Self Writing and World Mapping in Tim Bowling’s 'Downriver Drift' (2000) and 'The Paperboy’s Winter' (2003)

Leonor María Martínez Serrano
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Abstract

Widely acclaimed as one of the best living Canadian authors, Tim Bowling has cultivated several literary genres with great talent and verbal craftsmanship. He has published twelve poetry collections to date, two works of creative non-fiction, and five novels, including Downriver Drift (2000), The Paperboy’s Winter (2003), The Bone Sharps (2007), The Tinsmith (2012) and The Heavy Bear (2017). This article explores the epistemological power of Bowling’s fiction as a mode of knowing the self and the nonhuman environment. More specifically, bearing in mind fundamental ecocritical tenets, it analyses how his two earliest novels, Downriver Drift and The Paperboy’s Winter, evoke notions of dwelling and a compelling sense of place, as the natural environment in them is much more than mere backdrop to the narratives unfolding in their respective plots. Written in elegantly wrought language rich in poetic resonance, Bowling’s novels remind their readership that fiction is a powerful tool to investigate the human condition and our surrounding world, where the human and the nonhuman coexist on democratic terms.
蒂姆·鲍灵的《下游漂流》(2000)和《报童的冬天》(2003)中的自我写作和世界映射
作为加拿大最优秀的在世作家之一,蒂姆·鲍灵以其非凡的才华和语言技巧培养了多种文学体裁。迄今为止,他已经出版了十二部诗集,两部创造性的非虚构作品和五部小说,包括《下游漂流》(2000),《报童的冬天》(2003),《骨尖》(2007),《铁匠》(2012)和《大熊》(2017)。本文探讨了鲍灵小说作为认识自我和非人类环境的一种模式的认识论力量。更具体地说,考虑到基本的生态批评原则,本文分析了他最早的两部小说《顺流而下》和《报童的冬天》是如何唤起居住的概念和一种令人信服的地方感的,因为它们中的自然环境不仅仅是各自情节中展开叙事的背景。鲍林的小说以优雅的语言写作,富有诗意的共鸣,提醒读者小说是调查人类状况和我们周围世界的有力工具,人类和非人类在民主的条件下共存。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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