By Graeme Gibson
Completely on hand from Anansi electronic, Communion is without doubt one of the misplaced, nice works by means of a Canadian literary titan.
Originally released in 1971, Communion keeps the tale of Felix Oswald that started in 5 Legs. We meet Felix Oswald back, a self-mocking and obsessed hero, a voyeur, and all-time loser, after he graduates from college and accepts a role as a part-time veterinarian’s assistant.
A groundbreaking paintings of experimental fiction, Communion is a must-read for fanatics of Canadian literature.
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Additional resources for Communion
A Belgian police officer tells the narrator, for example: “You have no passport. In any civilized country he who has no passport is nobody. He does not exist for us or for anybody else. if we want to, we can even hang you or shoot you or kill you like a louse” (23). Not only is a document necessary to legitimize a body, but an individual sans papiers is reduced to simply an illegitimate body which must be dealt with in some way that follows biopolitical protocol, no matter what the consequences for basic life, a state we will also see in McKay’s Banjo.
The shared emphasis, moreover, on lies told about oneself in the enterprise of securing a fake passport demonstrates the connection between identity categories and legitimate, verifiable life narratives. ” Gussfeldt had been targeted by the Assistant Commissioner of the Special Branch of the Metropolitan Police because of her known association with the Worker’s International Relief Fund and the League Against Imperialism, and when she would not provide “details of her name, date of birth and other particulars” to a detective at Dover, she was taken into custody.
If the nation and its capacity for membership are constructed and managed in various ways through narrative, then the modernist novel’s self-conscious commentary on narrative form offers a compelling critique of the way in which linear progressive logic operates in social and political life, and the ends to which it can be put. The writers I examine range from colonial immigrant to privileged expatriate and disgruntled citizen, and their works neither endorse national narratives nor overtly resist nationality in any politically efficacious way.