Cover

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Half title, Title page, Copyright

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Contents

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pp. v-vi

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Introducing Canada and the Spanish Civil War

Bart Vautour, Emily Robins Sharpe

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pp. vii-viii

Meet Me on the Barricades marks the third publication in a sub-series of the University of Ottawa Press’s Canadian Literature Collection. The sub-series is comprised of Canadian-affiiiated texts in which the Spanish Civil War features prominently. ...

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Acknowledgements

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pp. ix-x

We have received extensive help and encouragement throughout the process of bringing Charles Yale Harrison’s novel back into print. In particular, we’d like to thank Ryan van den Berg, Kevin Levangie, and Daniel Marcotte, who each contributed to the book’s preparation during their separate “Canada and the Spanish Civil War” internships. ...

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Introduction

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pp. xi-xiii

By the late 1930s much of the world had experienced nearly a decade of the Great Depression. Political and cultural lives in the Western world were becoming increasingly difficult to navigate. The decade is often characterized by its markedly deep divide between the political left and the political right, between democracy and fascism, and between working and elite classes. ...

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I. Harrison’s Life and Politics

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pp. xiii-xv

Harrison was once a leading figure of the North American literary left. However, those literary critics and historians who continue to make enquiries into the era of the Great Depression, and the interwar period more generally, have largely forgot him. His fluctuating political affiliations and eventual falling out with the Communist Party USA (CPUSA) are likely to blame for his disappearance from available literary-historical accounts. ...

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II. Harrison’s Evolving Modernist Aesthetics

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pp. xv-xx

Harrison’s creative deliberations throughout the changing social and cultural conditions of the 1930s and 1940s articulate remarkably varied forms of modernism. Each of Harrison’s novels is distinct in its modernist aesthetics, relying, alternatively, on minimalist prose style, fragmented consciousness, and conceptual estrangement. ...

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III. Textual History

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pp. xx-xxii

Meet Me on the Barricades saw only one print run: Charles Scribner’s Sons, of New York City, published the novel in 1938. The Rare Book and Manuscript Library at Columbia University houses three typescript drafts of the novel, which contain edits to the novel’s structure and phrasing in Harrison’s handwriting as well as infrequent notes in an unknown hand. ...

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IV. The Novel’s Reception

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pp. xxii-xxvii

Meet Me on the Barricades did not receive the same global reception as many of Harrison’s other books: Generals Die in Bed, A Child Is Born, Nobody’s Fool, and Thank God for my Heart Attack enjoyed a life beyond Anglophone readership through translations in French, Spanish, Czech, German, Spanish, Russian, Chinese, and Italian (Besner 165).

Bibliography

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pp. xxvii-xxx

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Meet Me On The Barricades

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pp. 1-102

For perhaps the tenth time Signor Turano, now gaunt and unhappy, tapped the music-stand, raised his arms with a commanding gesture, prepared to signal the beat. Things were going quite badly. For one reason or another the orchestra seemed unable to achieve precisely the shading of tone which the maestro so assiduously demanded. ...

Explanatory Notes

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pp. 103-126

Hyphenated Line Endings

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p. 127

Further series titles

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