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Billy the Kid

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Robert Mc Gill

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23:58 January 24, 2011 The 1960s: US Violence and Canadian Nationalism Billy the Kid as Canadian in 70s? Violence in 60s 1963 John F. Kennedy, 1964Civil Rights Act, Vietnam war antagonism towards authority, 6860, MLKJ death, invasion of Czech, student uprising in Paris, Race riots, days of rage in Chicago weather underground series of bombings against government Story about young American man caught up in violent relationship with the state. Against will to the war (Vietnam) if not than put in jail Hollywood movie restrictions violence and sex, Jest of God Bonnie and Clyde, the Wild Bunch (Western) allegory of Vietnam Allegorychance to look back at consolidation of America Necessity of violence in order to bring civilization to a place Vietnam engaged in same self justified war Canada Peace-keeping nation 1957 Lester B Pearson international diplomat Canadas position to stay out of Vietnam war New flag, 67 100 years of nation new vigor, celebration Recognition that Canada wasnt caught up in the type of violence US was Excepted draft resisters 1000smost of them stayed Canadian (Trudeau) haven for draft resisters Conservative country became progressive alternative House of a Nancy published Billy but in 1960s also published Manual for Draft age immigrants to Canada 1968 Said you do not leave civilization behind when you cross the border. In fact, many Canadians would claim that you enter it. Ondaajate Trying to diagnosis the problem Billy has ambelivient regard for violence. Marshal McLuhan framed Canadian identity in 1977 sharing the American way without commitment to American goals or responsibilities, makes the Canadian intellectually detached and observant as an interpreter of the American destiny Canadians have instant access to all Americans radio and television which, experienced in the alien milieu of Canada, feeds the philosophic attitude of comparison and contrast and critical judgment. The Collected Works as Canadian Literature (published in 1970) Margaret Atwood published Susanna Moody works then too both biographies in the guise of autobiography --- reimagining on a very intimate level notion of coherence but then lyric poem, multiplicity in characters speak explicitly or implicitly from beyond the ground (Billy has already died when he first speaks and Moody last poem in graves) the impossibility of giving voice to historical characters
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