Pub Date : 2023-02-03DOI: 10.21825/authorship.85738
Angelika Zirker
This paper reflects on concepts of early modern authorship during the early modern period based on miscellanies and the roles of their compilors. The statement "I Compyle: I make a boke as an auctor doth" from Palsgrave’s Dictionary of French and English serves as a starting point: here, the compiler becomes a co-creative agent in that he plays with identities in composing the collection of poetry as much as with concepts and notions of individuality and community. This will be illustrated on the basis of a single poem, "Harpalus‘ Complaint" from Tottel’s Miscellany (1557) up unto the second edition of Englands Helicon (1614). A variety of interaction between several roles can be observed: compilors become co-authors themselves but also do readers when poems are newly arranged and integrated into a narrative. While Tottel’s Miscellany plays with identities and attributions, in Englands Helicon the (re)contextualisation of poems within newly created narratives is central. The paper thus shows that concepts of authorship around 1600 go beyond our contemporary notions that are often based on ideas of the creative genius: compilation becomes authorial business, and is creative.
本文从杂记及其编者的角色出发,反思了近代早期作者的概念。《帕斯格雷夫法语和英语词典》中的一句话“I Compyle: I make a book as a auctor”可以作为一个起点:在这里,编译者成为了一个共同创造的代理人,因为他在创作诗集的过程中扮演着身份的角色,同时也扮演着个性和社区的概念和观念。这将在托特尔的《杂记》(1557)至《英国Helicon》(1614)第二版的一首诗《哈帕洛斯的抱怨》的基础上加以说明。我们可以观察到不同角色之间的各种互动:当诗歌被重新编排并整合到一个叙事中时,编纂者自己成为共同作者,但也成为读者。当托特尔的《杂记》在身份和归属方面发挥作用时,在《英格兰螺旋》中,诗歌在新创作的叙事中(重新)语境化是核心。因此,本文表明,1600年左右的作者概念超越了我们当代的概念,这些概念通常基于创造性天才的想法:编辑成为作者的业务,并且是创造性的。
{"title":"“Better place no wit can finde”: The Compiler as Author in Early Modern Verse Miscellanies","authors":"Angelika Zirker","doi":"10.21825/authorship.85738","DOIUrl":"https://doi.org/10.21825/authorship.85738","url":null,"abstract":"This paper reflects on concepts of early modern authorship during the early modern period based on miscellanies and the roles of their compilors. The statement \"I Compyle: I make a boke as an auctor doth\" from Palsgrave’s Dictionary of French and English serves as a starting point: here, the compiler becomes a co-creative agent in that he plays with identities in composing the collection of poetry as much as with concepts and notions of individuality and community. This will be illustrated on the basis of a single poem, \"Harpalus‘ Complaint\" from Tottel’s Miscellany (1557) up unto the second edition of Englands Helicon (1614). A variety of interaction between several roles can be observed: compilors become co-authors themselves but also do readers when poems are newly arranged and integrated into a narrative. While Tottel’s Miscellany plays with identities and attributions, in Englands Helicon the (re)contextualisation of poems within newly created narratives is central. The paper thus shows that concepts of authorship around 1600 go beyond our contemporary notions that are often based on ideas of the creative genius: compilation becomes authorial business, and is creative.","PeriodicalId":30455,"journal":{"name":"Authorship","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-02-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42528728","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article traces a historical trajectory of the city poet in Canada—a writer whose “street-level perspective” defines their methods and shapes their authorial personae—from the nineteenth-century through to the twenty-first. It first provides a brief exploration of some of the literature published in the Toronto Evening Telegram newspaper in the 1880s and 1890s to consider the origins of a literary tradition and an authorial persona rooted in the city. This part of the article uses the example of Robert Kirkland Kernighan to show the way early writers exploited the opportunity provided by city newspapers and the city itself to map and define themselves in artistic and professional terms. The article goes on to consider the work of contemporary city writers like Bren Simmers, who continue mapping themselves onto the street in sometimes deeply personal and increasingly unsettled ways. At base, the article argues that by extending critical discussions of urban writing back to its nineteenth-century roots, we can better understand how the city works as a unique marketplace for literature and a unique cultural economy through which literature circulates, but also as a unique context for the creation of authorial identity.
{"title":"“That city, that self”:","authors":"Ceilidh Hart","doi":"10.21825/aj.v10i1.20631","DOIUrl":"https://doi.org/10.21825/aj.v10i1.20631","url":null,"abstract":"This article traces a historical trajectory of the city poet in Canada—a writer whose “street-level perspective” defines their methods and shapes their authorial personae—from the nineteenth-century through to the twenty-first. It first provides a brief exploration of some of the literature published in the Toronto Evening Telegram newspaper in the 1880s and 1890s to consider the origins of a literary tradition and an authorial persona rooted in the city. This part of the article uses the example of Robert Kirkland Kernighan to show the way early writers exploited the opportunity provided by city newspapers and the city itself to map and define themselves in artistic and professional terms. The article goes on to consider the work of contemporary city writers like Bren Simmers, who continue mapping themselves onto the street in sometimes deeply personal and increasingly unsettled ways. At base, the article argues that by extending critical discussions of urban writing back to its nineteenth-century roots, we can better understand how the city works as a unique marketplace for literature and a unique cultural economy through which literature circulates, but also as a unique context for the creation of authorial identity.","PeriodicalId":30455,"journal":{"name":"Authorship","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49406169","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
William Edward Daniel Ross transformed himself into a popular fiction novelist in mid-life; the years between 1962 and 1967 witnessing his authorial advance from apprentice to journeyman. During this period, he produced at least 85 original novels, which appeared in the United States or the United Kingdom in hardback, paperback, or digest format. By 1966, Ross’s rapid production identified him as a “literary factory” within the trade. As a “professional writer,” he responded to the market needs of publishers, which led him to produce novels in multiple genres, including mysteries, westerns, nurse romances, and gothics. The majority of his novels appeared under pseudonyms, most of them feminine; as Ross recognised, this circumstance obscured his claims to authorship, leading to his early designation as “Canada’s best-known unknown author.” A substantial collection of Ross’s professional papers held at Boston University represents an invaluable resource into this author’s early years as a novelist, and into the trans-Atlantic popular fiction market for which he wrote. In combination with newspaper and magazine articles episodically published about him, this resource reveals an author who, between 1962 and 1967, established himself with publishers as a reliable creator of popular fiction. Ross brokered key business relationships with several hardback publishers producing popular fiction for the commercial lending libraries, as well as half a dozen paperback firms. Ross’s remarkable level of production relied on key “support personnel”: his wife Marilyn Ross facilitated his writing daily while New York-based literary agents Robert Mills and Donald MacCampbell offered strategic guidance.
威廉·爱德华·丹尼尔·罗斯(William Edward Daniel Ross)在中年时将自己转变为一位受欢迎的小说小说家;从1962年到1967年,见证了他从学徒到熟练工人的创作历程。在此期间,他创作了至少85部原创小说,以精装本、平装本或摘要形式出现在美国或英国。到1966年,罗斯的快速生产使他成为业内的“文学工厂”。作为一名“专业作家”,他回应了出版商的市场需求,这使他创作了多种类型的小说,包括推理小说、西部片、护士爱情小说和哥特式小说。他的大部分小说都是以假名出现的,其中大多数都是女性化的;正如罗斯所认识到的那样,这种情况掩盖了他的作者身份,导致他很早就被称为“加拿大最著名的未知作家”。在波士顿大学收藏的大量罗斯的专业论文为这位作家早年的小说家生涯和他所写的跨大西洋通俗小说市场提供了宝贵的资源。结合偶尔发表的关于他的报纸和杂志文章,这一资源揭示了一位作家,他在1962年至1967年间,在出版商中成为了流行小说的可靠创作者。罗斯与几家为商业借阅图书馆制作热门小说的精装出版商以及六家平装书公司建立了关键的商业关系。罗斯出色的制作水平依赖于关键的“支持人员”:他的妻子玛丽莲·罗斯每天为他的写作提供便利,而纽约的文学经纪人罗伯特·米尔斯和唐纳德·麦克坎贝尔则提供战略指导。
{"title":"William Edward Daniel Ross’s Transformation into a Popular Fiction Novelist, 1962-1967","authors":"Janet B. Friskney","doi":"10.21825/aj.v10i1.20634","DOIUrl":"https://doi.org/10.21825/aj.v10i1.20634","url":null,"abstract":"William Edward Daniel Ross transformed himself into a popular fiction novelist in mid-life; the years between 1962 and 1967 witnessing his authorial advance from apprentice to journeyman. During this period, he produced at least 85 original novels, which appeared in the United States or the United Kingdom in hardback, paperback, or digest format. By 1966, Ross’s rapid production identified him as a “literary factory” within the trade. As a “professional writer,” he responded to the market needs of publishers, which led him to produce novels in multiple genres, including mysteries, westerns, nurse romances, and gothics. The majority of his novels appeared under pseudonyms, most of them feminine; as Ross recognised, this circumstance obscured his claims to authorship, leading to his early designation as “Canada’s best-known unknown author.” \u0000 A substantial collection of Ross’s professional papers held at Boston University represents an invaluable resource into this author’s early years as a novelist, and into the trans-Atlantic popular fiction market for which he wrote. In combination with newspaper and magazine articles episodically published about him, this resource reveals an author who, between 1962 and 1967, established himself with publishers as a reliable creator of popular fiction. Ross brokered key business relationships with several hardback publishers producing popular fiction for the commercial lending libraries, as well as half a dozen paperback firms. Ross’s remarkable level of production relied on key “support personnel”: his wife Marilyn Ross facilitated his writing daily while New York-based literary agents Robert Mills and Donald MacCampbell offered strategic guidance.","PeriodicalId":30455,"journal":{"name":"Authorship","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45120147","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The period after E. Pauline Johnson (Tekahionwake)’s literary career ended and before the emergence of contemporary Indigenous writing in Canada, roughly between 1910 and 1960, has been labelled as a “barren period” for Indigenous authorship. The relative failure by Indigenous Peoples in this period to garner publishers or attract wide readerships, however, had more to do with the political and social environment of Canada at the time, than either an ability (or inability) to write material of value. Bernice Winslow Loft (Dawendine) (1902-1997) and Ethel Brant Monture (1892-1977), in the face of considerable challenges to have their voices heard, demonstrate that the period after Johnson’s death was not entirely void of Indigenous authorship. Loft and Monture are among a small body of Indigenous authors during this period who, through persistence and performance, left their marks on the stages and pages of settler Canadian libraries and bookshelves.
{"title":"Writing Back against Canada’s Fictive Ethnicity:","authors":"B. Edwards","doi":"10.21825/aj.v10i1.20630","DOIUrl":"https://doi.org/10.21825/aj.v10i1.20630","url":null,"abstract":"The period after E. Pauline Johnson (Tekahionwake)’s literary career ended and before the emergence of contemporary Indigenous writing in Canada, roughly between 1910 and 1960, has been labelled as a “barren period” for Indigenous authorship. The relative failure by Indigenous Peoples in this period to garner publishers or attract wide readerships, however, had more to do with the political and social environment of Canada at the time, than either an ability (or inability) to write material of value. Bernice Winslow Loft (Dawendine) (1902-1997) and Ethel Brant Monture (1892-1977), in the face of considerable challenges to have their voices heard, demonstrate that the period after Johnson’s death was not entirely void of Indigenous authorship. Loft and Monture are among a small body of Indigenous authors during this period who, through persistence and performance, left their marks on the stages and pages of settler Canadian libraries and bookshelves. ","PeriodicalId":30455,"journal":{"name":"Authorship","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45185751","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines the publishing conditions and reception history of Sara Jeannette Duncan’s satirical novel Cousin Cinderella: A Canadian Girl in London (1908). It contends that Duncan’s understanding of her reading audiences, and the gendered expectations of a woman writing in the early twentieth century, allowed her to advance the novel genre in an English imperial literary market. Cousin Cinderella foregrounds the circulation of people and printed material and is interested in their reading and interpretation through the networked connections that empire engenders. Indeed, Duncan’s global mobility and her perspective on Canada as a rejuvenating racial and economic presence in an enlarged world led her to the type of generic experimentation discerned in Cousin Cinderella and to a lesser extent The Imperialist of 1904. In Cousin Cinderella, Duncan extends both novelistic romance and realism through the trope of female authorship and the novel’s allegorised character Mary Trent. Through Mary, Duncan features women in race-making and nation-making projects, where sentimental marriage functions allegorically for practical political and economic ends. And like Mary, Duncan considered herself attached to Canada, as she established success in a market dominated by male authors and metropolitan markets. This article on an understudied novel in Duncan’s oeuvre brings together a study of authorship, literary analysis, and cultural history to contextualise and elucidate Duncan’s path-breaking career.
{"title":"Sara Jeannette Duncan’s “Canadian Editions”:","authors":"B. Brown","doi":"10.21825/aj.v10i1.20632","DOIUrl":"https://doi.org/10.21825/aj.v10i1.20632","url":null,"abstract":"This article examines the publishing conditions and reception history of Sara Jeannette Duncan’s satirical novel Cousin Cinderella: A Canadian Girl in London (1908). It contends that Duncan’s understanding of her reading audiences, and the gendered expectations of a woman writing in the early twentieth century, allowed her to advance the novel genre in an English imperial literary market. Cousin Cinderella foregrounds the circulation of people and printed material and is interested in their reading and interpretation through the networked connections that empire engenders. Indeed, Duncan’s global mobility and her perspective on Canada as a rejuvenating racial and economic presence in an enlarged world led her to the type of generic experimentation discerned in Cousin Cinderella and to a lesser extent The Imperialist of 1904. In Cousin Cinderella, Duncan extends both novelistic romance and realism through the trope of female authorship and the novel’s allegorised character Mary Trent. Through Mary, Duncan features women in race-making and nation-making projects, where sentimental marriage functions allegorically for practical political and economic ends. And like Mary, Duncan considered herself attached to Canada, as she established success in a market dominated by male authors and metropolitan markets. This article on an understudied novel in Duncan’s oeuvre brings together a study of authorship, literary analysis, and cultural history to contextualise and elucidate Duncan’s path-breaking career.","PeriodicalId":30455,"journal":{"name":"Authorship","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46389164","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Introduction","authors":"R. Panofsky","doi":"10.21825/aj.v10i1.20628","DOIUrl":"https://doi.org/10.21825/aj.v10i1.20628","url":null,"abstract":"Introduction by the guest editor.","PeriodicalId":30455,"journal":{"name":"Authorship","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45444205","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Beginning in the mid-1980s, Alice Munro drew attention in interviews to her rapt admiration for the work of William Maxwell, a writer she has called “my favorite writer in the world.” The two were not close, although they met a few times through their shared association with the New Yorker. In 1988 Munro published an appreciation of Maxwell’s work and, after his death in 2000, agreed to revise it for a tribute volume published in 2004. During those years too, Munro was at work on a family volume she had long contemplated, The View from Castle Rock (2006), one that was inspired in part by and modelled on Maxwell’s Ancestors: A Family History (1971). This article examines the Maxwell-Munro crux as an example of the dynamics of authorship; it is an important example of two compatible writers who, throughout their careers, created narrative rooted in the very stuff of their own experience in place and time—whether seen as fiction, autobiography, or memoir. Each did so in ways that accentuate, for the critic intent on analysing authorship, the play of the past in shaping of any narrative.
{"title":"“As Truthful as Our Notion of the Past Can Ever Be”:","authors":"R. Thacker","doi":"10.21825/aj.v10i1.20635","DOIUrl":"https://doi.org/10.21825/aj.v10i1.20635","url":null,"abstract":"Beginning in the mid-1980s, Alice Munro drew attention in interviews to her rapt admiration for the work of William Maxwell, a writer she has called “my favorite writer in the world.” The two were not close, although they met a few times through their shared association with the New Yorker. In 1988 Munro published an appreciation of Maxwell’s work and, after his death in 2000, agreed to revise it for a tribute volume published in 2004. During those years too, Munro was at work on a family volume she had long contemplated, The View from Castle Rock (2006), one that was inspired in part by and modelled on Maxwell’s Ancestors: A Family History (1971). This article examines the Maxwell-Munro crux as an example of the dynamics of authorship; it is an important example of two compatible writers who, throughout their careers, created narrative rooted in the very stuff of their own experience in place and time—whether seen as fiction, autobiography, or memoir. Each did so in ways that accentuate, for the critic intent on analysing authorship, the play of the past in shaping of any narrative.","PeriodicalId":30455,"journal":{"name":"Authorship","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43421816","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Des années 1940 au milieu des années 1960, le Québec a assisté à l’essor des collections de romans populaires publiés en fascicules, écrits par des auteurs locaux et se déroulant dans La Belle Province. Signés d’une multitude de pseudonymes, ces objets sont extrêmement révélateurs du fonctionnement de l’auctorialité, sous le mode de la lecture sérielle. En s’intéressant à la collection « Roman d’amour » des Éditions Police-Journal, cet article souhaite explorer plus spécifiquement le fonctionnement du nom d’auteur en lien avec le pacte de lecture établi par le roman sentimental. --- From the 1940s to the mid-1960s, Quebec witnessed a boom in series of popular novels published in instalments, written by local authors, and set in La Belle Province. Appearing under a multitude of pseudonyms, these books tell us a great deal about the workings of authorship in the reading of serialised publications. In its examination of the series “Roman d’amour” put out by Éditions Police-Journal, this article seeks to explore in a more specific way how the author’s name functions in relation to the reading contract established by the genre of the romance novel.
{"title":"Qu’ont en commun Mimi Estival, Roxanne d’Avril et Georgette Mars?","authors":"Karol’Ann Boivin, Marie-Pier Luneau","doi":"10.21825/aj.v10i1.20633","DOIUrl":"https://doi.org/10.21825/aj.v10i1.20633","url":null,"abstract":"Des années 1940 au milieu des années 1960, le Québec a assisté à l’essor des collections de romans populaires publiés en fascicules, écrits par des auteurs locaux et se déroulant dans La Belle Province. Signés d’une multitude de pseudonymes, ces objets sont extrêmement révélateurs du fonctionnement de l’auctorialité, sous le mode de la lecture sérielle. En s’intéressant à la collection « Roman d’amour » des Éditions Police-Journal, cet article souhaite explorer plus spécifiquement le fonctionnement du nom d’auteur en lien avec le pacte de lecture établi par le roman sentimental. --- From the 1940s to the mid-1960s, Quebec witnessed a boom in series of popular novels published in instalments, written by local authors, and set in La Belle Province. Appearing under a multitude of pseudonyms, these books tell us a great deal about the workings of authorship in the reading of serialised publications. In its examination of the series “Roman d’amour” put out by Éditions Police-Journal, this article seeks to explore in a more specific way how the author’s name functions in relation to the reading contract established by the genre of the romance novel.","PeriodicalId":30455,"journal":{"name":"Authorship","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45751010","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Illustrations—both drawings and photographs—appeared in most books by E. Pauline Johnson (1861-1913), Canada’s first prominent Indigenous author, from their first publication in the early twentieth century through various reprints and editions into the twenty-first. This article examines the evolution of these images as we address the choices made by her publishers with regard to moments and modes of illustration, with special attention to her two most popular volumes, Legends of Vancouver (1911) and Flint and Feather (1912). Focusing on the interior illustrations that were read along with the texts, we consider how these drawings and photographs contributed to the construction of Johnson as an Indigenous author and to the interpretation of her stories and poems by those who prepared her books, given that her publications were directed to a mainly non-Indigenous readership.
{"title":"Picturing E. Pauline Johnson / Tekahionwake:","authors":"C. Gerson, Alix Shield","doi":"10.21825/aj.v10i1.20629","DOIUrl":"https://doi.org/10.21825/aj.v10i1.20629","url":null,"abstract":"Illustrations—both drawings and photographs—appeared in most books by E. Pauline Johnson (1861-1913), Canada’s first prominent Indigenous author, from their first publication in the early twentieth century through various reprints and editions into the twenty-first. This article examines the evolution of these images as we address the choices made by her publishers with regard to moments and modes of illustration, with special attention to her two most popular volumes, Legends of Vancouver (1911) and Flint and Feather (1912). Focusing on the interior illustrations that were read along with the texts, we consider how these drawings and photographs contributed to the construction of Johnson as an Indigenous author and to the interpretation of her stories and poems by those who prepared her books, given that her publications were directed to a mainly non-Indigenous readership.","PeriodicalId":30455,"journal":{"name":"Authorship","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49467142","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In her essays, Marlene NourbeSe Philip has been forthcoming about being “an unembedded, disappeared poet and writer in Canada” whose contributions to cultural life have been systematically obstructed, partly because of her public activism on behalf of Black communities. Her visibility is an oxymoronic, bedeviling combination of disappearance and unchosen hypervisibility, with the hypervisibility largely brought about by a radical misunderstanding and abjection of her work as a cultural activist. In this article, I examine how the “embedded, disappeared” and yet present, visible, audible literary and activist career of Marlene NourbeSe Philip challenges prevailing conceptions of authorship in Canada. In particular, I think about how and why Philip’s hypervisible invisibility offers a challenge to the regimes of visibility which tend to define literary celebrity. Any account of celebrity visibility needs to recognise the fact that the implications and consequences of visibility do not sit evenly on all public persons, as the theories of Katherine McKittrick, Jenny Burman, Sarah J. Jackson, and Toni Morrison testify. Neither is celebrity visibility the dualistic, either/or proposition so frequently framed by celebrity studies: either a much-desired good (an adoring audience) or a reviled evil, as in instances of notoriety, or in cases of overly intrusive, unwanted public attention. Instead, we need to reckon seriously with the ways visibility may be both systemically denied and reimposed as oppressive hypervisibility, as I argue it is in the celebrity of Marlene NourbeSe Philip and, by extension, in that of many racialised public figures.
{"title":"“Unembedded, Disappeared”:","authors":"L. York","doi":"10.21825/aj.v10i1.20636","DOIUrl":"https://doi.org/10.21825/aj.v10i1.20636","url":null,"abstract":"In her essays, Marlene NourbeSe Philip has been forthcoming about being “an unembedded, disappeared poet and writer in Canada” whose contributions to cultural life have been systematically obstructed, partly because of her public activism on behalf of Black communities. Her visibility is an oxymoronic, bedeviling combination of disappearance and unchosen hypervisibility, with the hypervisibility largely brought about by a radical misunderstanding and abjection of her work as a cultural activist. In this article, I examine how the “embedded, disappeared” and yet present, visible, audible literary and activist career of Marlene NourbeSe Philip challenges prevailing conceptions of authorship in Canada. In particular, I think about how and why Philip’s hypervisible invisibility offers a challenge to the regimes of visibility which tend to define literary celebrity. Any account of celebrity visibility needs to recognise the fact that the implications and consequences of visibility do not sit evenly on all public persons, as the theories of Katherine McKittrick, Jenny Burman, Sarah J. Jackson, and Toni Morrison testify. Neither is celebrity visibility the dualistic, either/or proposition so frequently framed by celebrity studies: either a much-desired good (an adoring audience) or a reviled evil, as in instances of notoriety, or in cases of overly intrusive, unwanted public attention. Instead, we need to reckon seriously with the ways visibility may be both systemically denied and reimposed as oppressive hypervisibility, as I argue it is in the celebrity of Marlene NourbeSe Philip and, by extension, in that of many racialised public figures.","PeriodicalId":30455,"journal":{"name":"Authorship","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43147513","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}