Northern (genre)

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Poster for the film O'Malley of the Mounted (1921)

The Northern or Northwestern is a genre in various arts that tell stories set primarily in the late 19th or early 20th century in the north of North America, primarily in western Canada but also in Alaska. It is similar to the Western genre, but many elements are different, as appropriate to its setting. It is common for the central character to be a Mountie instead of a cowboy or sheriff. Other common characters include fur trappers and traders, lumberjacks, prospectors, First Nations people, settlers, and townsfolk.

International interest in the region and the genre was fuelled by the Klondike Gold Rush (1896–99) and subsequent works surrounding it, fiction and non-fiction. The genre was extremely popular in the interwar period of the 20th century. Northerns are still produced, but their popularity waned in the late 1950s.

Characteristics

The North-West Mounted Police, and later the Royal Canadian Mounted Police, were often the heroes of Northern fiction.
The Yukon (occasionally near the Alaskan border) was a common setting for Northern fiction.

Northerns are similar to Westerns but are set in the frozen north of North America; that is, Canada or Alaska.[1] Of the two, Canada was the more common setting, although many tropes could apply to both. Popular locations within Canada are the Yukon, the Barren Grounds, and area around Hudson Bay.[2] Generic names used for this general setting included the "Far North", the "Northlands", the "North Woods", and the "Great Woods".

Common settings include boreal forests, isolated cabins, and mining towns.[3] Snow featured to such an extent that Northern films were sometimes termed "snow pictures".[3] Animals were a common feature too. Dogs and dog sleds were popularized by The Call of the Wild and White Fang. Scenes involving attacks by bears date back to The Klondyke Nugget.[3]

The primary antagonist in a Northern can be the wilderness, the weather and other natural elements, which the protagonists must endure, overcome and survive.[4][5]

Northerns often explore the 'Matter of Canada' (the national mythos of Canada, after the

potential annexation by the United States.[6]

The Western idea of

Northwest Mounted Police (1940). In Northerns and wider crime fiction, the general Canadian preference is for law enforcement to be performed by the state rather than vigilantes or private investigators.[6] Likewise, Northerns rarely feature the heroic outlaws often found in Westerns.[6] On the subject, David Skene-Melvin writes "Canada never had a Wild West because the Mounties got there first,"[6] while Margaret Atwood writes "No outlaws or lawless men for Canada; if one appears, the Mounties always get their man."[7]

Law and order in Northerns set in Canada is most often represented by the Mounties, either the North-West Mounted Police or Royal Canadian Mounted Police depending on era. Like snow, Mounties are a common enough feature to become a synonym for the genre, with Northern films sometimes called "Mountie films".[8] Their popularity was not confined to film; by 1930, 75 volumes of written Mountie fiction had been published, not including juvenile fiction and material published in magazines.[5] Where a protagonist in a Western is often part of both civilization and the wild (whether native or criminal), Mounties in Northerns are entirely a part of civilization.[5] The nature of fictional Mounties can vary depending on the nationality of the author.[5] Mounties as written by British authors are often younger members of upper class British families serving the British Empire in the colonies. American-authored Mounties are often little different from US Marshalls and project the values of Westerns in that they place their individual sense of justice and conscience above their duty to the law. Canadian-authored Mounties represent, and are self-abnegating champions of, the Canadian establishment and its laws. Further, their authority does not come from either their social class or physical abilities; such a Mountie "upholds the law by moral rather than physical force".[5] A common story outline for Northerns involving Mounties is a pursuit, confrontation and capture: the Mountie's pursuit of a fugitive takes place across the Canadian wilderness and may be resolved non-violently.[5]

According to

The Eternal Struggle (1923) and Nikki Duval in Quebec (1951).[9]

A common anachronism in Northerns was the tyranny and absolute power of the

Famous Players–Lasky Corporation for the villainous portrayal of their Company in the latter's remake The Call of the North.[9]

Métis
are featured in some depictions.

Besides being set in

Aboriginal people (First Nations) as opposed to hotheaded American visitors (often criminals), lawmen or the American Army who seem to prefer extermination
with violence.

History

David Skene-Melvin classes the "second period" of Canadian crime literature (1880–1920), as "the heyday of the 'Northern' and the literary exploration of Canada's remote and romantic frontiers."[6] He refers to Joseph Edmund Collins as an important figure in this period because, despite his work being of low quality, he was the first Canadian author to address some aspects of the 'Matter of Canada' in his novels, such as The Story of Louis Riel: The Rebel Chief (1885) and Annette, the Métis Spy (1886).[6] Northerns continued to be written after 1920 but Canadian authors largely moved to other genres after World War I as they moved away from a frontier and colonial ethos.[6]

The Klondike Gold Rush during the 1890s in Canada and Alaska brought a lot of wider, international attention to the far north of North America.[2] Adventure novels from veterans of the gold rush—such as Jack London's The Call of the Wild (1903), Rex Beach's The Spoilers (1906) and Robert W. Service's The Trail of Ninety-Eight (1909)—became best sellers.[2] These inspired more adventure fiction which grew in popularity throughout the first half of the twentieth century.[2] The genre was extremely popular in the inter-war years,[2][3] with a "Mountie craze" hitting its peak during the mid-1920s.[9]

A large amount of Northern fiction is the work of non-Canadians. Nevertheless, Skene-Melvin writes "Just as the Western is widely regarded as emblematic of American culture, it can be argued that the Northern is the only truly indigenous Canadian art form, even if most of its exponents have been foreigners."[6]

One of the earliest international examples of the genre is the British play The Klondyke Nugget, which was first performed in 1898.[3] Its author, Samuel Franklin Cody initially wrote it as a Western but changed the location to capitalize on the contemporary gold rush.[3]

Blacque Jacque Shellacque, who first appeared in the 1959 short Bonanza Bunny, is another parody.[4]

While the Hollywood Western began to change in the post-World War II era and the Western myth eventually lost popularity, Hollywood Northerns remained mostly unchanged until their production waned in the late 1950s, the underlying mythology never being challenged.[9]

Examples of Northerns

Poster for the play Heart of the Klondike (c. 1897)
Poster for the film McKenna of the Mounted (1932)
Photo of Richard Simmons as Sergeant Preston and Yukon King from the television series Sergeant Preston of the Yukon

Folklore of Canada (Canadian oral stories)

Poetry

Pulp magazines

  • North-West Stories (May 1925–Summer 1937), became North-West Romances (Fall 1937–Spring 1953)
  • Complete Northwest Magazine (September 1935–April 1940)
  • Real Northwest Stories

Comics

Books

Collections

  • Rugged Alaska Stories (1950), by Frank Richardson Pierce
  • Best Mounted Police Stories (1978), edited by Dick Harrison
  • The Northerners (1990), edited by Bill Pronzini and Martin H. Greenberg
  • Stories of the Far North (1998), edited by Jon Tuska
  • Scarlet Riders (1998), edited by Don Hutchison

Photographies

Radio

Serials

Television

Films

Video games

References

Further reading

External links