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When "Canadian Literature in English" was first published by Longman in 1985 it was described (in the "Modern Language Review") as a standard reference work on the subject' and the best critical account of its subject that we possess so far'. The book was released in London and New York, as such things were done at the time, but never distributed particularly well in Canada, where it sank, rapidly, from view.

W. J. Keith, writing in the Preface to the Revised Edition, admits that his first inclination was to embark on a total rewrite of the Longman edition. On further consideration, however, Keith came to realize that the 1985 publication was completed at the close of a major phase in the Canadian literary tradition' and that the remarkable flowering that began to manifest itself in the middle of the twentieth century had run its course by the beginning of the new millennium.'

That being the case, Keith argues that a number of writers who had already achieved [considerable] stature further developed their reputations [in the period 1985--2005] ... but only a few extended them'. Keith is also quick to admit that he has chosen to ignore utterly the popular' at the one extreme (Robert Service, Lucy Maud Montgomery) as well as the avant-garde' at the other (bpnichol, Anne Carson), in favour of those authors whose style lends itself to the simple pleasure of reading, and to that end he dedicates his history to all those (including the general reading public whose endangered status is much lamented in the Polemical Conclusion'') who recognize and celebrate the dance of words.'

Volume One of the Revised Edition includedBeginnings', first in the prose travel journals of Alexander Mackenzie and Samuel Hearne, then in Poetry, and finally in Fiction up to the publication in 1904 of Sara Jeanette Duncan's "The Imperialist". Part Two, Poetry, presented the Challenge of Modernism embraced by E. J. Pratt, F. R. Scott, A. M. Klein and A. J. M. Smith, examined the Mythic Versus the Human, and concluded with Plain Talk About Past and Present that delivered us to the early work of Don Coles, Stephen Scobie and David Solway.

Volume Two includes a parallel examination of Fiction and an Update on the past Twenty Years before launching into a Polemical Conclusion self-described as a dark and for the most part depressing journey' in which a "trahison des clercs" (treason of the intellectuals) is identified by which universities have abandoned their position as centres of excellence and independent inquiry to become employment-oriented training institutions emphasizing marketable skills.'