Universitätsbibliothek der Eberhard Karls Universität
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""Cahier XXXII""""Cahier XXXIII""; ""Cahier XXXIV""; ""Cahier XXXV""; ""Cahier XXXVI""; ""Cahier XXXVII""; ""Cahier XXXVIII""; ""Cahier XXXIX""; ""Cahier XL""; ""Cahier XLl""; ""Appendix I""; ""Works Cited"" ""Contents""; ""Acknowledgements""; ""Introduction""; ""Chronology""; ""Cahier I""; ""Cahier II""; ""Cahier III""; ""Cahier IV""; ""Cahier V""; ""Cahier VI""; ""Cahier VII""; ""Cahier VIII""; ""Cahier IX""; ""Cahier X""; ""Cahier XI""; ""Cahier XII""; ""Cahier XIII""; ""Cahier XIV""; ""Cahier XV""; ""Cahier XVI""; ""Cahier XVII""; ""Cahier XVIII""; ""Cahier XIX""; ""Cahier XX""; ""Cahier XXI""; ""Photo Section""; ""Cahier XXII""; ""Cahier XXIII""; ""Cahier XXIV""; ""Cahier XXV""; ""Cahier XXVl""; ""Cahier XXVII""; ""Cahier XXVIII""; ""Cahier XXIX""; ""Cahier XXX""; ""Cahier XXXl"" Marian Engel emerged as a writer during that period in Canada when nationalism increased and ""new feminism"" dawned. Although she is recognized as a distinguished woman of letters, she has not been widely studied; consequently we know relatively little about her and her craft. The material collected in Marian Engel's Notebooks: ""Ah, mon cahier, écoute..."" is a major step in redressing that neglect. Extracts carefully chosen by Christl Verduyn from Marian Engel's forty-nine notebooks - notebooks Engel began in the late 1940s and which she maintained until her death in 1985 - tra
