Transcript: Imprint season 14 episode 6 | Oct 30, 2002

Tina Srebotnjak stands in a studio with pieces of art in red and orange hanging in the background.
She’s in her late thirties, with short chestnut hair and bangs. She’s wearing a brown blazer.

She says TEEN GOOD EVENING.
TONIGHT "IMPRINT" GOES TO THE
WOLVES.
A NEW WAVE IN SCARY
FICTION FEMALE WEAR WOLVES.

A woman in her thirties says IT IS INTERESTING THAT
CANADIAN GIRLS WROTE WEAR WOLF
BOOKS MANY IT SAYS THERE'S A
LOT MORE WHO FEEL THIS.

A man in his late thirties says IN FACT.
SHE'S NOT WEAK AT ALL.
SHE CAN KICK YOUR ARC SS.

Tina continues WRITER MOLLY PEACOCK
AND HER CRUSADE TO GET PEOPLE
TO READ POETRY.

A woman in her forties says THERE MIGHT BE THINGS WE
DON'T UNDERSTAND, SO WHAT.

A man in his forties says I LISTEN TO OTHER PEOPLE'S
IDEAS.
I LIKE TO DISCUSS, BUT IT
DOESN'T BOTHER ME IF SO-AND-SO
HATES ME

Tina continues MEET STEVEN
HENNIGGAN.

A man in his thirties says HE IS SPRAYING THE BLITZ
AROUND.
HIS TARGETS ARE EVERY BOOK AND
PERSON WHO HAS MET WITH SOME
SUCCESS IN CANADA.

Theme music plays as the opening sequence rolls.
Fast clips show books and maps in hues of orange and red.

In the studio, Tina says NOTHING LIKE A GOOD WEAR
WOLF STORY TO GET YOU IN THE
MOOD FOR SERIOUS TRICK OR
TREATING.
THE LEGEND OF MAN INTO BEAST
IS INSPIRATION FOR WRITERS
AND MOVIEMAKERS.
A NUMBER OF CANADIAN ARTISTS
HAVE BEEN BITTEN BY THE WARE
WOLF BUG.
IT IS A TRADITION STEEPED IN
HISTORY.

Fast clips show images of werewolves.

Edo's in his thirties with a thick beard and short brown hair. A caption reads "Edo Van Belkom. Werewolf author."

He says THE THING I LOVE WITH WEAR
WOLVES IS THE SHIFTING.
THE IDEA THAT ANY HUMAN BEING
COULD BE A WEAR WOLF.
IT DOESN'T HAVE TO BE THE
ARNOLD SCHWARTZENAGERS
THAT TURN INTO WEAR WOLVES.
IT COULD BE SMALL, PETITE
YOUNG, WOMEN.
IT IS PART OF THE APPEAL.

A movie clip plays with the caption "Ginger Snaps. Courtesy of TVA International."

A woman in her twenties says LET'S GET OUT OF HERE.

She is attacked by a werewolf.

The clip ends.

Dena's in her forties with curly black hair to her ears. The caption changes to "Dena Taylor. University of Toronto."

She says THERE ARE REASONS WHY WE'RE
FASCINATED BY WEAR WOLVES.
THE MAIN ONE IS THE IDEA OF
DOUBLE IDENTITY THAT WE HAVE.
THAT WITHIN US US ALL IS A
BEAST.
IT IS TRYING TO GET OUT AND
ALWAYS AT WAR WITH OUR
CIVILIZED TENDENCIES.
THE SENSE OF OURSELVES.

A clip plays with the caption "Werewolf of London." In the clip, a man in his forties transforms into a werewolf.

Dena continues AND THE WEREWOLF IS A DIRECT
PHYSICAL EXPRESSION.
THIS IS WHERE THE BEAST GETS
OUT AND IS UNCONTROLABLE.
AND YOU CAN'T CONTROL WHEN IT
COMES OUT.
YOU CAN'T CONTROL WHEN IT
COMES BACK.
WILL YOU COME BACK TO
YOURSELF.
AND THAT WHOLE IDEA FASCINATES
US IN A TERRIFYING KIND OF
WAY.

The clip ends.

Kelley's in her early thirties with brown hair to her shoulders. The caption changes to "Kelley Armstrong. Werewolf author."

She says I THINK THE WEREWOLF IS AN
INTERESTING FANTASY.
PART OF IT I THINK IS THAT IT
PERHAPS ORIGINALLY EXPLAINED
EXTREME VIOLENCE IN PEOPLE.
SOME OF THE EASTERLYIEST
SERIAL KILLERS CLAIMED THEY
WERE WEREWOLFS.
THE COURTS BELIEVED THEM.
THEY STILL KILLED THEM, BUT IT
HELPED PEOPLE TO UNDERSTAND
WHY THEY WOULD DO THAT.
THEY COULD ONLY DO THAT, IF
THEY WERE PART BEAST.

Edo says THE WEREWOLF GOES BACK IN
TIME ALMOST AS LONG AS THE
VAMPIRE MYTHOS.
IT STARTED WITH CANNIBLISM.
WHEN YOU WERE GOING TO
PRACTICE CANNIBLISM, YOU WERE
TURNING INTO AN ANIMAL AND
THERE CAME THE MYTH.

Dena says IN THE MIDDLE AGES IN TIME
OF WAR, FAMINE, OR PLAGUE,
WHICH WAS PRETTY MUCH ALL THE
TIME.
WOLVES WERE A GENUINE DANGER.
PEOPLE TRANSFERRED THEIR FEARS
ON TO WOLVES.
THESE DAYS, ALTHOUGH WOLVES
ARE NOT A DANGER AND WE KNOW
MORE ABOUT THEM AND AREN'T
WORRIED BY THE WOLF AT OUR
DOOR.
WE HAVE THE FEAR OF THE WOLF
WITHIN US.
IT MAKES A PERFECT SYMBOL FOR
THE MAN, BEAST CONFLICT.

Now on an animated slate, clips show different authors answering the question "Why write about werewolves?"

Dena says WEREWOLF LITERATURE DOESN'T
HAVE A CLASSIC TEXT, THE WAY
"FRANKENSTEIN" OR "DRACULA"
IS.
I GOOD IF THERE IS ANY CLASSIC
TEXT IT WOULD BE "Dr. JECKLE
AND Mr. HIDE" IN THE OLD
RENDITIONS IT PUSHED THE
CHARACTERISTIC OR THE
TRANSFORMATION.
I THINK THAT BOOK AND THE
VARIOUS FILM VERSIONS
INCAPITULATE THAT VISION WE
HAVE.
YOU DREAD IT.
YET WE WANT TO CONFRONT IT, SO
WE'RE FASCINATED.

Edo says I LIKE WRITING ABOUT FEMALE
WEREWOLFS, BECAUSE THEY'RE
OFTEN DEPICTED AS BEING THE
WEAKER GENDER.
IT IS ALWAYS -- IT IS ALWAYS
INTERESTING TO ME TO HAVE THAT
WEAKER GENDER NOT SO WEAK.
IN FACT, SHE'S NOT WEAK AT
ALL.
SHE CAN KICK YOUR ASS.

A clip from Ginger Snap's plays on screen. In the clip, a woman and man in their twenties make out in the back of a car.

Then she grabs him and says ARE YOU THE TOUGH GUY IN
HERE?

He says DON'T WE NEED PROTECTION.

She grabs him aggressively.

He says STOP IT, WAIT A SECOND -- .

She says YOU SCARED BOY.

She transforms into a werewolf.

The clip ends.

Kelley says TO GET INTO THE MIND OF A
WEREWOLF I THOUGHT WHAT IT
WOULD BE LIKE TO BE PART WOLF.
WHAT WOULD THAT CHANGE YOUR
PERSONALITY.
HOW WOULD IT CHANGE YOUR OUT
LOOK?
WHAT IT WOULD MEAN FOR A
PERSON.

Sparkle's in her early forties with long straight hair and bangs. The caption changes to "Sparkle Hayter. Werewolf author."

She says I LIKE THE IDEA THAT
FEMALES IN NATURE ARE ALLOWED
TO BE SO WHOLE.
THEY CAN BE HUNTERS NURTURERS,
FIGHTERS, LOVERS.
WHERE AS HUMAN FEMALES ARE A
LITTLE MORE RESTRICTIVE BY
SOCIALATION.
WE'RE ALLOWED TO EXPRESS
OURSELVES FULLY IN NATURE.
IT TURNS OUT THERE'S A HISTORY
OF FEMALE WEREWOLVES.
THERE'S ONE BY KELLY
ARMSTRONG.
IT IS INTERESTING THAT TWO
CANADIAN GIRLS WROTE VERY
DIFFERENT WEREWOLF BOOKS.
IT SAYS THERE'S A LOT MORE WHO
FEEL AS VEERIL THING.

A clip from "The Wolf Man plays." In the clip, a man in his thirties turns from a wolf back into a man.

Dena says THE GROUND RULES WERE SET
FOR HOLLYWOOD WEREWOLFS BY LON
CHEANEY, Jr. IN WOLFMAN, 1941.
THE IDEA OF TRANSFORMATION AND
BEING KILLED BY SOMETHING OF
SILVER AND THE GOODMANFEELING
SYMPATHY.
IT SETS UP THE CONVENTIONS FOR
HOLLYWOOD.
AND TIP DAL AS SOON AS THEY
SET UP CONVENTIONS THEY START
TO PLAY AROUND AND CHANGE
THEM.

The clip ends.

Edo says A MORE RECENT WEREWOLF FILM
NOT FROM HOLLYWOOD, A CANADIAN
FILM "GINGERSNAPS" YOU DON'T
GET CLEAR VIEWS OF THE
WEREWOLF.
THERE'S A FEW SHOTS AT THE END.
THE SUSPENSION IS WHAT DOES IT
LOOK LIKE?
HOW IS THE CHANGE COMING
ABOUT?
IT IS NOT GLAMOURIZED OR
ROOMANTIZED IT IS ABSOLUTELY
HORRIFIC.

Sparkle says I DON'T THINK IT IS A
COLLECTIVE UNCONSCIOUS.
I THINK THERE'S SOMETHING IN
ALL OF US THAT IDENTIFIES WITH
THE WOLF.
WE DO HAVE OUR ANIMAL SIDE.
WHAT WE LOSE AND RETAIN THAT,
I THINK IS WHAT WRITERS AND
MOVIEMAKERS WHO HAVE DONE THE
WEREWOLF STORY HAVE TRIED TO
EXPLORE IS WHAT WE HAVE LOST
AND WE'RE NOT AS CLOSE TO
NATURE AS WE USED TO BE.

Tina says "BITTEN" IS PUBLISHED BY RANDOMHOUSE CANADA.

The book appears briefly. The cover features a woman laying motionless on the ground.

She continues "NAKED BRUNCH."

The book appears briefly. The cover features a woman whose back is turned to the camera.

She continues AND "WEREWOLF" IS A HARPER
HARPER PRISM PAPERBACK.

The book appears briefly. The cover features a man and a woman who hold hands and run through the forest.

Tina continues LATER ON "IMPRINT," WHEN
WORDS DENY THE WORLD.
LITERARY CRITIC STEVEN HAND
BEGAN TAKES A SHOT AT
CANADIAN LITERATURE AND UP NEXT MOLLY PEACOCK
FINDS POETRY IN A PEACH.

Back in the studio, Tina says POETRY TO THE PEOPLE.
THAT REVOLUTIONRY IDEA HAS
BEEN THE DRIVING FORCE BEHIND
THE WORK OF MOLLY PEACOCK.
SHE CAN CONVINCE EVEN THE
WEARY PHILISTINE TO GIVE IT A
SHOT.
NOW LIVING PART-TIME IN
TORONTO, MOLLY CONTINUES TO
WRITE AND MENTOR ASPIRING
POETS.
WE TOOK OUR CAMERA TO THE
LAUNCH OF HER LATEST BOOK AND
SAT DOWN TO CHAT ABOUT THE
POET'S LIFE.

Now a clip plays of a book party in a restaurant.

Molly's in her forties with a blonde bob. She speaks in front of a group of people.

She says A FAVOR OF LOVE.
THANK YOU FOR MAKING THIS
SACRIFICE I SAY TO MY HUSBAND
AS I RUN TO KIM'S MARKET.
NEVER MIND WHAT THE SACRIFICE
IS.

Keri's in her thirties with a brown bob. The caption changes to "Kerri Huffman. Writer."

She says I'M HERE BECAUSE I WORKED
WITH MOLLY IN A COUPLE OF WORK
SHOPS SHE WAS SUCH A WONDERFUL
MENTOR TO ME.
I REALLY LOVE HER WORK.
I THINK SHE HAS A REAL KNACK
OF GETTING TO THE HUMAN
CONDITION.
AND -- EVERYONE CAN FIND
SOMETHING IN HER WORKS.

Molly signs books for fans.

Ricardo's in his sixties with a thick mustache and white hair. The caption changes to "Ricardo Sternberg. Poet."

He says AS A POET MYSELF I ADMIRE
THE WAY SHE CONSTRUCTS POEMS I
HAVE LEARNED HOW TO MAKE IT
MOVE FROM A TO Z.
HER POEMS MOVE WELL.

Mary Lou is in her late fifties with short blonde hair. The caption changes to "Mary Lou Findlay. Radio journalist.

She says SHE'S A FINE POET.
SOMEONE TOLD ME TONIGHT THAT
SHE HAS MOLLY'S WORK HAD
STARTED HER READING POETRY
AGAIN AND BELIEVE IT IS
ACCESSIBLE.
I THINK THAT'S A NICE COMMENT.

Now a clip plays of Tina interviewing Molly in a cafe. A caption reads "Molly Peacock. Cornucopia."

Tina says I SEE YOU ARE A POET IN
RESIDENCE AT THE CATHEDRAL OF
ST. JOHN DIVINE IN NEW YORK.

Molly says THE CATHEDRAL IS A WOLF
PLACE THERE.
IS A HIGH WIRE ARTIST IN
RESIDENCE.
THERE'S A -- THERE'S ONE FOR A
CONGREGATION AND ONE FOR POET
CORNER, WHICH I AM.
THERE IS A STRING QUARTETTE,
SCULPTURES IN RESIDENCE.
IT IS AN AMAZING AMAZING
PLACE.
THERE'S A BOARD OF ELECTORS
THAT GETS TOGETHER EVERY YEAR
AND DECIDES ON A POET AND A
LINE OF POETRY TO BE WRITTEN
IN STONE IN THE KATH NEED
DRAFT.
EVERY YEAR WE DO THAT.
IT IS AN AMAZING COLLECTION OF
LINES AT THIS POINT.
THOUSANDS OF VISITORS COME TO
POET CORNER AT THE KATH NEED
DRAFT.
FOR SOME OF THEM, THE YOUNGEST
ONES IT IS THEIR FIRST
INSTRUCTION INTRODUCTION TO
LINES OF POETRY.
IT IS ONE OF THOSE -- THING
WHEN YOU THINK OF ALL THE
THINGS COUNTRY DO IN LIFE THAT
HAVE UPSIDES AND DOWNSIDES
THIS IS ONE OF THE THINGS THAT
HAS NO DOWN SIDE.
IT IS JUST WONDERFUL.

Tina says NOW YOU WROTE A BOOK CALLED
"HOW TO READ A POEM" IT IS FOR
MERE MORTALS.

Molly says YES.

Tina says I THINK A LOT OF PEOPLE
FINE POETRY INTIMIDATING.
I KNOW IT IS ONE OF YOUR
CRUSADE TO MAKE IT MORE
ACCESSIBLE TO PEOPLE.
CAN YOU GIVE ME IN A NUTSHELL.
HOW ARE WE TO READ A POEM?

Molly says WE ARE TO READ A POEM
FEARLESSLY.
WE'RE TO READ A POEM KNOWING
THERE MIGHT BE THINGS WE DON'T
UNDERSTAND.
WELL -- SO WHAT?
THINK OF ALL THE -- THINK
OF -- YOU MIGHT GO TO A MOVIE
IT MIGHT BE SET IN A COUNTRY
YOU HAVE NEVER BEEN.
THERE ARE THINKS ABOUT THAT
FILM YOU WON'T UNDERSTAND.
THAT DOESN'T PREVENT YOU FROM
GOING TO THE MOVIE.
YOU GOOD WITH CURIOSITY
THINKING MAYBE I WILL DISCOVER
SOMETHING.
IT WILL BE INTERESTING.
THE SAME IS TRUE OF A POEM.
YOU CAN DISCOVER SOMETHING
THERE.

Tina says YOU DON'T MIND IF YOU DON'T
UNDERSTAND.

Molly says I UNDERSTAND IT EVENTUALLY
BECAUSE POETRY WAS MEANT TO BE
REREAD.
THAT IS THE FUN OF POETRY.
IT IS LITTLE.
OR MY FAVOURITE POEMS TEND TO
BE ON SMALL SIDE.
I LIKE THE ONES THAT SQUAT
LIKE A LILI PAD ON THE PAGE.

Tina says YOU LIKE YOUR INTIMIDATIONS
IN SMALL DOSES.

Molly says AND MY FEAR TOO.

Tina says THAT'S RIGHT.
LET ME ASK YOU ABOUT "CORN
COPIA" SOME GOES BACK 20 YEARS,
AND THEN A NEW SECTION CALLED
THE "THE LAND OF THE SHE."

Molly says THE LAND OF THE SHE.
SHI WITH A LITTLE ACCENT
OVER IT.
BUT OF COURSE, I PLAY WITH
THAT, IT IS LIKE THE PRONOUN
SHE.
THE LAND OF THE SHI ACCORDING
TO JAMES STEVENS WHO WROTE
DOWN MANY OF THE CELTIC FAIRY
TALES IS -- A PLACE WHERE
EVERYTHING INTENSIFIES.
BUT IT IS NOT A PLACE WHERE
YOU GO.
YOU DON'T EXERT YOURSELF TO GO
THERE.
YOU STOP IN THE PLACE YOU'RE
IN.
AND ENTER THE LAND OF THE SHE
BY RECOGNIZING WHERE YOU ARE
AND WHAT'S ABOUT YOU.
AND SO, FOR THAT REASON -- I
SORT OF JOKE, IT IS LIKE A
CELTIC ZEN.

- AND ACCEPT -- BEING -- BEING
IN THE MOMENT, OF COURSE.
BUT IT IS ALSO BEING IN A
PLACE.
AND -- TO LOCATE OURSELVES BY
STOPPING TODAY IN OUR LIVES IS
AN EXTRAORDINARY IDEA.

Tina says THERE'S A LOVELY POEM IN
YOUR BOOK THAT SITS LIKE A
LITTLI PAD IN THE PAGE.
IT IS CALLED COUPLE SHARING A
PEACH.
IT IS A LOVE POEM.
YOU WRITE LOTS OF LOVE POEMS
TELL ME ABOUT THIS POEM?

Molly says IT IS WONDERFUL TO BE ABLE
TO WRITE LOVE POEMS.
AND -- THAT LOVE POEM IS
WRITTEN ABOUT -- SOMETHING
RADICAL -- A MARRIED COUPLE.

- IN LOVE, WHEN YOU THINK
ABOUT THAT, THERE AREN'T THAT
MANY OF THOSE IF YOU GOOD TO
AN ANTHOLOGY AND LOOK UP LOVE
POEMS THERE ARE THE WHY WON'T
YOU LOVE ME AND A HUGE SECTION
OF, WELL NOW THAT I'M OUT OF
LOVE WHAT AM I GOING TO DO.
BUT THE CENTRE OF LOVE.
THE EXCHANGE OF LOVE AS IT
DEEPENS AND GROWS -- I WAS
GOING TO SAY STRANGELY ENOUGH,
BUT PERHAPS NOT STRANGELY
ENOUGH, RARELY ENOUGH IN THOSE
ANTHOLOGIES IS A THIN SEC.
I WANTED TO -- I WANTED TO
ENLARGE ON THAT.

A picture of a bowl of peaches appears on screen with the caption "Couple sharing a peach."

Molly says IT IS NOT THE FIRST TIME
WE'VE BITTEN INTO A PEACH, BUT
NOW AT THE SAME TIME IT SPLITS
HALF FOR EACH OUR THEN IS
INSIDE IT'S NOW ITS HALFED PIT
UNFLESHED WHAT WAS REFRESHED.
TO HAPPINESSES UNFOLD IN ONE
JOY FOLIOD IN A HOTEL ROOM
OUR MOMENT LIES WITH ITS ODE
INSIDE A RED TINGE WITH A
HINGE.

Tina says IN SOME OF THE OLDER POETRY
I WONDER HOW THAT SEEMS TO YOU
NOW.
IN YOUR POEMIOS OFTEN TALK
ABOUT YOUR YOUNGER SELF-OR A
SELF-YOU HAD TO LEAVE BEHIND.
HOW DOES THE OLDER STUFF SEEM
TO YOU NOW?

Molly says WHEN I WAS FIRST ASKED TO
DO A POEM.
I WAS SHOCKED I WOULD HAVE TO
GO BACK AND LOOK OR NOT JUST
THUMB THROUGH, BUT REALLY LOOK
AT IT.
SO I WENT BACK IN.
REALLY VERY GINGERLY.
AND NOT QUITE BACK INTO THE
EARLIEST PART.
I INCHED BACK THROUGH.
AND I ENJOYED MEETING THAT
YOUNG WOMAN WHO WROTE THOSE
POEMS.
I ENJOYED MEETING THAT PERSON,
WHO -- WHO IN HER STRUGGLES
STRUGGLES -- IT WAS FUN TO
REVISIT AND I MADE A DECISION
THAT SOME POETS DON'T MAKE AND
SOME FIND OXABLE.
I SAID I'M GOING TO PECK THE
POEMS I FEEL ARE WHOLE AND
STAND AS THEY RESEARCH I'M NOT
GOING TO GO IN AND MESS AROUND
WITH THEM AND "IMPROVE" THEM,
BECAUSE YEEM NOT GOING TO BE
ABLE TO ENTER INTO THE
FRESHNESS OF THAT FEELING.
IT WAS FELT WHEN IT WAS FELL.
AND SO -- AND THAT'S ANOTHER
WAY THAT KIND OF -- I DON'T
KNOW PRESERVED THE INTEGRITY
OF THOSE THINGS AND ALLOWED ME
TO ENJOY THEM AGAIN.

Tina says THE GIRL YOU WERE.
THE YOUNG WOMAN YOU WERE IN
THE POEMS I FOUND THERE WAS A
SENSE IN PROGRESSION I FELL
SHE HAD CONQUERED HER DEMONS
AND WERE DEMONS TO QN QER YOU
HAD A SAD CHILDHOOD ALCOHOL
ABUSIVE FATHER, AND MOTHER WHO
WAS TERRIFIED NOT AN EASY LIFE
WAS POETRY YOUR REFUGE.
IS THAT PART OF THE REASON YOU
CAME TO POETRY?

Molly says HONESTLY -- IT PROBABLY
WOULD NOT BE TO RADICAL TO SAY
THAT IT SAVED MY LIFE.
THAT -- I HAD ONE OF THOSE
LIVES WHERE THE BAD PART CAME
FIRST.
AND OUT THERE -- AT LEAST ONE
IN 10 PEOPLE HAVE A LIFE LIKE
THAT.
MAYBE MORE.
AND I HAD THE -- I HAD
THE -- THIS IS -- IT IS AN ODD
THING TO SAY THAT I HAD THE
PLEASURE OF STRUGGLING THROUGH
IT TO WHERE I AM NOW, BECAUSE
IT WASN'T A PLEASURE TO
STRUGGLE THROUGH.
IT WAS VERY HARD.
IT WAS LIKE HAVING AN IDENTITY
THAT WAS THROWN THE TABLE AS A
THOUSAND JIGSAW PIECES THAT I
THEN PAINSTAKINGLY BEGAN
TURNING OVER AND TRYING TO FIT
TOGETHER.
AND POETRY WAS VERY HOPEFUL
FOR ME.
IT WAS LUCKY THAT I HAD A
GIFT.

Tina says WELL, WHATEVER FORMULA YOU
HAVE IT IS WORKING FOR YOU.
IT IS A WONDERFUL BOOK OF
POETRY.

Molly says IT REALLY IS A CORNACOPIA
MANY IT IS THE FRUITS OF MY
POETRY THAT I GATHERED TO PUT
TOGETHER IN A HARVEST.
AND -- IT IS REALLY FUN
TO -- IT IS REALLY FUN TO LOOK
AT THOSE APPLES AND PEACHES.

Tina says YOU ARE A PEACH.

The book appears briefly. The cover features a hand holding a peach.

In the studio, Tina says LAST SPRING WHEN "WHEN
WORDS DENY THE WORLD" THE
ESSAY UNLEASHED NOT A
UNSUSPECTING PUBLIC.

The book appears briefly. The cover features glasses.

Tina continues HENIGHAN BEGAN DARED TO QUESTION
THE WORKS OF THE LIT AFTERY
STARS.
SOME WERE DELIGHTED OTHERS
WERE APPALLED.

Stephen is in his thirties, clean-shaven with short brown hair. A caption reads "Stephen Henighan. When Words Deny the World."

He says THE BOOK IS ABOUT THE WAY
IN WHICH THE CHANGES IN
CANADIAN SOCIETY SINCE 1990
HAVE MADE AN IMPACT ON THE WAY
WE WERE.
MADE AN IMPACT ON THE WAY WE
PUBLISH, THE WAY WE SELL
BOOKS.
I THINK THERE'S A FUNNY THING
GOING ON, WHERE WE SEE THE
LITTARRY IN THE 90s AS POET
WRITING MET FORES.
FALL AG LONG FROM THE
TRADITION ESTABLISHED.
IT IS HAS BECOME MUCH MORE THE
CASE IN THE 90s.
BECAUSE OF THAT WE'RE
MITIGATION OUT ON INVASION IN
TERMS OF NATIVE VOICE AND
TECHNIQUE AND LANGUAGE HAS
BEEN OVERLOOKED IN PURSUIT OF
THE NOBLE MET FORE.

Noah's in his late thirties, and clean-shaven with short brown hair. The caption changes to "Noah Richler. National Post."

He says STEVE IS IMPORTANT TO THE
CANADIAN LITERARY DEBATE HE
BRINGS QUALITIES FROM
ELSEWHERE.
WE HAVE FAR TO MANY WRITERS
TALKING AMONG OURSELVES ABOUT
PETTY ASPECTS AND POROKIAL
ASPECTS OF A COUNTRY YOUNG AND
PARSEY POPULATED HE WORKS FROM
BOOKS AND READS BOOKS WELL.
HE BRINGS A POINT OF VIEW,
WHICH -- WHICH WE DON'T HAVE
ENOUGH.

An article featuring a picture of Stephen appears on screen. The article title reads "Rocking the Canlit Boat."

Noah continues HERE'S A MAN ESPECIALLY
WELL-READ IN LATIN AMERICA
LITERATURE, WHO BRINGS AND
TESTS CANADIAN LITERATURE
AGAINST WORLD STANDARDS.
BY GOD WE NEED THAT.

Stephen says WRITERS OVERBLOWN SAINTLY
CAROL SHIELDS.
I FIND THE PROS OF JANE ERKHART
DIFFICULT TO READ SHE IS A BRILLIANT
WRITER BUT A MEDIOCRE NOVELIST
MOST WHO START THE ENGLISH
PATIENT DON'T FINISH IT IT IS
A NOVEL ABOUT IMAGES RAGGER
THAN PEOPLE.
IT IS A NOVEL WHERE THE IMAGE
REPLACES HISTORY DETORTS AND
REPLACES HISTORY FUGITIVE
PEOPLE IN THE VAIM VEIN
DOES -- TO MY MIGHT BE THE
SAME THING WITH THE HOLOCAUST
AND TURNS THE HOLOCAUST INTO A
BEAUTIFUL SHIMMERING IMG WHICH
I SEE AS MORALLY DUBIOUS.
I THINK THESE BOOKS
RECEIVED A LOT OF ATTENTION
BECAUSE IT CONFORM FORMED WHAT
ART SHOULD BE LIKE.
BUT GOOD ART IS FUN TO READ.

Noah says WHEN HE MAKES CRITICISM
ABOUT JANE ERK HEART IOR THOSE
WHO SIT ATOP THE BEST-SELLER
LIST FOR 50 WEEKS.
IN PART ONE HAS TO RECOGNIZE
HE IS INDULGING IN THE SPORT
OF CRITICISM.

Andrew's in his thirties, clean-shaven with short gray hair. The caption changes to "Andrew Pyper. Author."

He says HE SPRAYS THE BULLETS
AROUND.
HIS TARGETS ARE EVERY BOOK AND
PERSON WHO HAS MET WITH SOME
SUCCESS IN CANADA.
THERE'S NO KIND.
WHAT I REALLY LIKE IS THIS.
EVERYTHING THAT IS OF ANY NOTE
IS TAKEN NOT JUST TO TASK BUT
DISMISSED.

Darren's in his thirties, clean-shaven with short black hair. The caption changes to "Darren Wershler-Henry. Author."

He says HE'S RESENTFUL OF PEOPLE
OLDER THAN HIM MAKING MORE
MONEY AND DOESN'T GIVE A RATS
ASS BEEN YOUNGER PEOPLE DOING
MORE INTERESTING WRITING WHERE
IS MICHAEL TURNER, LIN CROSBY,
ELENA WILCOX.
ALL OF THESE PEOPLE ARE DOING
REALLY INTERESTING AND
INNOVATETIVE WRITING.

Stephen says I HAVE NEVER CARED THAT
MUCH WHAT OTHER PEOPLE THOUGHT
AT SOME LEVEL.
I CARE -- I LIVE TO OTHER
PEOPLE'S IDEAS AND LIKE TO
DISCUSS WITH OTHER PEOPLE.
IT DOESN'T BOTHER ME IF
SO-AND-SO HATES ME.
THERE ARE DELICIOUS IRONIES
INVOLVED IN PUBLISHING A BOOK.
IRONIES IN THE WAY IT IS
INTERPRETED AND REACTIONS ONE
OF THE SURPRISES THIS TIME IS
UNLIKE THE OTHER FIVE BOOKS
I'M PUBLISHED THIS HAS ME
STANDING IN FRONT OF A
TELEVISION CAMERA AND BEING
ABSORBED INTO THE COMMERCIAL
WORLD I'VE BEEN CRITICIZING.
I'M TRYING NOT TO BE COOPTED
AND MAINTAIN MY INTEGRITY AND
INDEPENDENCE.

Andrew says INSTEAD OF LOOKING AT THE
SYSTEM AS IT IS AND
COMPLAINING ABOUT IT, I THINK
IT IS THE WRITER'S JOB TO
CONTINUE TO WERE YOU AND WRITE
AS BEST HE CAN, INSTEAD OF
BEING DRAWN FULL TIME INTO
PERSONAL BITTER POLLEMICS.

Noah says WE'RE NOT A PEOPLE THAT
SHOPS AROUND MUCH.
TO ABLE TO READ SOMEONE LIKE
CARREGGAN IS A JOY.
TO SAY THAT A FEW MONTHS AFTER
DEGREEING ITS BOOKS MANY OF
ITS IDEAS AND SENTIMENTS LINGER WITH ME.

Stephen sits on a bench outside and holds a paper in his hands.

He says HERE I HAVE THE REVIEW OF
"WHEN WORDS DENY THE WORLD" IN
THE NATIONAL POST.
I HAVEN'T SEEN, IT BECAUSE I
HAVE BEEN AWAY IN GREECE AND
BULGARIA.
I'M ACTUALLY AMAZED.
I HAVE A REVY IN THE "NATIONAL
POST." HIS VIEWS ARE JARRING.
I'M PRETTY HAPPY.
IT IS THE NATIONAL POSTAND
THEY'RE BEING NICE.
I CAN'T COMPLAIN.

Tina says "WHEN WORDS DEAN THE WORLD"
IT PUBLISHED BY PORK PINE'S
QUILL IT WAS JUST NOMINATED
FOR GOVERNOR GENERAL'S AWARD.
HOW DO YOU FEEL ABOUT CANADIAN
LITERATURE?
DROP US A LINE AND LET US KNOW
INCH CLOSING WE HAVE ASKED
HIGH SCHOOL STUDENTS TO NAME
THEIR FAVOURITE CANADIAN
WRITER.
THEY WERE QUITE ENTHUSIASTIC.
GOOD NIGHT.

A girl in her twenties says PROBABLY HAVE TO BE LUCY
MONTGOMERY.
I BASICALLY GREW UP ON THAT
BOOK.

A boy in his twenties says MY FAVOURITE AUTHOR WOULD
BE ROBINSON DAVIES I FIND THEM
INTRIGUING.

A girl in her twenties says MY FAVOURITE CANADIAN
WRITER ST. CLAIRE ROSS,
BECAUSE WE DID A SHORT STORY
FROM HIM LAST YEAR.
I THOUGHT IT WAS AMAZING
"PAINT A DOOR."

A girl in her twenties says THE LAST CANADIAN AUTHOR
WAS NANCY KILL PATRICK SHE
WROTE "NEAR DEATH "CAN THE IT
WAS INTERESTING.

A girl in her twenties says MARGARET ATWOOD THERE'S SO
MUCH DETAIL AND INSIGHT INTO
REGULAR LIVES.
SHE HAS WOLF SENSE OF PROS

A girl in her twenties says MY FAVOURITE CANADIAN
AUTHOR IS KELLY ARMSTRONG
"BITTEN" MARGARET LAWRENCE.
I THINK SHE WRITES INVOLVED
AND IN-DEPTH STORIES.
I JUST REALLY LIKE HER STYLE
OF WRITING.

A girl in her twenties says ROBERT MERGE HE IS A
CHILD'S AUTHOR.
I GREW UP ON HIM.
I WAS -- I READ HIM ALL THE
TIME.
I ENJOY HIS WORK.
AS A CHILD HE INTERESTS YOU SO
MUCH.

A boy in his twenties says MY FAVOURITE CANADIAN
SOUTHORS ROBERT DAVEY OR
ALLISON MONROE.
MULLET ONE HE IS AMAZING
WRITER.
TWO, MY PARENTS WOULD READ ME
THAT ON LONG CAR TRIPS.
AND -- THE WAY HE DESCRIBES
HIS LIFE GROWING UP AS WELL AS
OTHER ASPECTS I CAN'T PUT THEM
DOWN.
I NEVER PICK UP A BOOK -- IT
IS SO INTRIGUING.

Theme music plays as the end credits roll.

Special thanks, Debby de Groot, Ben McNally, Mediterraneo and Nicholas Hoare Books.

Imprint. C/O TVOntario. P.O. Box 200. Station Q, Toronto, Ontario. M4T 2T1.

Fax: 416-484-2780.

E-mail: imprint@tvo.org.

Website: www.tvo.org/imprint

A production of TVOntario, The Ontario Educational Communications Authority.

Watch: Imprint season 14 episode 6