Only now, eighty years after the war, are we given the explanation of that process of transformation, in the pages of Death So Noble: Memory, Meaning, and the First World War, by Jonathan F. Vance (UBC Press). Vance tells the story of a tiny country
When I lived in Ottawa in the 1970s, I used to enjoy passing lazy afternoons at the National Gallery looking at the pictures. I remember how surprised I was when I first encountered the Group of Seven collection. These paintings were completely familiar—I’d seen them in schoolbooks and on calendars, posters, t-shirts, everywhere—yet at the same time they were completely unexpected.
Richard Gwyn tries to get away with two puns in the title of his book Nationalism Without Walls: The Unbearable Lightness of Being Canadian (McClelland & Stewart), trading off on both André Malraux's cultural manifesto of the 1960s Museum Without Wal