aq~ a~paI1DOH as!;)U0:J AJ01S!H JO UB!PBUB:J aJD1BJal!'l · It British which is
12
>I~OAM3N ON\! NOONOl dn~6pu;I;~~~ ~! QS!l JO ApnlS ;)q 'SlUl;)l A;))j AlOltmqdx< IlU!l!;)X;) ;)lC ;)lluIlU;) A;)l pUB SlU;)lli: 'IU;)μOlS!l! . ';)lU;)1l 'PO!J UB ;))jqB S;)! aJD1BJal!'l UB!PBUB:J JO AJ01S!H as!;)U0:J a~paI1DOHaq~
Transcript of aq~ a~paI1DOH as!;)U0:J AJ01S!H JO UB!PBUB:J aJD1BJal!'l · It British which is
>I~OAM3NON\!NOONOl
dn~6pu;I;~~~ ~!
QS!l
JOApnlS;)q'SlUl;)lA;))jAlOltmqdx<
IlU!l!;)X;);)lC
;)lluIlU;)A;)l
pUBSlU;)lli:'IU;)µOlS!l!.';)lU;)1l'PO!JUB;))jqBS;)!
aJD1BJal!'lUB!PBUB:JJOAJ01S!Has!;)U0:Ja~paI1DOHaq~
First edition published 2011by Routledge2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
Simultaneously published in the USA and Canadaby Routledge711 Third Avenue, New York, NY 10017Routledge is an imprint of the Taylor & Francis Group. an informa business
© 2011 Richard J. LaneThe right of Richard J. Lane to be identified as author of this work has beenasserted by him in accordance with sections 77 and 78 of the Copyright,Designs and Patents Act 1988.All rights reserved. No part of this book may be reprinted or reproduced orutilised in any form or by any electronic, mechanical, or other means, nowknown or hereafter invented, including photocopying and recording, or inany information storage or retrieval system, without permission in writingfrom the publishers.British Library Cataloguing in Publication DataA catalogue record for this book is available from the British Library
Library of Congress Cataloging in Publication DataLane, Richard 1., 1966-The Routledge concise history of Canadian literature / Richard 1. Lane.p. cm. - (Routledge concise histories of literature)Includes bibliographical references and index.I. Canadian literature - History and criticism. 2. French-Canadianliterature - History and criticism. I. Title.PR9184.6.L362011810.9'3271 - dc222011001375
For Sarai
ISBN 13: 978-0-415-47045-2 (hbk)ISBN 13: 978-0-415-47046-9 (pbk)ISBN 13: 978-0-203-82958-5 (ebk)Typeset in Times by Taylor & Francis Books
JJFSC
MIX
Printed and bound in Great Britain byCPI Antony Rowe,Chippenham, Wiltshire
Paper from
responsible sources
wwwJsc.arg FSC" C004839
48 A new nation
The two cultures of Rosanna Leprohon's Antoinette De Mirecourt(1864)
If in Wacousta it is the body itself which is dismembered, in gory scenes ofinterracial and fratricidal conflict and terror which symbolize the psychologi-cal trauma that needs to be sublimated, in Rosanna Leprohon's Antoinette DeMirecourt it is literally the territory of French Canada that undergoes postwardismemberment. As the narrator writes: "The islands of Anticosti and Mag-dalen, as well as the greater part of Labrador were annexed to the govern-ment of Newfoundland; the islands of St. John and Cape Breton were joinedto Nova Scotia; and finally New Brunswick was detached, and endowed witha separate government and the name it bears today" (36). Born in Montreal,Leprohon was a prolific poet and short-story writer, publishing in the LiteraryGarland under her maiden name, Rosanna Mullins; her first novel, IdaBeresford (1848), was translated into French and serialized in L'Ordre (1859-60). Leprohon's The Manor House of Villerai: A Tale of Canada Under TheFrench Dominion was serialized in The Family Herald (1859-60), and trans-lated into French in 1861; Armand Durand; or, A Promise Fulfilled was seri-alized in the Montreal Daily News, and published in book form in 1868(English edition) and 1869 (French trans.). Leprohon's popularity in FrenchCanada reveals the importance of translation in bridging Anglophone andFrancophone cultures. Additionally, her early successes in the Literary Gar-land (which was established in Montreal in 1838, and ran until 1851) areindicative of the importance for women writers of this journal that also paidits contributors. Literary periodicals provided a publishing outlet and a mea-sure of financial independence for authors; examples from across Canadainclude the Amaranth (1841--43) and Stewart's Literary Quarterly (1867-72),published in Saint John, New Brunswick; the Provincial; or, Halifax MonthlyMagazine (1852-53); the Anglo-American Magazine (1852-55), published inToronto; and the New Dominion Monthly (1867-79), published in Montreal(see Cambron and Gerson, 127).That the idea of Canada exists in an in-between or liminal space of abjection
is given symbolic form in Antoinette De Mirecourt by a "secret" or incompletemarriage between the French Canadian Antoinette De Mirecourt and therakish British officer Major Sternfield. While Antoinette undertakes the Pro-testant form of marriage, she does not regard the process as "ratified" untilshe has had the relationship publicly announced with a Roman Catholicwedding. Once again, a female protagonist is positioned in an interregnum inrelation to the strictures of patriarchy: she appears to be courting and thus she ispublicly - if temporarily - free of patriarchal power. In the terror of this romancegone wrong, the suspension of certainties are both negative and productive: theinterregnum in this novel is a culturally interpenetrated "chora", a secretspace which is neither inside nor outside either culture (see Glossary).With Antoinette De Mirecourt chora is also a "legal" space - sanctified but
not completed, because only both cultures, at least in the novel in question,
can make it whlbe made publiClearly, the phwhich far excee,will lead to ratSeven Years' \\dominant Eurocontemporary Isituation wherefavours one sidjustice, from a Iby the British aAs the narratorexpressly guaraBritish subjectsprotection of aabolished, their(34). The suspeleven the novel'~this state of ajf,If one factor
identification wMirecourt, a linMirecourt, whodistantly relatechis love for hersister" (23). Butthrough the halon the wall of 1of Corinne Delment of grief, hin her slender jThat object wafrom France" c:he passes fromIt is Corinne inshe is worshipIportrait - the"appears to be hsuch chaste lovacters, but as alBarker has poipseudo-sibling 1
courtship.' [ ...that he would t
;)U;)::lSS!l{ll{l!M.;)A'Bl{OSTB;)M.'(917I'All;)d)"pu'Bqsnl{pooll'B;)qPInoM.;)l{lBl{lP;);)lU'Bl'Bnlll!'l;)l{lolqpO011'BJOll'Bd;)l{lAqdPIno::lumu'BJI[...1,'d~l{Sllno;)JOS;)!l!I'B;)ll'Bnx;)s;)l{lS;)lBUI!TqnsAllU;)!U;)AUO;)lBl{ld!l{sUO!lBPl~u~Tq!s-opn;)sdB,;)A'Bl{U;)ljoSpAOUAlDlU;)::l-l{lU;);)ll{Il!;)U!Sl;)AOI'lUOP;)lU!odS'Bl{l;))[lBHPl'Bl;)DS'B...":sl;)AOUAlD1U;)::l-l{lU;);)ll{Il!;)JOl;)::l'BJlU'BllOdUI!U'BS'Blnq'Sl;)PB
-1'Bl{::lOM.l;)S;)l{lJOlsnflOU'AlloTOU!UI1;)1~U!lq!S;)l{lSP;)Y;)l;)AO[;)lS'Bl{::ll{::lns
:UO::l!P;)l::l'BS10snO!Il!pl'B;)1;)M.l!J~SB;)1l'BUI!s,lnl{llYIlU!PIOl{;)q01SlB;)ddB
;)UU!lO;:)l,;)l;)l{IlU!;);)SlDl{llYS!1'Bl{M.JpSUI!l{JO-";)lDlB!U~UI,,;)l{l-l!'BlllOd
H'BUIS'BS!'lDl{llY01)[::l'BqP;)I;);)Y;)lOST'BS!l{::l~l{M.pU'B'~u!dd~SlOM.S!;)l{s
l{::l~l{M.;)~'BUI!;)l{l'AllU'BllOdUI!;)lOUIlnq'u0!l;);)Y;)lS,lOl1!UI;)l{lU!;)UU!lO;:)S!n'(l{::ll'B!ll'Bd01uo!sSBdUI01J)pU'Bqsnl{'BIlU!;)qOln'B;)q'Bllu~;)qUIOlJs;)sSBd;)l{
lBl{lu~',,;)~'BlS1011!UI"s,lDl{llYSl;)llll!ll;)U;)::lS1011~UIS!l{l'(PZ),,;)::lU'BldUI01Jl;)l{lOUIS!l{ll{llnOlqp'Bl{;)l{l{::l!l{M.l]!1l'B';)lDl'B~U!UIUM.OS!l{SBM.p;)fqolBl{l'S;)ssqP;)uo!ss'BdUI!IlU!l;)M.Ol{SS'BM.;)l{sl{;)!l{M.UOpUB'Sl;)IlUYl;)PU;)TSl;)l{U!
p;)dSBpAlll{~!lPPl{;)l{Sl{::l~l{M.p;)fqo;)UIOSl;)AOP;)M.oq;)::lBJl;)l{'P!lllJOlU;)W
-UOpUBq'Bl;)llU;)l{lU!AllU;)l'Bdd'B'TOOlSM.OT'BUOP;)l'B;)S;)UI10PQ;)UU!lO;:)JO
;)lDlly;)l{lS'BM.'lOll!UIl'Bl{lU!P;)l::l;)Y;)lAP'B;)PpU'B:Al'Blq!T;)l{lJOH'BM.;)l{luo'UI!l{;)l!soddop;)pu;)dsnslOl1!UIBuoTPJ;)A;)S!l{'lOOpu;)doJIBl{;)l{ll{llnOll{l
'ATU;)PpnS":sIlU!P;)J;)nJll;)l{Sl;)AO::lS!PAH'B1U;)P!::l;)'BlDl{llYU;)l{llnH,(£Z)"l;)lS!S
;)TWIPU!)["s~l{pU'B(OZ),PlS!Sl'B;)PB"S!;)l{s:,.AI1;)l{101q"S!l;)l{10J;)AOIS!ljpU'B'U;)PP!l{S!;)AOT;)l{l'lSlYlY'UI!l{l{1!M.;)AOIU!U;)H'BJS'Bl{'P;)lBPlA[lUBlS!P';)UIlOPQ;)UU~lO;:)'U'BUIOM.llunoAP;)U'Bl{dlOU'Bl'Bl{lSl;)AO::lS!P0l{M.'llnO::l;)l!W
;)QlDl{llY'l;)l{l'BJS,;)n;)U!OlUYJOA10lS;)l{lSTPl;)A9'Bll'BU;)1l'B;)U~TB'J.mo;J<).l!WoaoJJoU!O]UVU!UOApBt[';)::llOJ~U!lpdUIo;)BS!l;)l{lO;)l{ll{l!M.UO!l'B::lY9U;)P!:";)::lU'BJqUI;)S;)l,,JO;)l'BlS;)l{lS!l~puo.loJ/!p;)l{l;)P!l1;)AOUB;)10P'BJ;)UOJI
'Sl~B'y'BJO;)lB1SS!l{l
Aqp;)l;)M.odUI;)S~Ps~pU'Bs;)snq'Bl{loq'ppyUl;)lSlOf'BW';))['BlS,PAOU;)l{lU;)A;:J
:puo.loJ/!p'BS!u0!l'Bnl!Sl{::l'B;)l'Bl{lSU'B;)UI;)::l9snfJOSSOT10uo~su;)dsns;)l{l'(17£)"UM.Oll{ll;)AOUI;)lSAS1'B!::lOS;)19U;)l!;)l{lpU'B'P;)lOUIl!s;)llpnfl!;)l{l'P;)l{S~TOqB
pmnq!lll!;)l{l;);)S01PB;)lSU~P;)UIOOP;)1;)M.'lU;)UIUl;)AOIlT'BIl;)1BJOUO!l::l;)lOldTnJ;)::l'B;)d;)l{luoP;)lUnO::lAllU;)PyuO::lp'Bl{0l{M.'1;)UI10J;)l{l'sl;);)fqnsl{S!I!lHolP;)P10::l::l'B;)sol{lS'BSIl{Il!l;)UIBS;)l{lSUB!P'BUB;:)OlP;);)lUB1'BnllATSS;)ldx;:J
p'Bl{l{;)!l{M.'u09'BTnl!d'B::l;)l{lJOSUI1;)1;)l{l;)l!ds;)Q":S;)nU!lUO::l10lBllBU;)l{lsy
'(p£)"M.'BIIB!ll'BUI'S;)!UU'B1AlH'BJO;)Tq'BllOddnsu!ISOUIl'Bl{l"JOl{S9!lH;)l{lAqUO!I!sodUI~;)l{lAqlUoq'B1l{llnOlq';)A!p;)dsl;)dU'B!P'BU'B;:)l{::lU;)ld'BUI01J';)::l9snfJOssol;)l{ll{l!M.S!l~OSpU'B'1;)l{1O;)l{lllDl{AIqBl!A;)U~TEM.;)P!S;)UOSlDOABJ
lBl{llU;)UI~pnfAUY'UI!'BPP!T'BAAH'Bnb;)U'BS'Bl{;)P!Sl{::lB;);)1;)l{M.UO!lBnl!ST'BIl;)1B:,.]Juo.loJ/!p"'BSH'B::lP1BlOkls!o:'m'Bld-u'B;)fl;)l{doSoEl{dAl'B10dw;)lUO;)
l'Bl{M.;)1'BSUI~BPT'B::l!l!IOdpU'BT'BlD1Tll::ll{::lns'S;)lDlTll::lUB;)dolDt[lU'BU!UIOP
l{lOqJO'S!l'Bl{l'U09::l'BJs!l'BS;)l{lOl'SUI1;)1"U'B!PBU'B;:)"U!1'BM.,Sl'B;).x.U;)A;:JS;)l{lJOlU;)UI;)Tll;)S;)l{ll'B;)d;)lOl;)l!S;)P'BS;)Z!{OqUIAS'UO!lB::lY9'Bl01P'B;){lEM.
l{::l!l{M.';)Il'B!l1'BUIJOU09!1;)d;)1;)l{l';){dUI'Bx;)10J:"UO!P'B";)l{lSP;);)::lX;)l'BJl{;)!l{M.;)1l1'Bl{::l::l!ToqUIAS'BAll'B::lsnl{lU~;)l;)l{lSl;)PB1Bl{::l;)l{lpUBlOTd;)l{l'ApB;:Jt)
';)::l'Bds['BU~UI!I;)l{lJOS;)!lU!'Bll;)::lUn;)l{lUI01JSS;)lIlOld01::l!Tqnd;)PBUI;:Jq01SP;);)US;)lD1Ill::lOM.l;)l{lJOllu!U!OfUO::l;)l{l'SP10M.1;)l{1OuI·;)I0l{M.l!;))['BUIUB;)
617UO!JVUMoUV
'u09s;:JnbUlPlnqP;:JY!PUBS-
'(A1BSSC
Pl;);:JSB'"BlO;)l{l:;:Jt\!pnpOld
;);)UBWOlS!lJlJC
S!;:JljssnljlpUBU!wnull;)11;)lUl
;)!IOl{lB:)UBlliC
Elun"P;)yqB1"-Old;)ljlS;))jBl";)l{lpUBllno:):
;)l;)[dwo;)u!10,
UO!p;:JrqBJO;):)1
[B;)lIUOWU!p:
U!P;:Jl{s!lqnd'(A/ljJUOWxvJ!/V'(U-L980AliaBpBUB:)SSOl;)ll
-B;)WBpUBl;)]
P!BdOSIBlUljl
;)lB(I~8Il!lur-.lvaA.ID.lJ]!7:pUB;:Juoljdo[~u
l{::lU;:JldU!Al!ll
898TU!llilOJ-!l;)SSBMPJ!l1Ji-sunllpUB'(09olj..L.lJpUnvpv-6~8I)J.lp.IO,]vPI'1;:Jt\oulSl!A.lV.loJ!7;)ljlUl
'1'B;)lIUOWUlU.
l{1!M.P;:JMOPU;)Ip;)U!Of;:Jl;)Muo:-Ul;)AO~;)ljlOl
-IlBWpUB!lSO:)l'BM.lSodS;)O~l;)l
oaoJJJU.10JUVS-!lloIOlj;)Asd;)ljlJOS;)U;:J;)SAlO~
JJnOJJ.I!J
50 A new nation
the symbolic foregrounding of the importance of familial relations (eventhough with the subsequent marriage, such relations appear to be incestuous),one which will be re-created in Antoinette's later successful marriage ofFrench and English Canada (the Other turns out to have been more closelyrelated than was first thought - that is, the Other can be domesticated andincorporated into the same). The incest theme, so predominant in eighteenth-century literature, emerges at a time when notions of familial connections,rights and responsibilities were undergoing change. In the gothic genre, incestrepresents "a kind of experiment with the meaning of blood relations, a test-ing of limits" (Perry, 388), precisely those limits that were perceived to beunder threat as indigenous and European nations intermixed.
An allegory of decline: William Kirby's The Golden Dog (1877)
The historical existence of New France is brought to a close in WilliamKirby's Le Chien d'Or (The Golden Dog): A Legend of Quebec, a gothicromance which opens on the ramparts of Quebec in 1748. Poet, novelist,newspaper editor, and prolific letter-writer, Kirby was a founding member ofthe Royal Society of Canada in 1882. Kirby's loyalist beliefs were expressedacross a number of genres, although he is best known for his long narrativepoem The u.E.: A Tale of Upper Canada (1859) and The Golden Dog. KlayDyer notes that "Kirby remains one of the first English-language Canadianwriters to recognize the narrative possibilities in the already romanticizedhistory of French Canada. Connecting him with such prominent 19th-centuryQuebec writers as James McPherson Le Moine and Philippe Aubert deGaspe, such foresight locates Kirby as an important Victorian commentatoron the role of the Canadian imagination within a multicultural and bilingualnation" (581).In the historical time-frame of The Golden Dog the French have recently
been defeated in a major attempt to regain Louisbourg which had fallen toNew England troops; at an intense sea battle off Cape Finisterre, in the Bayof Biscay, the English fleet destroyed that of the French, but peace betweenEngland and France soon followed in 1748 with the Treaty of Aix-la-Chapelle,whereby Louisbourg was exchanged for Madras. Eight years of supposedharmony preceded the beginning of the Seven Years' War in 1756; in reality,boundary disputes between Canada and New England continued unabated.The Golden Dog suggests that the real threat to New France lies within -indeed a sequence of interior spaces structure the novel, which concerns adouble romance, between on the one hand the virtuous, doomed, Amelie dePentigny and Colonel Philibert, and on the other the murderess Angelique desMeloises who throws over her lover for her desire to marry the IntendantBigot. In parallel the novel portrays an interior struggle between the commer-cial activities of the peace-loving Bourgeois Philibert, who leads the businessassociation Les Honnetes Gens, and the corrupt Intendant who leads the war-profiteering Grand Company. This gothic fantasy that explores virtue and
vice through1son)/Bigotischiding in a se(not just see0seeing her "eiin a gothiccheventually illl
and Antoineticreating an apost-Confedecreate a namallegory ofNAs seenab<
spaces of genthreat to the Idomestic shelfashion, is "tl(ID. Edward:fabrication thalso hauntedthe domesticipolitical natUichora underrrdeath, that stcrone comml~of forests, tovchamber; theand she usuano folklore;s(ultimately de:worse to conbrilliant beyolable greed an,themselves, s1The fall of (the power ofVaudreuil, ancolony" (312-
Re-defining (autobiograpl
The abjectedre-conceived Iwomen's aut(
U::llUOM.JOS::l!l{dBlIl0!qIB:)!qdBlIl0~IlBH·IlU!l!lM.IB:)!l{dBJllo!qolnBS,U::llUOM.ApB::lU!Al!:)qS::llUOPpUBlU::llU::llll::lS'UOqBlIl!lUlU!OlUOqBplU!P::lA!::l:)UO:)-::llAlIm~pBl::l1::lM.pAOUUB!PBUB;:)AJlB::l::ll{lJOS::l:)Bds[BU!lU!1p::lp::lrqB::ll{l
S,lAµUJJUU.I;}Ill;}SIU~!qdu.I~o!qolnuS,U;}WOM.U!s~µnod.I;}PU;}~pUUUOµU.I~!WW!:A1PµS;}WOP~U!UY;}P-;}H
'(£I-ZIS)"AUOIO;)P::llOA::lPpUBlU::l!:)UBl::ll{JO::l:)UBldJOllllO;:)::ll{lAqP::lIIl::lU::ll{lpUB'En::llpllBApUBlOIl!HJOlU::llUUl::lAOIlS!lUldnllO:)::ll{lOlUBl{lqS!IIlUtl::ll{lJOl::lM.od;)l{lOlIlU!M.OSS::l1::l1::lM.[B::lllUOWJOuoqB[nl!dB:)::lqlpUB:)::lq::lnoJOlIBJ::ll{l'S::l:)lllOS::llSl!llBJOAUO[m::ll{lp::ll::lPUnldpUBAlU1B::ll{lP::lA1BlS'S::lAPSlU::lqlllu~lp!m::l::l1~M.'oqM.'S::llB!:)OSSBS!qpUBlollmJO::l;)UBIlBABllX::lpUBp::l::llll::llqB-qBSU!::lqlOl::l;)Y!]:)BSBP::l!P'mµ::llUyqlloNU!lU::lP::l;)::lldlIBpUOA::lqlUB!llµq'S::l!JOP!AJOSlS::lA1Bl{::lA!SS::l:):)nsIlU!dB::lll::lljB'lU[B:)lUOW":::llUO:)Ol::lSlOM.S!::ll::lqll::lAPUY'pql!M.PBlUO:)OlU!::llUO:)0l{M.::lSoqllIBAOJlS::lPAplBlU!l[nWM.q:)!qM.PJlOM.::llBlUll{Il!UBS::llUO:)::lq::l:)Bds:)!qloIlIBU!lU![::lqlOS:::llOPIIOJOUUBql::lSlOM.S~::lJOP!lOJp::lsns!w'AlqU::lP![BllllIll;)-SSOl:)BSBqAlIBnsn::ll{SpUB'::lllp::l[M.OU:>[:>[IOJ'AlOlS!l{[BlOJO10A::lAUO:)::lqlU::lljOS!::llllllg::lUO]:)::lql:l::lqlUBq;)U::lPP~l{::ll{lSl::llU::l::ll{S::lJOJ::lq'S::lSS::l:)::llpUBSl[nBA'SABM.J!BlS'Sl::lM.Ol'SlS::llOJJO::ldB;)SPUBI:)!qlOll::lJ!lU::l::lqlS::lSl::lABll::lU![OlB;:)l::lpllllUOlP::lUO!SS!lUlUO:)::lU01;)::lql'AmodInJsS::l:):)nsBJOUO!lBlS::lJ!UBlU:)!lqnd::ll{lPU!q::lqSPUBlSlBql'qlB;)PJO'J::lPllllUJO::ll!SAUUB:)un::ll{lS!l!:U::lPtlP::llB;)!lS::lWOPS!qlS::lU!lUl::lpUnBlOq;)::ll{llnH'::l:)U::llS!X::lIBqBdsIB!lU::llOdSl!pUBd!l{SUO!lBpJlBqlJO::lllllBUIB:)q!lod::lIpspunOlIl::l10J::lnb!plluy'lUBPU::llUI::ll{lqpM.::lIlB!llBlUJOAl!;)~lS::llUOp::lljlIlU!lUBM.uItp!qI)"uoqB:)!lqBJUM.OspJO::lllllly[Bll:)::lds::ll{lAqp::llUnBl{OS[BS!uOqBuBU::ll{l'S::lAqBllBuIBllll[ll;)::llqBuo~lS::lnbuodnlEnqS!lBqlUOqB:)!lqBJsnoµB:)::lldB'AJBU!IlBlU!s~UOqBUBJ!"'SPlOM.J::ll{lOuI,(X!X'SP1BM.Ptl'aT)"S::lAqBllBUBl::llUIBUO!lBUJ~::ll{lJOllB::lq::lqllBlS!X::llBqlSUO!PY::lIp"S!'UO~SBJIlU!lOll!lUBU!'BlOl{:)::lqlSdBl{l::ld'l::lIlUBPJO::ll!S::lqlOSIBS!l::llpqs:)!lS::llUOPJOAplUOq'lO!l::llU!::ll{l::llOpl::ll{l'AuumunSBP::lA!::l;)l::ldS!uOqBU::lqlOllB::llljl::lql'BlOl{;)::lqll{l~M.:[::lAOUUB!PBUB;:)AJlB::l::lqlU!SIBSJ::lA::lll::lpU::l1lJOs::l;)BdsIBU!lUq'p::lp::lrqB::lqlU!p::llo[dX::lS!Al!Eq!SU::lSPP0M.M.::lNB::lAOqBU::l::lSsy
l,::lU!P::lPpUBEOlUlllll::lUU!S,::l:)UBldM.::lNJOAlOll;)llB::ll{ll;)::llJBS!l{lS::lOPM.OHl,lJB::ll{Sl!lBBlOq:):)!l{lollBl{l!M.::lA!lBllBUB::llB;)l;)AqM.lnH'(lOT'A::l:)BlS)d!l{SlOqlllBS,AqJDIJOAIlOIO::lP!UOqBl::lP::lJUO;:)-lsod::lqlS::lSS::lJdX::lq:)!qM.::lUO'::l:)UBJdM.::lNJO::lU~P::lP::lqlJOAlOll::l11BUBllu~W::lJ;)'lqll!::lM.:)![OqlUASAllB:)SlU::lA::lpUBSl::ll:)BlBl{:)'I.lnOJ<J.l,lJV<JG<Jll<JU!OIUYpUBVlsno:m.Mql!M.sy'P::lqqBlSU::lqlpUBP::luos!odIlU!::lq:p::ll::lpllllUAllBnlU;)A;)S!::lqsSB'::ldB:)S::llOUIEM.::lqsq:)!l{M.lU01J::lUO'UO::lllunp10l::lqlUBq:):)!qlOllBU!p::lqlUOlU::lS!::lU![OlB;:)'SUllll::ll{SABM.l::lA::lq:)!l{M.'lSOl{1lJO"UOIOP!::l"l::lqIlU!::l;)SSllBlSOS[B::ll{S'lO:B!HA..!lBlUOlSUB[dl::ll{U!]BA!llU::l]!SBSB::lUq01B;:)::l::lSlsnrlOUS::lOP::lnb!E'lIluy'J!OUBUInB::lHP::lIIB:)::l:)B]Bds,lOll!HWl::lqlUBl{:)l::ll;)::lSBU!IlU!P!lj'UqSB;:)'lS::lp::lU!IOlB;:)P::lIIB:)UBlUOM.snO!J::llSAlUBAqP::llB:)!ldlUo:)S!loll!H/(UOSpUBJ::lqlBJ)ll::lq![~dpUB::lnb~Fllluy/::lq~lUyJOSl::ll:)B1Bl{:)EOJ::lqlqllnO.Illl;);)!A
I~UO!lVUM<JUY
pUB;)npil-lBM;)qjsSs;)u!snq;)-l;)lUlUO:);lUBPU;)lUIS;)P;)nbl[~;;)P;)!I\llUYBSUl;);)UO:-U!ljj!MS'P;)lBqBun'AlqB;)lUIp;)soddns.'::lIl;)dBlj:)-1:U;);)Ml;)q;)cABa;)qjUIOlU;)IlB]PAPU;););)l;)A
IBnIlU!EqP10jBlU;)lUW::lpll;)qnyAlnlU;);)-qltP::lZI;)!lUBW,UB!PBUB:);ABr)!'2oa;)A!lBllBUBlp;)ss;)ldx;)~JOl;)qlU;)W'lS
52 A new nation
were in existence in French-Canada: Father Etienne-Michel Faillon's (1799-1870)hagiographies (the lives of saints) of Madame d'Youville (1852), MargarueriteBourgeoys (1853), Jeanne Mance (1854) and Jeanne Le Ber (1860; trans.English as The Christian Heroine of Canada; or Life of Miss Le Ber, 1861),were highly popular. Abbe Henri-Raymond Casgrain's (1831-1904) historicalbiography Histoire de la Mere Marie de !'Incarnation (1964) interpretspersonal destiny in terms of theology. Such authorized and canonized bio-graphies tended to reinforce the status quo, which in French Canada meantthe authority and power of the church. Autobiography adopts more self-reflexive, fictionalizing writing strategies to shape in meaningful ways awoman's notion of herself, and how she is embedded in, and contributes tothe construction of, the surrounding society. In other words, it is not justmemory that feeds into autobiographical writing, but also story (Grace, 17).From a more political perspective, this mode of writing opens up a spaceof writing for otherwise silenced or marginalized authors: "[T]he auto-biographical voice and eye/I are available to minorities and to groups, such aswomen, who have been excluded from the dominant discourse and whosestories have been dismissed as worthless" (Ibid., 14). Early Canadian auto-biographical texts in English are highly performative, as authors createdeliberately entertaining, theatrical accounts of travel narratives, disasters,encounters with Natives and other nationalities and classes, to name just afew. Such a performative genre is conjectural, assembling notions of Canadafrom partial, fragmentary experiences, which nevertheless are heavily investedin, or are emotionally charged (see Lane 2006a).
Re-defining domestic space in the writing of Catherine Parr Traill
A prime example of the conjectural impulse is Catherine Parr Traill's (1802-99)The Young Emigrants; or, Pictures of Life in Canada (1826), which is con-structed from letters received from family and friends, rather than from directexperience. Traill, who was born in Kent, England, was one of five sisters in afamily that suffered financial hardship with the death in 1818 of their fatherThomas Strickland. Writing was to be a source of income that would help thefamily survive, with her sisters acquiring fame, if not fortune, for their out-standing work, such as Agnes Strickland's Lives of The Queens of England(researched and written with her sister Elizabeth, published in twelve volumes,1840--48), and Susanna Moodie's Roughing It in the Bush (published 1852 -see later). Traill's earliest publications reveal her interest in conduct manuals(books that essentially taught young women how to behave in polite society)and personal, moral growth, with texts such as The Tell Tale: An OriginalCollection of Moral and Amusing Stories (1818), Disobedience; or, Mind WhatMama Says (1819), Reformation; or, The Cousins (1819), and Little Downy;or, The History of a Field Mouse: A Moral Tale (1822). While conduct manualswould feed into Traill's later Canadian publications, another key interest inher early life was that of natural history, her two most precious possessions
being GilbelWalton's Th,to dig deeplsketches, ob~Gilbert WhiSelborne bywolves" (29these earlyCanada witJBackwoods (The Wife OJBritish Arnelbook and rThe book c,the settlemel(letter 18)(Ias the traveis also contiand they incChristianitydiscursive cCanada, esr:through preabout her Ifemale persaspects of (religion.Traill rep
inhabit thespirits theycountry forno legendaenables Traialready didlater on sheopen, and (extract a tJwalks in ththis grates'does sometwhich is ncone whichwomen) tois instead cupper-midc
'::l[dO::ldSUO~lBNlSl!d'mBllSBq::msSl::lIll::lSqS~lllu3:SSBP-::l[PP!Ul-l::lddn-sdnOlIl[Bllll[n"lOfBUllllOJU::l::lM.l::lq"::lUOZl;)BlUO"BSBp::llllllyUO"PB::llSU!S!lUq'BlOq"::llBlBd::lsBlOUS!::l"Bds"!lS::lUlOQ'P::lZ![BU!1l1BUl::lUlO"::lqOl(U::lUlOM.Alu~BUl)SlUBl!qBqU!Sl!pUB::l"Bds"!lS::lUlOP::lqlM.OlIBIOUS::lOPq"!qM.::lUO'S!lBql-Al!IBUO~lBlpUBS"!ql::lJOS::lSlllO"S!P::lqlUl01J::llBlBd::lSIOUS~q"!qM.::lUO'::l"Bds;ms;:)utOpBSBBPBUB;)SUl~BP::lqs:::lnbmn::lFnbIlU!ql::lUlOSS::lOPmBll'l::lpB::llIB~UO[O"lSodA1B10dUl::llUO"::lqlJOAl~pq!SU::lS::lqlql!M.S::llBllls~qllBqllIB10Jl::lApuv'(~~n"S::l)[BI::lqlJOSl::lplOq::lqlAq10lS::llOJ::lqlU!S)[IBM.AUl::l)[BlIl::lA::lU::lqM.lS::ll::llU~pUBlU::lUl::lSnUlBJOS::l"lllOSpUBsnoqlBl"BllX::lUB"Is::l:aBdSl!Ul01JpUB:PODJOl::lIlUY::lqlAqp::l)[lBWA[lu::lnboppUB'u::ldoS!::lllllBNJOlBql')[UB[qBl::lAS!A10lS!qJO::lUln[OASl!JI":Sll::lSSB::lqsuol::llBIl::lA.'[BA!llBS,lI!BllOllO~ldBPBUB;)IlU~Ul::l"UO:lA10ls~qB::lABqP!PApB::ll[BSUB!PBUB;)q"U::lldpUBS::lldO::ldsnou::lll!pU~lBqll"BJ::lql::llOUIl!OlmUllS::llqnu::lBSBlBlnqBl::lql·(£~O"sn::llOpq::lUlB"lBql::lsoqlJOS::l[BlA1BpU::lIl::l1OU'SUO!lB!"OSSB[B"!lOls~qOU::llB::ll::lql::ll::lH'l!S!AOlSIBllllBUl::ldnsq"ns10JAllUnO;)pBJ-JO-l::lnBUlOOlS!S!ql'BpBUB;)Ul01JP::lqS!UBqAlIBlOllB::lddBA::lqlSl!l!ds10SlsoqllOlsv":punOlIl::l10J::lqlU~S::l::lS::lqslBqlP[lOM.[BllllBU::lqlFqBqu!ol'::l"BJlllS)[UB[qB'BSUlB[nqBlBJOUO!lOU::lqluodnSM.B1PAlP::llB::ld::llmBll
'UO!Il!Pl
pUBAl!IB10Ul'::l"Ul'SSBPllu!pnpu!'Al!lU::lP!pUB::l"U::llS!X::lUB!PBUB;)JOSl"::ldSBl::lqlOlIBSl::lllY'U::lql'Al!"!lS::lUlOPJOU0!l~UY::lPS,WBll'::lA~p::ldSl::ld::lIBUl::lJBUl01J::l"BdsUB!PBUB;)Ul!BP-::llOllUq'BPBUB;)JO::lIlP::lIM.OU)[l::lqlUOqBSUl!BPqlnllJOS::l!l::lSB::l)[BUllsnflOUOlS!q;)BOlddBS,lEBll'::lsoldqllnolljl::l"U::llS~X::lOlU!BPBUB;)::ll!lM.OlSUB::lUll!lBqM.JOu0!l0u::lqlAlIB!"::lds::l'BPBUB;)JOUO!l!UY::lp::ll::lqlU!::ldOll[BllU::l"BSBS::lAl::lSOS[Bl!'PDllSUO:l::lA!Slll"S!PBAIU!Bll::l;)S!Al!;)!lS::lUlOP::lpqM.,(Z)"WS!IBUO~lBl"Y!lU::l~"SpUBAl~UB~lS!lq:J'UlsqB!UOI0;)'Al~l::llBUl'Al!"~lS::lUlOp'Al!U~!Ul::lJJOS::lSlllO"S!P"::lpnpu!A::lqlpUB"S::lSlllO"S!PlUBP10"S!P"::lS::lqlSlIB"S::lUlBf'Al!P!lqAq::lA~Slll"S~pIBnu!lUO"oSIBS!::ll::lql'A::lUlnofl::lqlnoqBS::ll!lM.IPBllq"~qM.qllnOlql::lA!lBllBUpAUll::lqlSBq"ns'SUO!P::lSlU::ll::llJ!P::llBU!UlOPS::llU::llllU::ll::llJ!P::lpqM.'(WBlSlIBg)(8Il::lm[)UO!lBp::ldX::l::lqlpUB:(LIOl£ISl::ln::l[)IlU!UlBU::lql:(nOl8Sl::lll::l[)lU::lUl::llH::lS::lql:(LOlISl::ln::ly)A::lUlllOf::lql:SUO!P::lSU!BUIlllOJOlU!P::lP!A!P::lqUB")[ooq::lql'AqdBlllo~qolnBpUB'::lA!lBllBU[::lABll'A10lS!qIBllllBUB'[BnUBUlpUB)[ooql;)npUO"S,l::lm::lS/S.lUUlIl!UlUI~UBS!l!:S::llU::l1l::lld!llnUlS::lU!qUlO:l'm.l.I;:)U[V1{S!l!.If[JoAUlOUO:J3:J!ISaUlOaa1{.LJoail.lIV.lJsnlJI'.Ia:J!l!oIUV.l2!Ul3uyJoafiMa1{LUlO.l!ls.laJJd72U!;:)El'::l[l!lqns::lA!ld!l"S::lPSl!ql!M.(9£8r)vpvuv:JJoSpOOll-DPVf[;:)1{.L'Z£8IU!p::l!llBUl::lqsUlOqM.'mBllSBUlOqlpUBqsnql::lqql~M.BpBUB:JOlIlU!lBlIl~Ul::lJO::l"u::l!l::ldx::l::lqlql!M.P::lU!qUlO"SlU::lUl!l::ldx::lA[lB::l::lS::lljlUl01J:aU!1l1::lUl::lSBU::l::lS::lqUB")[ooqIlU!lllPU::llSOUlS,lI!Bll'(I6Z)"S::lA[OMpUBSlB::lqAqA[UOP::ll!qBqU!SBM."U!Bl!lgU::lqM.::lW!lB:aU!U!IlBUl!Aq::lUlOqpSJOS::l!l!nb!lUV::lqluoUO!l"::lS)[ooqS!qSU::ldo'::l[dUlBX::l10J'::ll!qM.ll::lqED'::lSOld::lA!ld!l"S::lPpUBAll::lod'S::llOP"::lUB'S::l!lOlS'BlBpIBU0!lBA1::lSqo'S::lq"l::l)jSUM.Blpllu!pnpu!'P[lOM.[BllllBU::lqlJOSl"::ldSBlU::ll::llJ!POlU~A[d::l::lpIl!POllBUllOJP!lqAqBldopBSlX::llqlOg'(9L-£~9I).la12uyIV;:)ldUlo:J;:)1{.LS,UOl[Bi\\.)[BBZIpUB(68Lr);:)U.loqlasJoA.lOJS!HIV.ln]VNa1{.LS,::lFqM.ll::lq[!DIlU!:lq
£~UO!JVUMauy
SUOISs;)ssodU!lS:ll;)lUlf,S[BnUBllil;)n.'AUMOadlli!lV1{A1PU!JVIVu!2!.IOuv(Al:l!;)OS;)ll[CSIBnUBllil;)n-Z~8[P;)qs'S:lWn[OA;)AlpUVj2ugfo:-lnol!;)qllC
::lljldl;)ljPln(l:lI[lBJl!;)ql.BU!Sl;)lS!S;),P::ll!PlliOlJ{-UO;)SIlj;)!ljl(66-Z08I)S,lI
mllll
P::llS:lAU!AliA!BPBUBJJOSIBlsnf:llliBU'Sl:llSBS!P'S;),::llB:ll;)SlOljll-OlnBUB!PBU::lSOljMpUB;)SBq;)ns'sdno-OlUB;)lj[l]"::l"BdsBdnS'(LI':l;)B1D)IlsnflOUS!)1Ols:l)nq!lluo:BSABMInJll{-J[::ls:llOlliS)IlUB:lUlBPBUB:-O!qP;)ZIUOUlSl::lldl:l)U!(PS[B"!lO)S!lj(POt'(1981'.Id[[d~
'SUBll:098[)::lFl::lUlBIl1BW(OL8I-66LI)S,I
54 A new nation
republican Americans, and, to a lesser extent, lower-class Irish and Scottishemigrants" (James, 8). In other words, domestic space is important in definingand shaping what it means to be Canadian; as Traill puts it in the introductionto her text: "Among the numerous works on Canada that have been publishedwithin the last ten years, with emigration for their leading theme, thereare few, if any, that give information regarding the domestic economy of asettler's life, sufficiently minute to prove a faithful guide to the person onwhose responsibility the whole comfort of a family depends - the mistress,whose department it is 'to haud [hold] the house in order'" (1). The keyphrase here is "domestic economy" with its double meaning of a woman'sspace, and the entire economic space of Canada.In recoding and reclaiming space, Traill creates a dialectic of hardship/
endurance and progress/joy, with a sliding scale from one to the other pole asher narrative progresses. Hardships include leaving one's family and home, thelong and dangerous journey to Canada, involving illness and disorientation(even the poorly cleared road to the Traills' land appears to deposit them inthe middle of nowhere), and the struggles of building a cabin and clearingland; progress is made through social strength, especially with the concept ofthe "bee" (the entire community clears land, or helps frame a house, etc.),moral fortitude, and personal development. Social class, while still existing,necessarily undergoes transformation: "here it is considered by no meansderogatory to the wife of an officer or gentleman to assist in the work of thehouse, or to perform its entire duties, if occasion requires it; to understand themystery of soap, candle, and sugar-making; to make bread, butter, andcheese, or even to milk her own cows; to knit and spin, and prepare the woolfor the loom. In these matters we bush-ladies have a wholesome disregard ofwhat Mr. or Mrs. So-and-so thinks or says" (270-71). Canada becomes apersonal and social testing ground which has been gifted by God.In a visit to a resident clergyman, TraiU narrates an entire immigrant narrative
in condensed and religious form; this religious family has adopted a plainstyle of living, with their house decorated in "Yankee" fashion. Instead of apiano dominating the sitting-room a more practical spinning-wheel is placedthere, and is under use. The simple, homespun mode of dress of the entirefamily represents "prudence and comfort" (273). The clergyman interprets hisimmigrant experience via Christian biblical narrative, remembering his firstopen air service, with the pulpit being "a pile of rude logs", in a church whichwas "the deep shade of the forest" (280), his sermon being from Deuteronomy:"For the LORD your God is bringing you into a good land, a land of brooksof water, of fountains and springs, that flow out of valleys and hills; [ ... ] aland in which you will eat bread without scarcity, in which you will lacknothing; a land whose stones are iron and out of whose hills you can digcopper" (Deut: 8.7 and 9). This notion of emigration being akin to exodusand arrival in a promised land can only function, however, with the con-comitant notion of Canada's indigenous peoples being a "vanishing race"; asTraill writes: "I believe it is generally considered that their numbers [Canada's
First Peoples:totally extinctof the earth,hence, even thexisted" (220)naturalizing tlYet within Tr,many other wable, excellentsuccessfully IT
settlers. If thihealthy, and tthe Native m(her own preju
Sketches frol
It is not SUfIcompared witBush, or Life i.narrates hersister, Moodi(Moodie, leavilTraills, the Mfourth concesswith their nei!merely a yearnow III possesof the bush S(
sister, althougapproach, whiwith from anRoman Story.in Canada, thlBush. Poetry tthe Americanwritten about,Magazine, ancpatriotic poetlCanada in 183of "sketches" .Lynch note:
always clear, blgenre with foethat there is of
q:mkl),,(lU<lA<lJUllllBUU'1<ll;)U1Uq;)U)l;)<lrqns<lUOUO"smoJU<ll]OS!<ll<lqlluqlpUU'(~<lZ<lWpUUUOS1<lO)<l;)U<l!l<ldX<l10'uOS1<ld'<l;)uJduosn;)oJql!M<llU<l1lJUlOP;)<lUU'IUUOS1<ld<l1OUlUS!q;)l<l)]:S<lqlluqlsnSU<lSUO;)S!<ll<lqllnq'lU<lPSAUMIBlOu<llUq;)l<l)]:SpUUA10lSpoqsU<l<lMl<lqS<l;)U<ll<lWP<lqllBqlS<llOUq;)ukI
'uodnlEnqs~1jsnfliJ1j1U!JIEU!1jEno'l!luql-"S<lq;)l<l)]:S"JOluql-Ul10JA1Ul<ll!11<lqlOUUSBMl!lng'lBlndodApUlm!pudSUM'L£81U!upuun:)l<lMO'1puul<lddnU!UO!lpq<ll<lqlOl<lSUOdS<llU!U<ln!lM'All<lod;)!lO!llBd
S,<l!POOWpuv/1VDtf.lV.ldJ.17<lqllOJp<lUO~SS!UlUlO;))]:lOMpuq<lqspuu'iJu!zvEvJI\Ttf/.1iJJ1Vn(jUv:J!.1iJUlV1j1.10N<lqlJo<lnss!17£81<lqlU!'p<lqs!Jqndpuu'lnoquU<lnµMSUMAll<lodl<lH·UVUltf.1JUn0:JPIOpUVJUV.1E!Ul:EIpUUUOlq/VUB;)!l<lWV<lqlU~pUU'iJu!zvEvJI\Ts,tfpV7<lqlU!puulllU3:U!p<llU<lddu<l!POOWAqAll<lOd'1jsnfliJ1j1U!IIEU!1jEno'l!OldOlp)]:;)UqUIlU!UllOJ'puBIIlU3:puuvsn<lql'UpBun:)U!P<lA!<l;)<llll<lMpuuJnJss<l;);)nsAJqll!qSUMAll<lodS,<l!POOW'((:Z8T)tf.101SUVUl0'l!V:sn;J.lJ1Vds')]:ooqlSlYl<lqJOUO!lU;)!lqnd<lqlql!M'<llluApU<luuUl01Jq1!MlU!EUlUJSUM<lqs1uqlS<llU<l1l<lJd91nUl<lqlUlOlJpudU!S<lA!l<lPq;)!qM'q;)uOlddBx<lJdUlo;)AIIB;)!l<lqlS<lBuuSldopuOSJB<lqs'Ul1OJJOSUll<llU!qllnoqlJu'l<llS!Sl<lqJOluqlUl01JA10lS1U<l1<l'y!PAl<lAUS<llUllUU<l!POOW'l<lm<lSqsnq<lqlJO<lJ!J<lq1Olp<ll~nSAIIUlU<lUlUl<ldUl<llSS<l'1'pUBJp<llU<lpUnJOUO!ss<lssodU!MOUlllq'SmUll<lq1Oll<lSOP<ll<lMA<lql<ll<lqM'd!qsuMolOlllOa01lB<lABAI<ll<lWl<ll]U<lAOUlUpuuSU0!lUPlJOUMOP)]:U<llqP!dUlBolP<llSlllOqqll!<lUl!<lqlql!MAllullllln;)IlU!qsuIJ'BpUUU:)l<lddnU!'d!qsuMolUOH!UlBH'UO!SS<l;)UO;)qllllOJ<lqlUO'1l1110qO:)lU<lUW1UJp<llU<lpU01lSlYP<lAOUlS<l!POOW<lql'SWBll<lq1<l)]:!lun'UpBUU:)10JZ£81U!1<llUI1U<lAUl<lAOlsnrU!U1!lgIlU!AU<lJ'<l!po0W:luqunaulllql<lpp<lA\.uqof'n'1<l;)1M0uuP<l!llUUloSJupBq<l!POOW'l<llS!Sl<lq<l)]:n'l<lm<lSpUBlUUlll!Ul<lUUSUS<l;)U<l!l<ldX<lJUUOS1<ldl<lqS<llBllBU'lU<lA<l<lqll<ll]U<lllf!l<lUlOSU<lnUM<l1!1lM'q;)~qM-(Z~8T)vpvuv:JU!iJi.17.10'1jsnfliJ1j1U!JIEU!1jEno'l!S,<l!POOWuuuusns-S,l<llS!Sl<lqJOluqlq1!MP<llBdwo;)<lqpJnoqs)]:1OMUU!puuu:)snoUluJlSOUls,WUllluqlllu!s!ldlllSlOUS!n
;J!POOWtmuusnsJO~Uµ!lM;Jql:qsnq;JqlIUOJJS;JqJl;J){S
'<lSI<lllU!qlAuBuuql<l;)U<ll<lWPIB!;)UlJOSUO!louIB!;)!pnr<lldUMO1<l1l1noqu<llOUlSJB<lA<ll1uq1U0!lUA1<lSqOUU'qS!PEq;)S<lUl!llU<llUU<lUl<lA!luN<l1l1luq1lS<lllllns01S!<l;)u<ls<lldl~<lql<llull<lU01opUU;)mBlllSOUl<lqlpun'AIllJB<lljpuulUUlq!AAJIlU!S!ldlllS<llBA<lqlU<lq1,,<l;)UlIlU!qS!UUA"BS!S!qlJI'Sl<lm<lSlU<l;)<ll<llOUl<lqlql!Mp<lludUlo;)lU<lUlU01!AU<lIB;)OI<lqlP<lIlBuUUlAllnJss<l;);)ns<llOUllUJIlU!AUqSUIpMSU'U<lUlOMpuuU<lUlSl]Ul;)puuSS<lu!snqlU<lIP;)X<l'<llqB-<lllp<lJMOU)]:'llu!s!ldl<llU<l<lq01S<lA9UNIB;)OI<lq1SJU<lA<ll<lqsSABMl<lqloAUBWOSu~<lsnu;)<lq<l)]:UUlOl1U<lUl<llB1Sllu!s!ldlllSUS!l!<lA!lUllUUs,mullU!ql!Ml<lA'S<lldO<ldlSl!dS,BpUUU:)uodnUlS!IU!uoJO;)JOl;)BdUl!<lA!lUIl<lU<lqlIlU!Z!IBllllBU01A<l)]:S!,,<l;)Ulllu~qS!UUA"<lqlJO<lA!lUllUU<lq1'l<l!PU<lp<llOUsy·(OZZ)"P<llS!X;J<l;)UOA<lq1luq1IP1olU!UUl<llAP;)lU;)SmMS<lq!lll!<lqlJOS<lWUU<lq1U<lA<l'<l;)U;JljS<l!llllU<l;)M<lJU'll!l'SlS!UOJO;)<lq1ql!MS<l<llll<lPAqIlUqIlU!Ul10'qPU<l<lq1JO<l;)UJ<lq1Ul01JAUMUllu!ssudAIMOJSS!<l;)Ul<lql'SUpUUU:)<lq1U!PU!lX<lAJlBlOllOUJ!APU<lU<lUlo;)<lq<lAUIlS<lq~ll<lWOSpUU'IlU!qS!U!Ul!P<llU[S<lldO<ldlSl!d
~~UO!IVUMiJUV
S,BPBUB:JlSl;SB:,,<l;)Blilu!-UO;);)ljllJl11snpox;JOlUlIl!PUB;)nOA)]:;)BIlEMno,B[...1:slElJS)]:OOlq]Opu:AUlOUOl;)ln;)(1l;)!lJMlj;)lnlj~lSlYS!ljilUl1:S!qSl;Jldl;)lUl<l19U;J;)ljl]0P<l;)BldS!P;)lBJOPB;)lSUIU!BldBP;)ld(<lA!lBllBUlUlll
'pUS<lwO;);)qBIJOP1BIl;J1Slp:lOOM;Jljl;)lBCpUB'l;Jnnq,<lq1PUBlSl;)PU<llllJO)jlOM~SUB<lWOUAC'IlU!lS!X;)ll!ls,(,;)1<l';)snolJJOld<l;)uo;);)qllU!lB<lI;)pUBU!Ul;Jljll!sodU0!lBlU;)110S!P<llll'<lwoljpUlSB;Jlodl;)ljlOjd!IlSplBljJO
S,UBUlOMBJOA<l)]:;Jljl'(0'SS<lllS!lli;)ljluouosl;)d;)lJUJOAlliOUO:)~<ll<llll';Jlli;)lJlP<lIlS!lqndU;);)IuO!pnpOllUl;)llU!uY<lPUllUlqsmO;)SpUB1
56 A new nation
2002, 1039). Humorous sketches are the lifeblood of Thomas ChandlerHaliburton's (1796-1865) The Clockmaker, or The Sayings and Doings ofSamuel Slick of Slickville (1837), which was originally published in theNovascotian newspaper, and went on to become an international bestseller,even if the series of books that followed did eventually lose impetus and ori-ginality. Moodie's main precursor, however, was Mary Russell Mitford's(1787-1855) Our Village: Sketches of Rural Character and Scenery (fivevolumes, 1824-32). Before emigrating, Moodie had produced her own coun-try sketches in La Belle Assemblee Or Court And Fashionable Magazine(1827-29), and she continued such work in Canada, publishing her NewWorld sketches in The Victoria Magazine and The Literary Garland. Lucasargues that these sketches constitute neither "fragments nor haphazardly-ordered fictional interludes" and furthermore, that their conscious chron-ological re-arrangement in Roughing It in the Bush "constitute an integralpart of the book's formal and thematic plan" (149). Detailed analysis of thefirst publication of the sketches, and their place within the version of RoughingIt in the Bush produced by the Centre for Editing Early Canadian Texts,supports this thesis (see Table 3.1).Moodie's notion of domesticity is that it is a key site of economic produc-
tion, although one conceived quite differently from that of her sister's (theintersection of travel, autobiography, moral guidance, didacticism and scientificobservation); Moodie's "sketches" approach the domestic chora through thecultural interpenetration that first shocks her, and then provides her withvaluable literary material. In other words, the large binary oppositions thatstructure her work - cultured vs. uncultured; Old World vs. New World; civi-lized vs. the primitive (Lucas, 149) - are eventually problematized as sheacculturates to her new surroundings, even if settling is ultimately a personalfailure. Thus the hypercritical first half of the book gives way to the even
Table 3.1
Chapters Magazines
1 A Visit to Grosse Isle2 Quebec4 Tom Wilson's Emigration5 Our First Settlement {...}8 Uncle Joe and His FamilyII Brian, the Still-Hunter21 Dandelion Coffee (pp. 375{-}378)25 The Whirlwind26 The Walk to Dummer28 Adieu to the Woods
(6) Sept. 1847 VM(10) Nov. 1847 VM(4) June 1847 LG(3) May 1847 LG(5) Aug. 1847 LG(8) Oct. 1847 LG(7) Sept. 1847 VM(9) Jan. 1848 VM(2) Mar. 1847 LG(1) Jan. 1847 LG
The Victoria Magazine = VMThe Literary Garland = LGNumbers in parenthesis = periodical publication sequence(Lucas, 154; modified by Lane)
more challenfwhich is first,to join the miher first shoedismay, for Imistaken; thisdriver" she isI guess; you hbefore the wirargues that "induced num:who are totaknowledge, thbut achievemiWith her h'
debts were paother words, nin the bush, tfirst paymentindependencesuddenly boO!duction of premilitia. Whilefinally leave \Sheriff, she n(energetic acticbattle with thl
The rise of thFrom its begithe popular piprospectus soBeckwith Harthat this proS]
(alongside theproduction:
No countthan Can,the earlysociety, tbpeasantry,own colO!laws, eXaI
;;Jl.pJOUO!SS;;J:l;;JIpJO;;J:lu;;Jnb;;Jsuo:lU!';;JSlDO:ll;;J~U!pUBS;;J[dlllBX;;J'SMBI
ljS9!18.JOUO!~:lnpOllU!;;JL[~Aqp;;JY!POlllpUB'S;;J;)UB~Sllln:ll!;)IB!UOI0:lUMOl!;;Jq~pUB';;J:lUBldL[~!MUO!X;;JUUO:lIB1~S;;J:lUB.l!;;JL[~lllOlJp;;JA!l;;Jp'Al~UBSB;;Jd
pUB;;JSS;;JlqON;;Jql'Sl;;JPJOsnO!Il!pl;;Jlj~JOSl;;JUUBWpUBSl!qBq;;Jq~'A~;;J!:lOS
JO;;J~BlS;;Jql'SlllOlsmpUBsU0!lnlllsu!lB
