Cover

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Title Page, Copyright

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pp. i-vi

Contents

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pp. vii-viii

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Acknowledgements

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pp. ix-x

I would also like to extend my gratitude to my colleagues in Nipissing’s English Studies Program who offered feedback and constructive criticism on significant parts of this book: the “Works in Progress” group, and in particular...

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Introduction: Double-Voicing the Canadian Short Story

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pp. 1-24

From its beginnings, Canadian literature may be characterized as speaking in “two voices.” Divided in multiple ways, our national body of writing is attracted to conflicts and tensions experienced, as Atwood suggested...

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1. Hands and Mirrors: Reflections on Gender in the Short Stories of MacLeod and Findley

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pp. 25-42

At first glance, the short stories of Alistair MacLeod and Timothy Findley appear distinctly different, especially in their representation of gender. Seemingly old-fashioned MacLeod, his roots in the oral tradition and...

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2. Mothering Sons: Stories by Findley, Hodgins, and MacLeod Uncover the Mother’s Double Voice

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pp. 43-64

It is perhaps self-evident that female parents nurture their male offspring, but what is a “mothering son”? How—and why—do fictional mothers possess a double voice? Jack Hodgins’s comment on the importance of the...

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3. Storykeepers: Doubling Family Voice in Stories by King, Senior, MacLeod, and Vanderhaeghe

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pp. 65-90

Asked to explain how he begins a new short story, Jack Hodgins emphasized the continuing role within fiction of the dramatized speaker or storyteller, declaring “the voice is the story” (Kruk, Voice 156). My interest...

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4. Pinking the Triangle, Drawing the Circle: Double-Voicing Family in Findley’s Short Fiction

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pp. 91-110

After discussing Timothy Findley’s short fiction alongside those of his male peers in chapters 1 and 2, it is time—a decade and more after his death—to give him a chapter of his own. Indeed, Findley deserves...

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5. Various Otherness: Shields, King, Hodgins, and Birdsell Double-Voice the Short Story

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pp. 111-132

It is widely recognized in Canada that, since the convergence of interests and energies that was Canada’s Centennial,1 we have experienced what Michelle Gadpaille dubbed “the bursting [of the] dam” in terms of short story...

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6. Innovation and Reflection in the New Millennium: The Double Voice in Shields’s Short Fiction

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pp. 133-150

In a discussion of The Republic of Love and Larry’s Party, for instance, Lorna Irvine discerns “embodied omniscience” in Shields’s “simultaneous presentation of opposing points of view, a mingling of third-person narration and first-person...

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7. Double-Voicing through the Mariposan Looking Glass

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pp. 151-170

By ending with Shields’s third story collection, published in 2000, it may appear as if I am suggesting that “double-voicing” is unique to contemporary Canadian literature. Yet I do not wish to end on a smug teleological...

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L’Envoi: The Bus to North Bay

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pp. 171-180

Toronto’s Pearson International Airport is a hyper-busy, dazzling, and hectic place, with moving sidewalks, six-foot-high ads for women’s fashions that could be public art (or vice versa), automated flush toilets, expensive...

Works Cited

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pp. 181-198

Index

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pp. 199-218