See my chapter on The Moons of Jupiter in Alice Munro (Manchester: Manchester University Press, 1998), 67–74, and Natalie Foy, “ ‘Darkness Collecting’: Reading ‘Vandals’ as a Coda to Open Secrets,” Essays on Canadian Writing 66 (Winter 1998): 147–68. Though only Lives of Girls and Women (which was published as a novel) and Who Do You Think You Are? are true story cycles, many of Munro’s collections are structured as sequences. Brian Singer (London: Macmillan, 1990), 90. This phrase occurs at the end of the first story in her first collection, Dance of the Happy Shades (Harmondsworth: Penguin, 1983), 18. Munro has been charting such glimpses of uncharted territory from the beginning. Louis MacKendrick, ed., Probable Fictions: Alice Munro’ s Narrative Acts (Toronto: ECW Press, 1983).ĭennis Duffy “ ‘A Dark Sort of Mirror’: ‘The Love of a Good Woman’ as Pauline Poetic,” Essays on Canadian Writing 66 (Winter 1998): 169–90. My reference here is to the first two books of critical essays published on Munro in the early 1980s: Judith Miller, ed., The Art of Alice Munro: Saying the Unsayable (Waterloo, Ontario: University of Waterloo Press, 1984), and Catherine Porter (Ithaca and New York: Cornell University Press, 1985), 164. The phrase is Luce Irigaray’s in This Sex Which Is Not One, trans. Chrisman (New York and London: Harvester-Wheatsheaf, 1993), 392–403. Stuart Hall, “Cultural Identity and Diaspora,” in Colonial Discourse and Post-Colonial Theory, ed. Smith, “A National Treasure: Interview with Alice Munro,” Meanjin 54, 2 (1995): 222–32. Howells, Alice Munro (Manchester: Manchester University Press, 1998), 4–12. Kirby, Indifferent Boundaries: Spatial Concepts of Human Subjectivity (London and New York: Guildford Press, 1996), 1–36, andĬ.A. Other useful analyses of relations between geographical and psychological space may be found in For a fuller exposition of Lefebvre’s approach and methodology see 1–67. Translated by Donald Nicholson-Smith (Oxford, U.K. Who Do You Think You Are? is the Canadian title for the collection published in the United States and Britain as The Beggar Maid, obliterating this radical questioning of identity in its title. Gerald Lynch, The One and the Many: English-Canadian Short Story Cycles (Toronto, Buffalo, London: University of Toronto Press, 2001), 160. Robert Thacker, “Introduction: Alice Munro, Writing ‘Home’: ‘Seeing This Trickle in Time,” Essays on Canadian Writing 66 (Winter 1998): 1–20.Īlice Munro, Something I’ ve Been Meaning to Tell You (1974) (Harmondsworth: Penguin, 1985), 13.Īlice Munro, “What Is Remembered,” Hateship, Friendship, Courtship, Loveship, Marriage, 230.Ĭatherine Sheldrick Ross, “ ‘At Least Part Legend’: The Fiction of Alice Munro,” in Probable Fictions, ed. Peter Gzowski, “You’re the same person at 19 that you are at 60: Interview with Alice Munro,” The Globe and Mail (September 29, 2001), Focus F4–F5. All further page references to the stories in this volume will be included in the text. This process is experimental and the keywords may be updated as the learning algorithm improves.Īlice Munro, Hateship, Friendship, Courtship, Loveship, Marriage (Toronto: McClelland & Stewart, 2001). These keywords were added by machine and not by the authors. Munro’s new collection, like The Love of a Good Woman (1998), reflects that movement backwards and forwards across the geographical spaces of Canada and across time as well, for there is an increasing emphasis Keywords Now she moves regularly between home territory and the west coast, living part of the year in one place and then in the other. A female figure in a dark landscape where everything is rocking on water and a man who sees his marriage as a mirage-what is illusory and what is real? And how do such subjective impressions of space relate to questions of identity in Alice Munro’s latest short story collection, Hateship, Friendship, Courtship, Loveship, Marriage? For over thirty years Munro’s stories have mapped the intricate social and emotional geographies of small-town communities in Huron County in southwestern Ontario, where she was born and brought up in the 1930s and 1940s, and to which she returned in the early 1970s after twenty years away in British Columbia.
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