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
Myth and the Postmodernist Turn in Canadian Short Fiction: Sheila Watson, “Antigone” (1959)
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
How dimly the light filters through the broken fragments gathered carelessly, pieced together when the sharp edges set in motion the curious workings of the fancy. . . . (Watson 1992, 36)
Although her literary oeuvre is relatively small, Sheila Watson (1909–98) has been recognized as one of the most important and influential writers in postwar Canada. Up until the early 1990s, she was known mainly for her novel The Double Hook, published in 1959. The scantness of her publications seems to apply to information about her life as well. In Stephen Scobie's words, “the major fact about Sheila Watson's biography is that she does not have one; or, rather, that she would regard it as irrelevant” (Scobie 1985, 259; see also Bessai and Jackel 1985). She was born into the family of the superintendent of the British Columbia Provincial Mental Hospital in New Westminster and was brought up in the Catholic faith — a background that is, despite Scobie's remark, of utmost importance in understanding her work. This is especially the case in relation to “Antigone,” as Watson herself states that her father insisted on a humane treatment regime for his patients, creating in the process an “experimental farm” rather than an asylum (Meyer and O'Riordan 1984, 165). She attended the University of British Columbia, receiving a B.A., a Teaching Certificate, and an M.A. in the early 1930s. She then worked as a teacher at various schools in British Columbia, including some very remote parts of the province, which provided the settings for her novels. She married the poet Wilfred Watson and attended the University of Toronto, where she completed her dissertation on the modernist writer Wyndham Lewis under the direction of Marshall McLuhan. Afterwards she and her husband took up teaching positions in the English Department at the University of Alberta in Edmonton. Upon their retirement, the couple moved to the West Coast and settled on Vancouver Island, where Sheila Watson died in Nanaimo in 1998.
Only in 1992, when she was well into her eighties, did Sheila Watson finally publish a second novel, Deep Hollow Creek, which she had written much earlier, in the 1930s.
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- The Canadian Short StoryInterpretations, pp. 163 - 174Publisher: Boydell & BrewerPrint publication year: 2007