Sherrill Grace – författare

Painting the Maple explores the critical interplay of raceand gender in shaping Canadian culture, history, politics and healthcare. These interdisciplinary essays draw on feminist, postcolonial,and critical theory in a wide-ranging discussion that encompasses bothhigh and popular forms of culture, the deliberation of policy and itsexecution, and social movements as well as individual authors andtexts.The contributors, who come from many fields, establish connectionsamong discourses of race, gender, and nation-building that haveconditioned the formation of Canada for more than one hundred years.They analyze ways in which these elements have participated in andcontributed to exclusionary practices and policies, such asmarginalization of women and racialized groups. Together, their essayspaint a picture of a nation that privileges whiteness, masculinity, andChristianity.This book gathers many insights on the construction of Canada,hitherto scattered in the literature. It will be of interest tofeminist scholars and others concerned with issues of race and gender.At times provocative, Painting the Maple illuminates thechallenges that lie ahead for all Canadians who aspire to create abetter future in a reimagined nation.

Painting the Maple explores the critical interplay of raceand gender in shaping Canadian culture, history, politics and healthcare. These interdisciplinary essays draw on feminist, postcolonial,and critical theory in a wide-ranging discussion that encompasses bothhigh and popular forms of culture, the deliberation of policy and itsexecution, and social movements as well as individual authors andtexts.The contributors, who come from many fields, establish connectionsamong discourses of race, gender, and nation-building that haveconditioned the formation of Canada for more than one hundred years.They analyze ways in which these elements have participated in andcontributed to exclusionary practices and policies, such asmarginalization of women and racialized groups. Together, their essayspaint a picture of a nation that privileges whiteness, masculinity, andChristianity.This book gathers many insights on the construction of Canada,hitherto scattered in the literature. It will be of interest tofeminist scholars and others concerned with issues of race and gender.At times provocative, Painting the Maple illuminates thechallenges that lie ahead for all Canadians who aspire to create abetter future in a reimagined nation.

When Vincent Massey wrote On Being Canadian in 1948, he acknowledged the importance of the arts to education and the production of good Canadian citizens. What he did not consider was what the arts and artists can tell us about being Canadian.In On the Art of Being Canadian, Sherrill Grace begins with the premise that the arts have shaped and continue to inform Canadian identity. Drawing upon a wealth of artistic expression that spans over a century of painting, fiction, poetry, drama, and film, she traces how the arts and artists have contributed to three key themes in Canadian culture, commemoration, and myth making: the North, war, and iconic national figures such as Louis Riel, Emily Carr, Tom Thomson, and Mina Hubbard.By telling stories in their chosen media and genres about life here or about events and figures from the past, she shows that artists help us to understand the Canadian landscape and to create a shared history. All students of Canada, whether at home or abroad, will find much to savour, enjoy, and reflect on in this beautifully illustrated volume.

Best known as the story from the 1904 Puccini opera, the compelling modern myth of Madame Butterfly has been read, watched, and re-interpreted for over a century, from Pierre Loti's 1887 novel Madame Chrysanthème to A.R. Gurney's 1999 play Far East. This fascinating collaborative volume examines the Madame Butterfly narrative in a wide variety of cultural contexts – literary, musical, theatrical, cinematic, historical, and political – and in a variety of media – opera, drama, film, and prose narratives - and includes contributions from a wide range of academic disciplines, such as Asian Studies, English Literature, Theatre, Musicology, and Film Studies.From its original colonial beginnings, the Butterfly story has been turned about and inverted in recent years to shed light back on the nature of the relationship between East and West, remaining popular in its original version as well as in retellings such as David Henry Hwang's play M. Butterfly and David Cronenberg's screen adaptation. The combined perspectives that result from this collaboration provide new and challenging insights into the powerful, resonant myth of a painful encounter between East and West.

Timothy Findley (1930–2002) became one of Canada’s most beloved and honored writers during the last four decades of the twentieth century. Because of their controversial subjects and unconventional style, his first two novels, The Last of the Crazy People (1967) and The Butterfly Plague (1969), were initially published only in Great Britain and the United States. Success in his native country finally arrived in 1977 with the publication of his novel The Wars, which won the Governor General’s Award for Fiction and is considered a Canadian classic and an iconic portrayal of World War I. He went on to publish seven novels, a novella, three collections of short stories, four plays, and three works of nonfiction, as well as numerous screenplays, TV scripts, and essays, reviews, and opinion pieces in periodicals. His play, Elizabeth Rex (2000), won the Governor General’s Award for Drama. In addition, he was appointed an Officer in the Order of Canada, which is the highest honor a Canadian civilian can receive, in 1986; was named to France’s Chevalier de l’Ordre des Arts et des Lettres in 1996; and received seven honorary degrees. During the last two decades of the twentieth century, he was a leading public intellectual who often effectively criticized censorship and the destruction of the environment. The interviews collected here, which span three decades, offer candid, extensive, intimate, often amusing, and sometimes provocative commentary on a wide range of topics, including but not limited to his life and works; his love of nature and of animals, his homosexuality and alcoholism; politics in Canada and the US, and Canadian literature. Timothy Findley began his creative life as an actor, and in many ways, he often seemed to regard interviews as performances which he relished—notably, most were in a Q&A format, which he preferred and are thus true "conversations"—and his enjoyment of them is fully apparent in the pages of this collection.

Timothy Findley (1930–2002) became one of Canada’s most beloved and honored writers during the last four decades of the twentieth century. Because of their controversial subjects and unconventional style, his first two novels, The Last of the Crazy People (1967) and The Butterfly Plague (1969), were initially published only in Great Britain and the United States. Success in his native country finally arrived in 1977 with the publication of his novel The Wars, which won the Governor General’s Award for Fiction and is considered a Canadian classic and an iconic portrayal of World War I. He went on to publish seven novels, a novella, three collections of short stories, four plays, and three works of nonfiction, as well as numerous screenplays, TV scripts, and essays, reviews, and opinion pieces in periodicals. His play, Elizabeth Rex (2000), won the Governor General’s Award for Drama. In addition, he was appointed an Officer in the Order of Canada, which is the highest honor a Canadian civilian can receive, in 1986; was named to France’s Chevalier de l’Ordre des Arts et des Lettres in 1996; and received seven honorary degrees. During the last two decades of the twentieth century, he was a leading public intellectual who often effectively criticized censorship and the destruction of the environment. The interviews collected here, which span three decades, offer candid, extensive, intimate, often amusing, and sometimes provocative commentary on a wide range of topics, including but not limited to his life and works; his love of nature and of animals, his homosexuality and alcoholism; politics in Canada and the US, and Canadian literature. Timothy Findley began his creative life as an actor, and in many ways, he often seemed to regard interviews as performances which he relished—notably, most were in a Q&A format, which he preferred and are thus true "conversations"—and his enjoyment of them is fully apparent in the pages of this collection.

Timothy Findley (1930-2002) was one of Canada's foremost writers - an award-winning novelist, playwright, and short-story writer who began his career as an actor in London, England. Findley was instrumental in the development of Canadian literature and publishing in the 1970s and 80s. During those years, he became a vocal advocate for human rights and the anti-war movement. His writing and interviews reveal a man concerned with the state of the world, a man who believed in the importance of not giving in to despair, despite his constant struggle with depression. Findley believed in the power of imagination and creativity to save us. Tiff: A Life of Timothy Findley is the first full biography of this eminent Canadian writer. Sherrill Grace provides insight into Findley's life and struggles through an exploration of his private journals and his relationships with family, his beloved partner, Bill Whitehead, and his close friends, including Alec Guinness, William Hurt, and Margaret Laurence. Based on many interviews and exhaustive archival research, this biography explores Findley's life and work, the issues that consumed him, and his often profound depression over the evils of the twentieth-century. Shining through his darkness are Findley's generous humour, his unforgettable characters, and his hope for the future. These qualities inform canonic works like The Wars (1977), Famous Last Words (1981), Not Wanted on the Voyage (1984), and The Piano Man's Daughter (1995).

"That Canada remains a society haunted by its war history seems clear." Since 1977, a new generation of Canadian writers and artists has been mapping the cultural landscapes formed by the memories of war we have inherited, and also the ones we are expected to forget. Challenging, even painful, the art and literature in Grace's magisterial study build causeways into history, connecting us to trials and traumas many Canadians have never known but that haunt society in subtle and compelling ways. A contemporary scholar of the period under examination, Grace exemplifies her role as witness, investing the text with personal, often lyrical, responses as a way of enacting this crucial memory-work. This comprehensive study is intended for scholars, students, and general readers interested in literature, theatre, and art relating to memories of the world wars.