By Paul Simpson-Housley, Glen Norcliffe
In 1759, Voltaire in Candide pointed out Canada as "quelques arpents de neige." For a number of centuries, the picture prevailed and used to be the only most often utilized by poets, writers, and illustrators. Canada was once perceived and portrayed as a chilly, difficult, and unforgiving land. this was once now not a land for the fainthearted. Canada has yieled its wealth purely reluctantly, whereas periodically threatening existence itself with its screens of fury. studying its attractiveness and hidden assets calls for endurance and perseverance. a number of Acres of Snow is a colletion of 22 essays that discover, from the geographer's standpoint, how poets, artists, and writers have addressed the actual essence of Canada, either panorama and cityscape. "Sense of position" is obviously severe within the works tested during this quantity. incorporated one of the book's many topics are Hugh MacLennan, Gabrielle Roy, Lucius O'Brien, the paintings of the Inuit, Lawren Harris, Malcolm Lowry, C.W. Jefferys, L.M. Montgomery, Elizabeth Bishop, Marmaduke Matthews, Antonine Mailet, and the poetry of jap Canadians.
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Additional resources for A Few Acres of Snow
Jefferys, Potash Boiling, from The Picture Gallery of Canadian History (1945), vol. 2. The Kindling Touch of Imagination Section 2 Section 3 Section 4 41 Expansion and development of the West Period preceding, during, and following the First World War and today Eventually published by Ryerson as The Picture Gallery of Canadian History, the first volume appeared in 1942, the second in 1945, and the third in 1950. Again, the first two volumes were to be based upon Jefferys's by now distinctive methodology of historical art: "factual drawings" were to be accompanied by "a large selection from the imaginative pictures of episodes and phases of Canada's history which the author has made during the last forty years.
In a passage from the opening pages of the novel, the protagonist, Neil Macrae, who has just returned to Canada from a war-shocked Europe, has climbed to the top of Citadel Hill overlooking Halifax. He sees this familiar scene as if for the first time:7 The details of Halifax were dim in the fading light but the contours were clear and he had forgotten how good they were. The Great Glacier had once packed, scraped, and riven this whole land; it had gouged out the harbour and left as a legacy three drumlins .
With the exception of The Clockmaker, most of these projects were limited to a frontispiece or perhaps to a small clutch of plates integrated into the storyline. They were, however, very much Canadian stories, and Jefferys's careful eye for ethnographic and landscape detail is reflected in these illustrations. DIDACTIC ART AND HISTORY Not content with merely dramatizing fiction and providing illustrative fillers for the works of others, Jefferys became much concerned with art as a medium for communicating history and heritage (Pierce 1950).