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A new generation of English-Canadian poets developed in the shad-
ows of World War II. Dorothy Livesay won the Governor-General’s
Literary Award for Day and Night (1944) and Poems for Peace (1947).
Earle Birney of Vancouver also won this prestigious award in 1942 and
1945 for his collections of poems and pioneered the teaching of creative
writing in Canadian universities. The outspoken and fl amboyant Irving
Layton produced numerous volumes since the early 1940s, which have
given him national and international recognition as a prolifi c, revolu-
tionary, and controversial poet of the “modern” school. From the 1940s
onward, the metaphysical poetry of P. K. Page and Margaret Avison
inspired modern generations of Canadian poets. Northrup Frye, a stu-
dent and colleague of poet E. J. Pratt, went on to become one of the
world’s leading literary theorists in English following the publication of
his book, Anatomy of Criticism, in 1957.
French-Canadian literature moved away from traditional rural ideal-
ism to express urban realism with the publication in 1938 of Trente
arpents (Thirty Acres) by Philippe Panneton, who wrote under the
pseudonym of Ringuet (Linteau, Durocher and Robert 1991). Unlike
Maria Chapdelaine a quarter-century earlier, the novel’s hero, Eucha-
riste Moisan, suffers for his stubborn devotion to his small farm, which
ultimately can be passed on to only one of his 12 children. His other
children must abandon their rural life for an urban existence in Mon-
treal or New England, where Euchariste ends up forlornly living out his
last days anguishing over his lost 30 acres. This Governor-General
Award-winning novel highlights the reality of the French-Canadian
fate and foreshadows the social upheaval in Quebec life that made the
Quiet Revolution necessary. Roger Lemelin’s Au pied de la pente douce
(1944, translated as The Town Below) and Les Plouffe (1950, translated
as The Plouffe Family) as well as Gabrielle Roy’s Bonheur d’occasion
(1945, translated as The Tin Flute) employ urban working-class settings
to convey social realism in mid-20th-century Quebec.
In the visual arts, the infl uence of the Group of Seven continued to
grow with the formation in 1933 of the Canadian Group of Painters
whose members included A. J. Casson, Charles Comfort, Edwin Hol-
gate, Yvonne McKague Housser, J. W. G. Macdonald, and Carl Schae-
fer. Other artists were endeavoring to move away from the rugged
landscape nationalism of the Group of Seven. John Lyman of Montreal,
who was a key fi gure emphasizing internationalism, founded the Con-
temporary Art Society in 1939. In the 1940s and 1950s, a radical group
of French-Canadian painters infl uenced by Parisian surrealism, includ-
ing Marcel Barbeau, Paul-Emile Borduas, Pierre Gauvreau, Fernand
AN EXPANDING NATION IN THE AGE OF AFFLUENCE