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308 LETTERS IN CANADA 2000 exposure helps us to understand B though not necessarily appreciate B Young=s approach to the second half of the book. The new museology, I would argue, is in no way hostile to the curator, but decentralizes traditional curatorial authority to acknowledge and respect communities and sources of cultural knowledge other than Western-trained PhDs. It is increasingly evident that curators who have embraced the new museology, and who work directly and respectfully with communities from which histories are drawn, are re-emerging as a powerful force in today=s multicultural and increasingly open society. Thoughtful marketing, furthermore, is not obsessed with visitors as consumers, but accepts that visitors are those very people who, Young argues, want to appreciate their own history. Curators who continue in Young=s traditions may indeed be left by the wayside to be replaced by those who welcome the challenges of the twenty-first century. Trained as a historian, Young travels into dangerous ethnographic territory in later chapters. The awkward switching back and forth between history and personal comment, much of it self-serving, is both confusing and troubling B albeit a reminder of how subjective any version of history can be. The author frequently quotes himself in earnest arguments written to university and museum officials, but chooses not to balance these with arguments from other sides. In a surprisingly vitriolic attack, he blames McCord=s first francophone director, Claude Benoît, for that break-up, but provides no hint of the supportive mandate given to her by the museum=s board. In fact Young=s own history has prepared us for the need for dramatic change at the McCord, if only to serve the demand of the Canadian public to understand their past. How the author expects this to be achieved while the McCord suffered under McGill=s financial incapacity to support a fully public museum, while Quebec ignored it as an anglo -centred institution, and while narrowly focused academic researchers were the very few with access to the richness of McCord=s collections is hard to fathom. Nevertheless, Brian Young=s publication on the McCord Museum of Canadian History is a timely look at university-museum relations. This important Canadian museum with its turbulent past and intriguing future, however, deserves a more balanced look by someone who brings a deeper understanding of museums B and perhaps a less stereotyped view of women=s work. The McCord deserves better. (KERSTI KRUG) Marilyn Färdig Whitely. The Life and Letters of Annie Leake Tuttle: Working for the Best Wilfrid Laurier University Press 1999. xvii, 148. $29.95 Vera K. Fast, editor. Companions of the Peace: HUMANITIES 309 Diaries and Letters of Monica Storrs, 1931B1939 University of Toronto Press 1999. viii, 246. $19.95 Although they never met, missionaries Annie Leake Tuttle (1839B1934) and Monica Storrs (1888B1967) both evaluated and narrated their lives within a Christian framework. Storrs was an English-born Anglican who undertook mission work in the Peace River district of northern Alberta and British Columbia, and Tuttle was a Canadian-born Methodist who grew up in Nova Scotia but ministered to Chinese women in Vancouver. Monica Storrs chronicled the years between 1929 and 1939 in diaries and letters that circulated among a rambling network of family and acquaintances in England. Annie Leake Tuttle began a fragmentary autobiography late in life and added to it at intervals. The resulting memoir covered most of her life, ending with a scant paragraph on the final years of her life written when she still had seventeen years left to live. When the memoir falls silent, correspondence fills in the gaps. Neither woman expected her life writings to come to public attention. Storrs=s editor, Vera Fast, remarks that although >missionary accounts were a time-honoured method of acquainting a supporting constituency with the work in progress,= fundraising was not Storrs=s primary concern in writing these accounts; rather, she wrote to keep in touch with a >large extended family and with her many friends.= Despite their broad informal circulation, Storrs marked >Not for Publication= on the journals and letters. However, in 1959, she wanted to edit and publish some portions as a...

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