Survival: A Thematic Guide to Canadian Literature
Encyclopedia
Survival: A Thematic Guide to Canadian Literature is a survey of Canadian literature
by Margaret Atwood
, one of the most well-known Canadian authors in the world. It was first published by House of Anansi in 1972.
A work of literary criticism, as Atwood writes in her preface to the 2004 edition, Survival was an attempt to deal with her belief that in the early 1970s, Canadian literature was still looking for a grounding in a national identity
that would be comparable to that of Great Britain
or the United States
(Atwood 2004, 3). The thematic approach of the book and its intended non-academic audience (6) corresponds with a focus on contemporary Canadian literature as a point of entry. Therefore, the book does not provide an extensive survey of the historical development of Canada's literature, but an introduction to what is Canadian about Canadian literature for readers as citizens of Canada (cf. 22). In Survival, literature emerges as central to the development of national identity, what she calls a sense of "here".
To Atwood, the central image of Canadian literature, equivalent to the image of the island in British literature
and the frontier in US-American literature
, is the notion of survival and its central character the victim. Atwood claims that both English and French novel
s, short stories
, plays
and poems participate in creating this theme as the central distinguishing feature of the nation's literature. See also garrison mentality
.
The central image of the victim is not static; according to Atwood four "Victim Positions" are possible (and visible in Canadian literature). These positions are outlined below.
Canadian literature
Canadian literature is literature originating from Canada. Collectively it is often called CanLit. Some criticism of Canadian literature has focused on nationalistic and regional themes, although this is only a small portion of Canadian Literary criticism...
by Margaret Atwood
Margaret Atwood
Margaret Eleanor Atwood, is a Canadian poet, novelist, literary critic, essayist, and environmental activist. She is among the most-honoured authors of fiction in recent history; she is a winner of the Arthur C...
, one of the most well-known Canadian authors in the world. It was first published by House of Anansi in 1972.
A work of literary criticism, as Atwood writes in her preface to the 2004 edition, Survival was an attempt to deal with her belief that in the early 1970s, Canadian literature was still looking for a grounding in a national identity
National identity
National identity is the person's identity and sense of belonging to one state or to one nation, a feeling one shares with a group of people, regardless of one's citizenship status....
that would be comparable to that of Great Britain
Great Britain
Great Britain or Britain is an island situated to the northwest of Continental Europe. It is the ninth largest island in the world, and the largest European island, as well as the largest of the British Isles...
or the United States
United States
The United States of America is a federal constitutional republic comprising fifty states and a federal district...
(Atwood 2004, 3). The thematic approach of the book and its intended non-academic audience (6) corresponds with a focus on contemporary Canadian literature as a point of entry. Therefore, the book does not provide an extensive survey of the historical development of Canada's literature, but an introduction to what is Canadian about Canadian literature for readers as citizens of Canada (cf. 22). In Survival, literature emerges as central to the development of national identity, what she calls a sense of "here".
To Atwood, the central image of Canadian literature, equivalent to the image of the island in British literature
British literature
British Literature refers to literature associated with the United Kingdom, Isle of Man and Channel Islands. By far the largest part of British literature is written in the English language, but there are bodies of written works in Latin, Welsh, Scottish Gaelic, Scots, Cornish, Manx, Jèrriais,...
and the frontier in US-American literature
American literature
American literature is the written or literary work produced in the area of the United States and its preceding colonies. For more specific discussions of poetry and theater, see Poetry of the United States and Theater in the United States. During its early history, America was a series of British...
, is the notion of survival and its central character the victim. Atwood claims that both English and French novel
Novel
A novel is a book of long narrative in literary prose. The genre has historical roots both in the fields of the medieval and early modern romance and in the tradition of the novella. The latter supplied the present generic term in the late 18th century....
s, short stories
Short story
A short story is a work of fiction that is usually written in prose, often in narrative format. This format tends to be more pointed than longer works of fiction, such as novellas and novels. Short story definitions based on length differ somewhat, even among professional writers, in part because...
, plays
Play (theatre)
A play is a form of literature written by a playwright, usually consisting of scripted dialogue between characters, intended for theatrical performance rather than just reading. There are rare dramatists, notably George Bernard Shaw, who have had little preference whether their plays were performed...
and poems participate in creating this theme as the central distinguishing feature of the nation's literature. See also garrison mentality
Garrison mentality
The garrison mentality is a common theme in Canadian literature and Canadian cinema, in both English Canada and French Canada. In texts with the garrison mentality, characters are always looking outwards and building metaphorical walls against the outside world...
.
The central image of the victim is not static; according to Atwood four "Victim Positions" are possible (and visible in Canadian literature). These positions are outlined below.
- Position One: To deny the fact that you are a victim
- This is a position in which members of the "victim-group" will deny their identity as victims, accusing those members of the group who are less fortunate of being responsible for their own victimhood.
- Position Two: To acknowledge the fact that you are a victim (but attribute it to a powerful force beyond human control, i.e. fate, history, God, biology, etc.)
- In this position, victims are likely to resign themselves to their fate.
- Position Three: To acknowledge the fact that you are a victim but to refuse to accept the assumption that the role is inevitable
- This is a dynamic position in which the victim differentiates between the role of victim and the experience of victim.
- Position Four: To be a creative non-victim
- A position for "ex-victims" when creativity of all kinds is fully possible.
Table of Contents
- What, Why, and Where Is Here?
- Survival
- Nature the Monster
- Animal Victims
- First People: Indians and Eskimos as Symbols
- Ancestral Totems: Explorers, Settlers
- Family Portrait: Masks of the Bear
- Failed Sacrifices: The Reluctant Immigrant
- The Casual Incident of Death: Futile Heroes, Unconvincing martyrs and Other Bad Ends
- The Paralyzed Artist
- Ice Women vs Earth Mothers: The Stone Angel and the Absent Venus
- Québec: Burning Mansions
- Jail-Breaks and Re-Creations
External links
- Review of the 2004 edition of Survival at thepeerreview.ca
- CBC radio interview with Margaret Atwood on Survival when it first came out. Broadcast Nov. 6, 1972.
- Excerpt from Chapter 1 of Survival