Author Archives: Michael Happy

Frye Alert

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John Geddes in yesterday’s online edition of Maclean’s reviews a list of some of the best political books to come out of Canada, and then, out of left field, adds a book he thinks is missing:

Still, casting an eye over their catalogue, I’m reminded of how often the most penetrating political insights are found in books that we would not put on the politics shelf. I’m sure examples would spring to any reader’s mind. For me, Northrop Frye’s slim The Modern Century, published in 1967 to coincide with Canada’s centennial, is the prime case of a book that made me think differently about politics, even though it’s not about parties or elections or leaders.

Frye writes about how hard it is—given our age’s incessant soundtrack of commercial and political spin, ad copy, PR hype  and on-message blather—to keep from being bludgeoned into a passive stupor. Resisting everything in the air makes a person feel anti-social. “When propaganda cuts off all other sources of information,” he observes, “rejecting it, for a concerned and responsible citizen, would not only isolate him from his social world, but isolate him so completely as to destroy his self-respect.”

Thinking too much is stigmatized as snobbery. Let’s say you read up on global warming and conclude that a carbon tax is the way to go; The Modern Century prepares you to be dismissed as an out-of-touch elitist. “Democracy is a mixture of majority rule and minority right,” says Frye, “and the minority which most clearly has a right is the minority of those who try to resist a passive response, and thereby risk the resentment of those who regard them as trying to be undemocratically superior.”

A truly active, original response is almost always attacked. On the other hand, a phony sense of urgency is encouraged. We’re bombarded with messages pretending to be important, like so many emails flagged with red exclamation marks.

Linda Hutcheon, “Oh, the Humanities”

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Linda Hutcheon’s post “Oh, the Humanities” at The Mark here.

Money quote:

The reason given for one of these cuts – that Comparative Literature has been so successful that every department now does that same theoretical and comparative work, and thus the centre is no longer needed – echoes, or perhaps parodies, Yale comparatist Haun Saussy’s famous lament about the institutional weakness and yet the great intellectual strength of comparative studies in Comparative Literature in an Age of Globalization, the 2004 report of the American Comparative Literature Association. But the negative implications of one of Saussy’s sobering conclusions are worth considering: “We may all be comparatists now – and for good reason – but only with a low common denominator.” In intellectual terms, this is hardly something to be proud of supporting.

Jacques Cartier

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On this date in 1534 Jacques Cartier planted a cross on the Gaspe Peninsula and declared it for Francis 1 of France.

Frye in “Levels of Cultural Identity”:

Even careless populizers are more hesitant to write such sentences as “Jacques Cartier was the first man to set foot on Canadian soil,” which were fairly recent usage not long ago.  Even when the word “white” was inserted, the implication “first genuine human being” was often there. (The Eternal Act of Creation, 179)

TGIF: Russell Peters

httpv://www.youtube.com/watch?v=vw6RgIf6epQ&feature=related

Indian accent

It was hard not to be moved by the testimonials for the Centre for Comparative Literature this past week. Olga Bazilevica, for example, cited the Centre as representing everything she’s come to love about this country: our peaceful diversity, our generous expressions of tolerance.

Nice.

But it’s Friday and this is our comedy slot, so let’s laugh a little at Canada (affectionately, of course) by way of our hottest standup comedian, Russell Peters — the guy who, even though he is of Indian descent, has the name of a WASP banker.

After the jump, Peters on the white Canadian accent, racial mixing, and gay Indians.

Continue reading

United Province of Canada

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On this date in 1841 the United Province of Canada was created by the Act of Union, which lasted until the creation of the Dominion of Canada in 1867.

Frye on the “anarchist tradition” in Canada in a 1969 interview, “CRTC Guru”:

Frye: There are other things in the Canadian tradition that are worth thinking about.  Thirty years ago [in the 1930s] the great radical movement was international Communism, which took no hold in Canada at all.  There were Marxist poets, there were no Marxist painters… The radical movement of our time is anarchist and that means that it’s local and separate and breaks down into small units.  That’s our tradition and that’s our genius.  Think of Toronto and Montreal (I know Toronto better than Montreal, but I think the same is true of both cities): after the Second World War, we took in displaced persons from Europe to something like one-quarter to one-fifth of the population.  In Toronto in 1949, one out of every five people had been there less than a year.  We have not had race riots,we have not had ethnic riots, we have not had the tremendous pressures and collisions that they’ve had in American cities.  Because Canada is naturally anarchist, these people settle down into their own communities; they work with other communities and the whole pattern of life fits it.  I do think we have to keep a very wide open and sympathetic eye towards radical movements in Canada, because they will be of the anarchist kind and they will be of a kind of energy that we could help liberate.  (CW 24, 92)

Frye Alert

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W.S. Merwin in an interview published today in the Daily Princetonian.

Q: Can poetry be studied in college?

A: I think it can be and should be. The study shouldn’t get in the way of the poetry. It’s not about interpretation. If you love it, you can talk for years about it. If you don’t love it, you’ll kill it.

I heard Northrop Frye lecture on “King Lear” at a convention. Frye talked about the importance of feeling. One professor said to another, “I taught ‘King Lear’ and never felt anything. Is there a lack in me?” The other professor said, “Yes, there is a lack in you. You shouldn’t be teaching it.”

Moments of feeling get more wonderful and more powerful all the time. If you’re not able to see them, you’re not getting them. That’s true of all arts — music, painting, ballet — they’re understood by being felt.

Complete interview here.

Your Daily Reminder

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Vote for the Frye sculpture here: http://www.refresheverything.ca/fryefestival You can vote daily until August 31. Remember that you must be signed in before your vote can be registered.

Dawn Arnold of the Frye Festival has set up a “voting team” to submit votes for people who may be away on vacation but still wish to register their votes.  Contact her at dawn@frye.ca

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If you haven’t already, sign the petition in support for the Centre for Comparative Literature here: http://www.petitiononline.com/complit/petition.html

And be sure to visit the Save CompLit Facebook page here: http://www.savecomplit.ca/Protest.html

Richard III

httpv://www.youtube.com/watch?v=A9zIw84dD_Y

From Ian McKellen’s film adaptation of Shakespeare’s Richard III: “Was ever woman in this humour woo’d? / Was ever woman in this humour won? / I’ll have her, but I will not keep her long.” (I. ii. 232-4)

On this date in 1485, Richard III, the last of the Plantagenet line, was killed in the Battle of Bosworth Field, which brought the first Tudor king, Henry VII, to the throne.

Frye in the Notebooks on Renaissance Literature:

In the H6 – R3 tetralogy [1, 2, 3 Henry VI; Richard III] it isn’t until R3 emerges from the final play that we feel any dramatic integrity of character standing out from the tapestry.  The reason is that he’s an actor, and a hypcrite or masked character, and he suggests a kind of real life, however reprehensible, which he & the audience at least know about. (CW 20, 240)

. . . R2 is isolated in the opposite way from R3.  The latter is pure de facto & hypocrite; R2 is pure de jure, and is an actor who throws himself into every role suggested to him, most notably that of the betrayed Christ . . . (CW , 241)

The other world exists in Shakespeare, as in Dante, mainly to confirm the social set-up of this one.  Jack Cade, according to Iden, goes to hell; Edward IV goes to heaven.  Hubert is “damned” if he kills the rightful heir Arthur, yet H4 seem to get away with dodging the responsibility for killing R2.  This principle of presenting a wish-fulfilment world as aristocratic is in the romances.  It’s a bugger to try to understand a writer who has no personal attitude.  The king de jure has a magical aura around him: the logic of such a superstition is that a king de facto who has any claim to the throne at all should exterminate everybody with a better one, & will thereby acquire that aura.  R3 thinks he’s done it; this I why I call the principle of legitimacy comic: {the hidden eiron gimmick we’ve forgotten about}. (CW 20, 242)

Marshall McLuhan

httpv://www.youtube.com/watch?v=23V9U_616aw&feature=related

Today is Marshall McLuhan‘s birthday (1911-1980).

Above, Marshall McLuhan and Norman Mailer interviewed on CBC TV in 1968 as the hippie movement takes deep hold of youth culture and protest against the Vietnam War begins to escalate sharply.

From an interview with Frye about McLuhan broadcast on CBC Radio in January 1981, shortly after McLuhan’s death.

Interviewer: Professor McLuhan’s great contemporary at the university, Northrop Frye, says that McLuhan’s background enabled him to achieve is insights.

Frye: He was a literary critic and that meant that he looked at the form of what was in front of him instead of at the content.  And so instead of issuing platitudes abut what was being said on television he looked at what  the media where actually doing to people’s eyes and ears.  He had a gift of epigrammatic encapsulating that made some of the thing he said extremely memorable.

Interviewer: Professor McLuhan’s ingenuity was easily seen, but his message was not easily understood.  In the 1960s and 70s there were sometimes crude journalistic interpretations of his work, and reporters began to write that, after all, the master of communication could not communicate.  The result was that as the 1979s closed Marshal McLuhan’s influence declined, and at the end of his life his colleagues saw him neglected by the public which has once clamoured for him.

Frye: That’s true, but that was because he got on the manic-depressive roller-coaster of the news media and that meant he went away to th skies like a rocket and then came down like a stick.  But he himself and what he said and thought had nothing to do with that.  That’s what the news media do to people if you get caught in their machinery.  (CW 24, 510-11)

Frye in Notebook 12:

McLuhan has of course enormously expanded my thesis of the return of irony to myth.  His formulation is hailed as revolutionary by those who like to think that the mythical-configuration-involved comprehension is (a) with it (b) can be attained by easier methods than by the use of intelligence.  Hence everyone who disagrees (as in all revolutionary arguments) can be dismissed as linear or continuous.  But there are two kinds of continuity involved: one is the older detached individuality, the other the cultural and historical continuity of preserving one’s identity and memory in moving from one to the other.  The issue here is a moral issue between freedom of consciousness and obsessive totalitarianism, plunging into a Lawrentian Dionysian war-dance.  (Cited by Robert Denham, Northrop Frye Unbuttoned, 174)

McLuhan on Frye:

Norrie is not struggling for his place in the sun.  He is the sun.  (Ibid.)