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HUMANITIES 299 which has been told by others elsewhere, that same readeris leftwondering about the significance of the American artist Robert Henri, when his name is evoked without elaboration or illustration. This would assume the knowledge of a specialist. Less prose would have allowed for a greater number of better-quality illustrations. The abundant but often illegible thumbnail illustrations that we find here are more appropriate to the catalogue raisonne, which we are told is forthcoming. How much more satisfying it would be to read this book alongside the fully illustrated catalogue. I realize that this first book is meant to stanel on its own, but it represents a rather unhappy compromise in this respect: the small illustrations are plentiful but not comprehensive , and there are not enough large colour plates, which Milne deserves. Nevertheless, collectors of Canadian art/books, and everyone interested in Milne, must have this book. (CHRISTINE BOYANOSKl) Ginette Michaud with collaboration of Sherry Simon. Joyce Atelier des rnodemes series. Editions Hurtubise. 156. $14.95 In the new L'atelier des modernes series, the books are titled with complete simplicity by the last name of the writer under discussion. However, the books are all writtenbymultiple authors, which serves to cloud one's initial sense of clarity as to the book's pretensions. The sky of one's expectations begins to darken when the book appears divided into two distinct sections, written by two different authors, whereas the title page murkily states iGinette Michaud avec la collaboration de Sherry Sirnon.f After reading Michaud and Simon'sJoyce, I doubt these ambiguous modes ofpresentation occur by accident. The authors have collaborated on a critical introduction to - filled with suspended, insightful conclusions into - the textual life of James Joyce. Working with 'un principe de fluidite' which swirls one's feet offthe securefoundation oftraditionaL established modes ofanalysis, these critics flow provocatively through barriers: Michaud often concludes her paragraphs with suspension points, leaving the reader to punctuate more definitively or personally the dialogue activated by the text. The reader is left to decide: is it necessary for Michaud to restrict her many critical vignettes to specify her ultimate thesis - 'Joyce et Ie SubjetNation ' - or for the two authors to designate exactly who wrote what? No one likes to be left floating and I must admit yearning for a concluding essay which pulled the short essays into some formal scheme, but is my W1Sure response to the whole project due to their presentation or my lack of creative flexibility? Anchor imagery occurs in both parts of the book, and it aptly captures Michaud and Simon's approach, since they drop anchor at a specific point in Joyce's life or literature - critical pause - then they pull.up anchor and 300 LETTERS IN CANADA focllsed on the of translation vouloir ret)roauue sa conscience creatrice?' and 'En l'ecriture existe-t-elle en Simon asks the kinds of that Lawrence Gamache and The Cosmic Studies Ch2lptE:r nea(J.mlgs in a on transJlahon who nonetheless shares a ............T"'J.,.. to the immense aoof(}ac:h is fresh and "01:7011......""" in resembles a miniature it makes for in leaves the reader paper This collection contains sixteen essays based on ......"'ยท.....0'...'" pres:entea Fifth Lawrence Lontf~re]1Ce ...

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