The Emblems of James Reaney: Magnetically Drawn by Thomas GerryThe Emblems of James Reaney: Magnetically Drawn by Thomas Gerry

The Emblems of James Reaney: Magnetically Drawn

byThomas Gerry

Paperback | March 11, 2013

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Thomas Gerry investigates the unique artistic vision of poet, painter and playwright James Reaney, revealing the 'magnetic arrangement' that links Reaney's emblems with some of his best-known fiction, poetry, drama and artwork.

Thomas Gerry launched a successful career as a Professor of English at Laurentian University in 1988. Currently, Gerry sits on the advisory board for Studies in Canadian Literature, reviews books for scholarly journals and has published numerous poems and articles – and even several music recordings. His fascination with interdisciplin...
Title:The Emblems of James Reaney: Magnetically DrawnFormat:PaperbackDimensions:200 pages, 8.75 × 5.58 × 0.75 inPublished:March 11, 2013Publisher:Porcupine's QuillLanguage:English

The following ISBNs are associated with this title:

ISBN - 10:0889843589

ISBN - 13:9780889843585

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Read from the Book

Man is man's ABC: there is none that canReade God aright, unless he first spell Man. . . .-Francis Quarles, Hieroglyphike1, 1638The Emblems of James Reaney explores ways in which these emblems are key to understanding Reaney's poetry, plays, librettos, fiction, essays and paintings. Since the artistic vision intrinsic to all of Reaney's works is especially intense in his emblems, they offer an effective organizational scheme, a series of starting points, to explore a further range of his productions – not all of his works, but the ones attracted most readily by the emblems.Technically the emblems resemble woodcuts; Reaney lettered and drew them in ink with pen and brush. Five of the emblems were first published in Chicago's Poetry journal in 1969. In 1972 they were reprinted, along with a further five emblems, as 'Two Chapters from an Emblem Book' in Reaney's Poems. These two chapters are actually all that were published, although there are several unpublished emblems by Reaney in private collections. The emblems bring to Canadian literature the sixteenth-century European and seventeenth-century British Protestant tradition of emblem making, and also transform that tradition in the context of twentieth-century Canada. There are many variations, but an emblem is essentially a hybrid production: a picture with a title or motto, and an accompanying text, usually a poem. Readers are expected to use their wit to formulate the relation of the picture to the words.A challenge facing anyone who attempts to articulate the meanings of James Reaney's work is that so much is involved, even though the work itself at first might seem uncomplicated. In some 'Production Notes' for Listen to the Wind, Reaney observes that 'The simpler art is, the richer it is' (141). This maxim certainly applies to his emblems. While his creations are based on his sophisticated understanding of English culture from the Renaissance to the Modern period, as well as his encyclopaedic knowledge of Ontario's culture, nevertheless Reaney's writing and artwork are in some ways child-like: they toy with words and images, and draw audiences and readers into their playful worlds. His entire book of Performance Poems (1990) is prefaced with Reaney's ostensibly casual invitation to 'try out these new pieces as a way of giving groups of people an experience of poetry's power to reach out and focus an audience that may have long forgotten how nursery rhymes and street games stir up the soul with the joy of unifying so many of the senses, so many of your friend-circle' (3). The meaning of the pieces, Reaney suggests, is the shared experience of remembering and finding joy. The phrase 'groups of people' highlights his wish to bring performers and audiences together into community. Individually, remembering in some depth calls for research, depending on one's level of curiosity, and the efficiency of one's memory; just who is this 'Sir Charles Goddam Roberts' [8] anyway? Reaney's elaboration of the joyful experiences of poetry as 'unifying so many of the senses', also suggests why he inclines to multi-sensory, multi-art creation, such as emblems, plays and opera, with their texts, images and sounds.'Bringing people together around poems that stir up the soul with joy' is an apt way to state Reaney's understanding of the poet's role. As he passionately emphasized in a 2001 article, the poet's function is important and letting it work is urgent:Outer space – money galore for it: but for inner space, the secrets behind actually getting people to love each other, to prevent Macbeth and Lady Macbeth getting into our schools and shooting the scholars, very few successes there. The Bible is in trouble, the Church is in trouble, mathematics cannot produce a more loving society, neither can the system that, if you're mentally ill, responds with a pill. What has gone wrong with visions and stories that used to work? (940)With his poems, plays, fiction, essays and emblems, Reaney does create visions and stories that 'work'. He observes later in the 'Vision in Canada?' article: 'Unlock the mind-forged manacles and the infant will stop crying with fear and the soldier sighing as his blood no longer runs down palace walls – to paraphrase Blake' (944).Northrop Frye, in his masterful literary study Fearful Symmetry, also refers to the English Romantic poet William Blake to explain the poet's social function. I quote at some length here because the ideas are fundamental to Reaney's art too, as echoes of the previous statements by Reaney indicate. Cosmology is a literary art, but there are two kinds of cosmology, the kind designed to understand the world as it is, and the kind designed to transform it into the form of human desire. Platonists and occultists deal with the former kind, which after Newton's time, according to Blake, became the accepted form of science. Cosmology of this type is speculative, which, as the etymology of that word shows, is ultimately intellectual narcissism, staring into nature as the mirror of our ordinary selves. What the mirror shows us is what Blake calls "mathematic form", the automatic and mindless universe that has no beginning nor end, no up nor down. What such a universe suggests to us is resignation, acceptance of what is predictable, fear of whatever is unpredictable. Blake's cosmology, of which the symbol is Ezekiel's vision of the chariot of God with its "wheels within wheels", is a revolutionary vision of the universe transformed by the creative imagination into a human shape. This cosmology is not speculative but concerned, not reactionary but revolutionary, not a vision of things as they are ordered but of things as they could be ordered. (n.p.)This book's intent is to show ways in which Reaney's emblems and other works venture to transform the universe into human shape, or to make his readers understand that, as Francis Quarles puts it, 'Man is man's ABC.'Before focusing on the emblems, it will be useful to understand Reaney's artistic practice which is closely related to emblematic thinking – the use of wit in particular. This background, I hope, will create a greater appreciation of exactly why his emblems are fundamental to his work as a whole.

Table of Contents


A Brief History of Emblems

Reaney's Visionary Method
The Play Box
Reaney's Education and the English Protestant Emblem Tradition
'Metaphor is Reality'

The Castle

The Farm


Within Within

The Tree

The Riddle


Baron Samedi Porte Baton

The Last House

The Hat

An Emblematic Photograph of James Reaney: By Way of Conclusion

Works Cited

Editorial Reviews

'We learn to draw (scrawls, squiggles, a person, a house) before we learn to read or write. It was characteristic of James Reaney in mid-career to produce his emblem poems, thereby not only joining a long tradition but also illustrating (with scrawls, squiggles and various more identifiable images) the main preoccupations of his poetry, plays, libretti and paintings–the basics of his art, in effect. Thomas Gerry has performed an original exercise in brilliantly examining the ten emblems in relation to specific Reaney works in other forms. His observations are meticulous and wide-ranging, and they illuminate Reaney's oeuvre in new and fundamental ways. In particular, I appreciate his citations from Rhoda Kellogg's studies of children's art (known to Reaney) and I find it refreshing that he deals at length with Reaney's activities as an opera librettist, seldom touched on by other commentators.'