Book contents
- Frontmatter
- Contents
- Preface
- The Canadian Short Story: Status, Criticism, Historical Survey
- 1 Canadian Animal Stories: Charles G. D. Roberts, “Do Seek Their Meat from God” (1892)
- 2 Tory Humanism, Ironic Humor, and Satire: Stephen Leacock, “The Marine Excursion of the Knights of Pythias” (1912)
- 3 The Beginnings of Canadian Modernism: Raymond Knister, “The First Day of Spring” (written 1924/25)
- 4 From Old World Aestheticist Immoralist to Prairie Moral Realist: Frederick Philip Grove, “Snow” (1926/1932)
- 5 Psychological Realism, Immigration, and City Fiction: Morley Callaghan, “Last Spring They Came Over” (1927)
- 6 Modernism, Prairie Fiction, and Gender: Sinclair Ross, “The Lamp at Noon” (1938)
- 7 “An Artful Artlessness”: Ethel Wilson, “We Have to Sit Opposite“ (1945)
- 8 Social Realism and Compassion for the Underdog: Hugh Garner, “One-Two-Three Little Indians” (1950)
- 9 The Perils of Human Relationships: Joyce Marshall, “The Old Woman” (1952)
- 10 The Social Critic at Work: Mordecai Richler, “Benny, the War in Europe, and Myerson's Daughter Bella” (1956)
- Myth and the Postmodernist Turn in Canadian Short Fiction: Sheila Watson, “Antigone” (1959)
- 12 The Modernist Aesthetic: Hugh Hood, “Flying a Red Kite” (1962)
- Doing Well in the International Thing?: Mavis Gallant, “The Ice Wagon Going Down the Street” (1963)
- 14 (Un-)Doing Gender: Alice Munro, “Boys and Girls” (1964)
- 15 Collective Memory and Personal Identity in the Prairie Town of Manawaka: Margaret Laurence, “The Loons” (1966)
- 16 “Out of Place”: Clark Blaise, “A Class of New Canadians” (1970)
- 17 Realism and Parodic Postmodernism: Audrey Thomas, “Aquarius” (1971)
- 18 “The Problem Is to Make the Story”: Rudy Wiebe, “Where Is the Voice Coming from?” (1971)
- 19 The Canadian Writer as Expatriate: Norman Levine, “We All Begin in a Little Magazine” (1972)
- 20 Canadian Artist Stories: John Metcalf, “The Strange Aberration of Mr. Ken Smythe” (1973)
- 21 “A Literature of a Whole World and of a Real World”: Jane Rule, “Lilian” (1977)
- 22 Failure as Liberation: Jack Hodgins, “The Concert Stages of Europe” (1978)
- 23 Figures in a Landscape: William Dempsey Valgardson, “A Matter of Balance” (1982)
- 24 “The Translation of the World into Words” and the Female Tradition: Margaret Atwood, “Significant Moments in the Life of My Mother” (1983)
- 25 “Southern Preacher”: Leon Rooke, “The Woman Who Talked to Horses” (1984)
- 26 Nativeness as Third Space: Thomas King, “Borders” (1991)
- 27 Digressing to Inner Worlds: Carol Shields, “Our Men and Women” (1999)
- 28 A Sentimental Journey: Janice Kulyk Keefer, “Dreams:Storms:Dogs” (1999)
- Further Reading on the Canadian Short Story
- Time Chart: The Short Story in the USA, Canada, and Great Britain
- Notes on the Contributors
- Index
19 - The Canadian Writer as Expatriate: Norman Levine, “We All Begin in a Little Magazine” (1972)
Published online by Cambridge University Press: 28 April 2017
- Frontmatter
- Contents
- Preface
- The Canadian Short Story: Status, Criticism, Historical Survey
- 1 Canadian Animal Stories: Charles G. D. Roberts, “Do Seek Their Meat from God” (1892)
- 2 Tory Humanism, Ironic Humor, and Satire: Stephen Leacock, “The Marine Excursion of the Knights of Pythias” (1912)
- 3 The Beginnings of Canadian Modernism: Raymond Knister, “The First Day of Spring” (written 1924/25)
- 4 From Old World Aestheticist Immoralist to Prairie Moral Realist: Frederick Philip Grove, “Snow” (1926/1932)
- 5 Psychological Realism, Immigration, and City Fiction: Morley Callaghan, “Last Spring They Came Over” (1927)
- 6 Modernism, Prairie Fiction, and Gender: Sinclair Ross, “The Lamp at Noon” (1938)
- 7 “An Artful Artlessness”: Ethel Wilson, “We Have to Sit Opposite“ (1945)
- 8 Social Realism and Compassion for the Underdog: Hugh Garner, “One-Two-Three Little Indians” (1950)
- 9 The Perils of Human Relationships: Joyce Marshall, “The Old Woman” (1952)
- 10 The Social Critic at Work: Mordecai Richler, “Benny, the War in Europe, and Myerson's Daughter Bella” (1956)
- Myth and the Postmodernist Turn in Canadian Short Fiction: Sheila Watson, “Antigone” (1959)
- 12 The Modernist Aesthetic: Hugh Hood, “Flying a Red Kite” (1962)
- Doing Well in the International Thing?: Mavis Gallant, “The Ice Wagon Going Down the Street” (1963)
- 14 (Un-)Doing Gender: Alice Munro, “Boys and Girls” (1964)
- 15 Collective Memory and Personal Identity in the Prairie Town of Manawaka: Margaret Laurence, “The Loons” (1966)
- 16 “Out of Place”: Clark Blaise, “A Class of New Canadians” (1970)
- 17 Realism and Parodic Postmodernism: Audrey Thomas, “Aquarius” (1971)
- 18 “The Problem Is to Make the Story”: Rudy Wiebe, “Where Is the Voice Coming from?” (1971)
- 19 The Canadian Writer as Expatriate: Norman Levine, “We All Begin in a Little Magazine” (1972)
- 20 Canadian Artist Stories: John Metcalf, “The Strange Aberration of Mr. Ken Smythe” (1973)
- 21 “A Literature of a Whole World and of a Real World”: Jane Rule, “Lilian” (1977)
- 22 Failure as Liberation: Jack Hodgins, “The Concert Stages of Europe” (1978)
- 23 Figures in a Landscape: William Dempsey Valgardson, “A Matter of Balance” (1982)
- 24 “The Translation of the World into Words” and the Female Tradition: Margaret Atwood, “Significant Moments in the Life of My Mother” (1983)
- 25 “Southern Preacher”: Leon Rooke, “The Woman Who Talked to Horses” (1984)
- 26 Nativeness as Third Space: Thomas King, “Borders” (1991)
- 27 Digressing to Inner Worlds: Carol Shields, “Our Men and Women” (1999)
- 28 A Sentimental Journey: Janice Kulyk Keefer, “Dreams:Storms:Dogs” (1999)
- Further Reading on the Canadian Short Story
- Time Chart: The Short Story in the USA, Canada, and Great Britain
- Notes on the Contributors
- Index
Summary
At the close of his autobiographical essay “The Girl in the Drugstore” (1969), Norman Levine defines his dilemma as a Jewish Canadian writer as follows: “I had to recognize that one of the conditions of my being a writer is of living in exile. I felt it in Canada, as the son of orthodox Jewish parents in Ottawa; then as the poor boy among the rich at McGill. And now I feel it as a Canadian living in England” (Levine 1993b, 140). In June 1949, the need to distance himself from his Jewish as well as his Canadian heritage caused Levine to leave his native Canada and to settle permanently in Europe. Over the course of the next three decades, this self-imposed exile in England allowed Levine to thoroughly examine the origins of his alienation in both fictional and autobiographical writings. Although long exiled from Canada, Levine has never severed the strong ties to his homeland and is recognized today as a Canadian writer of international standing, particularly for his short fiction. In fact, Levine's well-crafted stories have been favorably compared to the works of such masters of the short-story genre as Anton Chekhov and Ernest Hemingway.
In his writings, produced over a period of more than half a century, Levine frequently draws on personal experiences, which he then incorporates into his fictional worlds. As he writes in his introduction to the short-story collection Champagne Barn (1984), “the stories form a kind of autobiography. But . . . it is autobiography written as fiction” (Levine 1984b, xv). Born in October 1923, Norman Albert Levine grew up in Ottawa's Lower Town as the son of orthodox Jewish immigrants from Poland. Because his first language was Yiddish, he did not speak a word of English when he began at public school at the age of five. Levine later attended the High School of Commerce but soon left to become an office boy at the Department of National Defense. During the Second World War, he served as a pilot officer with a Lancaster squadron of the RCAF based at Leeming in Yorkshire. Returning to Canada after the war, Levine studied English language and literature at McGill University and graduated with an M.A. in 1949.
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- Information
- The Canadian Short StoryInterpretations, pp. 271 - 282Publisher: Boydell & BrewerPrint publication year: 2007