The title of Pasha Malla’s 2015 article in The New Yorker’s Page-Turner says it all: “Too Different and Too Familiar: The Challenge of French-Canadian Literature.” Because it is a challenge to locate French-Canadian literature within the landscape of Canadian Literature, even for those of us who devote a significant
In this story, Linnet is “seamless”, she is “as smooth as brass”. And she has returned to her godmother’s house, as a journalist, sent to conduct an interview. She has written down her assignment, like any other, without commenting that the woman is her godmother. unsplash-logoMatt Artz She is hesitant,
If you are reading this post because you are part of the #1965Club, and you haven’t heard of Marie-Claire Blais, you are about to wonder how that can be true. (And if you also haven't heard of #1965Club, please visit Karen's and Simon's sites to learn more.) Blais has published
We are meant to take Linnet’s observations about this 1891 painting, how it was admired and embraced into so many homes, as an indication of the impact that Dr. Chauchard had on her family’s life. “The parable is set in a spotless cottage; the child’s bed, composed of three chairs,
You might remember that, back when we met Linnet Muir, four stories ago, she explained her particular kind of aloneness. unsplash-logoCris DiNoto This story travels back in time further than the previous three and creates a deeper understanding of her state of being. Even in childhood, Linnet was alone. Even
