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“let us find our serious heads”: placing the manifesto in Canadian Literature
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Resumo(s)
The year 2009 marked the centenary of the publication of ‘The Founding and Manifesto of Futurism’ on the front page of Le Figaro. As Martin Puchner argues in Poetry of the Revolution: Marx, Manifestos, and the Avant-Gardes (2005):‘Futurism taught everyone how the manifesto worked’. The manifesto was indispensible to modernist and avant-garde movements in the twentieth century, from
dada and surrealism to Canada’s own neoism. But the literary-artistic manifesto did not originate with futurism, and its use has not been limited to the avant-garde. In Canada, for example, manifestos have served both to mark turning points and to generate ruptures in the longstanding debate on the value and viability of a national literature.
In this paper I will examine the changing role the manifesto played in Canadian literature from the mid-nineteenth century to the Second World War. Between these dates we can trace the genre’s early development in the struggle for national identity to its more precisely literary use as a tool of modernist provocation. The study will draw upon important literary magazines of the period, from Thomas D’Arcy McGee’s New Era (1857-58) to “little magazines” like Alan
Crawley’s Contemporary Verse (1940-52). The manifestos appear not only as “manifestos,” but also as editorials, prospectuses, prefaces, speeches, letters, essays, and poems. What unites them is a tone of urgency, a promise of salvation, and the
struggle to break a path out of the current crisis.
Descrição
Palavras-chave
Canadian literature Little magazines McGee, Thomas D’Arcy Manifestos Modernism (literature)
Contexto Educativo
Citação
Revista Anglo Saxonica, Série III, Nº2. Lisboa: 2011. Pp. 267-280
Editora
Centro de Estudos Anglísticos da Universidade de Lisboa