Michael Crummey
Biography
Michael Crummey - Photo Courtesy of Penguin Random House Publishing
Michael Crummey was born in Buchans, a mining town in Newfoundland. His work often includes a focus on the past and is enriched with the history of that province. Crummey lived in Buchans and Wabush, NL prior to attending Memorial University where he obtained a BA in English in 1987. Later, he relocated to Kingston, Ontario, doing graduate work at Queen’s University; however, he dropped out of the Ph. D. program in 1989.
Crummey briefly lived in China as an ESL teacher in 1991, moved back to Kingston, and then to St. John’s. Since his return from China, he has worked a myriad of jobs: an institutional counselor with the John Howard Society, a cook and bottle washer for the International Day of Solidarity With the People of Guatemala, and with the Ontario Public Interest Research Group in Kingston.
In 1986 Crummey won the Gregory J. Power Poetry Contest at Memorial University, and subsequently published his first work in TickleAce, a literary magazine based in of St. John’s, Newfoundland. In 1994, Crummey was awarded the Bronwen Wallace Award for Poetry, a national prize for writers under age 35 who had not yet been published in book form. This sparked his interest in publishing a poetry collection, which he did in 1996 with Arguments with Gravity (Quarry Press). It won the Writer’s Alliance of Newfoundland and Labrador Book Award for Poetry. Brick Books published Crummey’s second collection of poetry, Hard Light, in 1998.
In his later career, Crummey has put more focus emphasis on writing fiction, published roughly a dozen short stories. His novels include River Thieves (Anchor Canada, 2001), which was shortlisted for the Giller Award, and Galore (Anchor Canada, 2009), which won both the Commonwealth Writers’ Prize for Best Book (Carribean & Canada) and the Canadian Authors’ Association Literary Award. Crummey’s novel Sweetland was shortlisted for the 2014 Governor General’s Award in Literature.
Crummey currently lives in Newfoundland with his wife and children.
Crummey briefly lived in China as an ESL teacher in 1991, moved back to Kingston, and then to St. John’s. Since his return from China, he has worked a myriad of jobs: an institutional counselor with the John Howard Society, a cook and bottle washer for the International Day of Solidarity With the People of Guatemala, and with the Ontario Public Interest Research Group in Kingston.
In 1986 Crummey won the Gregory J. Power Poetry Contest at Memorial University, and subsequently published his first work in TickleAce, a literary magazine based in of St. John’s, Newfoundland. In 1994, Crummey was awarded the Bronwen Wallace Award for Poetry, a national prize for writers under age 35 who had not yet been published in book form. This sparked his interest in publishing a poetry collection, which he did in 1996 with Arguments with Gravity (Quarry Press). It won the Writer’s Alliance of Newfoundland and Labrador Book Award for Poetry. Brick Books published Crummey’s second collection of poetry, Hard Light, in 1998.
In his later career, Crummey has put more focus emphasis on writing fiction, published roughly a dozen short stories. His novels include River Thieves (Anchor Canada, 2001), which was shortlisted for the Giller Award, and Galore (Anchor Canada, 2009), which won both the Commonwealth Writers’ Prize for Best Book (Carribean & Canada) and the Canadian Authors’ Association Literary Award. Crummey’s novel Sweetland was shortlisted for the 2014 Governor General’s Award in Literature.
Crummey currently lives in Newfoundland with his wife and children.
Additional Information:
Author's Wikipedia
Author's Twitter
Penguin Publishing House Entry
CBC Books Page for The Innocents
Interview – Galore
Interview – Sweetland
Interview on the Writing Process
Reading – Galore (part 1)
Reading – Galore (part 2)
Reading – Hard Light
Various Poetry readings by Crummey and others also on YouTube.
Author's Wikipedia
Author's Twitter
Penguin Publishing House Entry
CBC Books Page for The Innocents
Interview – Galore
Interview – Sweetland
Interview on the Writing Process
Reading – Galore (part 1)
Reading – Galore (part 2)
Reading – Hard Light
Various Poetry readings by Crummey and others also on YouTube.
What you'd imagine the sound of
an orchestra tuning up might look like,
cacaphony of silver and black at your feet.
Spawning capelin washed onto
grey sand beaches in the hundreds
of thousands like survivors of a shipwreck,
their furious panic exhausted into
helpless writhing while boys scoop them
into buckets with dipnets.
They migrate all the way
from the Carribean for this,
each wave rolling onto the shore
like another bus stuffed with
passengers bound for oblivion,
limbs and heads hanging recklessly
through the open windows.
Most of them rotted on the beach
or found their way onto gardens
planted with potatoes in those days,
except for the few we dried on
window screens beside the shed,
neat rows of the tiny fish
endlessly buzzed over by houseflies
like crazy eighth notes on a staff.
Roasted them over open flame
until they were black and they tasted
much as you'd imagine burnt fish would
but we ate them anyway
head and tail together.
They had come such a long way
and given themselves up so completely
and in such an awful silence
that we felt obliged to
aquire the taste.
Published in Hard Light. Brick Books, 1998.
Used with Permission of the Author.
an orchestra tuning up might look like,
cacaphony of silver and black at your feet.
Spawning capelin washed onto
grey sand beaches in the hundreds
of thousands like survivors of a shipwreck,
their furious panic exhausted into
helpless writhing while boys scoop them
into buckets with dipnets.
They migrate all the way
from the Carribean for this,
each wave rolling onto the shore
like another bus stuffed with
passengers bound for oblivion,
limbs and heads hanging recklessly
through the open windows.
Most of them rotted on the beach
or found their way onto gardens
planted with potatoes in those days,
except for the few we dried on
window screens beside the shed,
neat rows of the tiny fish
endlessly buzzed over by houseflies
like crazy eighth notes on a staff.
Roasted them over open flame
until they were black and they tasted
much as you'd imagine burnt fish would
but we ate them anyway
head and tail together.
They had come such a long way
and given themselves up so completely
and in such an awful silence
that we felt obliged to
aquire the taste.
Published in Hard Light. Brick Books, 1998.
Used with Permission of the Author.
Critical Analysis: Metamorphic Musicality Aids Memory in "Capelin Skull"
Kathleen Groves
Michael Crummey’s poem “Capelin Skull” gives an account of capelin fish that wash up onto the shores of what is his native province of Newfoundland, though they also “roll” on the northern shores of New Brunswick. Through a variety of images and metaphor, Crummey takes a familiar image on the east coast and re-imagines it.
Crummey introduces an element of musicality in the poem when he describes the capelin’s “silver and black” as “What you’d imagine the sound of/an orchestra tuning up might look like” (3, 1-2). This music comes full circle in the last stanza of the poem where the “neat rows of the tiny fish/endlessly buzzed over by houseflies” are described as being “like crazy eighth notes on staff” (22-3, 24). Merging a bleak image of thousands of tiny fish washed up onto the grey sands with music builds the impression that this is a memory. Through the lens of a child’s perspective, the events addressed in this poem would be seen as exciting. But the poem’s past tense setting forces the reader to understand that the poet now reflects on the washed up fish as something more somber.
Crummey creates a concrete metaphor to demonstrate the action of the capelin fish coming to shore on the waves by creating a concrete metaphor. He begins in the familiar, simply stating that the fish have washed up, and then plunges into the unfamiliarity of the metaphor where he describes the fish as passengers of a shipwreck. This personification engenders sympathy towards the fish, building on the idea that this is now a somber memory. Next, Crummey delves further into the metaphor to imagine the fish as passengers of a bus:
each wave rolling onto the shore
like another bus stuffed with
passengers bound for oblivion,
limbs and heads hanging recklessly
through the open windows (12-6).
The imagery of this metaphor is clear and precise to its readers, a trait of Crummey’s work which is original and accessible.
On top of being distinctly Atlantic Canadian, Michael Crummey’s poem “Capelin Skull” asks readers to reinvent the past to make it surreal. Readers will find their memories in the poem and consequently create a sense of familiarity in the poem even if they’ve never seen the capelin roll on shore.
Works Cited (for analysis):
Crummey, Michael. Hard Light. London: Brick Books, 1998.
Michael Crummey’s poem “Capelin Skull” gives an account of capelin fish that wash up onto the shores of what is his native province of Newfoundland, though they also “roll” on the northern shores of New Brunswick. Through a variety of images and metaphor, Crummey takes a familiar image on the east coast and re-imagines it.
Crummey introduces an element of musicality in the poem when he describes the capelin’s “silver and black” as “What you’d imagine the sound of/an orchestra tuning up might look like” (3, 1-2). This music comes full circle in the last stanza of the poem where the “neat rows of the tiny fish/endlessly buzzed over by houseflies” are described as being “like crazy eighth notes on staff” (22-3, 24). Merging a bleak image of thousands of tiny fish washed up onto the grey sands with music builds the impression that this is a memory. Through the lens of a child’s perspective, the events addressed in this poem would be seen as exciting. But the poem’s past tense setting forces the reader to understand that the poet now reflects on the washed up fish as something more somber.
Crummey creates a concrete metaphor to demonstrate the action of the capelin fish coming to shore on the waves by creating a concrete metaphor. He begins in the familiar, simply stating that the fish have washed up, and then plunges into the unfamiliarity of the metaphor where he describes the fish as passengers of a shipwreck. This personification engenders sympathy towards the fish, building on the idea that this is now a somber memory. Next, Crummey delves further into the metaphor to imagine the fish as passengers of a bus:
each wave rolling onto the shore
like another bus stuffed with
passengers bound for oblivion,
limbs and heads hanging recklessly
through the open windows (12-6).
The imagery of this metaphor is clear and precise to its readers, a trait of Crummey’s work which is original and accessible.
On top of being distinctly Atlantic Canadian, Michael Crummey’s poem “Capelin Skull” asks readers to reinvent the past to make it surreal. Readers will find their memories in the poem and consequently create a sense of familiarity in the poem even if they’ve never seen the capelin roll on shore.
Works Cited (for analysis):
Crummey, Michael. Hard Light. London: Brick Books, 1998.
Bibliography
Primary Sources
Crummey, Michael. Arguments With Gravity. Kingston: Quarry Press, 1996.
---. “Artifacts,” “Fox on the Funk Islands,” and “Keel”. The Breakwater Book of Contemporary Newfoundland Poetry. Eds. James Langer and Mark Callanan. St. John’s: Breakwater Books, 2013.
---. Cigarettes. Pender Harbour: Harbour Publishing, 2014.
---. "The Clap." The Globe & Mail. (Toronto), 1 June 2017: L1.
---. Emergency Roadside Assistance. Stratford: Trout Lily Press, 2001.
---. Flesh and Blood. Toronto: Anchor Canada, 1998.
---. Galore. Toronto: Anchor Canada, 2009.
---. "Getting the Marriage into Bed." Love Me True: Writers Reflect on the Ins, Outs, Ups & Downs of Marriage. Eds. Jane Silcott and Fiona Tinwei Lam, Halfmoon Bay, BC: Caitlin Press, 2018.
---. Hard Light. London: Brick Books, 1998.
---. “Heartburn.” The Penguin Book of Canadian Short Stories, selected and introduced by Jane Urquhart. Ed. Jane Urquhart. 5th ed. Toronto: Penguin Books, 2007.
---. The Innocents. Toronto: Doubleday Canada, 2019.
---. Most of What Follows is True: Places Real and Imagined. Edmonton: University of Alberta Press, 2019.
---. "Most of what follows is true: Michael Crummey on writing and the relationship between fact and fiction." CBC, cbc.ca, 7 September 2018.
---. "The New Yorker." Geist. 27.101 (2016): 36.
---. “The Observatory on Mount Pleasant.” The New Canon: An Anthology of Canadian Poetry. Ed. Carmine Starnino. Montreal: Vehicule Press, 2006.
---. "On writing and the relationship between fact and fiction." Ideas. Prod. Paul Kennedy, CBC Listen, cbc.ca, 7 September 2018.
---. Passengers. House of Anasi Press, 2022.
---. River Thieves. Toronto: Anchor Canada, 2003.
---. Salvage. Toronto: McClelland & Stewart, 2002.
---. Sweetland. Toronto: Doubleday Canada, 2014.
---. Under the Keel. Toronto: House of Anansi Press, 2013.
---. “What’s Lost,” “Loom.” The Harbrace Anthology of Poetry. Eds. John Stott and Raymond E. Jones. Toronto: Nelson College Indigenous, 2012.
---. “What’s Lost.” Coastlines: The Poetry of Atlantic Canada. Eds. Anne Compton, Laurence Hutchman, Ross Leckie, and Robin McGrath. Fredericton: Goose Lane Editions, 2002.
---. The Wreckage. Toronto: Anchor Canada, 2005.
---, and Greg Locke. Newfoundland: Journey Into a Lost Nation. Toronto: McClelland & Stewart, 2004.
Secondary Sources
Bidwell, Kristina Fagan, and Jessica McDonald. "The Newfoundland Master Narrative and Michael Crummey's Galore : An Interpretive Framework." Journal of Canadian Studies 54.1 (Winter 2020): 153-180. Project MUSE.
Chafe, Paul. "Lament For A Notion: Loss And The Beothuk In Michael Crummey's River Thieves." Essays On Canadian Writing 82 (2004): 93-117. MLA International Bibliography.
Charman, Caitlin. “ “Newfoundland’s Robinson Crusoe?”: Mobility, Masculinity, and the Failure of Ecological Management in Michael Crummey’s Sweetland.”. Negotiating Waters: Seas, Oceans, and Passageways in the Colonial and Postcolonial Anglophone World, edited by André Dodeman and Nancy Pedri, Vernon Press, 2020. pp. 41-57.
Cloutier, Mario. "Michael Crummey: tout homme est une île." La Presse. Lapresse.ca, 5 July 2018.
---. "Newfoundland Poetry As 'Ethnographic Salvage': Time, Place, And Voice In The Poetry Of Michael Crummey And Mary Dalton." Studies In Canadian Literature/Etudes En Littérature Canadienne 32.2 (2007): 132-147. MLA International Bibliography.
Delisle, Jennifer Bowering. “Michael Crummey: The Presence of the Past”. Ten Canadian Writers in Context, edited by Marie Carrière, Curtis Gillespie and Jason Purcell, The University of Alberta Press, 2016. pp. 39-45.
Doan, Holly. "Review: With Fame Comes Caricature." Rev. of Most of What Follows is True by Michael Crummey. Blacklock's Reporter, blacklocks.ca, 6 July 2019.
Downey, Beth. "Fear, Trembling, and Carousing: Father Phelan in Michael Crummey's Galore." New Hibernia Review 23.4 (Winter 2019): 116-134. Project MUSE.
Draper, Gary. "Fairly Ordinary Lives: A Conversation With Michael Crummey." New Quarterly: New Directions In Canadian Writing 19.1 (1999): 25-39. MLA International Bibliography.
Furey, Leo. "Interview With Michael Crummey (May 8, '02)." Antigonish Review 131.(2002): 111-24. MLA International Bibliography.
Goldie, Terry. "Is Galore 'Our' Story?." Journal Of Canadian Studies/Revue D'etudes Canadiennes 46.2 (2012): 83-98. MLA International Bibliography.
Keeping, Darryl. "Newfoundland Sweet and Crummey Reads." Book Smart TV, booksmarttv.com, 8 Jan 2019.
Mercer, Janine. "Outlet For An Inlet: Cultural Folklore Of Newfoundland." The Quint: An Interdisciplinary Quarterly From The North 5.3 (2013): 38-55. MLA International Bibliography.
“Michael Crummey - Biography.” Waterfront Views: Contemporary Writing of Atlantic Canada.
“Michael Crummey: Biography.” University of Toronto Libraries.
Pyper, Andrew. "Water, Sex And The Rock: Michael Crummey's Flesh & Blood As ARepublic Of Dreams." New Quarterly: New Directions In Canadian Writing 21.2-3 (2001): 80-86. MLA International Bibliography.
Sugars, Cynthia. "Genetic Phantoms: Geography, History, And Ancestral Inheritance In Kenneth Harvey's The Town That Forgot How To Breathe And Michael Crummey's Galore." Newfoundland And Labrador Studies 25.1 (2010): 7-36. MLA International Bibliography.
---. "Original Sin, Or, The Last Of The First Ancestors: Michael Crummey's River Thieves." English Studies In Canada 31.4 (2005): 147-75. MLA International Bibliography.
---. "'Our Symbiotic Relationship With The Stories That We Tell': An Interview With Michael Crummey." Canadian Literature 212.(2012): 105-19. MLA International Bibliography.
Uebel, Anke. "Imaginary Restraints: Michael Crummey's River Thieves And The Beothuk Of Newfoundland." Local Natures, Global Responsibilities: Ecocritical Perspectives on the New English Literatures. 137-50. Amsterdam, Netherlands: Rodopi, 2010. MLA International Bibliography.
Wyile, Herb. "Beothuk Gothic: Michael Crummey's River Thieves." Unsettled Remains: Canadian Literature and the Postcolonial Gothic. 229-49. Waterloo: Wilfrid Laurier UP, 2009. MLA International Bibliography.
---. "Beothuk Gothic: Michael Crummey's River Thieves." Australasian Canadian Studies 24.2 (2006): 171-195. MLA International Bibliography.
---. “The Living Haunt The Dead”. Speaking in the Past Tense: Canadian Novelists on Writing Historical Fiction, Wilfrid Laurier University Press, 2007. pp. 295-319.
Yakovenko, Sergiy. "Island as a Figure of the Unconscious: Toward a Metaphorical Relation Between Human and Place in Michael Crummey's Sweetland." Canadian Review of Comparative Literature 47.1 (March 2020): 88-106. Project MUSE.
Crummey, Michael. Arguments With Gravity. Kingston: Quarry Press, 1996.
---. “Artifacts,” “Fox on the Funk Islands,” and “Keel”. The Breakwater Book of Contemporary Newfoundland Poetry. Eds. James Langer and Mark Callanan. St. John’s: Breakwater Books, 2013.
---. Cigarettes. Pender Harbour: Harbour Publishing, 2014.
---. "The Clap." The Globe & Mail. (Toronto), 1 June 2017: L1.
---. Emergency Roadside Assistance. Stratford: Trout Lily Press, 2001.
---. Flesh and Blood. Toronto: Anchor Canada, 1998.
---. Galore. Toronto: Anchor Canada, 2009.
---. "Getting the Marriage into Bed." Love Me True: Writers Reflect on the Ins, Outs, Ups & Downs of Marriage. Eds. Jane Silcott and Fiona Tinwei Lam, Halfmoon Bay, BC: Caitlin Press, 2018.
---. Hard Light. London: Brick Books, 1998.
---. “Heartburn.” The Penguin Book of Canadian Short Stories, selected and introduced by Jane Urquhart. Ed. Jane Urquhart. 5th ed. Toronto: Penguin Books, 2007.
---. The Innocents. Toronto: Doubleday Canada, 2019.
---. Most of What Follows is True: Places Real and Imagined. Edmonton: University of Alberta Press, 2019.
---. "Most of what follows is true: Michael Crummey on writing and the relationship between fact and fiction." CBC, cbc.ca, 7 September 2018.
---. "The New Yorker." Geist. 27.101 (2016): 36.
---. “The Observatory on Mount Pleasant.” The New Canon: An Anthology of Canadian Poetry. Ed. Carmine Starnino. Montreal: Vehicule Press, 2006.
---. "On writing and the relationship between fact and fiction." Ideas. Prod. Paul Kennedy, CBC Listen, cbc.ca, 7 September 2018.
---. Passengers. House of Anasi Press, 2022.
---. River Thieves. Toronto: Anchor Canada, 2003.
---. Salvage. Toronto: McClelland & Stewart, 2002.
---. Sweetland. Toronto: Doubleday Canada, 2014.
---. Under the Keel. Toronto: House of Anansi Press, 2013.
---. “What’s Lost,” “Loom.” The Harbrace Anthology of Poetry. Eds. John Stott and Raymond E. Jones. Toronto: Nelson College Indigenous, 2012.
---. “What’s Lost.” Coastlines: The Poetry of Atlantic Canada. Eds. Anne Compton, Laurence Hutchman, Ross Leckie, and Robin McGrath. Fredericton: Goose Lane Editions, 2002.
---. The Wreckage. Toronto: Anchor Canada, 2005.
---, and Greg Locke. Newfoundland: Journey Into a Lost Nation. Toronto: McClelland & Stewart, 2004.
Secondary Sources
Bidwell, Kristina Fagan, and Jessica McDonald. "The Newfoundland Master Narrative and Michael Crummey's Galore : An Interpretive Framework." Journal of Canadian Studies 54.1 (Winter 2020): 153-180. Project MUSE.
Chafe, Paul. "Lament For A Notion: Loss And The Beothuk In Michael Crummey's River Thieves." Essays On Canadian Writing 82 (2004): 93-117. MLA International Bibliography.
Charman, Caitlin. “ “Newfoundland’s Robinson Crusoe?”: Mobility, Masculinity, and the Failure of Ecological Management in Michael Crummey’s Sweetland.”. Negotiating Waters: Seas, Oceans, and Passageways in the Colonial and Postcolonial Anglophone World, edited by André Dodeman and Nancy Pedri, Vernon Press, 2020. pp. 41-57.
Cloutier, Mario. "Michael Crummey: tout homme est une île." La Presse. Lapresse.ca, 5 July 2018.
---. "Newfoundland Poetry As 'Ethnographic Salvage': Time, Place, And Voice In The Poetry Of Michael Crummey And Mary Dalton." Studies In Canadian Literature/Etudes En Littérature Canadienne 32.2 (2007): 132-147. MLA International Bibliography.
Delisle, Jennifer Bowering. “Michael Crummey: The Presence of the Past”. Ten Canadian Writers in Context, edited by Marie Carrière, Curtis Gillespie and Jason Purcell, The University of Alberta Press, 2016. pp. 39-45.
Doan, Holly. "Review: With Fame Comes Caricature." Rev. of Most of What Follows is True by Michael Crummey. Blacklock's Reporter, blacklocks.ca, 6 July 2019.
Downey, Beth. "Fear, Trembling, and Carousing: Father Phelan in Michael Crummey's Galore." New Hibernia Review 23.4 (Winter 2019): 116-134. Project MUSE.
Draper, Gary. "Fairly Ordinary Lives: A Conversation With Michael Crummey." New Quarterly: New Directions In Canadian Writing 19.1 (1999): 25-39. MLA International Bibliography.
Furey, Leo. "Interview With Michael Crummey (May 8, '02)." Antigonish Review 131.(2002): 111-24. MLA International Bibliography.
Goldie, Terry. "Is Galore 'Our' Story?." Journal Of Canadian Studies/Revue D'etudes Canadiennes 46.2 (2012): 83-98. MLA International Bibliography.
Keeping, Darryl. "Newfoundland Sweet and Crummey Reads." Book Smart TV, booksmarttv.com, 8 Jan 2019.
Mercer, Janine. "Outlet For An Inlet: Cultural Folklore Of Newfoundland." The Quint: An Interdisciplinary Quarterly From The North 5.3 (2013): 38-55. MLA International Bibliography.
“Michael Crummey - Biography.” Waterfront Views: Contemporary Writing of Atlantic Canada.
“Michael Crummey: Biography.” University of Toronto Libraries.
Pyper, Andrew. "Water, Sex And The Rock: Michael Crummey's Flesh & Blood As ARepublic Of Dreams." New Quarterly: New Directions In Canadian Writing 21.2-3 (2001): 80-86. MLA International Bibliography.
Sugars, Cynthia. "Genetic Phantoms: Geography, History, And Ancestral Inheritance In Kenneth Harvey's The Town That Forgot How To Breathe And Michael Crummey's Galore." Newfoundland And Labrador Studies 25.1 (2010): 7-36. MLA International Bibliography.
---. "Original Sin, Or, The Last Of The First Ancestors: Michael Crummey's River Thieves." English Studies In Canada 31.4 (2005): 147-75. MLA International Bibliography.
---. "'Our Symbiotic Relationship With The Stories That We Tell': An Interview With Michael Crummey." Canadian Literature 212.(2012): 105-19. MLA International Bibliography.
Uebel, Anke. "Imaginary Restraints: Michael Crummey's River Thieves And The Beothuk Of Newfoundland." Local Natures, Global Responsibilities: Ecocritical Perspectives on the New English Literatures. 137-50. Amsterdam, Netherlands: Rodopi, 2010. MLA International Bibliography.
Wyile, Herb. "Beothuk Gothic: Michael Crummey's River Thieves." Unsettled Remains: Canadian Literature and the Postcolonial Gothic. 229-49. Waterloo: Wilfrid Laurier UP, 2009. MLA International Bibliography.
---. "Beothuk Gothic: Michael Crummey's River Thieves." Australasian Canadian Studies 24.2 (2006): 171-195. MLA International Bibliography.
---. “The Living Haunt The Dead”. Speaking in the Past Tense: Canadian Novelists on Writing Historical Fiction, Wilfrid Laurier University Press, 2007. pp. 295-319.
Yakovenko, Sergiy. "Island as a Figure of the Unconscious: Toward a Metaphorical Relation Between Human and Place in Michael Crummey's Sweetland." Canadian Review of Comparative Literature 47.1 (March 2020): 88-106. Project MUSE.
