Canada is a big country. Here’s a tiny piece of it in the west.

What you’re looking at is a bit of a collision between a volcano and a seabed off the coast of North America, that became part of the land about 110,000,000 years ago, and then became a local landmark. Perhaps you can see the highway that cuts across the ancient trail it marked? (That’s our bluff again, in the middle of the image, which views it from the south, rather than the east, as we did in the preceding image.)

The first wave of colonization, the Hudson Bay Company’s pack horse trail, followed the old trail. The new trail, which follows the Hudson Bay Company’s route from the south (politely, we call it the United States of America now, for old times sake), is the result of imported technology (German freeways, Swedish dynamite, American earth-moving equipment, and so on) that came in on the trail until it became it. The old landmark still stands, though.

And it’s still doing its old work, of marking the paths of power. It’s just that now it is part of Canada, which has a culture with certain prerequisites. For one, it is a country imposed on an indigenous state, which means that indigenous landmarks must be translated into Canadian terms before they can be read. For Canada, these terms are displays of social power imposed on the landscape, such as the German architecture below.

Only the wealthy can play this game, but there are lots of them. Social power within Canadian society in this region — in other words, Canada in this region — is about extending these intrusions.

It is a complex game, and by making these images I have broken its rules, which are to look out at views of water, rather than looking back at Canada looking out. That is simply not done. It is breaking a social code.

These views, for instance are easily worth $1,000,000 each. As you can see in one below, they show the next in the series of indigenous landmarks, at a romantic distance, and the houses of other wealthy people along the lake, at an appropriate distance that allows them to be romantically embedded in nature, as befits an imperial British settlement.

Canada is a very romantic project. Thousands of people look out, at sufficient distance that a forest being trucked to a plywood plant disappears into landscape (look below.) Again, apologies, I have broken that taboo by making this image.

The next image breaks that taboo, too. Here you can see that one of these houses has constructed a garden, or perhaps a chicken run, from creosote-treated railway ties, covered with netting, to get past the ridiculous steepness of the land and its inappropriateness for chicken runs and gardens. It’s not pretty, but that’s because it is made from outside of Canada. The rule is, don’t take the picture until you’ve moved far enough to the right or left that the Canadian presence on the land disappear. Then make the image.

One of the reasons for the netting is that Canadians moving into landscapes like this situate cell phone towers and garbage dumps around areas of the greatest indigenous significance. It is a subconscious part of the process of subjugation, and it does have its ironies, because those areas are the best for display houses with the most romantic views, but the garbage does attract eagles, romantic birds for sure, and ravens and crows…

… which do interfere with the illusion that there is no garbage here. You simply can’t use the land as a canvas for the social display of an imported culture, which exists only in the display, when those pesky birds steal your chickens and strawberries. It can’t be done. Now, a Canadian, of course, has it hard, because Canadians are just people, after all, with the same desires as any others: family, shelter, a bit of love, lots of aggression, and strawberries, plus breakfast eggs, if they can get them. It’s not their fault that they have to acquire these essentials through a social grid laid out upon indigenous space that Canada bought for them 146 years ago (not from its owners but from the British, who gave themselves the right to trap furs here, on the strength of a navy no-one had the means to mess with) and they’re doing the best they can…

… continually rebuilding roads to get their social grid in the best shape possible, as far as such social grids go. Yes, the result is ugly, but you’re not supposed to see it. You’re supposed to live within it and look out. And when you do (below), please do yourself a favour, don’t look at the erosion caused by thousands of young people leaving the trail to go out-of-bounds down to the rocks to jump into the lake.

That’s deadly, and is to be overlooked. That’s the rule. The landscape is to be read as an archetype, as if you were the first person who was ever there. The irony of a country-as-a-social grid, such as Canada, is that when you turn around, from the land, and look at the grid …

… it looks improvised at best, and even a bit desperate and chintzy. The image above is a private road for wealthy land-owners to use to access their view property below the bluff I showed you above. The gap between its imposed, utilitarian ugliness and the romantic beauty and intense social power it grants, is why literature in this country is a social game, with landscape entering it through social avenues such as scientific tropes, academic understanding, queer readings of landscape, environmental activism, and so forth, but never on its own terms. Those are considered  romantic …

… not because the earth is romantic, but because that reading of romanticism is also deeply embedded within Canada, which is a romantic social product written on the land. It can’t escape itself. If you leave that romantic reading, you are no longer in Canada, but looking at it. That’s the rule. It is such a powerful  mechanism that the country’s literary artists, embedded in the social training system of its universities, are unable to break it: there is no audience out there, and no market, just a few weeds growing in the haphazard infrastructure created by the social application of powerful foreign technology.

Literary people would starve out there, and that’s really not good. I can afford to show you these images because I am what is called in Canadian social terms, a sub-class of Canada’s imperial homeland, the United States, White, Male, and Old, ie an Old White Man: an undesirable thing, anyway, with no social power in literary society. These are not the terms of the culture of the land, of course, but that’s a different thing; Canadians live in cities. They have the second largest country on earth but not to live on. It is to harvest industrially, in ways which minimize access to the scars of such harvest (swaths of uncut trees lining highways, to preserve romantic view lines, and so forth), in order to concentrate the wealth of the land within the social grid, which is reserved for people who are extending the networks of power laid across the land. Those networks are the only country there is. That an old man such as I am (I’m 59, not old perhaps by an objective standard, but old and unwanted in this culture), sees something other than the omnipresent beauty of the grid and the notions of identity it fosters, is, by definition, romantic, because in the definitions of the culture, all land (and hence all that is attached to the land) is romantic; the only exit from romance is through the social networks. I can laugh at that all I like.

I am only trespassing on the land reserved for the social power of wealthy men, which is how I took the image above. That I consider access to that land my human right is another indication of how non-Canadian I am. That image above is evidence of a crime. That I only stepped a few metres onto private land, unoccupied land being advertised for sale, does not erase that. The image is romantic. Neither you nor I were meant to see it, and that buck was being protected in order to be shot as a trophy. That is the rule. Perhaps, if you’ve read between the lines of this post, you might get a sense, or the beginnings of one, of why the indigenous villages, which are called “Indian Reserves” of this country are described in terms such as this:

There are no economic reasons for Attawapiskat to exist and it does so only because it is underwritten by the Canadian taxpayer. http://news.nationalpost.com/full-comment/john-ivison-the-rising-toll-of-canadas-failed-experiment-with-isolated-reserves

The statement is an offense to human dignity, but then, you see, so is the poverty in the image that accompanies it:

Villages such as this are not “isolated” in a passive sense, as the article suggests, in that they are “in the bush”, or “in the wilderness”, or “far from culture” but isolated in a far more active sense, in that culture (Toronto, Vancouver, or even my small city of Vernon, for example) have placed them in isolation, as the name for these spaces, “Indian Reserves”, makes abundantly clear. The space below is exactly the same kind of space.

Canadian culture — the survival of the social grid — demands that we look the other way.

Or at least maintain the respectful distance that preserves privacy (ie social privilege.)

Or the corollary distance that embeds social display within the landscape, to create the illusions of wealth, belonging, power, beauty and ease that are every human’s desire and are fulfilled in the Canadian overlay in precisely prescribed forms.

Your way to them is through the university and its botanical gardens.

But do ignore the banana peel. You will fail at your studies if you concentrate on that.