Selling Illusions: The Cult of Multiculturalism in Canada

Front Cover
Penguin Books, 1994 - History - 234 pages
Since he immigrated to Canada two decades ago, Neil Bissoondath has consistently refused the role of the ethnic, and sought to avoid the burden of hyphenation -- a burden that would label him as an East Indian-Trinidadian-Canadian living in Quebec. Bissoondath argues that the policy of multiculturalism, with its emphasis on the former or ancestral homeland and its insistence that There is more important than Here, discourages the full loyalty of Canada's citizens.

Through the 1971 Multiculturalism Act, Canada has sought to order its population into a cultural mosaic of diversity and tolerance. Seeking to preserve the heritage of Canada's many peoples, the policy nevertheless creates unease on many levels, transforming people into political tools and turning historical distinctions into stereotyped commodities. It encourages exoticism, highlighting the differences that divide Canadians rather than the similarities that unite them.

Selling Illusions is Neil Bissoondath's personal exploration of a politically motivated public policy with profound private ramifications -- a policy flawed from its inception but implemented with all the political zeal of a true believer.

From inside the book

Contents

Glimpses Beneath the Surface
1
Getting Here
8
Beginnings
28
Copyright

7 other sections not shown

Other editions - View all

Common terms and phrases

About the author (1994)

Considered both a West Indian and a Canadian writer, Bissoondath began his literary career as a short-story writer. His first book Digging Up the Mountains (1985) is a collection of short stories relating the experiences of immigrants in Toronto as they combat feelings of nostalgia and marginality and try to adapt to their new home. Bissoondath returns to the theme of placelessness in the novel A Casual Brutality (1988), in which the protagonist feels alienated in both Toronto and Casquemada. Bissoondath's most recent novel, The Innocence of Age (1992), is set in Toronto and is a departure from these themes. Here, defying the current appropriation of voice debate, he uses a Canadian Caucasian father and son to describe the difficulties in parent-child relationships, especially evident in communication between fathers and sons. As a relatively new writer, Bissoondath has received some critical attention, but as yet there is no extensive study of his work.

Bibliographic information