Northern Poetry Review. On Thursday March 3. Associated Writing Programs (AWP) conference in Vancouver hosted a panel called After Survival: Where is Canadian Poetry? The five panelists — Barbara Nickel, Chris Patton, Ross Leckie, Stephanie Bolster, and Eric Miller — were asked whether Margaret Atwood’s seminal study, Survival, had enabled or constrained Canadian literature’s sense of itself. Each poet used Survival to consider recent developments in Canadian poetry in English. Is survival still our leitmotif? Is there a distinctly Canadian poetry? What does it mean that these questions still preoccupy us? Starting in September, NPR will serialize their papers at a rate of one or two per month. Zach Wells has generously agreed to round out the feature with a trenchant response to the series. I. Survival – Northrop Frye wrote of a “garrison mentality” in the Canadian psyche – a vestige of the early European presence here, when civilization consisted of isolated garrisons surrounded by a harsh and forbidding wilderness. In the book that has brought us here today, Margaret Atwood refigures the “garrison mentality” as “survival” – a narrowing of scope that shifts our concern from sensibility to theme, from ethos to trope, from form to content. Reading Canadian literature thus becomes a search for embattled settlers, explorers, families, artists, and ecosystems variously surviving, or not, brute indifferent nature, hostile Indians, repressive Presbyterianism, obscurity, anonymity, and brute indifferent modernity. In a word, “thematic criticism.”Riding a wave of cultural nationalism in the early 1. Atwood and others scoured our fiction and poetry for themes and motifs that made it distinctive, valued our literature on what they took to be its own terms, and sidestepped, as best they could, questions of comparative merit. Not surprisingly, critics since then have found this approach reductive, critically na. Before long, “thematic criticism” had been consigned to the critical waste heap. It is now forgotten, but for the occasional perfunctory kick, and Frye’s notion of a “garrison mentality,” having been conflated with the uses to which it was put, lies there entangled in it, rusty with disuse. II. Garrison – The garrisons of early Canada were “small and isolated communities,” writes Frye,that provide. The October 23, 1975 issue of Rolling Stone featured an explosive cover: 'The Inside Story,' an account by Howard Kohn and David Weir of Patty Hearst's life as a. James Millhollin, Actor: No Time for Sergeants. Thin, fidgety James Millholin made a career out of playing dyspeptic bureaucrats, nervous hotel clerks and other. Bill Maher (right) expresses admiration for HIV quack Samir Chachoua (left), who claims to be able to cure people of HIV and cancer using milk from. Pennsylvania Horse Breeders Association 701 East Baltimore Pike, Suite E Kennett Square, PA 19348. Phone: 610-444-1050 Email: [email protected]. As a result, one’s greatest fear is not the French, the English, the Iroquois, or the weather, but oneself: The real terror comes when the individual feels himself becoming an individual, pulling away from the group, losing the sense of driving power that the group gives him, aware of a conflict within himself far subtler than the struggle of morality against evil. That is the “garrison mentality.” It is a sensibility, by which I mean an understanding the mind forms of itself, its place in the world, its appropriate engagements, the uses to which it may, or must, or may not, or must not, be put. Our sensibility begins with a physical edifice, the garrison, but long after the landscape has ceased to be dotted by forts and palisades, except for the few that have been turned to national historic sites for the edification of domestic tourists, it persists as a refusal to admit the unknown or the unnamed. The culture and the individual are always on guard then against incursions. Some of these incursions are from within. When they arise within the culture as a rebellion or a heterodoxy they are quelled or ignored. When they arise within the individual they are summarily repressed. One distinguishing mark of the Canadian sensibility is that “must” and “must not” predominate over “may” and “may not.”The “garrison mentality” is a reluctance to individuate, in Frye’s words, a “dominating herd- mind in which nothing original can grow,” a “frostbite at the roots of the Canadian imagination.” As the society grows and complicates, garrisons multiply, and the poet, making a home in one or another, and internalizing its defensive posture, declines the difficult, lonely work of self- study, his capacity for which gradually atrophies. He resorts instead to a lofty rhetoric — a debased poetry — whose purpose is to stake out an argument against a rival garrison. 205:60 /Apprenticing:/comments, England/Bill Mayher, 205:69. CURRENT SALE REPORT - Credibility, reliability, and accountability - it's important to us at Billings Livestock! At Billings Livestock we're proud to be. Pre-Reading Resources How to understand power - Eric Liu An interview with Salman Rushdie by Jack Livings Margaret Atwood on 'Brave New World' Aldous Huxley's Letter. Stop whatever you're doing. Here are 39 of the best books of all time that everyone should read. You'll laugh, you'll cry and most importantly, you'll grow.Canadian culture, fostering these choices, and impoverished by them, thus becomes, Frye says, “a milieu in which certain preconceived literary stereotypes are likely to interpose between the imagination and the expression it achieves.”Unlike Atwood’s, this account does not shy from evaluative judgements: it is a kick in the seat rather than a pat on the head. It also offers a far richer critical resource than Atwood’s “survival,” which, to be useful, must be applied in a fairly literal way, through a search for themes, plots, images, and structures that somehow entail survival against overwhelming odds or forces. The more broadly we construe “survival” the less meaningful it becomes: all lyric poetry, for instance, is about the survival of speech after the act of speech has ended, and about a survival of subjectivity beyond the body that harbours it. In contrast, if we take the “garrison mentality” to refer not to a set of themes — rockslides, plane crashes, abusive families, marauding Indians and the like — but to something less tangible, a sensibility, a cast of mind, it maintains its precision no matter how much we enlarge it. III. Hologram – Frye composed his account of the Canadian imagination between 1. We have mostly outgrown, I think, our conformism as a culture, in part, perhaps, because our infamous French- English split has ramified into a broader multiculturalism. Somehow, though, in our poetry, the garrison persists. Eldon Grier’s “Mountain Town – Mexico,” written in 1. This is the second stanza: I must impress myself with certain things; the honesty of mountain people, the lightheartednessof a people never conquered by arms — and yetthe monster of the mines lies dead beneath their homes,its scattered mouths decaying in a final spittle of stones. The verse feels compelled to follow the thought through to its unsurprising and yet overwrought conclusion. Interestingly, when the poem breaks out of its imaginative enclosure, as it does in the next stanza, it falls quickly into disarray. As the world outside the physical garrison was a wilderness without, to the European mind, order, centre, or purpose, so here the imaginative world outside the poetic garrison is without design or proportion, prone to grotesque overstatement and obscurity, its tropes and devices overlapping artlessly. Had I more time, I might now pluck a dozen or a gross of poems at random from last year’s literary magazines, and find the same constraint in them, either the orthodoxy of the rhetorical, autobiographical poem that thinks what it should think, and feels what it should feel, or the orthodoxy of the anti- rhetorical, anti- biographical poem, which, being post- modern, thinks how it shouldn’t think, and feels how it shouldn’t feel, that garrison. When the self is a protective enclosure, an array of barricades, the self- forgetting at the heart of artistic creation — the imaginative merging that allows Keats to become autumn, Whitman to become America, Sappho to become love — is unattainable. I am talking of course about negative capability. The garrison, ultimately, is a craving to be something rather than nothing, or one thing rather than everything, and it is ineluctably hostile to the creative act. And yet. The shackles that hobble a sensibility may, as Keats discovered, dissolve under a certain kind of attention. This is from the last stanza of P. K. And the garrison, for which we may take the citadel to stand, is insubstantial, nothing more than a mental construct, an edifice whose walls have either turned to, or turned out to be, smoke. But its marriage of imaginative freedom, formal intelligence, and mystical apprehension suggests it has worked free of the garrison it takes as its subject. As Canadian poets we could do worse than follow its example. To do so, however, we will need to dismiss the old, outworn conventions of Can. Lit — the confessional prose lyric that gazes out the window at some weather while someone washes the dishes, the indulgent wanderings across a disordered open field – and undertake with renewed effort what Frye called “the steep and lonely climb into the imaginative world.”Christopher Patton’s first book of poems, Ox, will be published next spring by Signal Editions. A winner of The Paris Review’s long poem prize, he is presently a doctoral candidate in English at the University of Utah. Chicago (2. 00. 2 film) - Wikipedia. Chicago is a 2. 00. American musicalcriminalcomedy film based on the musical of the same name, exploring the themes of celebrity, scandal, and corruption in Chicago during the Jazz Age. Chicago centers on Velma Kelly (Zeta- Jones) and Roxie Hart (Zellweger), two murderesses who find themselves in jail together awaiting trial in 1. Chicago. Velma, a vaudevillian, and Roxie, a housewife, fight for the fame that will keep them from the gallows. Directed and choreographed by Rob Marshall, and adapted by screenwriter Bill Condon, with music by John Kander and lyrics by Fred Ebb, Chicago won six Academy Awards in 2. Best Picture. The film was critically lauded, and was the first musical to win Best Picture since Oliver! Wanting stardom for herself, she begins an affair with Fred Casely, who claims to know the manager. After the show, Velma is arrested for killing her husband Charlie and sister Veronica, who were in bed together. A month later, Casely admits to Roxie that he has no showbiz connections and just wanted her body. Enraged, she shoots him dead. She convinces her husband, Amos, to take the blame, telling him she killed a burglar in self- defence. As Amos confesses to the detective, Roxie fantasizes that she is singing a song devoted to her husband (. However, when the detective brings up evidence that Roxie and Casely were having an affair, Amos recants; Roxie furiously admits what really happened and is arrested. Ambitious District Attorney Harrison announces he will seek the death penalty. At Cook County Jail, Roxie is sent to Murderer's Row, under the care of the corrupt matron . Roxie meets her idol Velma, but her friendship is rudely rebuffed. She learns the backstories of the other women there, including Velma Kelly (. On Morton's advice, Roxie engages Velma's lawyer, the brilliant Billy Flynn (. Flynn and Roxie manipulate the press, reinventing Roxie's identity as an originally virtuous woman turned bad by the fast life of the city; she claims she had the affair with Casely because Amos was always working, but repented and dumped him for Amos, and Casely jealously attacked her (. The press believe the story; praised by the public as a tragic heroine, Roxie becomes an overnight sensation (. Velma, unhappy at losing the public's attention, tries to convince Roxie to join her act, replacing the sister that she murdered (. To Velma's surprise, Roxie quickly steals back the fame by claiming to be pregnant. Amos is ignored by the press (. Roxie over- confidently fires Flynn, believing she can now win on her own. However, when Katalin Helinszki, a Hungarian woman from Murderess' Row is hanged, she realizes the gravity of the situation and rehires Flynn. Roxie's trial begins, and Billy turns it into a media spectacle (. Billy discredits witnesses, manipulates evidence, and even stages a public reconciliation between Amos and Roxie when she says the child is his. The trial seems to be going Roxie's way until Velma appears with Roxie's diary: she reads incriminating entries in exchange for amnesty in her own case. Billy discredits the diary, implying that Harrison was the one who planted the evidence (. Roxie is acquitted, but her fame dies moments later when a woman shoots her husband just outside the court. Flynn tells her to accept it, and admits that he tampered with her diary himself, in order to incriminate the district attorney and also free two clients at once. Amos remains loyal and excited to be a father, but Roxie cruelly rejects him, revealing that she is not pregnant, and he finally leaves her. Roxie does become a vaudeville performer, but is very unsuccessful (. Velma is just as unsuccessful, and again approaches Roxie to suggest performing together: a double act consisting of two murderers. Roxie initially refuses, but later accepts when Velma points out that they can perform together despite their resentment for each other. The two stage a spectacular performance that earns them the love of the audience and the press (. The film concludes with Roxie and Velma receiving a standing ovation from an enthusiastic audience, and proclaiming that, . Reilly as Amos Hart, Roxie's naive, simple- minded but devoted husband. Christine Baranski as Mary Sunshine, a sensationalist reporter. Taye Diggs as The Bandleader, a shadowy, mystical master of ceremonies who introduces each song. Colm Feore as Harrison, the prosecutor in both Roxie and Velma's court cases. Lucy Liu as Kitty Baxter, a millionaire heiress who briefly outshines Velma and Roxie when she kills her husband and his two mistresses. Dominic West as Fred Casely, Roxie's deceitful lover and murder victim. M. Borusewicz, the Harts' neighbor from across the hall. Chita Rivera as Nicky, a prostitute. Susan Misner as Liz (. A film version of Chicago was to have been the next project for Bob Fosse. Although he died before realizing his version, Fosse's distinctive jazz choreography style is evident throughout the 2. The minimalist 1. August 2. 01. 5), holding records for longest- running musical revival, longest- running American musical on Broadway, and third longest- running show in Broadway history. Its runaway success sparked a greater appreciation of the 1. The George Abbott- directed production, starring Francine Larrimore and Juliette Crosby, ran for 1. Music Box Theatre, and within a year was adapted to a film in which Gaertner herself had a cameo. Chicago was produced by American companies Miramax Films and The Producers Circle in association with the German company Kallis Productions. Chicago was filmed in Toronto, Ontario, Canada. The courthouse scene was shot in Osgoode Hall. Other scenes were filmed at Queen's Park, former Gooderham and Worts Distillery, Casa Loma, the Elgin Theatre, Union Station, the Canada Life Building, the Danforth Music Hall, and at the Old City Hall. Tim Robey, writer for The Daily Telegraph in the United Kingdom, labeled Chicago as . AMC critic Sean O'Connell explains in his review of the film that . This record has since been outdone by Alvin and the Chipmunks: The Squeakquel.! Following the success of Chicago many musical films have been released in cinemas including Phantom of the Opera, The Producers, Rent, Dreamgirls (also written by Bill Condon), Hairspray (which also had Queen Latifah), Enchanted, Sweeney Todd: The Demon Barber of Fleet Street (which also had costumes by Coleen Atwood), Mamma Mia! It was released in Full Screen and Widescreen. In addition to this release, a two- disc . Miramax was the label responsible for the production of the DVDs and the discs themselves provide a feature- length audio commentary track with director Marshall and screenwriter Condon. There is also a deleted musical number called . British Board of Film Classification. Retrieved March 6, 2. Retrieved March 6, 2. Retrieved March 7, 2. Retrieved June 5, 2. Retrieved August 1. Retrieved November 1. Retrieved June 5, 2. Retrieved November 1. Internet Movie Database. Retrieved March 6, 2. Retrieved July 1. Retrieved August 1. Retrieved August 1. Retrieved August 1. Retrieved August 1. Retrieved August 1. Retrieved August 1. Grant, Tom Hollander, Derek Jacobi, Kelly Macdonald, Helen Mirren, Jeremy Northam, Clive Owen, Ryan Phillippe, Maggie Smith, Geraldine Somerville, Kristin Scott Thomas, Sophie Thompson, Emily Watson, James Wilby. Chicago (2. 00. 2): Christine Baranski, Ekaterina Shchelkanova, Taye Diggs, Denise Faye, Colm Feore, Richard Gere, Deidre Goodwin, Queen Latifah, Lucy Liu, Susan Misner, M. Reilly, Dominic West, Ren. Grant, Tom Hollander, Derek Jacobi, Kelly Macdonald, Helen Mirren, Jeremy Northam, Clive Owen, Ryan Phillippe, Maggie Smith, Geraldine Somerville, Kristin Scott Thomas, Sophie Thompson, Emily Watson, James Wilby. Chicago (2. 00. 2): Christine Baranski, Ekaterina Shchelkanova, Taye Diggs, Denise Faye, Colm Feore, Richard Gere, Deidre Goodwin, Queen Latifah, Lucy Liu, Susan Misner, M. Reilly, Dominic West, Ren.
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