The local poet is riding his bike uptown On a fairly hot summer day Bent on Jumbo’s Ice Cream booth Before mailing a poem to Chimaera at the Post Office At Jumbo’s Ice Cream booth there are Thirty flavours available including— Licorice, fudge, lemon, orange, apple, grape, Banana, chocolate, cherry, Maple Walnut (my favourite) Vanilla, of course, peppermint, strawberry, raspberry— Weren’t there some vegetable ones? Do I remember— Onion ice cream? And this pair of double dip skim milk flavours Cost only a nickel each! And the ceiling was of pressed tin! So, I plunk down a nickel for a Maple Walnut! And so out the door bent on making the cone Last till I reach the Post Office door— The Post Office is French Provincial with 4 clocks. The poet holds his bicycle up with his left hand. Walks slowly licking as he proceeds. Two little girls say scornfully: “He’s acting Just like a little kid!” But he thinks— “Isn’t this what life is all about?”
James Reaney, 2005
September 1975: James Reaney at the Nihilist Picnic, Poplar Hill, Ontario.
“Ice Cream” is from Souwesto Home (2005) and available from Brick Books.
We were saddened to learn of writer, editor, and literary critic Stan Dragland’s passing earlier this month. Stan Dragland was a colleague of James Reaney’s at Western University (1970-1989) and a mentor and champion to writers and poets across Canada.
James Reaney on the Grid, an expanded version of Stan Dragland’s 2019 James Reaney Memorial Lecture, will be available later this fall from The Porcupine’s Quill.
From the Introductory section: This started out as the tenth annual James Reaney Memorial Lecture. It was delivered in London, Ontario, on November 2, 2019. That version turns out to have only scratched the surface of what I’ve been finding to say about Reaney’s literary career. As the talk grew into what it is now, it became ever clearer to me that Reaney’s legacy includes one unmistakable masterpiece, the Donnelly trilogy, a play in three parts so magnificent that it stands, or ought to stand, with the work of literary greats anywhere. But there are many other works of real importance, plus a few that may perhaps be worth reading only to someone like me, interested in all of Reaney, because of what all of it has to say about the best of his work […]
Congratulations to Kydra Ryan and AdamCorrigan Holowitz of Alvego Root Theatre for your encore performances of James Reaney’s short stories “The Box Social” and “The Bully” and for the first performance of Colleen Thibaudeau’s short story “Wild Turkeys” — thank you so much for bringing these early works by Reaney and Thibaudeau to life.
Our grateful thanks to Carolyn Doyle, our wonderful host, and Joshua Lambier and Gregory De Souza at Wordsfest for helping us put this special presentation of stories by two great writers together.
The James Reaney Memorial Lecture series celebrates the life and work of Southwestern Ontario poet and dramatist James Reaney, who was born on a farm near Stratford, Ontario and found a creative home in London, Ontario.
We are honoured to dedicate the 2021 Memorial Lecture to the late Catherine Sheldrick Ross (1947-2021), a former Western University student and colleague of James Reaney’s.
Our thanks to Wordsfest and the London Public Library for their support of the lecture series, and to Poetry Stratford and the Stratford Public Library for their support in hosting the earlier lectures (2010-2015).
Sunday November 6 at 2:00 pm EDT — Join us at Wordsfest for this year’s James Reaney Memorial Lecture and celebrate the short stories of Southwestern Ontario writers James Reaney and Colleen Thibaudeau.
Kydra Ryan and Adam Corrigan Holowitz of London’s AlvegoRoot Theatre will perform two of James Reaney’s short stories, “The Box Social” and “The Bully”, as well as Colleen Thibaudeau’s story“Wild Turkeys”.
Host Carolyn Doyle will lead a discussion of these three stories written when James Reaney and Colleen Thibaudeau were in their early twenties.
More about James Reaney and Colleen Thibaudeau’s short stories
James Reaney and Colleen Thibaudeau met in 1945 at the University of Toronto and they both had poems and short stories published in The Undergrad, the University College magazine. Both had common background in coming from outside Toronto to attend university and having grown up in smaller communities. James Reaney grew up on a farm near Stratford, Ontario, and Colleen Thibaudeau grew up in St. Thomas, Ontario and also in Markdale, Ontario, where her father’s family had a farm.
Colleen Thibaudeau’s story “Wild Turkeys” was published in The Undergrad (II, 1946-47, pages 22-27). James Reaney’s story “The Box Social” also appeared in this issue (pages 30-31).
New to big-city life themselves, it is not surprising that their early writing features characters who struggle to move beyond the limits of rural society. Like the people they write about, they found solace and inspiration in the world they knew best.
All three stories (“Wild Turkeys” (1947), The Box Social” (1947), and “The Bully” (1950)) deal with family life in rural communities and the challenges social isolation brings to advancing one’s social and economic position.
In Thibaudeau’s “Wild Turkeys”, Aunt Belle has the love and support of her family to guide her through her youthful romance in 1880s Grey County. Many years later she sees her niece trying to stay immersed in her university studies, and she shares the story of her heartbreak to help her niece gain a new perspective and a new resolve to put her own budding romance second.
Such open communication is not possible for the heroine of Reaney’s “The Box Social”, and she must go alone to the social event at the school to confront her former lover and make his betrayal public. The family in “The Bully” approves of the hero’s wish to be a teacher, but expects him to solve all the difficulties he faces as a shy newcomer in the unfamiliar environment of the high school.
“The Bully” and “The Box Social” have been called “the first examples of a modern tradition called Southern Ontario Gothic” because of “their use of Gothic elements of the macabre.”[1] “What makes this locale so prone to Gothic tales is the failure of communication between family members or social groups. In the absence of communication, strange projections and psychological grotesqueries spring up and rapidly grow to unmanageable proportions.”[2]
For poet Jay Macpherson, Reaney’s “The Bully” “turns on the contrast between crushing reality and the liberating dream.”[3] It is the hero’s ability to dream his way out of his prison that saves him from being destroyed by having to withdraw from the school. The heroine of “The Box Social” also finds redemption by confronting her oppressor and realizing she can get past her hatred for him.
In Thibaudeau’s story “Wild Turkeys”, the passage of time helps Aunt Belle overcome her sadness about her schoolteacher suitor moving on. “After all I had been raised barefoot in a log house, but there was no need to make things harder for us all. I learned the millinery and then your uncle Peter Martin came along. He had a new barn and three hundred acres…” (WT 26) She looks back on her life on the farm as idyllic despite all the chores and racing after the errant turkey hen: “In the old days it seemed as if all the mornings were like the first morning of the world, and I could have run forever through the tall grass. Run and not wearied….” (WT 25).
In a later story “The City Underground” (1949), Thibaudeau does have a theme of a child’s imaginary world helping him realize the need to fight against bullies in the real world, but it does not have the uncanniness and distortions that Reaney’s characters experience. [4]
Notes and references
[1] The Concise Oxford Companion to Canadian Literature, page 511. William Toye, Ed., Oxford University Press, 2011. [2] Michael Hurley and Allan Hepburn in The Concise Oxford Companion to Canadian Literature, pages 593-594. William Toye, Ed., Oxford University Press, 2011. (For more about Southern Ontario Gothic and James Reaney’s neo-gothic stories, see the September 3, 2021 post on Tales for a Reaney Day.) [3] Jay Macpherson, The Spirit of Solitude: Conventions and Continuities in Late Romance, Yale University Press, 1982, pages 262-263. (See also James Reaney’s article on Macpherson’s poetry: “The Third Eye: Jay Macpherson’s The Boatman” in Canadian Literature, No. 3 (1960), pages 23-34.) [4] Colleen Thibaudeau, “The City Underground”, Canadian Short Stories, Robert Weaver and Helen James, Eds., 1952, Oxford University Press, Toronto. (“The City Underground” was also broadcast in 1950 on the CBC radio programme Canadian Short Stories.)
“The Box Social” was originally published in 1947 in The Undergrad at the University of Toronto, and then in the popular magazine The New Liberty. Here’s what James Reaney had to say about why he wrote the story in his autobiography from 1992:
“Out of the deep past it somehow came to me, I think from my mother talking about the way men treated women in our neighbourhood. They never struck back; well, in my story one of them did.” (James Crerar Reaney, Contemporary Authors Autobiography Series, Volume 15, page 304.)
“The Bully” was broadcast in 1950 on CBC Radio and later published in Canadian Short Stories (1952) edited by Robert Weaver. While at university in the late 1950s, Margaret Atwood remembers discovering “The Bully” in Weaver’s anthology. “It made a big impression on me — it seemed a way of writing about Canadian reality that did not confine itself to the strict social realism that was mostly the fashion then. [Excerpted from Margaret Atwood, “Remembering James Reaney”, Brick Issue 82 (Winter 2009), page 160.]
“The Bully”is included in The New Oxford Book of Canadian Short Storiesin English, Oxford University Press, Toronto, 1996. It is also collected in James Reaney’s The Box Social and Other Stories (1996), published by Porcupine’s Quill.
The James Reaney Memorial Lecture series celebrates the life and work of Southwestern Ontario poet and dramatist James Reaney, who was born on a farm near Stratford, Ontario and found a creative home in London, Ontario.
We are honoured to dedicate the 2021 Memorial Lecture to the late Catherine Sheldrick Ross (1947-2021), a former Western University student and colleague of James Reaney’s.
On September 10, 11, and 12th, Alvego Root Theatre will present Tales for a Reaney Day – a double bill featuring two of James Reaney’s short stories, “The Bully” and “The Box Social”. Adam Corrigan Holowitz and Kydra Ryan are the co-directors and performers.
More about James Reaney’s “neo-Gothic” short stories
“While an undergraduate at the University of Toronto [BA 1948, MA 1949], James Reaney published two stories, “The Bully” and “The Box Social,” that are not only classic Canadian short stories but are the first examples of a modern tradition called Southern Ontario Gothic (having its origin in the novels of John Richardson and some of the stories Susanna Moodie tells) that make use of Gothic elements of the macabre. In the four-page “The Box Social,” for example, a young man bids for a prettily wrapped shoe box, from a girl he made pregnant, that contains “the crabbed corpse of a stillborn child wreathed in bloody newspaper.” Margaret Atwood has remarked that “without ‘The Bully,’ my fiction would have followed other paths.” (The Concise Oxford Companion to Canadian Literature, William Toye, Ed., Oxford University Press, 2011, page 511.)
“The Box Social” was originally published in 1947 in The Undergrad at the University of Toronto, and then in the popular magazine The New Liberty. Here’s what Reaney had to say about why he wrote the story in his autobiography from 1992:
“Out of the deep past it somehow came to me, I think from my mother talking about the way men treated women in our neighbourhood. They never struck back; well, in my story one of them did.” (James Crerar Reaney, Contemporary Authors Autobiography Series, Volume 15, page 304.)
“The Bully” was broadcast in 1950 on CBC Radio and later published in Canadian Short Stories (1952) edited by Robert Weaver. While at university in the late 1950s, Margaret Atwood remembers discovering “The Bully” in Weaver’s anthology. “It made a big impression on me — it seemed a way of writing about Canadian reality that did not confine itself to the strict social realism that was mostly the fashion then.” (Excerpted from Margaret Atwood, “Remembering James Reaney”, Brick Issue 82 (Winter 2009), page 160.)
May 30, 1996 in London, Ontario — James Reaney with Margaret Atwood, “An Evening with James Reaney & Friends” (Photo courtesy London Free Press)
James Reaney and Southern Ontario Gothic
“James Reaney’s plays — Colours in the Dark (1969), Baldoon (1976), and The Donnellys (1974-7) — as well as his short stories “The Bully” and “The Box Social” (reprinted in The Box Social and Other Stories in 1996), also assume Gothic elements of the macabre rooted in nightmarish families and uncanny action. […]
What makes this locale so prone to Gothic tales is the failure of communication between family members or social groups. In the absence of communication, strange projections and psychological grotesqueries spring up and rapidly grow to unmanageable proportions. Malevolent fantasies are the source and sustenance of the Gothic tradition.” (Michael Hurley and Allan Hepburn in The Concise Oxford Companion to Canadian Literature, William Toye, Ed., Oxford University Press, 2011, pages 593-594.)
What do you mean by Gothic?
“…It’s the spirit of solitude, the isolated person rattling around, usually in an old dark castle in the early Gothic novels, but then in Faulkner in an old plantation house. In Ontario we can’t afford plantation houses so we have a farmhouse or an apartment building that has a lot of empty rooms in it, as in The Edible Woman…. It’s filled with the nightmare of life, but it’s this isolation that is at the bottom of it, I think, because of science. The whole Gothic tradition is already in Hamlet.” (Interview with James Reaney from July 23, 1991 from In the Writers’ Words: Conversations with Eight Canadian Poets, Laurence Hutchman, Guernica Editions, 2011, pages 173-174.)
More on the tradition of Gothic fiction
“Gothic fictionis a genre obsessively focused on the house. ‘Last night I dreamt I went to Manderley again’ is the famous first sentence of Daphne du Maurier’s Rebecca (1938). In some other kinds of stories, the house is a place of safety, a sanctuary from the world. But not in gothic fiction, where interior spaces become prisons for imperiled heroines or represent a domestic happiness from which the scarred male protagonist is excluded. Naturally the house in question is not just any house but sometimes a monastery, convent, prison, or insane asylum. In the female-centered gothic, the male owner of the castle is an older man with a piercing glance – aristocratic, obsessed, moody, and secretive, with qualities that mark him as a literary descendant of Satan in Paradise Lost….”(Catherine Sheldrick Ross, The Pleasures of Reading: A Booklover’s Alphabet, Libraries Unlimited, 2014, page 65.)
The opening paragraph fromJames Reaney’s 1950 short story“The Bully”
As a child I lived on a farm not far from a small town called Partridge. In the countryside about Partridge, thin roads of gravel and dust slide in and out among the hollows and hills. As roads go, they certainly aren’t very brave, for quite often they go round a hill instead of up it and even in the flattest places they will jog and hesitate absurdly. But then this latter tendency often comes from some blunder a surveying engineer made a hundred years ago. And although his mind has long ago dissolved, its forgetfulness still pushes the country people crooked where they might have gone straight….
Come to Alvego Root Theatre’s Tales for a Reaney Day and hear two of James Reaney’s short stories — Adam Corrigan Holowitz performs “The Bully” and Kydra Ryan performs “The Box Social”. Where & When: September 10-12 at Somerville 630, 630 Dundas Street, London, Ontario.
Our deepest sympathy to the family of the late Prof. (Dr.) P A Abraham, who passed away on May 14, 2021.
An Indian Canadianist, Prof. Abraham worked with James Reaney via Western University and was instrumental in setting up the James Reaney Canadian Centre at Gujurat University in Ahmedabad, India.
Prof. Abraham also helped Reaney donate his collection of Canadian literature to the university, a valuable resource for students and scholars at the Centre.
Prof. Abraham’s book James Reaney: A Short Biography was published in 2005 (ISBN 81-85233-24-9)
Daisy’s Aria from John Beckwith and James Reaney’s 1982 opera The Shivaree is now part of a two-volume anthology of soprano arias from Canadian operas produced by Counterpoint Music Library Services.
In collaboration with the Canadian Music Centre, Dr. Nakagawa plans to create anthologies for each voice type.
UBC Public Scholar Dr. Stephanie Nakagawa performs “I Need You Guillaume” from Victor Davies and Maureen Hunter’s 2007 opera Transit of Venus, one of the arias from her collection of music from Canadian operas: https://www.youtube.com/watch?v=XRulssBwJXw
Daisy’s Aria from The Shivaree
Caralyn Tomlin (Daisy) and Avo Kittask (Quartz) in The Shivaree, Comus Music Theatre, St. Lawrence Centre, Toronto, 1982.
In The Shivaree, Daisy is abandoned by her lover Jonathan and accepts the marriage proposal of a much older man, William Quartz. The story gives a Canadian rural setting to the Greek myth of Persephone borne off by Hades. In the aria, Daisy regrets marrying Mr. Quartz and longs for Jonathan to rescue her.
Daisy: Oh Jonathan, why have you forsaken me? Is there still time – to take me away?
ARIA Jonathan, you were a strange young man. You never could decide if I was yours, So Jonathan, I tried to make you decide By letting Mr. Quartz keep company with me. But if flowers and leaves keep company with winter, They soon find they’re stabbed with an icy splinter. My heart’s like the lane and the fields in fall, Rusting and stiffening with cold until all Lies buried in colourless snow, Jonathan! Walk above the snow Where the garden was — Walk above the snow That covers me up, Jonathan! That covers me o’er.
Cover for James Reaney’s ibretto for The Shivaree, which premiered at the St. Lawrence Centre on April 3, 1982.
Join us on Sunday March 7 for The John Beckwith Songbook — a concert celebrating the music of Canadian composer John Beckwith in honour of his 94th birthday.
Presented on the Confluence Concerts You Tube Channel, this celebration of John Beckwith’s song repertoire features three programs encompassing nearly all of his music for solo voice, including folksongs and songs set to poems by ee cummings, Miriam Waddington, and Colleen Thibaudeau.
“Jamie lived in London and I lived in Toronto so our collaboration was almost exclusively through correspondence,” he recalls. The composer Richard Strauss and his librettist Hugo von Hofmannsthal carried on their famous collaboration much the same way. And like Strauss and Hofmannsthal, Beckwith and Reaney had their disagreements: “I wanted the leading character in our first opera to have a cat,” recalls Beckwith. Reaney replied tersely: “Cut the cat.”
Advice for potential opera composers? “You have to get a good book or you won’t have an opera. I’ve had students come up to me asking ‘What should I do for words?’ I tell them to get to know some writers.”
Page from Reaney’s draft of the libretto for Night Blooming Cereus (see John Beckwith’s 1997 book, Music Papers: Articles and Talks by a Canadian Composer, page 219)
Sunday November 15, 2020 – Thank you all for joining us at Wordsfest via Zoom for James Reaney: Words & Music. You can view an archived version of the event here: https://fb.watch/1NryVbGfTv/
Stephen Holowitz, Sonja Gustafson, Oliver Whitehead, and Ingrid Crozman at Aeolian Hall, October 18, 2020
A big thank you to Sonja Gustafson (soprano), Ingrid Crozman (flute), Stephen Holowitz (piano), and Oliver Whitehead (guitar) for your wonderful performances of selections from James Reaney’s poem “Brushstrokes Decorating a Fan” and Colleen Thibaudeau’spoems “Watermelon Summer” and “Lullaby of the Child for the Mother.”
Sonja Gustafson performs “Ernie’s Barber Salon Near the College” from “Brushstrokes Decorating a Fan”
And thank you, Carolyn Doyle, for being an excellent moderator and drawing forth the stories and recollections behind the music. Composers Stephen Holowitz and Oliver Whitehead first got the idea to set music to James Reaney’s “Brushstrokes Decorating a Fan” when they were asked to perform at his 81st birthday party on September 1, 2007. Their success with James Reaney’s work led to an appreciation for Colleen Thibaudeau’s poetry and composing the music for Adam Corrigan Holowitz‘s 2013 play Colleening.
Our grateful thanks to Joshua Lambier and Gregory De Souza at Wordsfest for helping us put James Reaney: Words & Music together.
About the composers: Composers Stephen Holowitz and Oliver Whitehead are members of the London jazz group The Antler River Project: https://www.youtube.com/watch?v=Hteyhpy3gcM
The James Reaney Memorial Lecture series celebrates the life and work of Southwestern Ontario poet and dramatist James Reaney, who was born on a farm near Stratford, Ontario and found a creative home in London, Ontario.
Our thanks toWordsfestand theLondon Public Libraryfor their support of the lecture series, and toPoetry Stratfordand theStratford Public Libraryfor their support in hosting the earlier lectures (2010-2015).
