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But the writer imagines this annihilation, teaches himself to find the words that push from solitude outwards, an old message reaching from author to reader, calling and repeating.Are you there? (206). The book man is about to be consumed on his pyre of books. While ostensibly a series of profiles of five solitary public figures who feared the decline of print literacy and the concomitant erosion of rational democracy, The Solitary Outlaw is a fable beginning and ending with a vision of burning books: we read on the opening page how 'Pyres celebrate the death of the humanist enlightenment and the triumph of Mass Man'(3).

Powe: a writer and thinker who resists an easy scan of his character a private individual who thrusts himself onto the stage of public discourse with tales of personal passions and redemptions an artistic intellectual. I hope you can hear the deep empathy in this writing, brief as the excerpt is, because the same can be said of B.W. They are divided men who often contained within themselves the turbulence of their time and place.Each tried to understand the role of the rational and humane action in an often self-destructive world each saw communication between individuals as a necessity, and when each returned to privacy or silence, he remained resistant to an easy scan of his character. This tension between privacy and publicity is a source of their strength, and of their complexity. The Solitary Outlaw (1995) profiles five men - Pierre Trudeau, Wyndham Lewis, Glenn Gould, Elias Canetti, and Marshall McLuhan - all of whom felt 'the power, passion, and accountability of the printed word':Īll are private men who went outside into their society. Since the mid-80s, Powe's cultural writing has traversed the common ground between the personal and the political.and back again. Solitary Outlaws: On the Edge of the Crowd Look, for example, at the essays comparing the grand visions of McLuhan and Frye, a refrain Powe returns to twenty years later in his PhD thesis: 'Critical Agon, Apocalyptic Orchestration: Conflict and Complementarity in the Thought and Writings of Marshall McLuhan and Northrop Frye' (2009). Her thesis still provokes reflection, and the same can be claimed for the punchy essays in this early work. While the argument of Survival may not have survived Canada's (re)discovered confidence in its writers - not all of whom are repressed outsiders - there are still many Canadian artists who feel the 'tensions and barren indifference' she describes. Her theme is that the content of Canadian writing is frequently, if not entirely, survival of the victim, the isolated figure at odds with nature, society, the past, or himself.Atwood's thesis is self-effacing and morose, when you think about it.However, Atwood has indeed identified a repressed and repressive strain in Canadian writing, and she sometimes nicely describes the tensions and barren indifference with which the early authors had to contend. It has a thesis which acts as a grab-bag into which you stuff various specimens.Despite Survival's slap-dash approach, and the fey reticence Atwood indulges in, she is saying something important. While perhaps somewhat flawed in its author's estimation, A Climate Charged is still fun and instructive, as this excerpt on Margaret Atwood's famous survival thesis illustrates:įor my purposes Margaret Atwood's Survival (1972) remains the most controversial example of the nationalistic theme book. In his essays on Canadian writers from Marshall McLuhan to Mordecai Richler, he rehearses his love of provocative writing with an edgy, popcult-inspired joie de critique. In A Climate Charged (1984), Powe writes cultural and literary criticism with the attitude and ear of a rock musician. His learning and life experience run deep, and he has a vision for Canada that deserves a wider audience. His writing is steeped in media theory and great literature. His published writing since 1984 provokes thought - for he is a thinker - and inspires passions both dark and light. He has his ear to the figure and the ground, even when reversed. Powe is such a writer: literary critic, media analyst, novelist, poet, philosopher, and teacher - someone who mashes up the personal with the political, and reveals the spirit animating the machine. In our outrageous age, with its passionate intensity and deflected moral compass, we need writers - and readers - who do not panic in the maelstrom of the mediascape. It's time when each person can become the antenna of the race. Bring the age out into the open, its obsessions and potential. Powe & the Solitary Outlaws Marshall Soules, PhD.

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