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Line 1: {{Short description\|Canadian poet}} '''Frankland Wilmot Davey''', [[Royal Society of Canada\|FRSC]] (born April 19, 1940) is a [[Canada\|Canadian]] [[poet]] and [[scholar]].▼ {{Use mdy dates\|date=June 2018}} ▲'''Frankland Wilmot Davey''', [[Royal Society of Canada\|FRSC]] (born April 19, 1940) is a ~~[[Canada\|~~Canadian]] [[poet]] and [[scholar]]. Born in [[Vancouver, British Columbia\|Vancouver]], [[British Columbia]], he grew up in the Fraser Valley village of [[Abbotsford, British Columbia\|Abbotsford]]. In 1957 he enrolled at the [[University of British Columbia]] where, in 1961, shortly after beginning MA studies, he became one of the founding editors of the influential and contentious poetry newsletter ''[[TISH]]''. In the spring of 1962 he won the university's Macmillan Prize for poetry, and published the poetry collection ''D-Day and After'', the first of the Tish group's numerous publications. In 1963 he began teaching at Canadian Services College [[Royal Roads Military College]] in [[Victoria, British Columbia\|Victoria]]. He began doctoral studies at the [[University of Southern California]] in the summer of 1965, completing in 1968. After serving as Writer-in-Residence at [[Montreal]]'s [[Sir George Williams University]], he joined the English Department of [[York University]] in [[Toronto]] in 1970, becoming department chair in 1986. He was appointed in 1990 to the Carl F. Klinck Chair of Canadian Literature at the [[University of Western Ontario]] in [[London, Ontario\|London]]. From 1975-1992 he was one of the most active editors of the [[Coach House Press]]. He currently lives in [[Strathroy, Ontario\|Strathroy]], [[Ontario]].<ref>http://publish.uwo.ca/~fdavey/c/autonew2.pdf.</ref>▼ ▲Born in [[~~Vancouver, British Columbia\|~~Vancouver]], [[British Columbia]], he grew up in the Fraser Valley village of [[Abbotsford, British Columbia\|Abbotsford]]. In 1957 he enrolled at the [[University of British Columbia]] where, in 1961, shortly after beginning MA studies, he became one of the founding editors of the influential and contentious poetry newsletter ''[[TISH]]''. In the spring of 1962 he won the university's Macmillan Prize for poetry, and published the poetry collection ''D-Day and After'', the first of the Tish group's numerous publications. In 1963 he began teaching at Canadian Services College [[Royal Roads Military College]] in [[Victoria, British Columbia\|Victoria]]. He began doctoral studies at the [[University of Southern California]] in the summer of 1965, completing in 1968. After serving as ~~Writer~~writer-in-~~Residence~~residence at [[Montreal]]'s [[Sir George Williams University]], he joined the English Department of [[York University]] in [[Toronto]] in 1970, becoming department chair in 1986. He was appointed in 1990 to the Carl F. Klinck Chair of Canadian Literature at the [[University of Western Ontario]] in [[London, Ontario\|London]]. From 1975- to 1992 he was one of the most active editors of the [[Coach House Press]]. He currently lives in [[Strathroy, Ontario\|Strathroy]], [[Ontario]].<ref>http://publish.uwo.ca/~fdavey/c/autonew2.pdf. {{Webarchive\|url=https://web.archive.org/web/20200814215259/http://publish.uwo.ca/~fdavey/c/autonew2.pdf./ \|date=August 14, 2020 }}</ref> ==Biography== ===Early ~~Life~~life and ~~Education~~education=== Frank Davey was born in [[Vancouver]], [[British Columbia]], but raised in the nearby [[Fraser Valley]] village of [[Abbotsford, British Columbia\|Abbotsford]] (1941 population 562), close to the Canada-US border. He was the son Wilmot Elmer Davey, a hydro company laborer and truck driver, and Doris Brown, who had emigrated with her family from Britain at age 4.<ref>Davey, ''When TISH Happens'', ~~5-8~~5–8.</ref> Much of his childhood in Abbotsford is pseudonymously recounted in his 2005 poetry volume ''Back to the War''<ref>Ventura, Heliane. 'An Interview with Frank Davey,' '''Sources''' 17 (automne 2004), ~~72-77~~72–77.</ref> and in the first person in his 2011 memoir ''When TISH Happens''. Together the two books also provide the only mid-century literary portrait of the surprisingly diverse Abbotsford community and the surrounding Fraser Valley farmland. Davey enrolled at the University of British Columbia in 1957 where he met the influential poetry theorist [[Warren Tallman]] and student writers [[George Bowering]], [[Daphne Marlatt]], [[Lionel Kearns]], [[Carol Bolt]], [[~~Jamie Reid (Canadian poet) \|~~ Jamie Reid]], and [[Fred Wah]], and in 1960 the charismatic San Francisco poet [[Robert Duncan (poet)\|Robert Duncan]].<ref> http://www.bookrags.com/biography/frankland-wilmot-davey-dlb/ Dictionary of Literary Biography on Frank(land) (Wilmot) Davey.</ref> With Bowering, Reid, and Wah, and the advice of Tallman and Duncan, he founded the poetry newsletter ''TISH'' in 1961.<ref name = Writing>Davey, ''Writing a Life, Contemporary Authors Autobiographical Series'', Vol. 27, Detroit: Gale, pp. ~~83-114~~83–114.</ref> ===Academic and Writing ~~Career~~career=== The success of ''TISH'', which the editors mailed free of charge for nineteen successive months to poets, editors, and critics across Canada and much of the US, brought Davey to the attention of the senior Canadian writers [[George Woodcock]] and [[Louis Dudek]]. Woodcock, editor of the journal ''[[Canadian Literature (journal)\|Canadian Literature]]'', commissioned in 1962 the first of several essays from him, and Dudek invited him to guest-edit a Vancouver issue of his important poetry magazine ''Delta''. Woodcock's intervention may have been the more significant, encouraging the young poet to take up literary criticism as well, and from the 1970s to the 90s write a body of work that would be called 'the most individual and influential ever written in Canada.'<ref>Scobie, Stephen. 'Frank Davey,' ''The Oxford Companion to Canadian Literature'', 1997. 277.</ref> Davey published his first poetry collection, ''D-Day and After'', in 1962, with an introduction by Tallman that emphasized how this was poetry as the act of the moment rather than poetry as the commonplace attempt 'to express ... feelings.' <ref name="vancouverartinthesixties.com">'Frank Davey, Intro to D-Day and After' http://vancouverartinthesixties.com/archive/87.</ref> It was the first of more than a hundred volumes to be published by the ''TISH'' editors. Receiving an MA from UBC in 1963, Davey taught for the Canadian armed forces at [[Royal Roads Military College]] in Victoria, BC until 1969, while also working on a doctorate in poetics at the University of Southern California in the summers of 1965 and 1966, and a ~~1966-67~~1966–67 leave of absence. He witnessed the 1965 [[Watts ~~Riots~~riots]] from an apartment within the curfew zone, feeling more endangered, he indicates in 'Writing a Life' (~~99-100~~99–100) and ''When TISH Happens'' (224), by the US National Guard than by the mostly black protesters. It seems very possible that this experience contributed to his later insistence in his political and cultural writings that the Canadian nation-state should be a collaboration open to the meaningful participation of all its citizens. In the fall of 1965 his third and fourth volumes of poetry were published. He also launched his poetry and criticism journal ''[[Open Letter]]'' that fall of 1965, designing it initially as an open editorial dialogue with former ''Tish'' editors Bowering and David Dawson. In the spring of 1968 he received his PhD, having presented a thesis on the poetics of the [[Black Mountain poets]]. In the spring of 1969 he was appointed Writer-in-Residence for ~~1969-70~~1969–70 at Sir George Williams (now Concordia) University in Montreal. The following year he joined the faculty of York University in Toronto to teach Canadian Literature and, amid teaching and research collaborations with [[Clara Thomas]] and [[Barbara Godard]],<ref>''When TISH Happens'' 285-6, 288.</ref> quickly assumed a nationally influential role. He published two poetry collections in each of 1970, 1971, and 1972, and a selected poems in 1972. He published a monograph on [[Earle Birney]] in 1971, and the widely praised ''From There to Here: A Guide to English-Canadian Literature Since 1960'', the first book to theorize Canadian postmodernism, in 1974. But his most important contribution in these years was his withering critique, 'Surviving the Paraphrase,' of the thematic criticism of [[Northrop Frye]], [[D. G. Jones]] and [[Margaret Atwood]] which he delivered at the founding conference of the Association for Canadian and Quebec Literatures in the spring of 1974. That paper, in [[Stephen Scobie]]'s words 'a vastly influential essay',<ref>'Frank Davey' 276.</ref> almost immediately discredited thematic criticism in Canada and, forty years later, reverberates as well within Canadian postcolonial studies.<ref>See Laura Moss, 'Between Fractals and Rainbows: Critiquing Canadian Criticism,' ''Tropes and Territories'', ed. [[Marta Dvorak]] and [[W.H. New]]. Montreal: McGill-Queen's UP, 2007. 22.</ref> In 1976 he was appointed Coordinator of the York University creative writing program, and also joined, along with [[bpNichol]] and [[Michael Ondaatje]], the new editorial board of The Coach House Press. With the assistance of Nichol and [[Barbara Godard]], he was also expanding the pages and range of ''Open Letter'' to give attention to Québécois poets, women writers, and poststructuralist poetics, developing it into what [[Gregory Betts]] in ''The Canadian Encyclopedia'' would call 'Canada's most important forum for discussion and examination of innovative and experimental ideas and texts.'<ref>~~http~~[https://www.thecanadianencyclopedia.~~com~~ca/~~articles~~en/article/frank-davey. Davey]</ref> In 1982 he helped conduct a month-long workshop in [[Dharwar]], India, for young academics many of whom became major contributors to Canadian Studies in that country. Here he wrote one of his most important long poems, the "brilliant poetic commentary on postcolonialism" <ref>Scobie, 'Frank Davey,' 276.</ref> ''The Abbotsford Guide to India'', published in 1986—one of six poetry books he published in the 1980s.<ref>'Writing a Life' 110-11</ref> That year he was also elected chair of the York University Department of English.<ref>'Writing a Life' 97-8.</ref> Two years earlier he had published the first study of [[Margaret Atwood]]'s feminism: ''Margaret Atwood: A Feminist Poetics.'' As Chair of English he supported Joseph Pivato, the Elia Chair at York for 1987-88, to teach the first course on Italian-Canadian literature. In 1990 he was named the first Carl F. Klinck Professor of Canadian Literature at the University of Western Ontario (now Western University), in London, Ontario, and began a new writing phase in which he adapted discourse analysis to Canadian cultural studies, and examined various Canadian cultural scenes—from those of literary criticism to those of politics, celebrity, and popular crime writing. His new books included ''Post-National Arguments: The Politics of the Anglo-Canadian Novel since 1967'' (1993), ''Reading 'KIM' Right'' (1993), an analysis of the public persona of [[Kim Campbell]], Canada's first woman prime minister, ''Canadian Literary Power'' (1994), a study of how Canadian literary reputations are constructed and defended, ''Karla's Web: A Cultural Examination of the Mahaffy-French Murders'' (1994), an examination of how newspaper crime writing distorts both victims and criminal justice issues, ''Cultural Mischief: A Practical Guide to Multiculturalism'' (1996), a poetry collection that mocked both the sentimentalities of multiculturalism's proponents and the narcissism of its critics, and ''Mr & Mrs G-G'' (2002) an examination of Canadian Governor-General [[Adrienne Clarkson]] and her husband, writer [[John Ralston Saul]], that accused both of a pretentiousness that misrepresented and stifled actual Canadian realities. As Betts observes with some understatement, this was 'a critical stance that has occasionally put him into conflict with the Canadian literary establishment.' Its consequences are likely reflected in Davey's description in ''When TISH Happens'' of Canadian literary and academic prizes as institutional rewards for 'banality and careerism' (304). Meanwhile, in May 1994 he had been elected president of the Association of Canadian College and University Teachers of English (ACCUTE). That November he had led the Association in issuing a controversial and widely publicized 'caution' against the postsecondary education policies of the British Columbia government and the resulting working conditions and quality of education at its recently established University Colleges.<ref>''ACCUTE Newsletter'', December 1994: 20.</ref> Line 22 ⟶ 25: Davey continued his creativity at the expense of currently established critical pieties in the poetry collections ''Dog'' (2002) and ''Risky Propositions'' (2005), both partly directed at identity politics, the 'flarf' books ''Lack On!'' (2009), a mock-Lacanian tribute to [[Fred Wah]], and ''Bardy Google'' (2010), part of which was a Dunciad-like send-up of recent Canadian criticism, and the limited edition visual poetry book, ''Canonical Canadian Literature'' (2011). Meanwhile, the final years of provincial mandatory retirement legislation ended his Western Ontario teaching years in 2005. He was elected to the Royal Society of Canada in 2014. ===Family ~~Life~~life=== Davey married education student Helen Simmons, also from Abbotsford, in 1962, during the final year of his MA studies. She later taught school in Victoria and accompanied him to the University of Southern California where she earned a master's degree in special education. They divorced in 1969.<ref>''When TISH Happens'' 171, 216, 218, 257.</ref> Shortly after, he married Linda Jane McCartney, with whom he had two children, Michael Gareth, b. 1970, and Sara Geneve, b. 1971.<ref>''The Canadian Who's Who''.</ref> Linda Davey graduated from [[Osgoode Hall Law School]] in 1978 and practiced law in Toronto until 1994.<ref>'Writing a Life' 109.</ref> She also served with Davey on the editorial board of the [[Coach House Press]] from 1976~~-88~~ to 1988. She died of a brain tumor in 2000. His memoir, ''How Linda Died'', which contains many details of their life together and their relations with their children, is, according to ''BC Bookworld'' editor Alan Twigg, 'Davey's most accessible and memorable book ... his most atypically direct and personal.' <ref>http://www.abcbookworld.com/view_author.php?id=785. {{Webarchive\|url=https://web.archive.org/web/20120226174530/http://www.abcbookworld.com/view_author.php?id=785 \|date=February 26, 2012 }}</ref> ==Contributions to Poetry and Literary Criticism== ===Influence=== Davey has usually been viewed as a major influence on both Canadian poetry and Canadian literary criticism. Twigg has quoted George Fetherling as having called ''TISH'' Canada’s 'most influential literary magazine.' [[Ken Norris]], in his study of Canadian little magazines, calls Davey's ''Open Letter'' 'the most important avant-garde periodical in Canada.' <ref>''The Little Magazine in Canada ~~1925-1980~~1925–1980'', McGill-~~Queen’s~~Queen's UP, 1984.</ref> Betts writes that '{{Not a typo\|[T]hrough}} his books of poetry, his literary and cultural criticism and his rich range of essays on diverse topics, Davey has been a major figure involved in introducing the idea and practice of postmodernism to writers in Canada.' Scobie adds that he has 'often been seen as a '~~poet’s~~poet's poet' ' (276). ===''TISH''=== Betts writes that 'the TISH community has been described as the first post-colonial literary movement in English Canada because they wrote after and neither about nor because of colonialism.' Alexander Varty, reviewing ''When TISH Happens'' for ''The [[Georgia Straight]]'', writes that it is possible 'that ~~TISH’s~~TISH's emphasis 'on the self as a consciousness in process rather than a stable persona' has become the norm in Canadian poetry and indeed in much Canadian fiction – a significant contribution, and one ~~that’s~~that's worth celebrating.'<ref>~~Aug~~August 9, 2011 ~~http~~https://www.straight.com/article-419577/vancouver/when-tish-happens-exercise-inference-and-deduction.</ref> ==='Surviving the Paraphrase'=== Line 37 ⟶ 40: ===Poetry=== The poems of Davey’s first poetry collection, ''D-Day and After'', described in Tallman’s introduction as 'a weathervane pointing which way the verse winds may be blowing,' <ref name="vancouverartinthesixties.com"/> for the most part adapted the early projectivist poetics and typewriter spacing of [[Charles Olson]] to the lyric poem. It was mockingly reviewed by Ontario poet and playwright [[James Reaney]] – 'I’m not too sure that instead of projecting himself through his typewriter, his typewriter ~~isn’t~~isn't projecting itself through him.' <ref>''Alphabet'' 4, June 1962, p. 74.</ref> Two of the poems, however, 'To the Lions Gate Bridge' and 'The Guitar Girls,' are among the most successful processual poems produced by the Tish poets, with the former declared by [[Robert Duncan (poet)\|Robert Duncan]] to be 'a poem without lapse' <ref>''Tish'' 13, September 1962, p. 5.</ref> In ~~Davey’s~~Davey's next three books, ''Bridge Force'' (1965), ''City of the Gulls and Sea'' (1964), and ''The Scarred Hull'' (1966), ~~Olson’s~~Olson's influence is evident mostly in the research-based focus on place, especially in the latter. All three rather undistinguished books only slightly declined the prevailing lyric conventions of Canadian poetry. But they also differed significantly from each other. ~~Davey’s~~Davey's emerging tendency to modify or enlarge his poetics with each new book or cluster of books became more apparent in his first four poetry books of the 1970s and their differing approaches to a phenomenological prosody. ''Weeds'' (1970) is a sequence of one-paragraph prose poems with frequent disjunctions between the sentences. ''The Clallam'' (1973) is a narrative of a 1907 British Columbia shipwreck constructed in brief exclamatory sections that recall the abrasive mock narratives of [[Jack Spicer]]. ''King of Swords'' (1972) retells much of the Arthurian story in contemporary diction to suggest the continuing persistence of that ~~story’s~~story's self-destructive masculinism. ''Arcana'' (1973) uses longer lines, postmodern indeterminacy and the imagery of the Rider-Waite Tarot deck in purportedly unfinished 'manuscript poems,' each dated and printed within quotation marks. All these books were outside, or alongside, usual Canadian poetry practices. The most visible Black Mountain influence in the latter two books was the medievalism of Robert Duncan, but much differently framed. Davey published two strikingly unusual books in the 1980s. The first was ''Capitalistic Affection!'' (1982), in which a young boy absorbs sexual stereotypes in the weekly comic strips of the North American 1940s. The book uses comic strip idioms, mixed with occasional metafictional commentary, to analyze further the Arthurian inheritance and its imbrication with commodity culture, while also creating numerous disturbingly poignant moments. He followed this in 1986 with another anomalous work, ''The Abbotsford Guide to India'', a book of poetry constructed as a tourist guide. Critic [[Katie Trumpener]] comments that '~~Davey’s~~Davey's ''Guide'' is a manifesto from Abbotsford about the connected perspectives and cultural cross-pollination of different peripheries,' one that 'bypasses ... the ~~empire’s~~empire's nominal centre' <ref>''Bardic Nationalism: The Romantic Novel and the British Empire'', Princeton UP, Princeton NJ, pp. ~~244-5~~244–5.</ref> and adds that the poems 'point to the obvious vestiges of colonial consciousness in a still emphatically ''British'' Columbia (especially in the survival of colonial attitudes toward its own 'Indians'), but they also identify more mysterious residues of colonial self-doubt and self-hatred.'<ref>''Bardic Nationalism: The Romantic Novel and the British Empire'', Princeton UP, Princeton NJ, p. 246.</ref> Again these books had little relationship to the ongoing lyric norms of Canadian poetry or, in their sharp movements away from each of Davey’s preceding books, to the more consistent modes of poetic dissent being created by other Canadian poets such as [[bill bissett]], [[Daphne Marlatt]], and [[bpNichol]]. He also published in the 1980s the bitterly humorous ''Edward & Patricia'' (1984) and the collection of poetic reorientations of Canadian history ''The [[Louis Riel]] Organ and Piano Company'' (1985). The latter contains ~~Davey’s~~Davey's most frequently taught longer poem, 'Riel,' a Spicerian deconstruction of the various narratives that have claimed to represent the Canadian Métis martyr. In all these books there had been evident a strong interest in cultural criticism and semiotics, an interest which became central to his literary criticism in the early 1990s with the publication of his ''Post-National Arguments'' and ''Canadian Literary Power''. ~~Davey’s~~Davey's first poetry collection of the 1990s was the ironically titled ''Popular Narratives'' (1994), with its cover image of the Ljubljana statue of the Slovenian national poet [[France Prešeren]] being blessed by a beautiful muse but both covered in bird droppings. Among the ~~book’s~~book's 'popular' narratives were ~~Davey’s~~Davey's story of the murder of [[Agnes Bernauer]] in fifteenth-century Bavaria and his prose-poem elegy for bpNichol into which he incorporates the stories of both [[Héloïse d'Argenteuil\|Eloise]] and [[Abelard]] and [[Camille Claudel]] and [[Auguste Rodin]] as ones of teacher-student exploitation. As he had written in 1972 in ''King of Swords'', 'the myth of Arthur continues.' In 1996 he published the collection ''Cultural Mischief'', with one of its poems a very different elegy to the painter [[Greg Curnoe]], constructed of 32 short staccato stanzas that echo the disjunctive structure of ~~Curnoe’s~~Curnoe's best-known paintings. ~~It’s~~It's a poem that [[Lynette Hunter]] writes 'not only erases the heroic elegiac voice but also textures the body of the dead.' <ref>''Disunified Aesthetics: Situated Textuality, Performativity, Collaboration'', McGill-Queen’s UP, Montreal, p. 160.</ref> During the next few years and the illness and death of his wife, and his writing of ''How Linda Died'' (2002), Davey appears to have worked on the completing of a manuscript first published as the on-demand digital chapbook ''War Poems'' in 1979 and published as a much longer book, ''Back to the War'', in 2005. The 75 poems narrate a childhood story of being on the 'backside' of World War II but in a family that replicates much of that war’s tensions and gender metaphors, into which the child becomes an unknowing but inevitable conscript. On the cover is a photo of the battlecruisers ''[[HMS Hood]]'' and ''[[HMS Repulse]]'' in Vancouver harbour on which has been superimposed an amateur snapshot of a young boy in a British sailor suit. Like most of ~~Davey’s~~Davey's books, including ''The Scarred Hull, Weeds, The Clallam, King of Swords, Capitalistic Affection!, Edward & Patricia'', and ''The Abbotsford Guide to India'', the collection functions as both a long poem and a unified sequence of separable parts. Davey takes up flarf techniques in his 2010 ''Bardy Google'', manipulating internet algorithms to produce a variety of texts that portray the limitations and variety of internet culture. For many readers the most surprising of these has been '~~Sydney’s~~Sydney's Wreck,' in which ~~Davey’s~~Davey's algorithms produce a collage-narrative of the World War II disappearance and later location of the Australian light cruiser {{HMAS\|Sydney\|D48\|6}} – a narrative in which the ideological investments of a wide range of Australians becomes evident. As usual, flarf throws a luminous spotlight on language usage. Here Davey uses it to extend the semiotics underpinnings of his ''Popular Narratives'' and ''Cultural Mischief''. ~~Davey’s~~Davey's 2014 collection ''Poems Suitable to Current Material Conditions'' is almost entirely (and mischievously) about language, from poems that riff on cliché phrases such as 'I’m good,' 'just sayin',' and 'going forward,' to a flarf poem that puns on [[Jacques Lacan]]’s name and theories to illuminate the feelings of lack and entitlement that societies both wealthy and poor repeatedly declare. In a note written on ''Tish'' in 1991 Tallman writes that ~~Davey’s~~Davey's magazine ''Open Letter'' can be viewed as standing for all the ventures of the ''Tish'' poets 'as evidence of some active secret of the imagination original ''Tish'' let loose upon the world,' and that Davey can be viewed 'as a type of all the other ''Tish'' poets who were in on the secret' – 'that he exemplifies in himself how much imagination when possessed can manage.' <ref>'A Brief Retro-Introduction to Tish,' Barbour, ed., ''Beyond Tish'', NeWest, Edmonton AB, p. 117.</ref> ~~Davey’s~~Davey's own imagination appears to have been strongly influenced by the events of the Second World War, from the title of his first collection through the comic strip images of the war in ''Capitalistic Affection!'', his 'multiple choice' Hiroshima poem of ''Cultural Mischief'', the coloring book warfare and plastic war machines of ''Back to the War'', to the colliding ideologies of HMAS '~~Sydney’s~~Sydney's Wreck' in ''Bardy Google''. ==Selected bibliography== ===Poetry=== ''D-day and After'' -– 1962 ''City of the Gulls and Sea'' -– 1964 ''The Scarred Hull'' -– 1965 ''Bridge Force'' -– 1965 ''Weeds'' -– 1970 ''Four Myths for Sam Perry'' -– 1970 ''Griffon'' -– 1972 ''King of Swords'' -– 1972 ''L'An Trentiesme: Selected Poems, ~~1961-70~~1961–70'' -– 1972 ''Arcana'' -– 1973 ''The Clallam, or, Old Glory in Juan de Fuca'' -– 1973 ''Selected Poems: The Arches'' -– 1980 (edited by [[bpNichol]]) {{ISBN \|0-88922-174-X}} ''Capitalistic Affection!'' -– 1982 {{ISBN \|0-88910-244-9}} ''Edward and Patricia'' -– 1984 {{ISBN \|0-88910-274-0}} ''The [[Louis Riel]] Organ and Piano Company'' -– 1985 {{ISBN \|0-88801-096-6}} ''The Abbotsford Guide to India'' -– 1986 {{ISBN \|0-88878-262-4}} ''Popular Narratives'' -– 1994 {{ISBN \|0-88922-285-1}} ''Cultural Mischief'' -– 1996 {{ISBN \|0-88922-364-5}} ''Dog'' -– 2002 -– {{ISBN \|1-894174-78-X}} ''Back to the War'' -– 2005 {{ISBN \|0-88922-514-1}} ''Risky Propositions'' -– 2005 {{ISBN \|1-894214-97-8}} ''Lack On!'' -– 2009 {{ISBN \|978-0-9813548-0-4}} ''How We Won the War in Iraq'' -– 2009 {{ISBN \|978-0-9813548-1-1}} ''Bardy Google'' -– 2010 {{ISBN \|978-0-88922-636-4}} ''Afghanistan War: True, False --– or Not'' -– 2010 {{ISBN \|978-0-9813548-2-8}} ''Canonical Canadian Literature'' -– 2011 {{ISBN \|978-0-9813548-3-5}} ''Spectres of London Ont'' -– 2013 {{ISBN \|978-0-9813548-5-9}} ''Poems Suitable to Current Material Conditions'' -– 2014 {{ISBN \|978-1-77126-053-4}} ''Motel Homage for Greg Curnoe'' -– 2014 {{ISBN \|978-0-9813548-6-6}} ===Non-Fiction=== ''Five Readings of Olson's Maximus'' -– 1970 ''[[Earle Birney]]'' -– 1971 ''From There to Here: A Guide to English-Canadian Literature Since 1960'' -– 1974 {{ISBN \|0-88878-036-2}} ''Louis Dudek and Raymond Souster'' -– 1980 {{ISBN \|0-88894-264-8}} ''Surviving the Paraphrase'' -– 1983 {{ISBN \|0-88801-075-3}} ''[[Margaret Atwood]]: A Feminist Poetics'' -– 1984 {{ISBN \|0-88922-217-7}} ''Reading Canadian Reading'' -– 1985 {{ISBN \|0-88801-130-X}} ''Post-National Arguments: The Politics of the Anglophone-Canadian Novel since 1967'' -– 1993 {{ISBN \|0-8020-2785-7}} ''Reading 'Kim' Right'' -– 1993 {{ISBN \|0-88922-342-4}} ''Canadian Literary Power'' -– 1994 {{ISBN \|0-920897-57-6}} ''Karla's Web: A Cultural Investigation of the Mahaffy-French Murders'' -– 1994 {{ISBN \|0-670-86153-7}} ''How Linda Died'' -– 2002 {{ISBN \|1-55022-497-2}} ''Mr & Mrs G.G'' -– 2003 {{ISBN \|1-55022-565-0}} ''When TISH Happens'' -– 2011 {{ISBN \|978-1-55022-958-5}} ''aka bpNichol: A Preliminary Biography'' -– 2012 {{ISBN \|978-1-77041-019-0}} ===Anthologies Edited=== ''[[TISH~~\|Tish~~]] Nos. ~~1-19~~1–19'' -– 1975 {{ISBN \|0-88922-077-8}} ''The SwiftCurrent Anthology'' -– 1986 (edited with [[Fred Wah]]) {{ISBN \|0-88910-317-8}} ==See also== {{Portal\| Poetry\| Biography\| Canada}} [[Canadian literature]] [[Canadian poetry]] [[List of Canadian poets]] [[List of Canadian writers]] == References == {{Reflist}} == External links == *[http://atom.archives.sfu.ca/index.php/frank-davey-fonds Records of Frank Davey are held by Simon Fraser University's Special Collections and Rare Books] {{Authority control}} ~~{{Persondata <!-- Metadata: see [[Wikipedia:Persondata]]. -->~~ ~~\| NAME =Davey, Frank~~ ~~\| ALTERNATIVE NAMES =~~ ~~\| SHORT DESCRIPTION = Canadian poet~~ ~~\| DATE OF BIRTH = April 19, 1940~~ ~~\| PLACE OF BIRTH =~~ ~~\| DATE OF DEATH =~~ ~~\| PLACE OF DEATH =~~ }} {{DEFAULTSORT:Davey, Frank}} [[Category:1940 births]] [[Category:Living people]] [[Category:20th-century Canadian poets]] [[Category:20th-century Canadian male writers]] [[Category:Canadian male poets]] [[Category:21st-century Canadian poets]] Line 129 ⟶ 134: [[Category:University of British Columbia alumni]] [[Category:University of Southern California alumni]] [[Category:~~Writers~~Academic ~~from~~staff ~~British~~of ~~Columbia~~Concordia University]] [[Category:~~Concordia~~Poets ~~University~~from ~~faculty~~Vancouver]] ~~[[Category:Writers from Vancouver]]~~ [[Category:People from Abbotsford, British Columbia]] [[Category:Academic staff of the University of Western Ontario ~~faculty~~]] [[Category:Academic staff of York University ~~faculty~~]] [[Category:~~Literary~~Canadian ~~scholars~~academics of English literature]] [[Category:Postmodernists]]