The Dusty Bookcase

27 November 2025

Discussing Canadian Lit With ChatGPT: Alternative Facts or Alternate Universe?

A brief addendum to the recent post on The Magpie.

It has now been three years since ChatGPT was released to the public. I was AI-curious at the time, but turned off by reports that it had been trained on proprietary works. I can't say for certain that mine figured, but am willing to bet on it; seven of my books were used to train rival Meta's generative AI.

The Authors' Guild was one of the first bodies to bring a class action lawsuit. On my side of the border, J.B. MacKinnon has filed class action lawsuits against Meta, Anthropic, and Databricks, and Nvidia.

More power to him.

I've yet to encounter a single writer who isn't angered at having been exploited so, which is why a study released earlier this month, 'A.I. and the Professional Writer,' surprised. A survey of 1190 "writing professionals," it found that more than sixty percent were using AI on a weekly basis.

This writing professional stayed away until this month after leafing through Douglas Durkin's 1925 novel The Magpie. I'd failed to find an exchange that I was certain had taken place during a Winnipeg dinner party.

We've all been there. You remember reading something in a book, you even remember that it was in the top-half of a right-hand page, and yet still it proves elusive.

Then, with 'A.I. and the Professional Writer' in mind, I thought of asking ChatGPT. The study found that it is preferred by four out of five writers, making it the Trident gum of the profession.

Let's see ChatGPT prove itself.

Because The Magpie is in the public domain I felt only a little guilty.

My question:

The response:

Is it an excellent question? I asked only because I'd been too lazy to take notes when reading the novel. The reference to the Faded Page text impressed because it's the most reliable text available online, though things quickly fell apart:

What ChatGPT refers to as the "opening dinner-party [sic]" takes place in Chapter IV, not Chapter I.
Miss Frawley is not in attendance.
The Great War is a topic of conversation, as one might expect at a social gathering that takes place eight months after the Armistice, but "Craig Forrester's return from it" is not.
Nowhere in the novel is Jeannette Bawden described as speaking "in her cool voice."
"Tell us, Mr Forrester, said Jeannette, "what does it feel like—to kill a man?" is not in the text, nor does is sound like anything she might say.

I did not challenge ChatGPT on these points - which I kind of regret - instead deciding to go with the flow.

Sensing fraud, I began asking more basic questions, the first being the meaning of the title.

Chapter I again.

The earliest of dinner party in the novel takes place in Chapter IV. Vicky Howard first appears in Chapter VI. To this point, she and Craig had never met, and yet the passage presented suggests great familiarity.

The conversation quoted appears nowhere in The Magpie.

In the actual novel, Craig Forrester is known as "The Magpie" only to a close-knit group of fellow traders working the floor of the Winnipeg Grain Exchange. No one outside the building knows of the nickname.

Following this exchange, I asked a question about war widow Jeannette Bawden, my favourite character. A woman of the upper-middle class, she embraces social change following the death of her husband in the Great War. I could not remember whether she had ever considered violence as an answer, and so I asked:

Nothing even remotely similar to this appears in The Magpie. The words attributed to Jeannette and Craig run counter the characters Durkin created.

May as well add that the novel is divided into three sections, all of which consist of six chapters. There is no Chapter VII.

The most interesting of these exchanges concern Millie Dyer and her husband Jimmy, a labourer who had served with Craig overseas. The Dyers are unique in being the only working class family in the novel, yet were at first not recognized by ChatGPT.

This curious kink was revealed when I asked for a complete list of the novel's female characters. In response, ChatGPT provided an impressive list which included figures that appeared so fleetingly that they didn't even have names.

But Millie Dyer was absent.

It was only when I questioned ChatGPT that she was acknowledged.

The same can be said about Jimmy.

In our back and forth, ChatGPT informed that no character dies during the course of the novel. It's true that Jeannette Bawden's husband is killed in the backstory, but Jimmy Dyer survives the conflict and very much alive in July 1919 when Craig spots him on a Winnipeg street and offers him a ride home.

Again, I challenged ChatGPT. There was no acknowledgement of the error, but I was offered this:

In the novel, Craig learns of Jimmy Dyer's death months after it occurred. The man had died quite suddenly, but not by suicide. Widow Millie believes the tragedy was brought on by exposure to mustard gas in the war. Need it be said that the quote from the novel is a fabrication? There is, of course, no Chapter XIII.

Aware that my free use of ChatGPT was approaching its limit, I posed three more questions, the first having to do with Jeannette Bawden living with a veteran named Amer. ChatGPT insisted that this doesn't occur.

The second question had to do with the scene in which Craig confronts Marion about her infidelity. It's the last in which they are together. ChatGPT provides a made-up dialogue that appears to reference the death of Jimmy Dyer, all the while referencing Faded Page.

As pulp fiction goes, it ain't half bad.

Before signing off, I asked a simple question: "What was the name of Douglas Durkin's first wife?"

Douglas Durkin's first wife was Estella. Her maiden name was Thomson.

Addendum to addendum: After writing the above, I thought to ask ChatGPT the very same question I'd posed eleven days earlier:

The response, detailed and lengthy, begins:

Further section headings include:

How Mrs. Loines knows Craig
Who is Mr. Loines?
How both parents fit into Craig's early reentry into civilian life
Hilda's role at the table
After-dinner atmosphere

A character sketch of Hilda Loines is also provided.

ChatGPT offered even more!

There is no Loines family in the novel.

Related post:

The Great War and Its Discontents

14 November 2025

The Great War and Its Discontents

The Magpie
Douglas Durkin
Toronto: University of Toronto Press, 1974
351 pages

Craig Forrester has received a telephone call from Mrs Gilbert Nason, wife of one of the wealthiest men in Winnipeg, inviting him to a dinner party at the family home: "no dinner party was complete nowadays without its war hero — she would promise that he would not be asked one question during the evening, about his experiences at the front — and Marion would be there to tease him — and, well, would he come?"

Craig accepts the invitation. Marion, the Nasons' daughter, does indeed tease, as when she ushers him toward another woman, whispering:

“She’s a war widow, but she’s young and — come on, you’ll see for yourself.” She took him by the hand and pulled him after her across the hall and through an open doorway into a small reception-room. Mrs. Nason got up from where she had been sitting and came forward to meet him. “So here you are!” she greeted him, extending her hand. “My, but you’re looking well! Here’s our hero, Jeannette."

The scene takes place in July 1919, eight months after the Armistice, and one month after the violent end of Winnipeg General Strike.

The promise of the post-war future is very much a topic of dinner conversation. Methodist minister Reverend George Bentley, who joins Craig and Jeanette at the Nason family table, has strong opinions about the demands of the working man:

“Unless we restore our institutions to their status of the days before the war,” Bentley declared, “there is no hope for civilization.”
Jeannette Bawden broke through at last with a word of protest. “Why take the trouble to save it, Mr. Bentley?” she asked in her softest voice.
Marion chuckled in spite of herself — or because she had been awaiting just such an opportunity — and was reprimanded by a look from her father.
“Why take the trouble to save our Christian heritage?” the good gentleman asked, surprised.
“I wasn’t aware that it was Christian,” Jeannette retorted.
Craig caught a glance from Marion and the two exchanged furtive winks. He was beginning to like Jeannette Bawden and was pleased, for some reason or other, to find that Marion shared her views.
“Jeannette, you heretic,” Mrs. Nason interrupted, “I’m not going to permit you to badger Mr. Bentley. Craig, can’t you talk her off the subject.”
“On the contrary,” objected Bentley, recovering himself, “I think I rather enjoy being badgered by a woman when she is as charming as—”

Craig makes no attempt to take Jeannette Bawden off the subject, he'd much rather hear what she has to say. Craig is the Magpie of the title, so named by a colleague who'd noted his habit of listening to conversation without contributing. Invariably, another would make a point he was contemplating:

“Craigie has a nimble wit but a heavy tongue,” his father had said of him in the old days.

Craig's father died on the family farm while he was off fighting overseas. He blames himself for not having been present. The two had always been very close, and were no doubt brought closer by the early death of Craig's mother.

At twenty, Craig was sent off to university. At twenty-four, his father bought him a seat on the Winnipeg Grain Exchange as a graduation gift.

The Winnipeg Grain Exchange as it was c.1920.
Craig's office is described as being on the seventh floor.

While tense moments in the pit follow, I admit my eyes began to glaze over. Debate over barley futures wasn't for me. I was more interested in the promises that had been made working men who had brought victory. More than anything, what grabbed my interest was the reception of the returning soldier and the portrayal of women.

Mrs Nason's assurance that Craig would not be asked about his experiences at the front proved true. However, the very next month, during a second dinner, this one at the Nason summer home, he finds himself seated beside coquettish Vicky Howard:

“Don’t you think you can persuade Captain Forrester to tell us some of the heroic things he did when he was in France, Marion?” Miss Howard cooed, with her cheek touching Craig’s left shoulder.
“I should think you could get him to do that, Vicky,” Marion suggested. “I’ve never known how to get a returned man to tell of his experiences.”
“I’ve heard some — some perfectly wonderful stories from men who have come back — one boy in the bank —”

Vicky Howard is one of several female characters of Craig's generation in the story. Each interesting in her own way, together they reflect a jarring shift in societal expectations and social norms. The Magpie spans 1919 and 1920, a touch early for bound breasts and flapperism to have reached the Canadian prairie, though it should be noted that one of the characters has bobbed her hair.

Marion Nason delights in her friend Jeannette's needling Reverend Bentley, whose ministry has been supported by her father and other wealthy businessmen. This, combined with her beauty, leads Craig to make her his wife. However, once she has left her father's house she becomes a different person, one who is more concerned with maintaining the lifestyle into which she was born rather than the plight of others less fortunate.

Jeannette Bawden's life has been very much changed by the war. It killed her husband. Jeanette's desire for social upheaval is fuelled in part by revenge. Jeanette will end up living in sin with an outspoken veteran who shares her newfound politics.

Vicky Howard flirts openly with Craig during that second Nason dinner and in the evening that follows. When he does not respond, she opts for a one-nighter with Claude Charnley, Craig's rival for Marion's affection. The following summer, by which time Craig has married Marion, Vicky makes an overt pass: "People don’t wonder about such things nowadays. They used to.... before the war.... but not now. They take some things for granted.....”

Then there's Martha Lane, Craig's friend since childhood. The girl from the neighbouring farm, they'd lost touch when she went off to study sculpture in Europe. Martha's father doesn't understand her art, but takes pride in her achievement. Once she and Craig reconnect, they spend hours alone together working on an exhibition of her works.

These young women are so unlike those depicted in pre-Great War Canadian novels and live in a much different world. To have a man, in this case Craig Forrester, spend time alone with, say, Jeannette Bawden or Martha Lane, would've destroyed reputations.

Hodder & Stoughton ad in The Victoria Daily Times, 15 December 1923

For other characters, the post-war world is all too familiar. Craig is driving late one afternoon when he encounters Jimmy Dyer as he walks home from work. They''d served alongside each in Europe and are now, to paraphrase Neil Young, back in their Canadian prairie homes. Jimmy's is the same little green and white shack he left to fight, leaving behind his wife and children. He's a cheerful sort, until talk turns to the war:

"They’re all doing their damnedest to forget about it. They’re sticking a few hundred of the broken ones in hospitals here and there and they’re putting in a cenotaph and a bronze tablet here and there for the fellows who won’t be back. For the rest of us they’re putting green seats in the parks where we can sit down and go over our troubles if we want to without being asked to move on. In a year’s time they’ll send us a medal with a couple of inches of coloured ribbon and a form letter and the thing will be all over. Instead of shouting ‘On to Berlin’ they’ll change it to ‘Back to Normalcy’. We’ve spent four years of the best part of our lives fighting for the big fellows, and we’ll spend the rest of our days working for them just the same as we did before the war. The only real difference is that we had a band or two and a banner or two and a chaplain or two to remind us that we were fighting for the glory of God and the brotherhood of mankind, and now we have the squalls of hungry kids and the insults of a few God damned slackers to cheer us on our way. That sums it up for me, just about.”

Contemporary reviewers really struggled with this one. Some papers merely acknowledged the novel without reviewing it. In this case, the political elements are downplayed:

The Border Cities Star, 22 March 1924

The Magpie was first published in 1923 by Hodder & Stoughton Canada. My 1974 edition was published as number 23 in the University of Toronto Press's Social History of Canada. It was given to me by a generous reader of this blog.

I'd assumed that the novel had been in and out of print over those five decades, but I was wrong. The Magpie had been out-of-print. What's more, after the University of Toronto Press reissue, The Magpie again slipped out of print for decades, until brought back in 2018 by Invisible Press.

It can be purchased through this link.

I'd been meaning to read the novel since my days as a Canadian Studies student in the 'eighties. Its depictions of the Winnipeg General Strike made it important, or so I thought. In fact, there are no depictions of the Winnipeg General Strike in The Magpie, just as there are no depictions of the Great War. The novel is a reaction to both events. It is a novel about the aftermath of conflict, as experienced by those who were harmed and those who benefited.

The once-silent Magpie begins to speak out.

Favourite pasage (w/ spoiler): After his chance encounter with Craig, we never see Jimmy Dyer again. Craig keeps meaning to call, but many months pass before he returns to the Dyer family's extremely modest home. On a whim, he's decided to bring along Gilbert Nason, his liberal-minded businessman father-in-law. Over tea, they learn that Jimmy is dead; he never quite recovered from his encounter with mustard gas. Gilbert Nason reacts by offering help, but is soundly rejected:

"There’s a lot of women left alone in the world — lots of them right here in this city — and some of them might take help if you offered it to them. Some of them can’t help themselves. But I can. Jimmy Dyer never took charity from anyone and he wouldn’t want his wife to take it from anyone, either. No, Mr. Nason, there are some of us who are strong enough in body to go out and work for our children and strong enough in mind, too, to do a little thinking for ourselves. Somewhere I read of what one woman made her mind up to do when she got word that her husband had been killed. She was going out to take the life of some warmaker — take it with her own hands. And that’s what the men who make war are driving us to do. They will force the women to make war on those who made war for us. We’ll go out and find the men who sit in upholstered chairs and play the game of politics and business and move the Jimmy Dyers of the world about on the checker board like so many bits of wood. We’ll find them. They killed our men. We’ll kill them. What else have we to do? We’ll dog their steps. We’ll make them afraid to go out unattended. They’ll be afraid to touch food or water for fear of being poisoned. There’ll be ways, and ways—and ways! But we’ll stop it — we’ll stop it! We’ll bring no more sons into the world for them to feed to cannons. We’ll send no more husbands out behind brass bands to spill their blood in the field. We kept the homes — the gardens — the flowers.... the poppy beds....”

Trivia (w/ spoiler): In the final pages, Craig is forced to come to terms with the fact that from the early days of his marriage Marion has been having an affair with Claude Charnley. The last page suggests a future with Martha Lane.

Canadian Singers and Their Songs
Edward S. Caswell, ed.
Toronto: McClelland & Stewart, 1919

In his own life, Durkin was the unfaithful spouse. His lover was also named Martha – Martha Ostenso – with whom he collaborated on over a dozen novels, including her 1925 bestselling debut Wild Geese. Their affair lasted over two decades, ending in marriage only after the death of his wife.

Object and Access: My U of T Press edition is bound in black boards. The jacket design is not credited.

Used copies of the first edition aren't nearly as dear as one might expect. Very Good and better copies of the first edition (all sans jacket) begin at $36.00. The copy to have is an inscribed and signed, offered by a Gatineau bookseller for $155.00.

The novel is available here – gratis – thanks to Faded Page.

Related posts:

Dead Man Sitting
Wild, Wild Geese

12 November 2025

An Evening With Merrickville Authors

For those in the area, this Thursday evening I will be joining Dan Black, Bill Galbraith, Vic Suthren, Carol Williams, and moderator Omar Simonyi for a lively panel discussion on the writing life.

Hope to see you there!

11 November 2025

Remembrance Day

The son of William and Ellen Dixon, Frank Percival Dixon was born on 16 April 1898 in Elkhorn, Manitoba, not far from the Saskatchewan border. Elkhorn's population today is under 500, roughly the same as it was back then. His parents were a farming couple. Frank, the family's fifth child, was one of eight children, Winona and Gertrude being the only girls.

Four days before the Christmas of 1916, Frank Dixon travelled to Winnipeg to enlist in the Canadian Over-Seas Expeditionary Force. He was eighteen at the time.

His first known poem was written three days later:

Two months after that, he provided a will, leaving everything to his mother.

Frank Dixon's early wartime verse, particularly that composed in Canada, deal largely with romantic notions of the adventure that awaits overseas or humour found in his situation, as in his 26 March 1917 poem 'Sackville':

The army life in Sackville,
Let me convince you all,
Is playing hide and seek with mumps,
And we'll play the game till fall.

One man gets the mumps and then
We stay here just to see
If there won't be another case
To get our sympathy.

On 22 April 1917, Dixon arrived in Liverpool aboard the S.S. Canada.

Dixon wrote about this in the poem 'From Liverpool to Shorncliffe.' His overseas experiences inspired dozens of poems, many of them quite detailed. Consider the first stanza of 'An Air Raid in England,' written on 26 May 1917:

It was six twenty-five in the evening,
On the twenty-fifth of May:
We were quietly enjoying the coolness
After a long and sultry day.

The next month, he reached France:

Come 1918, Dixon's views on the war had shifted. Romance had been replaced by rage, regret, realization, and cynicism:

"Home" is the most frequently used noun in Dixon's 1918 poems; the second is "mother":

On 29 August 1918, Frank Dixon succumbed to injuries received in combat. His remains lie in Ligny-St Flochel British Cemetery, Pas de Calais, France.

In 1937, as war clouds were again gathering over Europe, Frank's mother Ellen self-published a slim volume consisting of forty-five poems and fragments written by her son in the twenty months between the day he enlisted and the day he died.