Essentially, Wood characterizes the book’s prominent themes not as reoccurring concepts pervasive throughout the narrative, but as a “commentary upon the making of the books”. Further, the book “belongs to a relatively recent genre called “metafiction,” which is to say it is a book about its own writing”, again tying back to this concept of creative magic. “The narrative center lies on a spectrum somewhere between fiction and autobiography’, and constitutes a fictional autobiography”, and “constitutes a fictional autobiography that accounts for itself” (Wood 25-26 &...
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...ce, or a “descent into the underworld”, or “hysteria”, resulting in an ultimate rise to sainthood. Finally, the dullness of life and the societal ideals of the male and female roles are challenged in the transformation of Mrs. Dempster in her respective process of sainthood. Abnormal behavior is looked down upon in rural Ontario; however, this process of “sainthood”, as a theme in the book, seems to assume that and individual rejection of social norms is a fundamental tenant of this transformation. Like Mrs. Dempster, Ramsay experiences a similar transformative trajectory, and the magic of this process is not necessarily magic in the traditional sense of the word, but related to a deeper sense of becoming. The magic manifests itself as a creation, and transformation, seeping out from within the most unlikely of places, namely a rural Ontario village called Deptford.
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