Herb W yile. Speculative Fictions: Contemporary Canadian Novelists and the Writing o f History. Montreal: M cGillQueens University Press, 2002. 318 pp. $75"Cloth. Contemporary theoretical accounts of history and historiography clearly demonstrate the need to rethink received understandings about the rela tionship between historical and literary texts. No longer seen simply as a chronicle of events from the past, history, as Hayden White and others have taught us, is not something one finds, but rather something one produces, a reconstruction of the past as we have been led to see it from the context of a particular time, place, and subject-position. In his timely and important study of the uses to which history has been put in contem porary Canadian novels, Herb Wyile draws on the work of White, Linda Hutcheon, and others to offer a trenchant and detailed analysis of what has clearly become a salient preoccupation for many Canadian writers. Even a short list of novels produced by Canadian novelists over the course of the last three decades makes clear just how popular a subject the writing of histories has become. Think, for example, of Alias Grace (Margaret Atwood), The Englishman’s Boy (Guy Vanderhaeghe), Ana Historic and Taken (both by Daphne Marlatt), The BiggestModern Woman ofthe World (Susan Swan), Fox (Margaret Sweatman), A Deathful Ridge (J. A. Wain wright), Fox’s Nose (Sally Ireland), Blood Libel (Allan Levine), The Afterlife of George Cartwright (John Steffler), Green Grass, Running Water (Thomas King), The Invention of the World (Jack Hodgins), Away (Jane Urquhart), and Obasan (Joy Kogawa), as well as several books by Timothy Findley, Rudy Wiebe, and Michael Ondaatje. These books (and others like them) turn to the past (and, most often, to actual persons and events from the past) in an effort to raise compelling questions about knowledge, power, identity, representation, and social responsibility. Through richly detailed readings of a number of these texts, Wyile focusses on how contemporary Canadian fiction challenges us to think anew about historical processes and priorities. Many of these novels, he argues, invite us to recognize how the project of nation-building in Canada has been played out through narrowly-focussed assumptions about race, class, gender, and sexuality: they reflect an “inclination toward the telling of untold tales (of natives, immigrants, minorities, workers, and women)” (137), and focus our attention on pasts that have been silenced, repressed, or misread in institutionalized forms of historical representation. In rewriting history from the point of view of those who have been left out 170 IHeble of dominant narratives of the nation, these books encourage us to ask, W ho has the institutional power to determine what counts as history? These, surely, are pressing questions, and Wyile’s wide-ranging, thor oughly contextualized, and well-researched account of this important area of focus in contemporary Canadian fiction is certainly a welcome addition to the growing body of scholarship on the topic. I must confess, however, that at times it did seem to me as though some of the arguments and analyses (about the foregrounding of the research process in these novels, about how historical novels comment on contemporary society, about the skepticism towards historical objectivity, about history as process, about history and/as intertext, and so forth) were perhaps a little too familiar: these issues have been amply theorized and documented by Hutcheon and others. True, Wyile extends the lines of argument initiated by Hutcheon in “Canadian Historiographic Metafiction” to engage in detailed read ings of textual strategies in a number of more recent novels by Sweatman, Vanderhaeghe, Urquhart, and others; yet it seems to me that this study is at its best not when Wyile is applying familiar kinds of arguments to new texts, but rather when he is framing and entering into bold new debates about shifting patterns of salience. In this regard, Wyile’s response to Jack Granatstein’s diatribe against social history, Who Killed Canadian History?, is particularly resonant. Countering Granatstein’s fear-mongering suggestion that the revisionist focus of social history has resulted in the failure of history graduates in Canada to know the facts of their own nation, Wyile rightly (and impor tantly) insists on “a recognition, rather...
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