One of the main ideas that captivated me about Darrin Hagen’s The Edmonton Queen—the Final Voyage, was the notion of the “underground”—a world that exists independent of societies definitive norms. Throughout the text, I was anticipating a strong connection with the localized space of Edmonton and, needless to say, I was more than surprised at my inability to associate with place in this “collective mythology.” In this respect, Hagen’s text forced me to redefine the way in which I subconsciously analyze city space.
Being a citizen who, more or less, occupies normative spaces in Edmonton, I merely assumed (with an admitted arrogance) that every individual had access to the same social spaces I encountered. This ignorance on my part certainly hinges upon an inherent reluctance to associate with several of the counter-cultural movements. That is not to say, however, that I ever deemed any of these movements to be inconsequential, misguided or “dangerous”; rather, that I never fully understood the important personal, social and political outlets they provide for marginalized citizens.
Darrin’s story gave a voice to a community that had been silenced for decades. My failure to connect with place, then, also stems from a failure to acutely listen to the voices of the oppressed. In other words, the reason I have trouble with space in this text (beyond the obvious linear complications of time) has to deal with a failure to go beyond the normative space I occupy.
I found that the text seemed to invite a disconnect between the “above ground” and “under ground” because of the way the theme was handled and because I read the book as being targeted toward an “above ground” audience. That disconnect of the different Edmonton spaces probably reflects out even further into more Edmontons. This is what makes it so fascinating for me: parallel Edmonton universes inhabited by different cultures doing different things, eating different foods, living different lives. I like that disconnect, keeps it interesting.
ReplyDeleteRegarding association to the place in the text, I agree with what you say about not being able to do that. Like Garret said in the above comment, the two worlds portrayed in the story work to show a different Edmonton than what one may know themselves. I could see Edmonton in text while reading it, but I too felt it was hard to place the Edmonton underground on top of the city I know. I guess that's why the story is so intriging to so many, as it reveals a world most didn't know existed.
ReplyDeleteThe postcolonial critic Gayatri Spivak says "the view from the top is epistemologically crippling," which I take it means that you always know more about whoever is "above" you (more normative, more central, more famous, etc) than you do about who's "below" you (disenfranchised, subcultural, etc.).
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