Kirjahaku

Winner of the Gabrielle Roy Prize in English and the Raymond Klibansky Prize, "The Picturesque and the Sublime" is a cultural history of two hundred years of nature writing in Canada, from eighteenth-century prospect poems to contemporary encounters with landscape. Arguing against the received wisdom (made popular by Northrop Frye and Margaret Atwood) that Canadian writers view nature as hostile, Susan Glickman places Canadian literature in the English and European traditions of the sublime and the picturesque. Glickman argues that early immigrants to Canada brought with them the expectation that nature would be grand, mysterious, awesome - even terrifying - and welcomed scenes that conformed to these notions of sublimity.She contends that to interpret their descriptions of nature as 'negative', as so many critics have done, is a significant misunderstanding. Glickman provides close readings of several important works, including Susanna Moodie's "Enthusiasm," Charles G.D. Roberts' "Ave", and Paulette Jiles' "Song to the Rising Sun," and explores the poems in the context of theories of nature and art. Instead of projecting backward from a modernist perspective, Glickman reads forward from the discovery of landscape as a legitimate artistic subject in seventeenth-century England and argues that picturesque modes of description, and a sublime aesthetic, have governed much of the representation of nature in this country. Susan Glickman is a poet living in Toronto. She is the author of "Complicity", "The Power to Move", "Henry Moores Sheep and Other Poems", and "Hide and Seek".

Glickman argues that early immigrants to Canada brought with them the expectation that nature would be grand, mysterious, awesome - even terrifying - and welcomed scenes that conformed to these notions of sublimity. She contends that to interpret their descriptions of nature as "negative," as so many critics have done, is a significant misunderstanding. Glickman provides close readings of several important works, including Susanna Moodie's "Enthusiasm," Charles G.D. Roberts's Ave, and Paulette Jiles's "Song to the Rising Sun," and explores the poems in the context of theories of nature and art. Instead of projecting backward from a modernist perspective, Glickman reads forward from the discovery of landscape as a legitimate artistic subject in seventeenth-century England and argues that picturesque modes of description, and a sublime aesthetic, have governed much of the representation of nature in this country.

Set in Jewish London in the 1930s, Susan Glickman's The Violin Lover is written against the backdrop of Hitler's escalating campaign against the Jews. This beautifully written novel tells the story of Clara Weiss and Ned Abraham, "the violin lover," brought together by Clara's 11-year-old son, Jacob. A successful doctor and amateur violinist, Ned is pressured to practice a duet with Jacob by the boy's piano teacher. Though reluctant at first, Ned is charmed by the young prodigy and surprised by Jacob's dedication and passion for music. In him Ned sees his younger self, so young and full of promise. A friendship is soon built on a mutual love for music. A dinner invitation to spend Passover with the Weiss family seals Ned's fate and a clandestine love affair begins. Although they both agree that no one must ever know — especially not Clara's family — their affair inevitably comes to a crashing end, with disastrous, life-altering consequences. Unfolding like a melody, The Violin Lover is infused with music and told in three voices. It is a powerful novel about the love one feels for family, friends, culture, faith and music, and the passion that comes with it — regardless of the outcome.

Cathedral/Grove, Susan Glickman’s brilliant new collection, comes to terms with the question of legacy—what we leave behind as a species, as citizens, and as parents. Marked by the lucidity and precision she has been celebrated for, the poems encompass the monuments of Western civilization, a climate in decline and the pandemic. The title is inspired by the fire that ravaged Notre Dame Cathedral in 2019, destroying the wooden roof-frame known as La Forêt; it also alludes to “Cathedral Grove,” otherwise known as MacMillan Provincial Park, one of the last old growth stands on Vancouver Island. In poems of praise and lament for our fractured world— "Everything is becoming more itself / or something else, ”she writes— Glickman has tapped into a magnificent vein of lyric richness.

The Discovery of Flight is a novel in two voices about the relationship between two sisters, the older of whom is disabled by cerebral palsy and only able to communicate with assistive technology (she can control her computer by moving her eyes). It interweaves the fantasy novel sixteen-year-old Libby is writing for Sophie's thirteenth birthday, and Sophie's diary, in which she discusses the deteriorating condition of her older sister. The book's title is also the title of Libby's novel, in which Libby takes the form of a hawk telepathically linked to a girl who, like her sister, is a good artist. Sophie's diary is in fact illustrated with the occasional black-and-white drawing. The sicker Libby gets, the more she retreats into her novel and the less she interacts with the outside world. Though the situation is tragic, Sophie's voice is extremely funny and wry. In addition, through her storytelling, Libby becomes a heroic figure rather than a helpless victim. After Libby's death, the girls' mother presents Sophie with the novel and Sophie writes its final chapter, bringing the voices of the two girls together.

This third book of Susan Glickman extends and deepens the vision developed in her highly-successful Complicity and The Power to Move. A prolific critic as well as reviewer, Glickman is one of Canada's brightest poets.