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Literary Criticism
Spring 1998
200 pages
ISBN 0-88984-196-9
$14.95
Ripostes: Reflections
on Canadian Literature
Philip Marchand
Ripostes is a collection of essays on some salient features of the Canadian
literary landscape, a number of which were first published in the Toronto
Star, many of which appear in these pages for the first time. Included
are essays on Atwood, Findlay, Ondaatje and Margaret Laurence, as well
as thematic explorations of Canadian literature such as an account of the
demise of the Survival school of Canadian writing, a look at the recent
history of the Writers' Union of Canada, an examination of the role of
fathers in Canadian fiction, a study of the strange attraction of many
of our writers to the occult, and so on.
The tone is considered, and critical rather than celebratory, although
the essays are respectful of the genuine achievements of Canadian literature
in the past few decades. They try to clear the air, as it were, of boosterism,
political correctness, and other attitudes which hinder the appreciation
and reception of good writing.
This is an honest re-appraisal of Canadian literature, undertaken
at a time when we need no longer be overcome with relief and euphoria
over the fact that some of our authors are now world famous, or at least
world famous in Hoboken, New Jersey.
`In his own diagnosis of the literary landscape, Marchand has complained
for years about the damage caused by the CanLit industry. Identifying
the national literary vices of Americans (they flaunt their egos), the
British (their Oxbridge glibness), and Canadians (their liberty to
bore), he says professors of Canadian literature, book reviewers,
members of the writing and publishing "community," all bear serious
responsibility for frequently sending Canadian readers a subliminal
message: You may not enjoy this prose but you should read it because
it's good for you. It is a message, unfortunately, which writers as well
as readers have picked up, and which partly explains the careers of such
novelists as David Helwig and Rudy Wiebe.
`His pages are full of these epigrammatic flippancies, and he pulls no
punches in targeting those he holds responsible for encouraging and
tolerating mediocrity, literary theorists who can't write English,
culture bureaucrats who dispense grants, and organizations who dish out
too many literary prizes. Even The Writers' Union is reprimanded for
creating dissension among its members over issues of political
correctness, race, and appropriation of voice. Occasionally he is
disheartened by the feeling that "Canadian literature is beginning to
flower in an age overwhelmingly unfavourable to great art."
`Marchand quotes with approval Whitman's statement that a great
literature needs a great audience. He would include in that equation
critics like Northrop Frye and George Woodcock, and in "Confessions of a
Book Columnist" he lays out the principles that underlie his strategies.
He steers a course between the Canadian tendencies either to denigrate
success or boost anything labelled "Canadian literature." He brings
international literary standards to bear on Canadian books through a
familiarity with European and British literature. Thus "no one who has
read these classics at all widely can read, say, Margaret Laurence or
Margaret Atwood or Robertson Davies, and not recognize that they are,
when all is said, minor writers. By 'minor' I do not mean bad, or
mediocre, or negligible." He must not be afraid to make value judgements
if his reflections are to delight and stimulate his readers.
`The majority of commentators on Canadian literature are academics, who
for the most part prescribe what's hot, what's not, to a very limited
audience. Sadly, we have too few men -- or persons -- of letters who discuss
our literature with the common reader from another vantage point.
Happily, Marchand brings enthusiasm and commitment to his role as such a
critic.' `These days, when party banter turns to the subject of Canadian fiction
two matters
are raised more often than any others: ``Have you read Fugitive Pieces yet?''
and, ``Could you believe that Philip Marchand thing in Saturday Night?''
For those who like their culture laced with a little dirt, the latter question is of
far greater interest. What's all the fuss about? In short, Marchand's essay is
a sweeping dismissal of virtually every author belonging to the first tier of CanLit. ... But
what's far more important than the substance of Marchand's
particular remarks is the fact that he went to the trouble of making them in the first place.
As a gesture of shit-disturbing spilled ink, as an invitation for discussion about
our critical culture, it is to be admired.' `Ripostes are quick sharp replies. The word comes from the world of swordplay:
in fencing, they're quick return thrusts. In Philip Marchand's hands,
Ripostes is a book of necessary answers to the Professor Panglosses
of Canadian letters. You know, the ones who ejaculate ``Atwood'' and ``Ondaatje''
as answers to any suggestion that
things aren't just fine and dandy in CanLitLand - the best of all
possible post-colonial, post-patriarchal, post-modern book worlds.
Ripostes is going to aggravate, annoy, gall, irk, miff, peeve, rankle,
vex and just generally bug quite a few people.
It thoroughly delights me. The author is a realist
and a truth teller and I prefer truths
and reality, even when it's hard, to soft and pleasing fantasies.
Like Marchand, I'd rather read Russell Smith's How Insensitive
than Michael Ondaatje's The English Patient.'
- Canadian Literature
- Andrew Pyper, author of Kiss Me
- The Toronto Star
Photo by Ken Faught