
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.
The myth of the West in Canada and the U.S.A. issues largely from a country almost unknown to most North Americans: the wide plains that spill over the forty-ninth parallel between Montana and Saskatchewan. Beth LaDow, who lives in Massachusetts and
PhotoGraphic Encounters: The Edges and Edginess of Reading Prose Pictures and Visual Fictions (University of Alberta Press and the Kamloops Art Gallery) contains much promise of “edginess” and “subversion,” once the great virtues of the postmodern ag