Canadian Prairie Quotes

He had seen it often, from the verandah of his uncle's farmhouse, or at the end of a long street, but till now he had never heard it. The hollowing hum of telephone wires along the road, the ring of hidden crickets, the stitching sound of grasshoppers, the sudden relief of a meadow lark's song, were deliciously strange to him.

It used to be that you could get a lot of recognition by writing about Canada, as long as it was about small towns and nature.' 'Really?' 'Yeah. You could have canoes and the prairies or, also, sad women, very sad women who were fat or whose husbands had left them or something. There was a lady who wrote about fucking a bear, which was like a union with the land. There was a lady who wrote about mystical experiences she had at a cottage in northern Ontario. I was never sure what that was about. They were very important at one time, very stern and important. I had to study them in school. Anyway, he was one of them. He concentrated on the prairies, with a lot of native names, and wise native people, like there's a young boy with an Ojibway grandmother who will teach him the ways of the forest, sort of thing, and there's a lot of history, like a lot of the Riel rebellion for example.' 'The what?' 'History. And there's a lot of disaster, on the prairies, like people having to rebuild their sod houses after floods and so on.' They drove on the humming highway for a while. Then Nicola said, 'So you haven't answered my question.' 'What question?' 'Do you think he's any good?' 'Oh. The thing is... it's not, it doesn't matter. It's important. So it doesn't matter if I think it's good or not.' 'Okay. So it doesn't matter. So I'm asking you. What you think. Do. You. Think. It's. Good.' She slapped her bare thigh. James paused for a long moment... He said, 'There's one Boben book, I think it's Cold Season, or maybe it's Comfort of Winter, which ends with the line, "a story which Canadians must never tire of telling." What do you think of that line? A story which Canadians must never tire of telling.' She shrugged. 'I have no idea.' 'I'll tell you what you think of it. You don't give a shit. I'll tell you what I think of it. I don't give a shit either. But I also think it's the worst bullshit I've ever heard. I think,' he said, accelerating, 'that Ludwig Boben is a fucking asshole.

There have been a few attempts to turn Prime Minister Diefenbaker into the tragic hero of Canada’s lost independence, but that is ludicrous. For one thing, the country’s independence was certainly compromised, but it was not really lost. For another, Diefenbaker is nobody’s hero: he was a bombastic prairie politico who combined a crude but saleable version of English Canadian nationalism with an unwavering commitment to a Cold War view of the world.

There have been a few attempts to turn Prime Minister Diefenbaker into the tragic hero of Canada’s lost independence, but that is ludicrous. For one thing, the country’s independence was certainly compromised, but it was not really lost. For another, Diefenbaker is nobody’s hero: he was a bombastic prairie politico who combined a crude but saleable version of English Canadian nationalism with an unwavering commitment to a Cold War view of the world. “Dief” never admitted a mistake, had no particular attachment to the truth and suffered from chronic indecisiveness and low-grade paranoia. The image that lingers from his latter days is that of an old-fashioned and rigidly self-righteous man shaking his wattles in muddled indignation.

French-Canadian, the Alaskan, the Latin-American, the German, the Italian, the Anglo-American, and the American Indian, squaw and warrior. In the place of honor in the center of the group, standing between the oxen on the tongue of the prairie schooner, is a figure, beautiful and almost girlish, but strong, dignified, and womanly, the Mother of To-morrow. Above the group rides the Spirit of Enterprise, flanked right and left by the Hopes of the Future in the person of two boys. The group as a whole is beautifully symbolic of the westward march of American civilization.

We loved the wide-open west. Our explorations of the numinous Canadian landscape fed the songs, and our souls. We caught the west in the last of its wild state. Many of the songs I wrote in the seventies reflect our travels through the great expanse of the Canadian prairies, across the Rocky Mountains, to the moisture-rich West Coast. Space was everywhere, and there is space in the songs. Everything wasn’t a tourist trap yet, clear-cutting was not so evident, and agribusiness hadn’t completely killed off the family farm. In the first couple of years that Kitty, Aroo, and I travelled westward from Ontario, we were practically the only road campers out there. Seldom did we run across anyone else travelling the way we were. The prairies were full of abandoned old farmhouses—no families to be seen—harbingers of the reversion to feudal agricultural economics. All around the land still looked wild. Our journeys offered at least the illusion of freedom, as well as a deep sense of the land as Divine creation. Soon, though, we were seeing the spaces fill up with scabrous industrial sites, hotels, housing developments, shopping opportunities. We’d watch like gawkers at a train wreck as the land was eaten up before our eyes by inevitable human expansion and greed. There were ever more rules about where you could park your camper. It was the tail end of an epoch when the land was open and it, and we, could breathe freely. That will never come again.

Actually, the term "drove" is misleading when applied to travelling across the prairies; a better verb might be "pointed", which is all one has to do when moving in a straight line with about ten thousand feet between vehicles.

The conformist power of Canadian hockey culture is such that even New Englanders and Swedes, after a few years of inhaling North American Zamboni fumes, will come to adopt a Manitoban prairie lilt, and speak in run-on sentences of cautious optimism.