The song cycle, Two Orchestral Songs, is a setting of two texts by Canadian poet Gwendolyn MacEwen (1941–1987) from her 1969 collection, The Shadow-Maker. The texts are symbolic in nature and discuss the question of personal sacrifice. In “The Sacrifice,” the narrator observes leaves falling in autumn and compares this “necessary death” against the “unnecessary” sacrifices that we make when we lay down our most beautiful aspects, our “golden selves,” at the “altars of the world” in order to please some external arbiter (the “shapeless ghost”). However, much like a man raking leaves in autumn, these dropped aspects get gathered up by “the Gardener” (a metaphor for Time), and we are left questioning whether our deliberate sacrifices enabled us to achieve the divine end to which we were intended. “How Weeps the Hangman,” employs similar imagery of leaves representing the “season’s sacrifice” of “pain, love, glory, blood.” The titular metaphor of the Hangman, however, draws on tarot imagery, specifically the twelfth Major Arcana card known as The Hanged Man, which depicts a man hanging upside-down by one foot from a cross or living tree; the man’s facial expression is usually neutral, not an expression of suffering. The card is interpreted in various ways as meaning sacrifice, letting go, surrender, and acceptance. In MacEwen’s poem, the narrator places herself (and us) on the way to the scaffold to offer up our seasonal sacrifices, but the lingering question focuses not on the object (us, The Hanged Man), but on the agent of change, the hooded Hangman who “does his duty to you and me.” She wonders what pain our own whimpering in the sacrificial process causes to him, whether he and the “embarrassed tree” weep at our losses. The musical language of this composition employs extended tonal key areas based on synthetic scales, in particular the four transpositionally related enneatonic scales. The harmonies are largely tertian in structure, with added tones and superimposed sonorities creating an effect of bitonality. The imagery of dropping leaves is recreated musically by the prominent use of descending seconds and descending thirds in the melodic and accompanying parts.

The song cycle, Two Orchestral Songs, is a setting of two texts by Canadian poet Gwendolyn MacEwen (1941–1987) from her 1969 collection, The Shadow-Maker. The texts are symbolic in nature and discuss the question of personal sacrifice. In “The Sacrifice,” the narrator observes leaves falling in autumn and compares this “necessary death” against the “unnecessary” sacrifices that we make when we lay down our most beautiful aspects, our “golden selves,” at the “altars of the world” in order to please some external arbiter (the “shapeless ghost”). However, much like a man raking leaves in autumn, these dropped aspects get gathered up by “the Gardener” (a metaphor for Time), and we are left questioning whether our deliberate sacrifices enabled us to achieve the divine end to which we were intended. “How Weeps the Hangman,” employs similar imagery of leaves representing the “season’s sacrifice” of “pain, love, glory, blood.” The titular metaphor of the Hangman, however, draws on tarot imagery, specifically the twelfth Major Arcana card known as The Hanged Man, which depicts a man hanging upside-down by one foot from a cross or living tree; the man’s facial expression is usually neutral, not an expression of suffering. The card is interpreted in various ways as meaning sacrifice, letting go, surrender, and acceptance. In MacEwen’s poem, the narrator places herself (and us) on the way to the scaffold to offer up our seasonal sacrifices, but the lingering question focuses not on the object (us, The Hanged Man), but on the agent of change, the hooded Hangman who “does his duty to you and me.” She wonders what pain our own whimpering in the sacrificial process causes to him, whether he and the “embarrassed tree” weep at our losses. The musical language of this composition employs extended tonal key areas based on synthetic scales, in particular the four transpositionally related enneatonic scales. The harmonies are largely tertian in structure, with added tones and superimposed sonorities creating an effect of bitonality. The imagery of dropping leaves is recreated musically by the prominent use of descending seconds and descending thirds in the melodic and accompanying parts.

This dissertation concerns the satirical Flat Earth Society (FES) founded at Fredericton, New Brunswick in November 1970. The essay’s successive chapters examine the lives and literary works of three understudied authors who held leadership positions in this critically unserious, fringe society: FES Symposiarch Alden Nowlan; the Society’s President Leo Ferrari; and its First Vice-President Gwendolyn MacEwen. Therefore, my project constitutes an act of recovery and reconstruction, bringing to light cultural work and literary connections that have largely faded from view. Chapters show how certain literary writings by Nowlan, Ferrari, or MacEwen directly or indirectly relate to their involvement with FES, making the Society an important part of their cultural work rather than a mere entertainment, distraction, or hoax. These authors represent the local/regional inception of FES (Nowlan), its international influences and reach (Ferrari), and its Canadian context (MacEwen). Organized according to three jointly literary and geo-political layers, and drawing on little-known archival documents, each chapter records statements from the Society’s wider membership as they relate to Atlantic Canada, the international perspective, and Canada. Despite its aberrant and oppositional spirit, FES appeared within an identifiable cultural context and participated in a countercultural tradition that continues to this day. The Society’s surface lampoon embeds potent social critique and creative meaning. In other words, FES was not merely playful, nor merely serious, but interweaved these modes in a compelling way; the Society looks by turns intelligent and unintelligible, stupid and sophisticated. Further, it invited contributions from members and applicants: seldom-seen interpretations of “Planoterrestrialism” by individuals from many walks of life and now housed in archives at the University of New Brunswick and University of Calgary. The participatory, humorous, and poetic nature of FES means that its unusual brand of Flat Earthism cannot be tied to any singular ideology, place, or literary tradition. It operates as an enigmatic, errant, itinerant, and underground non-ideology. Planoterrestrial thought is reflected in the playful poetic styles of Nowlan, Ferrari, and MacEwen: three Society members who were nonetheless serious authors and sincere in their role as cultural workers, their Flat Earth antics not excepted. / Graduate