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University of Toronto Quarterly - Volume 84, Number 1, Winter 2015 

http://bit.ly/utq841

 

This issue contains: 

 

My Letter of Confession: Sara Jeannette Duncan's Late Imperial Rhetoric and
Risk-Taking

Shelley Hulan

Canadian writer Sara Jeannette Duncan (1861-1922) found early success as a
journalist in North America, writing most of her novels after she migrated
to India and England in 1890. Janice Fiamengo's argument that the young
Duncan developed an "insouciant public voice" in the ephemeral press invites
inquiry into whether, and to what ends, she cultivated that voice after her
move. A newly-discovered collection of Duncan's letters shows that she
continued to evolve the risk-taking persona of her early journalism,
deploying it in this instance to enhance her relationship with India's
Vicereine Mary Curzon. In this correspondence, Duncan transforms a satirical
sketch she published pseudonymously in London's Daily Mail into an amusing
anecdote that dramatizes her loyalty to the Vicereine. The letters thus
reveal some of the rhetorical strategies that Duncan used to collapse the
social hierarchy of the late British empire to her advantage while
critiquing that same hierarchy. DOI: 10.3138/utq.84.1.1
<http://utpjournals.metapress.com/content/k162612318477850/> 

http://bit.ly/utq841a

 

Postponement and Prophecy: Northrop Frye and "The Great Code" of Yeats's
"Byzantium"

Nels Pearson

The essay examines W.B. Yeats's "Byzantium" in light of Northrop Frye's
ideas about the resonances of Biblical language, especially its typology and
deferred revelation, in Western poetry. It argues that Yeats's effort to
communicate the eternal within time by combining proclamation and enigma,
revelation and ambiguity, bears deep similarities to the process of
signalling and postponing revelation that drives Biblical language. By
examining the role of postponed and unverifiable final meaning in
"Byzantium" via Frye, the essay also points out important intimacies and
differences between post-structural theories of semiotic contingency and
formalist, anthropological ideas about the distinct nature of poetic,
metaphorical language. DOI: 10.3138/utq.84.1.19
<http://utpjournals.metapress.com/content/b73w97824765179k/> 

http://bit.ly/utq841b

 

"I look into their myriad eyes": The Queer Gaze of Tennessee Williams's
Memoirs

Tony Fong

This article scrutinizes the various bodies of Tennessee Williams's Memoirs
(1975) by examining the corporeality of the text itself. When faced with his
own queerness, the dramatist consistently spasms and vomits. This nausea, I
argue, is connected with the "horrors" of femininity that Williams exiles
for the sake of a masculine identity; he gags and heaves as an involuntary
form of self-reproach. Such moments of abject repudiation-often accompanied
by temporal shifts and narrative incoherencies-give shape to the
autobiography. Williams's body thus betrays his queerness. Memories of Kip
(Kiernan) and Frank Merlo-the dramatist's first and "most long-lasting"
lovers, respectively-ultimately frustrate Williams's desire to differentiate
from his "swishy" supporting characters. The autobiography-in spite of its
author's anxieties-tasks the reader to acknowledge the presence of the two
lovers' lives in Williams's personal history. DOI: 10.3138/utq.84.1.34
<http://utpjournals.metapress.com/content/k6681t516l832u65/> 

http://bit.ly/utq841c

 

Bordering on African American: Wayde Compton and the Readability of
Blackness

Bertrand Bickersteth

This essay attempts to establish a critical context for the African Canadian
literary imagination that situates itself in Western Canada and,
specifically, British Columbia. Wayde Compton's poetry offers several sites
for questioning black identity in Canada by visiting the trope of borders.
Blackness in Canada is more readily viewed apart from rather a part of the
central histories of the nation. In Western Canada, this tendency is even
more apparent since regional black histories do not conform as easily to the
master narratives of underground-railroad rescues and benevolent
abolitionism that are more readily accessed in the central and eastern
provinces. In response, Compton's poetry attempts to negotiate a regional
black diasporic aesthetic by challenging the fixity of race and place. This
essay shows that in engaging the ephemerality of black communities in
British Columbia, Compton's poetry underscores filiation through chance
relationships and demonstrates black belonging through discursive
readability. DOI: 10.3138/utq.84.1.55
<http://utpjournals.metapress.com/content/463140t630316606/> 

http://bit.ly/utq841d

 

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posted by T Hawkins, University of Toronto Press - Journals