By Paul Simpson-Housley, Glen Norcliffe
In 1759, Voltaire in Candide observed Canada as "quelques arpents de neige." For numerous centuries, the picture prevailed and used to be the single most often utilized by poets, writers, and illustrators. Canada used to be perceived and portrayed as a chilly, demanding, and unforgiving land. this was once now not a land for the fainthearted. Canada has yieled its wealth merely reluctantly, whereas periodically threatening lifestyles itself with its monitors of fury. gaining knowledge of its attractiveness and hidden assets calls for endurance and perseverance. a couple of Acres of Snow is a colletion of 22 essays that discover, from the geographer's point of view, how poets, artists, and writers have addressed the actual essence of Canada, either panorama and cityscape. "Sense of position" is obviously serious within the works tested during this quantity. integrated one of the book's many topics are Hugh MacLennan, Gabrielle Roy, Lucius O'Brien, the paintings of the Inuit, Lawren Harris, Malcolm Lowry, C.W. Jefferys, L.M. Montgomery, Elizabeth Bishop, Marmaduke Matthews, Antonine Mailet, and the poetry of eastern Canadians.
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Additional info for A Few Acres of Snow
Indeed, the central premise of this chapter is that cultures are very much a product of their systems of communication. As stated by Koch: Communication is central to the production of culture. It is the means by which knowledge is created and shared, roles are negotiated, and social relationships are legitimized . . Through communication, culture is both maintained and changed: behaviors and values that underlie them are accepted, questioned, or reinterpreted according to current circumstances.
If literary study is really the study of "a map, a geography of the mind . . the product of who and where we have been" (Atwood 1972, 19), then a study of MacLennan's writings is most certainly a way to discover the meaning of being Canadian. K. Wright declared that "some men of letters are endowed with a highly developed geographical instinct. "6 These writers have trained themselves to articulate their perceptions of place and landscape more lucidly and pleasingly than most other people. A closer study of the diction, imagery, and alliterative devices used by MacLennan reveals how artists in control of their language can effectively replicate in words a scene they have observed - how they can project a literary image of the landscape into the minds of their readers.
Lawrence crimson and lining it with the blue shadows of the trees and buildings along its banks, while all the time the deep water poured seaward under the ice, draining off the Great Lakes into the Atlantic. Now the prairies were endless plains of glittering, bluish snow under Hugh MacLennan 23 which the wind passed in a firm and continuous flux, packing the drifts down hard over the wheat seeds frozen into the alluvial earth. Now in the Rockies the peaks were gleaming obelisks in the mid-afternoon.