Alvego Root Theatre presents Tales for a Reaney Day September 10-12

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.

Where: Somerville 630, 630 Dundas Street, London, Ontario

When: Friday September 10 at 7:30, Saturday September 11 at 7:30, and Sunday September 12 at 4:00

Tickets: https://www.eventbrite.ca/e/tales-for-a-reaney-day-the-box-social-and-the-bully-by-james-reaney-tickets-167507534545?aff=erelpanelorg

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 fiction is 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 Bully” is included in The New Oxford Book of Canadian Short Stories in EnglishOxford 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 Box Social and Other Stories

On May 30, 1996, “An Evening with James Reaney & Friends” was held  at the G.A. Wheable Adult Education Centre in London, Ontario to celebrate the publication of The Box Social and Other Stories, a collection of James Reaney’s short fiction.

Authors Margaret Atwood, Graeme Gibson, and Colleen Thibaudeau attended, and Margaret Atwood spoke about her discovery of James Reaney’s writing in her college days:

I was a student at the University of Toronto in the last years of the 1950s, and James Reaney — who had been cutting an odd swath there several years before — was still an oral tradition. He was known as an enfant terrible who’d published a scandalous story called “The Box Social,” which dealt with gynecological matters unmentionable at that time, and dealt with them in a shocking fashion. (Inside the box of the title — supposed to contain a lunch — there was a fetus.) Nobody seemed to know where this story could actually be read, so its reputation was in consequence tremendous. (I’m happy to say it has now finally been republished.) Reaney was also remembered as having staged  a production of Beowulf in which Beowulf himself turned out to be the monster who was murdering and eating his own faithful followers. The more you think about that, the more plausible it becomes.

I was in the Honours English course, and as a consequence we read almost no Canadian literature; but my older brother was in Honours Biology, which included a Canadian literature course. You may ponder the logic of that — why them and not us? Maybe the biologists took CanLit because it was thought to have a lot of animals in it. However, I was in the habit of reading my brother’s books, and it was in the first Robert Weaver short-story anthology that I came across Reaney’s story “The Bully.” 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. I went on to read all of Reaney’s poetry available at the time: here was a fresh, brilliant, and quirky literary landscape in the process of being formed and, I should say, against considerable odds…. [Excerpted from Margaret Atwood, “Remembering James Reaney”, Brick Issue 82 (Winter 2009), page 160.]

Note from Susan Reaney: The event was part of the For the Love of Literacy Writers Festival organized by London educator Win Schell to bring local writers to the school.  (James Reaney: Listening to the Wind, a film biography of James Reaney produced by Nancy Johnson of Lockwood Films, was to have had its premiere that night, but had to be delayed to the fall.)

After the introduction by Margaret Atwood, James Reaney had planned to read “The Box Social” for the audience, but decided not to and read “The Bully” instead. We were disappointed that he did not give voice to the long-lost story, but a friend from school days said that “The Bully” was an entirely appropriate story to read in a high school.

See also “Southern Ontario Gothic and James Reaney” from June 2015.

 More about 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, pages 593-594. William Toye, Ed., Oxford University Press, 2011.

The Box Social and Other Stories gathers together nine of James Reaney’s early and more recent short stories and is available from The Porcupine’s Quill.

May 30, 1996 in London, Ontario — James Reaney with Margaret Atwood, “An Evening with James Reaney & Friends” (Photo courtesy London Free Press)

May 30, 1996 in London, Ontario — Writers Colleen Thibaudeau, James Reaney, Margaret Atwood and Graeme Gibson, and producer Nancy Johnson of Lockwood Films.

Southern Ontario Gothic and James Reaney

June 4, 2015 — Southern Ontario Gothic was the topic of discussion on TV Ontario’s “Agenda” tonight. Panelists Jane Urqhart, Monika Lee, Michael Hurley, and Shani Mootoo recommend these titles for your Gothic fiction fix:

♦ Jane Urqhart: Fifth Business by Robertson Davies
♦ Monika Lee: The Donnellys by James Reaney
♦ Michael Hurley: Perpetual Motion by Graeme Gibson
♦ Shani Mootoo: All the Broken Things by Kathryn Kuitenbrouwer

James Reaney is one of our best Gothic writers from Southern Ontario, and he is one of the most influential. He’s had a huge impact on a lot of writers who are more famous than he is, like Alice Munro and Margret Atwood,” says Monika Lee, Professor of English Literature at Brescia College.

June 4, 2015 — Monika Lee champions James Reaney’s The Donnellys as a true Southern Ontario Gothic work. TV Ontario: http://tvo.org/programs/the-agenda-with-steve-paikin/southern-ontario-gothic

 More about 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, pages 593-594. William Toye, Ed., Oxford University Press, 2011.

Watch the video here: >>> https://www.tvo.org/video/southern-ontario-gothic

 

See also “James Reaney on writing about the Donnellys”: https://jamesreaney.com/2019/01/04/james-reaney-on-writing-about-the-donnellys/