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If Canada's post-colonial moment begins anywhere, it is here (arguably culminating with Expo '67 - whose 40-year anniversary 2007 is - when its international status was confirmed). One of the cultural implications of this date, then, is also the break with the English Tradition (in literature, especially, poetry) - at exactly the moment when T.S. Eliot's greatest (and strangest poem) "The Love Song of J. Alfred Prufrock" was published - not in America but London - therefore making it suspect to Canadian Modernism (which is belated, and really begins with any force, in Montreal, in the late 30s, early 40s). Otherwise, writers and artists became increasingly nativist (or inward-looking) - consider The Group of Seven painters.
Even now, a sympathy with English poetry (such as I have) in Canada is mainly misread as being conservative, neo-fascist and retrograde (by the older generations), as most Canadian poetry has, since the 1960s (except in the Anglo-Quebec tradition, which remained open to the British option) swung broadly to the American Grain, then the Black Mountain and now the Language poets.
The men of Vimy Ridge didn't know it, but as they fought among the bursting shells and mud, they were also throwing bulwarks of Canuck diction and syntax against Hardy, Auden, Larkin and Motion.
http://news.bbc.co.uk/1/hi/uk/6538487.stm
http://www.cbc.ca/news/background/vimy/
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