We Are What We Mourn: The Contemporary English-Canadian Elegy
Why are so many contemporary poets writing elegies? Given a century shaped by two world wars, vast population displacements, and shifting attitudes towards aging and death, is the elegy form adaptable to the changing needs of writers and audiences? In a sceptical age, where can consolation be found?
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The Work of Mourning as Reconnection The Contemporary EnglishCanadian Elegy
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Elegies for Cultural Losses and Displacements
We Are What We Mourn
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absence Acorn active Al Purdy Anne Michaels argues Atwood’s become Beppino Bowering Bowering’s Burned House Calgary Calgary’s Canada Canadian elegists Canadian Literature Canadian poetry Canadian poets claims connection consolation continue conventional create cultural inheritance cultural losses daughter dead Dennis Haskell Di Cicco dialogue discussed dream elegiac elegies for places elegists elegy form engage English elegy English-Canadian poets experience explored father father’s father’s death Father/Mother Haibun Fred Wah Freud future Gene Ray genre ghosts grief Haibun Herk Holocaust identity imagination immigrant individual Kaddish Kerrisdale Kroetsch landscape Lane’s language literary living long poem losses and displacements lyric Marlatt metaphor Michaels Milton Acorn mother mourner narrative one’s Orpheus parents past pastoral elegy Patrick Lane Philip poet poet’s poetic poetry prairie process of mourning project of mourning Purdy Purdy’s reader reconnect regional relationship ritual Scheier silence speaker spiritual suggests tion verse voice words writes