal, where
the rent is cheap and the edible food ditto, so that they can actually
have a hope of earning a living from their work? Why stay in Toronto, where
the prices are high, the smog is toxic, your vote is worth only a tenth
of a vote in North Bay, the public health system is going to rat excrement,
and you get sneered at by your own provincial government and the National
Post for being not-rich? Indeed, why stay in Ontario, where culture and
the arts are funded at the rate of $39 a head, as opposed to $79 a head
in Quebec?
Experience has
shown that where bohemia goes, real estate development is sure to follow.
First the artists, then the cafes, then the designers, then the lawyers.
M. Bouchard must know this: he's been called many things, but rarely stupid.
Could it be that this crafty tax move will revitalize downtown Montreal,
which for some years has been bleeding at every pore? And revitalize it
by means of--choc, horreur!--anglophone Canadian writers--incongruous tax
exiles from the ROC?
All M. Bouchard
has to do is extend the same kind of tax largesse to the publishing industry,
and Montreal may once again become the vital centre of anglophone Canadian
literary activity, as it was in the '40s and '50s. The street along which
Bouchard can see Canadian culture walking may soon be his own. In that
case, the 21st century answer to the second-last question posed in Survival
may be--at least as regards writers--both bizarre and deeply ironic:
Have we survived?
Yes. But only
in Quebec.
PHOTOS (BLACK
& WHITE): Lawyer Clayton Ruby; writer Roch Carrier (centre); Atwood
in 1970 (right): stalwarts of the Anansi Press of the 1970s
PHOTO (COLOR):
Bouchard and entourage: will Quebec become the Ireland of Canada, a haven
for writers?
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By Margaret
Atwood |