Canadian Writers since 1960: First Series ed. by W.H. New, and: Canadian Writers since 1960: Second Series ed. by W.H. New (review)

HUMANITIES 157 selections, seem a very slight foundation on which to build a case that Ross is a major figure. Precosky himself is forthright about the triviality of some of the work of this victim of a 'monumental writer's block' (164), but makes an insufficiently substantiated argument that Ross became 'an important model to many young writers' (168). Also unsatisfying is Precosky's discussion of Ross's debt to classical prosody, since he nowhere adequately exemplifies the quantitative nature of Ross's metrics . Undoubtedly valuable, however, is his exploration of Ross's experiments with sound and form as signification. (SUSAN GINGELL) Canadian Writers since 1960: First Series. Edited by W.H. New. Dictionary of Literary Biography, Volume 53. Gale 1986. xiii, 445. us $88.00 Canadian Writers since 1960: Second Series. Edited by W.H. New. Dictionary of Literary Biography, Volume 60. Gale 1987. xiii, 470. us $88.00 I am delighted to have these two hefty and valuable reference works on Canadian literature of the last quarter century. And, at over one hundred dollars for each volume, it may be some time before I can acquire the two forthcoming companion volumes covering the earlier period. Nevertheless , whether purchased or consulted in the library, they will be of continuing usefulness to anyone interested in Canadian literature. The two volumes, with the 149 authors arbitrarily divided between them, present 'careerbiographies' oftwo to sixteen pages, emphasing the development of the author's canon and reputation, for Canadian writers in English and French whose careers were established between 1960 and the early 1980s. DLB editorial policy defines literature broadly to include the work of historians, journalists, and publishers. The focus in these two vol~mes, though, is sufficiently. on creative writing that, while philosopher/poet Francis Sparshott, fantasist Ruth Nichols, children's author Kevin Major, and television- and script-writer Bernard Slade author of the successful Broadway play Same Time, Next Year - can mingle comfortably enough with their literary confreres, systems analyst Laurence Peter, famous for The Peter Principle, seems to be at the wrong party. Entries are generously supplemented by full-page photographs and reproductions of dust jackets, title pages, corrected proofs - the fastidiousness of John Metcalf's manuscript page speaks volumes...,. a cumulative index for the entire series, and a somewhat idiosyncratic supplementary reading list on Canadian literature. Entries are at times inconsistent. Some bibliographies of authors are selective, some comprehensive. So we have sixty-five articles listed for 158 LETTERS IN CANADA 1987 Basil Johnston, none for Alden Nowlan's extensive journalist output. Similar inconsistencies mark the checklists of secondary material: apart from interviews, there are forty-two citations for Jacques Ferron, one (a book) for Jack Hodgins; more for Margaret Avison (twenty) than for Margaret Atwood (eight). Entries can be bland and non-committal (on Metcalf's Kicking against the Pricks, for example, a book designed to provoke strong personal reaction) or frank and evaluative (on Rudy Wiebe's My Lovely Enemy, for instance). The Canadian volumes of DLB have been a long time appearing, and not all entries are equally up to date. Some include very recent publications and even information on work in progress, others (inevitably with contemporary figures) are already outstripped by events, such as the deaths of Milton Acorn, Margaret Laurence, and Gwendolyn MacEwen. The material is competent , i~ a number of cases even masterful. With the exception of a few typographical errors and the unfortunate ommission of the last line(s?) of the Eli Mandel entry, it is cleanly - and handsomely - presented. Volumes such as these play a critical role in establishing the literary canon, particularly for a literature as young as ours, and so must be scrutinized thoughtfully. Quebecois writers are tolerably well represented here, comprising one-third of all entries. (While entries are in English, long quotations are given in the original, with English translations.) New has also been careful to represent the variety of regions, ethnic groups, literary styles, and historical movements of Canada's literature, with the notab~e exception of writing in languages other than English or French. So we have Newfoundlander Ray Guy, Ojibway writer Basil Johnston, immigrant writers like Austin Clarke, Pier Giorgio di Cicco, Kristjana...