Titel: The Box Social & Other Stories
Autor/en: James Reaney
Mai 1996 - kartoniert - 160 Seiten
The Box Social & Other Stories gathers together nine of James Reaney's short fictions written in the 40s and early 50s and never previously collected in book form.The Box Social' is remarkable, not only that it introduced the theme of date rape to Canadian literature some thirty years before the phrase was coined, but also that it is told from Sylvia's point of view, and yet again that it ends with one of the quietest lines of literary vitriol imaginable ... I hated you so much, '' she said softly.'If Alice Munro has put the sexually awakening female under glass in Lives of Girls and Women, then The Box Social could just as easily have been titled Lives of Boys and Men.
James Reaney was born on a farm in South Easthope near Stratford, Ontario in 1926. He has won the Governor General's Award three times for his poetry, though he is perhaps better-known as a playwright, especially for his landmark Donnelly trilogy (1974-75). Reaney's theatrical adaptation of Lewis Carroll's Alice Through the Looking-Glass returned to the stage at Stratford in the summer of 1996.His work includes: The Red Heart, poems, 1949; A suit of Nettles, poems, 1958; Twelve Letters to a Small Town, poems, 1962; The Killdeer & Other Plays, drama, 1962; Colours in the Dark, drama, 1969; Collected Poems, 1972; Listen to the Wind, drama, 1972; The Donnellys, a trilogy of plays, 1974-75; Baldoon (with C.H. Gervais), 1976; The Boy With an R in His Hand, young adult, 1980; Take the Big Picture, young adult, 1986; Alice Through the Looking-Glass, stage adaptation, 1994. James Reaney died in 2008.
'Strong in local atmosphere, which is not used however for the purposes of strict realism, combining the comic with the pathetic, proceeding by an associative dream language, resolving itself through image rather than through plot alone, it offered us a whole new way of looking at the possibilities of the world available to us. In its methods it anticipates such writers as Gabriel Maria Marquez; I suppose if it appeared now it would be dubbed Magic Realism. But anyone who has read Alice Munro, Robertson Davies, Timothy Findley, Jane Urquhart, Marian Engel, Graeme Gibson or Barbara Gowdy -- those writers placed together by critic Michael Hurley under the banner 'Southern Ontario Gothic' -- cannot help but feel that they all inhabit the same literary landscape, and that it is one whose main features were defined earlier by James Reaney.'And so it is with me. Without 'The Bully', my fiction would have followed other paths. If there are such things as 'key' reading experiences, 'The Bully' was certainly one of mine.' -- Margaret Atwood