1. Arjun Appadurai, "Patriotism and its Futures," Public Culture 5.3 (1993): 411.
2. Charles Levin, "Canada as an Unidentified Historical Object of International Significance," in Levin, Jean Baudrillard: A Study in Cultural Metaphysics (London: Prentice-Hall, 1996): 211.
3. Mette Hjort, "Danish Cinema and the Politics of Recognition" in David Bordwell and Noel Carroll, eds. Post-Theory: Reconstructing Film Studies (Madison, Wisconsin: University of Wisconsin Press, 1996): 521.
4. See Bruce Elder, "The Cinema We Need," in Douglas Fetherling, ed. Documents in Canadian Film (Peterborough: Broadview, 1988): 260-271.
5. Peter Morris, "In Our Own Eyes: the Canonizing of Canadian Film," Canadian Journal of Film Studies 3.1 (1994): 27-44.
6. Richard Dyer and Ginette Vincendeau, Popular European Cinemas (London: Routledge, 1992): 1.
7. Peter Harcourt, "Imagining Images: An Examination of Atom Egoyan's Films," Film Quarterly 48.3 (1995): 6.
8. Harcourt, 8.
9. Arjun Appadurai, "Patriotism and its Futures," Public Culture 5.3 (1993): 411.
10. For Brooks America's increasingly multicultural character following the turn of the century presents no problems for his view of Puritanism's enduring cultural hegemony: "The wildest dreams of Boston are the facts of San Francisco [....] Still the native-born Puritan race is the dominant race everywhere, socially at least, deeply tinged with those Puritan ideals, provincial and material" (5).
11. Brooks here has in mind P.T. Barnum, J.D. Rockefeller, and Brigham Young, among others.
12. Given his early and (admittedly) misplaced antipathy for Emerson.
13. Italics mine.
14. "The present is a void, and the American writer floats in that void because the past that survives in the common mind of the present is a past without living value" (223).
15. Cf. especially "Jacataqua."
16. Depicted in the chapter entitled "Père Sebastian Rasles."
17. The same is true in this day and age of literary theory, alas.
18. Brooks values the English and Williams the French contributions to literature.