Revitalizing Canadian Cultural Identity in a Time of National Pride
In an era marked by increased patriotic sentiment across Canada, a compelling new publication makes a powerful argument for rescuing the nation's book publishing industry from what it describes as American cultural imperialism. Authored by Christopher Dummitt, this analysis delves into the critical challenges facing Canadian cultural expression and proposes pathways for renewal.
The Decline of Canadian Literary Presence
Richard Stursberg, former CBC executive and longtime advocate for Canadian content, presents a sobering assessment in his recent work "Lament for a Literature." His examination details what he characterizes as the systematic collapse of Canadian book publishing, offering a largely persuasive narrative about how this vital cultural institution has been progressively weakened.
The fundamental facts are difficult to dispute. Where Canadians once consumed substantial quantities of literature written by domestic authors about their own country and people, contemporary bestseller lists now show a different reality. These lists are overwhelmingly populated by foreign writers, with particular dominance by celebrity memoirs that often lack Canadian themes or perspectives.
Cultural Erosion Across Multiple Mediums
This troubling pattern extends beyond publishing into other cultural domains. Many successful Canadian authors now set their narratives in foreign locations or deliberately ambiguous settings that could easily be mistaken for American environments. Similarly, in television and film, productions like the immensely popular Schitt's Creek featured Canadian talent but were situated in deliberately generic locations lacking distinct Canadian identity.
Stursberg attributes this cultural shift to multiple converging factors: government indifference, international corporate takeover of Canadian markets, the digital revolution, evolving social values, and what he describes as institutional stupidity. This complex web of influences has created what amounts to cultural dumping, where American producers export content already paid for in their domestic market to Canada at minimal additional cost.
The Historical Context and Contemporary Challenges
Some might detect elements of generational nostalgia in this analysis. The golden age of Canadian cultural nationalism conveniently aligns with the period when baby boomers were reaching their prime cultural influence, spanning from the late 1960s through the 1990s. While Stursberg's focus remains primarily on traditional media like books, television, and film, some critics note his relative inattention to newer cultural forms such as podcasting and digital video platforms.
Despite these potential limitations, his diagnosis of the fundamental problem remains strikingly relevant. Canada perpetually faces the challenge of existing alongside the world's largest cultural economy. Across successive sectors—from radio and television to magazines and music—the essential dilemma remains unchanged: American producers can offer high-quality content at minimal marginal cost to Canadian markets, while creating original Canadian content for a smaller domestic audience proves substantially more expensive.
Canadian Consumption Patterns and Cultural Consequences
It must be acknowledged that Canadians are enthusiastic consumers of American cultural products. From professional football to pop music to Hollywood cinema, Canadian audiences actively choose American content rather than being forced to consume it against their will. This reality raises profound questions about cultural priorities and national identity.
The consequence is that Canadian creators consistently attempt to penetrate their own domestic market from a position of structural disadvantage. This imbalance prompts serious reflection about whether Canadians genuinely care about the resulting erosion of their distinctive cultural voice.
Potential Solutions and Historical Parallels
As the debate continues about possible remedies, historical perspectives offer guidance. Graham Spry's famous 1930s formulation during the campaign to establish what would become the CBC remains remarkably pertinent: "It is a choice between the state or the United States." This stark dichotomy continues to frame discussions about cultural policy and national identity in contemporary Canada.
The current resurgence of patriotic sentiment, particularly in response to American political developments, provides both opportunity and challenge for Canadian cultural advocates. The question remains whether this renewed national pride will translate into substantive support for domestic cultural production or whether it represents merely temporary political positioning.
As Canada navigates these complex cultural waters, the conversation initiated by Stursberg's work and analyzed by Dummitt becomes increasingly vital. The future of Canadian storytelling, cultural expression, and national identity may well depend on how these challenges are addressed in coming years.
