By Lorraine York
In contemporary years, Canadian authors have loved great foreign good fortune, writing novels that turn into Oscar-nominated movies or in achieving coveted luck as decisions for the Oprah Winfrey bookclub. Literary big name in Canada is the 1st prolonged research of the dynamics of big name within the box of Canadian literature. development at the argument that famous person is a phenomenon firmly embraced by way of mainstream tradition, Lorraine York examines it in terms of numerous tensions and conflicts in the literary group and beyond.
Using as examples 3 modern literary celebrities, Margaret Atwood, Michael Ondaatje, and Carol Shields, and 4 previous renowned writers, Pauline Johnson, Stephen Leacock, Mazo de los angeles Roche, and L.M. Montgomery, York demonstrates that particular authors reply in a different way to repute in ways in which might be contradictory and complicated. She casts doubt at the inspiration of a particularly Canadian reaction to status. counting on the general public interpretation of a specific writer's existence and paintings, assorted tensions come up in negotiating literary megastar. privateness as opposed to exposure; rapid luck as opposed to onerous apprenticeship; nationwide as opposed to foreign organization, or possession of the fame - no unmarried model of star applies to all.
Citizenship, even though, is a remarkably constant website of hysteria for stars, literary or another way. Like citizenship, famous person marks an uneasy area in which the one, particular person and the gang demographic either meet and separate. Literary famous person in Canada explores that house, drawing on present theories of famous person and wondering their tendency to view reputation as an empty phenomenon. This learn is an leading edge try to comprehend the psychology of literary stardom and should impression destiny study on modern literature and well known culture.
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Extra resources for Literary Celebrity in Canada
As a result of this dilemma, Francis argues, Johnson was ‘ambivalent about her Indian “image”’ (116), and this ambivalence, in effect, destroyed her career: ‘This need to satisfy the demands of a White audience stultified Pauline Johnson’s development as a writer and limited her effectiveness as a spokesperson for Native people’ (120). Critics might disagree about the extent to which Johnson was muzzled by her fame, but the fact remains that, far from having little effect upon the popular writers of the time in Canada as Karr suggests, fame was a key variable in how those writers interacted with their audiences.
In fact, I suspect that because Canadian literature courses came slowly to academic study and teaching in this country, specialists in the field have always been loathe to abandon the criteria of excellence. Decades ago, as they struggled to introduce CanLit courses, many of them faced the scepticism of their colleagues: was Canadian literature really good enough? Having gained a foothold in university departments because of the quality argument, specialists may have been wary of letting it go.
Critics of Canadian literature have been, in the past number of decades, extremely reticent about the economic processes at work in the formation of the literature and its canons, preferring to rely on universal abstractions such as good taste and artistic excellence. In fact, I suspect that because Canadian literature courses came slowly to academic study and teaching in this country, specialists in the field have always been loathe to abandon the criteria of excellence. Decades ago, as they struggled to introduce CanLit courses, many of them faced the scepticism of their colleagues: was Canadian literature really good enough?