Tokyo Cowboy by Kathy Garneau (a film review)
Canada Post hired me in January, and at first I worked at a station in my own neighbourhood, meaning I left my house at 6:48 a.m. to arrive at 6:52 a.m. Life seemed fair; I could have been posted in the suburbs. It lasted only two weeks, but back in those days, feeling optimistic, I went to see Tokyo Cowboy, Kathy Garneau’s first feature film, in which one of the characters is a postie in full regalia—blue jacket, grey pants and navy blue satchel, embodying all that I had yet to become: fully uniformed, excellent at sorting his mail and familiar with all the houses and occupants on his walk. I realized that posties symbolize Canada to me almost as much as those relentless Mounties do. Maybe it’s the corporate logo you see everywhere, or maybe their reputation for friendliness, or their omnipresence (ever counted how many post office trucks you see in a day?), or perhaps the distances they travel and the weather (not to mention the dogs) they negotiate to deliver the mail.
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