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- W649159596 abstract "Our fundamental tactic of self-protection, selfRobert Kroetsch, whose approaches to novel control, and self-definition is not spinning webs writing extend from the primarily realist novel or building dams, but telling stories . . . about But We Are Exiles (1965) to the clearly post who we are. modernist What the Crow Said (1978) and the —Daniel Dennett, Consciousness Explained somewhat less postmodern Alibi (1983), has left equally wide-ranging impressions on the Maybe character is the congruence of many English-Canadian critical landscape. Re stories. . . . Everyone of us is making up a sponses extend from those who see, at least in novel . . . we make up characters about each his earlier novels, a sympathy for realist and other, we do. modernist impulses towards synthesis (Turner, —Robert Kroetsch, Labyrinths of Voice1 Schaefer) to those who have identified Kroetsch as a preeminent postmodern writer (Hutcheon, Neuman); indeed, Linda Hut cheon has called him Mr. Post modern.2 Even within the two parts of Hutcheon's formulation, however, we see mirrored the opposition between two critical stances: Canadian suggests Kroetsch's search for some fundamental basis for differentiating writing from British and American," @default.
- W649159596 created "2016-06-24" @default.
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- W649159596 date "1994-01-01" @default.
- W649159596 modified "2023-09-27" @default.
- W649159596 title "Inhabiting the Dangerous Middle Of The Space Between: An Intramodernist Reading of Kroetsch's Gone Indian" @default.
- W649159596 hasPublicationYear "1994" @default.
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