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Not Wanted On The Voyage Essay Topics

For other uses, see Not Wanted on Voyage (disambiguation).

Not Wanted on the Voyage is a novel by Canadian author Timothy Findley, which presents a magic realist post-modern re-telling of the Great Flood in the biblicalBook of Genesis. It was first published by Viking Canada in the autumn of 1984.

The novel has also been adapted for the stage by D. D. Kugler and Richard Rose.

Plot summary[edit]

The story centres around Dr. Noah Noyes, an authoritarian doctor and father whose obsession with God's law leads him to neglect his family; his wife, Mrs. Noyes, an alcoholic who talks to animals; and Mottyl, Mrs. Noyes's blind cat. Noah and Mrs. Noyes have three sons, Shem, Japeth, and Ham. Shem is married to Hannah, who spends a great deal of time with Dr. Noyes. Japeth is married to Emma, a young girl of about 11, who refuses to consummate their marriage.

One day, an exhausted Yaweh visits Dr. Noyes. Yaweh is depressed to the point of willfully allowing himself to die due to the treatment he's received from humanity. He tells the Noyes that the people of the City threw offal, rotten fruit, and feces at his carriage and have assassinated him 7 times. Yaweh remains depressed until he's inspired by a magic show Noah puts on to raise his spirits. Noah puts a penny under a glass bottle then fills the bottle with water. Due to refraction of the penny's image, the coin appears to vanish, but Yaweh becomes obsessed by the idea that the application of water can make things disappear.

Soon Yaweh tells Noah to build an ark in preparation for the flood. Noah is resolutely obedient, but some in his family react negatively. Ham quickly marries Lucy, a mysterious seven-foot-tall woman with webbed fingers (a trait found only in angels, according to the novel) who is eventually revealed to be Lucifer in female form. As Yaweh leaves, Mottyl hears flies buzzing from within Yaweh's carriage and knows that Yaweh has resigned himself to death.

Noah is adamant that Yaweh's edict must be followed to the letter and insists that there must be only two of every animal. Mrs. Noyes tries to bring Mottyl, who Noah has decreed must stay behind since he's chosen Yaweh's own two pet cats to represent felines on the ark. Noah sets fire to the house and barn, with Mottyl inside, offering all their additional animals as a giant sacrifice to Yaweh. Mrs. Noyes in enraged at the attempt to kill her cat, and by the carnage in what is left of her home, and refuses to board the ark. Noah is concerned that if Mrs. Noyes does not come, the ark and its passengers will be doomed, as Yaweh's edict clearly states that Noah's wife must be aboard. Mrs. Noyes hides in Noah's orchard as the rain starts, but leaves when she notices Emma's sister Lotte, a "monkey child" trying to cross the river. Mrs. Noyes rescues Lotte and agrees to board only if Lotte can also come. Noah agrees to let Lotte on board, but has Japeth kill her shortly after. Mrs. Noyes again rebels, but ultimately agrees to board the ark and smuggles Mottyl aboard, hidden in her apron.

As the voyage begins Noah quickly imposes his will on his family by drawing a line between the "rebellious" elements (Mrs. Noyes, Emma, Ham, and Lucy) and the rest (himself, Hannah, Japeth, and Shem). One day, dolphins swim by the ark, attempting to befriend the inhabitants. Noah decides that the dolphins must be pirates and has Japeth slaughter them. Mrs. Noyes attempts to stop him, and once the "pirates" have been defeated, Noah locks Mrs. Noyes, Lucy, Ham, and Emma in the lower levels of the ark, forcing them to care for the animals alone. Meanwhile, Noah, Hannah, Shem, and Japeth enjoy quarters on the deck of the ark and freedom from heavy chores.

Noah notices that Japeth is becoming more preoccupied with sex and often eyes Hannah in a way that makes Noah wary. He decides that the solution is to force Emma to consummate their marriage. Noah has Emma brought to the deck and "inspects" her to see what the problem is. He decides that Emma's "tightness" is the reason why Japeth could not "gain entry" and requests that the Unicorn is brought to aid the problem. Noah uses the Unicorn to "open" Emma for Japeth, a process which traumatizes Emma and severely injures the Unicorn. When Japeth finds out what his father has done, he cuts off the Unicorn's horn. Emma is then forced to live on the top deck to be near her husband.

Mrs. Noyes, Lucy, and Ham decide to rebel against Noah and the others. They formulate a plan to burn through the locked door using the two demons on board. They get the door open and plan to close the armoury, where Japeth sleeps, from the outside so as to neutralize Japeth. Unfortunately, Japeth is patrolling the deck and captures the escapees. He ties up Mrs. Noyes, Lucy, and Ham and throws the demons overboard, which enrages Lucy. She breaks free of her bonds and curses Japeth so that his wounds will never heal properly and he will always smell of the violence he has inflicted on others. Mrs. Noyes, Ham, and Lucy are locked below again, this time with boards and chains locking the door from the outside.

Lucy plans another escape and has Crowe take a message to Emma to release them. Emma removes all the chains and bars while Noah and Hannah are preoccupied with praying, Shem is preoccupied with eating, and Japeth is preoccupied dressing his wounds. Mrs. Noyes, Lucy, and Ham bar the armoury and the chapel, locking in Noah, Hannah, and Japeth, but they are unable to find Shem.

While locked in the chapel, Hannah's labour begins. She asks Noah to call for help, but he refuses to call for anyone until the baby is born. Noah knows that the baby is likely his and is worried that it will be a "monkey child" like Lotte, as Japeth's dead twin brother was also monkey-like. When the baby is born dead it is indeed revealed to be a "monkey child." Ham, hearing Hannah's cries of pain, opens the chapel door to help Hannah. He is quickly brained by Shem, but not before he sees Hannah's child. Hannah wraps it in blankets to hide its hairy arms and throws the baby overboard.

A truce between the factions is tacitly called. The weather is sunny for the first time since the start of the rain, and Noah asks Emma to send a dove to look for land. When the dove does not return, they continue to send birds until Noah decides to send his own trained dove. Noah's dove returns with an olive branch, which Noah uses to prove Yaweh's edict. The other members of the ark remain unconvinced, as they know it is the same branch from the dove's cage. The novel ends with Mrs. Noyes sitting on deck with Mottyl, praying to the clouds for rain.


  • Dr. Noah Noyes — The tyrannical patriarch who is also Yaweh's best friend and confidant. It is believed that he is the one that encouraged Yaweh to cause the flood and destroy the human race through his magic trick. Noah is unwavering in his faith and domination of his family, often ignoring empirical evidence in favor of deeming something a "miracle". He loses his humanity completely over the course of the novel and his only aim is to obey the edict of Yahweh.
  • Mrs. Noyes — The gin-drinking, piano-playing, subservient wife of Noah. As the book progresses she becomes more rebellious towards Noah's decrees. Mrs. Noyes has a strong affinity with animals, especially her cat, Mottyl but also with her sheep, Crowe and others. She even goes into a bear's cage to comfort it during a thunderstorm. Over the course of the novel she ceases to believe in prayer to Yahweh, preferring that the creatures of the Earth pray to each other and to the sky and the water.
  • Yaweh — Old and irritable, Yaweh is angered and depressed at the state of humanity and seeks out Noah for hospitality. His depression results in the destruction of the world and Yaweh's own acceptance of death.
  • Michael Archangelis - An Angel and Yaweh's bodyguard. He is Lucy's brother and ultimately her nemesis. He does not feel she has been satisfactorily defeated since she chose to leave heaven rather than being forced out.
  • Japeth Noyes — The Noyes' youngest son. Sex deprived and stained blue from a traumatizing encounter with outcast ruffians while on his journey to the City, Japeth turns to violence as a way of overcoming his experience. There are suggestions that he was once a loving and trusting person but he has since become a symbol of violent death in the minds of those below deck.
  • Ham Noyes — The Noyes' middle son, intellectual and enthusiastic about nature and science, he is unlike the rest of the Noyes family.
  • Shem Noyes — The Noyes' eldest son, also known as the Ox, for his physical strength and dearth of thought.
  • Hannah — The pregnant wife of Shem, who finds favor with both Noah and Yaweh due to her willingness to serve. Hannah is perceived as cold by the rest of the family. In the end, it is revealed that Noah was the one who got her pregnant, rather than Shem.
  • Lucy — The seven foot tall geisha who mysteriously appears in the forest and became Ham's wife. She is secretly a male, fallen angel who disguised himself as a woman in order to save himself from the flood. Unlike traditional stories of Lucifer's fall, Lucy is said to have fallen for simply asking, "why?" She is the instigator of a similar rebellion on board the ship.
  • Emma — The young and reluctant wife of Japeth. Emma did not want to be his wife but had no choice in the matter. She and Mrs. Noyes had their differences but become allies in the end.
  • Lotte — Emma's sister, an "ape-child." Has a "mental disability."
  • Mottyl — Mrs. Noyes' loving blind calico cat, who was unfortunately the subject of many of Doctor Noyes' experiments. Mottyl undergoes an impressive degree of suffering in the novel. She is in heat at the beginning, gets pregnant and is thereby forced to raise her babies aboard ship where food is scarce, conditions are cramped and dirty and discovery would mean death since there are only supposed to be two cats aboard the ark. She learns to rely on her hearing and smell. Despite this she is a very compassionate animal. Her greatest fear is Dr. Noyes and later Japeth.
  • Crowe — a female crow who is Mottyl's best friend and later savior.
  • Sarah and Abraham — Yaweh's cats, who are chosen as the two cats to board the ark. Abraham was responsible for impregnating Mottyl.

Canada Reads[edit]

The novel was selected for inclusion in the 2008 edition of Canada Reads, where it was championed by actor Zaib Shaikh.

Foreign adaptations[edit]

In French, Not Wanted on the Voyage is called Passagers clandestins and has been published in 2008 by Actes Sud.


External links[edit]

  • David Loftus Review: Not Wanted on the Voyage [1]
  • Nielsen, Dorothy. "Timothy Findley's Not Wanted on the Voyage: an Exemplary Ecofeminist Text." Canadian Poetry: Studies, Documents, Reviews 42 (1998 Spring-Summer): 100-122. [2]
  • LibraryThing: Not Wanted on the Voyage [3]
  • Keith, W J. "Apocalyptic Imaginations: Notes on Atwood's The Handmaid's Tale and Findley's Not Wanted on the Voyage." Essays on Canadian Writing 35 (1987 Winter): 123-134.
  • Martell, Cecilia. "Unpacking the Baggage: 'Camp' Humour in Timothy Findley's Not Wanted on the Voyage." Canadian Literature 148 (1996 Spring): 96-111.
  • Jefferess, David. "A Pacific (Re)Reading of Timothy Findley's Not Wanted on the Voyage." Essays on Canadian Writing 72 (2000 Winter): 138-157.
  • Dickinson, Peter. "'Running Wilde': National Ambivalence and Sexual Dissidence in Not Wanted on the Voyage." Essays on Canadian Writing 64 (1998 Summer): 125-146.
  • Foley, Michael. "Noah's Wife's Rebellion: Timothy Findley's Use of the Mystery Plays of Noah in Not Wanted on the Voyage." Essays on Canadian Writing 44 (1991 Fall): 175-182.
  • Tumanov, Vladimir. “All Bad: The Biblical Flood Revisited in Modern Fiction.”Arcadia 42 (1): 84-97, 2007.

Aitken, Johan. "‘Long Live the Dead’: An Interview with Timothy Findley." Journal of Canadian Fiction 33 (1981-1982): 79-93.

Benson, Eugene. "Interview with Timothy Findley" World Literature Written in English 26 (1986): 107-115.

Buitenhuis, Peter. "Return of the Crazy People" Books in Canada Dec. 1988: 17-20.

Cameron, Donald. "Timothy Findley: Make Peace with Nature, Now" Conversations with Canadian Novelists. Toronto: Macmillan, 1973. 49-63.

Canton, Jeffrey. "The Whole Lake Beneath: Timothy Findley" The Power to Bend Spoons: Interviews with Canadian Novelists. Ed. Beverley Daurio. Toronto: Mercury, 1998. 59-68.

Goldie, Terry. "Interview" Kunapipi 6.1 (1984): 56-67.

Kruk, Laurie. "I Want Edge: An Interview with Timothy Findley" Canadian Literature 148 (1996): 115-29.

Manguel, Alberto. "On the Art of Detection: An Interview with Timothy Findley" Descant Winter 2002: 22-32.

Mellor, W.M. "Timothy Findley’s True Fictions: A Conversation at Stone Orchard" Studies in Canadian Literature 19.2 (1994): 77-101.

Meyer, Bruce. "The Marvel of Reality: An Interview with Timothy Findley" Waves: Fine Canadian Writing Spring 1982: 5-11.

Mulhallen, Karen. "Conversation with Timothy Findley" Descant Winter 2002: 33-48.

Off, Carol. "Robin Phillips and Timothy Findley Discuss the Sound and Fury of The Wars" Cinema Canada Jan. 1984: 14-19.

Reichard, William. "Who Am I... This Time?" Lambda Book Report. Feb. 2000: 6-9.

Richards, Linda. Interview with Timothy Findley. January Magazine Nov. 1999.

____. Interview with Timothy Findley. January Magazine June 2002.

Rogers, Kate. "Timothy Findley: A Finely-Tuned Empathy" B&A: New Fiction. Spring 1997: 38-41.

Sandor, Suzanne. "The Mystery of Violence" Maclean’s 27 Oct. 1986: 10-12.

Summers, Alison. "Interview with Timothy Findley" Canadian Literature 91 (1981): 49-55.

Timothy Findley: Anatomy of a Writer. Dir. Terence Macartney-Filgate. National Film Board, 1992.

Life and Times: Timothy Findley. Dir. Diane Ngui-Yen. CBC, 1999.

The Piano Man’s Daughter. Dir. Kevin Sullivan. Sullivan Entertainment, 2003.

Arnovick, Leslie K. "It’s a Sign of the Times: Uses of Anachronism in Medieval Drama and the Postmodern Novel" Studia Neophilologica: A Journal of Germanic and Romance Languages and Literature 65.2 (1993): 157-68.

Arsand, Daniel. " Timothy Findley, peintre des ténèbres" Magazine Littéraire Dec. 2003: 62.

Atwood, Margaret. Rev. of The Wars. Second Words: Selected Critical Prose. Toronto: Anansi, 1982. 290-95.

____. "Tiff and the Animals" Brick 70 (Winter 2002): 157-59.

Bailey, Anne Geddes. "Finding Lily: Maternal Presence in The Piano Man’s Daughter" Essays on Canadian Writing 64 (1998): 56-81.

____. "Tiff and the Animals" Brick 70 (Winter 2002): 157-59.

Bailey, Anne Geddes. "Finding Lily: Maternal Presence in The Piano Man’s Daughter" Essays on Canadian Writing 64 (1998): 56-81.

____. "Misrepresentations of Vanessa Van Horne: Intertextual Clues in Timothy Findley’s The Telling of Lies" Essays on Canadian Writing 55 (1995): 191-213.

____. Timothy Findley and the Aesthetics of Fascism: Intertextual Collaboration and Resistance. New Canadian Criticism Series. Vancouver: Talonbooks, 1998.

____, and Karen Grandy. Paying Attention: Critical Essays on Timothy Findley. Toronto: ECW, 1998. [Rpt. of Essays on Canadian Writing 64.]

Benson, Eugene. "L‘Whispers of Chaos’: Famous Last Words" World Literature Written in English 21.3 (1982): 599-606.

Billingham, Susan E. "Fraternizing with the Enemy: Constructions of Masculinity in the Short Fiction of Timothy Findley" Yearbook of English Studies 31 (2001): 205-17.

Buchholz, Garth. Rev. of stage adaptation of Not Wanted on the Voyage. Maclean’s 13 Jan. 1992: 49.

Brydon, Diana. "A Devotion to Fragility: Timothy Findley’s The Wars" World Literature Written in English 26 (1986): 75-84.

____. "Intertextuality in Timothy Findley’s Headhunter" Journal of Canadian Studies 33.4 (1998-1999): 53-62

____. "‘It Could Not Be Told:’ Making Meaning in Timothy Findley’s The Wars" Journal of Commonwealth Literature 21 (1986): 62-79.

____. "A Post-Holocaust, Post-Colonial Vision" International Literature in English: Essays on the Major Writers. Ed. Robert L. Ross. New York: Garland, 1991. 583-92.

____. Writing on Trial: Timothy Findley’s Famous Last Words. Toronto: ECW, 1995.

Cameron, Elspeth. "The Inner Wars of Timothy Findley" Saturday Night Jan. 1985: 24-33.

Cobley, Evelyn. "Postmodernist War Fiction: Findley’s The Wars" Canadian Literature 147 (1995): 98-124

Cooke, John. The Influence of Painting on Five Canadian Writers: Alice Munro, Hugh Hood, Timothy Findley, Margaret Atwood, and Michael Ondaatje. Lewiston, NY: Edwin Mellen, 1996.

Cude, Wilfred. "Timothy Findley" Profiles in Canadian Literature. Vol. 4. Ed. Jeffrey M. Heathe. Toronto: Dundurn, 1982. 77-84.

____. "Truth Slips In: Timothy Findley’s Doors of Fiction" Antigonish Review 105 (1996): 75-90.

Dellamora, Richard. "Becoming-Homosexual/ Becoming-Canadian: Ironic Voice and the Politics of Location in Timothy Findley’s Famous Last Words" Double Talking: Essays on Verbal and Visual Ironies in Contemporary Canadian Art and Literature. Ed. Linda Hutcheon. Toronto: ECW, 1992. 172-200.

Demousselle, Carinne. "Antifascism and Characterization in Timothy Findley’s Not Wanted on the Voyage" The Guises of Canadian Diversity: New European Perspectives. Ed. Serge Jaumain and Marc Maufort. Amsterdam: Rodopi, 1995. 47-54.

D’haen, Theo. "Timothy Findley: Magical Realism and the Canadian Postmodern" Multiple Voices: Recent Canadian Fiction. Ed. Jeanne Delbaere. Sydney: Dangaroo, 1990. 217-33.

____. "Timothy Findley’s Headhunter: Empire, and Canadian Modernity" (Un)Writing Empire. Ed. Theo D’haen. Amsterdam: Rodopi, 1998. 309-21.

Dickinson, Peter. "‘Running Wilde’: National Ambivalence and Sexual Dissidence in Not Wanted on the Voyage" Essays on Canadian Writing 64 (1998): 125-46.

Dopp, Jamie. "Reading as Collaboration in Timothy Findley’s Famous Last Words" Studies in Canadian Literature 20.1 (1995): 1-15.

Drolet, Gilbert. "‘Prayers against Despair’: A Retrospective Note on Findley’s The Wars" Journal of Canadian Fiction 33 (1981-1982): 148-155.

Duffy, Dennis. "Let Us Compare Histories: Meaning and Mythology in Findley’s Famous Last Words" Essays on Canadian Writing 30 (1984-1985): 187-205.

Erskine-Hill, Howard. "The Nuisance Grounds: The Theme of Relegation in Two Canadian Novels" Imagined Commonwealths: Cambridge Essays on Commonwealth and International Literature in English. Ed T.J. Cribb. Basingstoke, England; New York, NY: Macmillan; St. Martin's, 1999. 246-68.

Foley, Michael. "Noah’s Wife’s Rebellion: Timothy Findley’s Use of the Mystery Plays of Noah in Not Wanted on the Voyage" Essays on Canadian Writing 44 (1991): 175-82.

Gabriel, Barbara. "Performing the Bent Text: Fascism and the Regulation of Sexualities in Timothy Findley’s The Butterfly Plague" English Studies in Canada 21.2 (1995): 227-50.

"Sex, Lies and Photography: Reading Detective Fiction as Psychoanalysis in Timothy Findley’s The Telling of Lies." in Gender and Narrativity, ed. Barry Rutland, Ottawa: Carleton University Press, 1997, 87-113.

____. "‘The Repose of an Icon’ in Timothy Findley’s Theatre of Fascism: From ‘Alligator Shoes’ to Famous Last Words" Essays on Canadian Writing 64 (1998): 149-80.

____. "Staging Monstrosity: Genre, Life-Writing, and Timothy Findley’s The Last of the Crazy People" Essays on Canadian Writing 54 (1994): 168-97.

Gibson, Graeme. "Timothy Findley" Eleven Canadian Novelists. Toronto: Anansi, 1973. 119-49.

Goetsch, Paul. "Art and Violence: Timothy Findley’s Famous Last Words" Historiographic Metafiction in Modern American and Canadian Literature. Ed. Bernd Engler and Kurt Müller. Paderborn: Ferdinand Schöningh, 1994. 477-91.

Goldman, Marlene. "The End(s) of Myth: Apocalyptic and Prophetic Fictions in Headhunter" Essays on Canadian Writing 64 (1998): 32-55.

Grandy, Karen. "Performed and Performing Selves in Findley’s Drama" Essays on Canadian Writing 64 (1998): 181-200.

Groen, Rick. "T.V. Drama Has Everything But Impact." Rev. of Other People’s Children. Globe and Mail 28 Mar. 1980: 17.

Hastings, Tom. "‘Their Fathers Did It to Them’: Findley’s Appeal to the Great War Myth of a Generational Conflict in The Wars" Essays on Canadian Writing 64 (1998): 85-103.

Howells, Coral Ann. "‘History as She Is Never Writ’: The Wars and Famous Last Words" Kunapipi 6.1 (1984): 49-56.

____. "‘’Tis Sixty Years Since’: Timothy Findley’s The Wars and Roger McDonald’s 1915" World Literature Written in English 23 (1984): 129-136.

Hulcoop, John F. "‘Look! Listen! Mark My Words!’ Paying Attention to Timothy Findley’s Fictions" Canadian Literature 91 (1981): 22-47.

____. "Timothy Findley" Dictionary of Literary Biography, Volume 53: Canadian Writers Since 1960, First Series. Ed. W. H. New. New York: Gale Research, 1986. 181-191.

____. "The Will to Be" Canadian Literature 94 (1982): 117-22.

Hunter, Catherine. "’I Don’t Know How to Begin’: Findley’s Work in the Sixties" Essays on Canadian Writing 64 (1998): 13-31.

Ingham, David. "Bashing the Fascists: The Moral Dimensions of Findley’s Fiction" Studies in Canadian Literature 15.2 (1990): 33-54

Isernhagen, Hartwig. "Timothy Findley’s The Wars as a Belated Novel of World War I: Between Documentary and Historical Fiction" Leaflets of a Surfacing Response: 1st Symposium Canadian Literature in Germany. Ed. Jürgen Martini. Bremen: U Bremen P, 1980. 57-62.

Jefferess, David. "A Pacific (Re) Reading of Timothy Findley’s Not Wanted on the Voyage" Essays on Canadian Writing 72 (2000): 138-57.

Keith, W. J. "Apocalyptic Imaginations: Notes on Atwood’s The Handmaid’s Tale and Findley’s Not Wanted on the Voyage" Essays on Canadian Writing 35 (1987): 123-134.

Klovan, Peter. "‘Bright and Good’: Findley’s The Wars" Canadian Literature 91 (1981): 58-69.

Kroetsch, Robert, and Reingard M. Nischik, eds. Gaining Ground: European Critics on Canadian Literature. Edmonton, AB: NeWest, 1985.

Kröller, Eva-Marie. "The Exploding Frame: Uses of Photography in Timothy Findley’s The Wars" Journal of Canadian Studies 16.3-4 (1981): 68-74.

____. "The Eye in the Text: Timothy Findley’s The Last of the Crazy People and Alice Munro’s Lives of Girls and Women" World Literature Written in English 23 (1984): 366-74.

____. "‘Sur les rivages d’un autre âge’: Timothy Findley et Evelyn Waugh" Etudes Littéraires 27.1 (1994): 29-41.

Kruk, Laurie. "Hands and Mirrors: Gender Reflections in the Short Stories of Alistair MacLeod and Timothy Findley" Dominant Impressions: Essays on the Canadian Short Story. Ed. Gerald Lynch and Angela Arnold Robbeson. Ottawa: U of Ottawa P, 1999. 137-50.

Kuester, Martin. " Central Europe from Three Postmodern Canadian Perspectives" Images of Central Europe in Travelogues and Fiction by North American Writers. Ed. Waldemar Zacharasiewicz. Tübingen: Stauffenburg, 1995. 347-52.

Lamont-Stewart, Linda. "Androgyny as Resistance to Authoritarianism in Two Postmodern Canadian Novels" Mosaic 30.3 (1997): 115-30.

Lane, Harry. "‘Not His Own Person’: Questions of Betrayal in The Stillborn Lover" Queen’s Quarterly 100.2 (1993): 441-56.

MacLaine, Brent. "Sleuths in the Darkroom: Photographer-Detectives and Postmodern Narrative" Journal of Popular Culture 33.3 (1999): 79-94.

Manguel, Alberto. "On the Art of Detection: an Interview with Timothy Findley." Descant 33.4 (Winter 2002): 22-32.

Marshall, Brenda. " Meta (Hi)Story: Timothy Findley’s Famous Last Words" International Fiction Review 16.1 (1989): 17-22.

Martell, Cecilia. "Unpacking the Baggage: ‘Camp’ Humour in Timothy Findley’s Not Wanted on the Voyage" Canadian Literature 148 (1996): 96-111.

McKenzie, M. L. "Memories of the Great War: Graves, Sassoon, and Findley" University of Toronto Quarterly 55 (1986): 395-411.

Miller, Mary Jane. "An Analysis of The Paper People" Canadian Drama 9 (1983): 49-59.

Murray, Don. "Seeing and Surviving in Timothy Findley’s Short Stories" Studies in Canadian Literature 13 (1988): 200-222.

Nicholson, Mervyn. "God, Noah, Lord Byron-and Timothy Findley" ARIEL: A Review of International English Literature Apr. 1992: 87-107.

Nielsen, Dorothy. "Timothy Findley’s Not Wanted on the Voyage: An Exemplary Ecofeminist Text" Canadian Poetry 42 (1998): 100-22.

Pennee, Donna Palmateer. Moral Metafiction: Counterdiscourse in the Novels of Timothy Findley. Downsview, Ont.: ECW, 1991.

Petrukhina, Maya. "Timothy Findley’s Look into History and War" Missions of Interdependence: A Literary Directory. Ed. Gerhard Stilz. Amsterdam: Rodopi, 2002. 35-40.

Pirie, Bruce. "The Dragon in the Fog: 'Displaced Mythology' in The Wars" Canadian Literature 91 (1981): 70-79.

Ravvin, Norman. "The Apocalyptic Predicament: Timothy Findley’s Predetermined Novel" Fins de siècle/New Beginnings. Ed. Ib Johansen and Dominic Rainsford. Aarhus, Denmark: Aarhus UP, 2000. 163-76.

Rhodes, Shane. "Buggering with History: Sexual Warfare and Historical Reconstruction in Timothy Findley’s The Wars" Canadian Literature 159 (1998): 38-53.

Roberts, Carol. "The Perfection of Gesture: Timothy Findley and Canadian Theatre. " Theatre History in Canada 12 (1991): 22-36.

____. Timothy Findley: Stories from a Life. Toronto: ECW, 1994.

____, and Lynne Macdonald. Timothy Findley: An Annotated Bibliography. Toronto: ECW, 1990.

Salem-Wiseman, Lisa. "Insanity Begins at Home: Madness in the Family in Timothy Findley’s The Last of the Crazy People" University of Toronto Quarterly 71.4 (2002): 843-63.

____. "‘We Are Not Alone Here, Charlie’: Madness, Nature, and Wonder in Timothy Findley’s The Piano Man’s Daughter." English Studies in Canada 24 (1998): 1001-16.

Sanderson, Heather. "(Im)Perfect Dreams: Allegories of Fascism in The Butterfly Plague" Essays on Canadian Writing 64 (Summer 1998): 104-24.

____. "Robert and Taffler: Homosexuality and the Discourse of Gender in Timothy Findley’s The Wars" Textual Studies in Canada/Etudes Textuelles au Canada 8 (1996): 82-95.

Savioli, Maria Cristina. "Issues of Identity in Timothy Findley’s Elizabeth Rex" British Journal of Canadian Studies 15 (2002): 190-203.

Scobie, Stephen. "Eye-Deep in Hell: Ezra Pound, Timothy Findley, and Hugh Selwyn Mauberley" Essays on Canadian Writing 30 (1984-1985): 206-227.

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____. "‘The Perfect Voice’: Mauberley as Narrator in Timothy Findley’s Famous Last Words" Canadian Literature 119 (1988): 84-98.

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Walton, Priscilla. "‘This Isn’t a Fairy Tale...It’s Mythology’: The Colonial Perspective in Famous Last Words" Commonwealth Essays and Studies 14.1 (1991): 9-15.

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____. "‘A Shout of Recognition’: ‘Likeness’ and the Art of the Simile in Timothy Findley’s The Wars" English Studies in Canada 11 (1985): 223-230.

____. "‘The Things That Are Seen in the Flashes’: Timothy Findley’s Inside Memory as Photographic Life Writing" Modern Fiction Studies 40.3 (1994): 643-56.

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____. "‘White Hand Hovering over the Page’: Timothy Findley and the Racialized/Ethnicized Other" Essays on Canadian Writing 64 (Summer 1998): 201-20.

Zabalbeascoa, J. A. "Timothy Findley’s War Novels" Revista Alicantina de Estudios Ingleses 7 (Nov. 1994): 193-98.

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