In Due Season

First published in 1947, In Due Season broke new ground with its fictional representation of women and of Indigenous people. Set during the dustbowl 1930s, this tersely narrated prize-winning novel follows Lina Ashley, a determined solo female homesteader who takes her family from drought-ridden southern Alberta to a new life in the Peace River region. Here her daughter Poppy grows up in a community characterized by harmonious interactions between the local M tis and newly arrived European settlers. Still, there is tension between mother and daughter when Poppy becomes involved with a M tis lover. This novel expands the patriarchal canon of Canadian prairie fiction by depicting the agency of a successful female settler and, as noted by Dorothy Livesay, was one of the first, if not the first Canadian novel wherein the plight of the Native Indian and the M tis is honestly and painfully recorded. The afterword by Carole Gerson and Janice Dowson provides substantial information about author Christine van der Mark and situates her under-acknowledged book within the contexts of Canadian social, literary, and publishing history.

First published in 1947, In Due Season broke new ground with its fictional representation of women and of Indigenous people. Set during the dustbowl 1930s, this tersely narrated prize-winning novel follows Lina Ashley, a determined solo female homesteader who takes her family from drought-ridden southern Alberta to a new life in the Peace River region. Here her daughter Poppy grows up in a community characterized by harmonious interactions between the local M tis and newly arrived European settlers. Still, there is tension between mother and daughter when Poppy becomes involved with a M tis lover. This novel expands the patriarchal canon of Canadian prairie fiction by depicting the agency of a successful female settler and, as noted by Dorothy Livesay, was one of the first, if not the first Canadian novel wherein the plight of the Native Indian and the M tis is honestly and painfully recorded. The afterword by Carole Gerson and Janice Dowson provides substantial information about author Christine van der Mark and situates her under-acknowledged book within the contexts of Canadian social, literary, and publishing history.