Michel Tremblay – författare

Born in Providence, Rhode Island, to a Cree mother and a French father, Rhéauna, affectionately known throughout Tremblay’s work as “Nana,” was sent with her two younger sisters, Béa and Alice, to be raised on her maternal grandparents’ farm in Sainte-Maria-de-Saskatchewan, a francophone Catholic enclave of two hundred souls. At the age of ten, amid swaying fields of wheat under the idyllic prairie sky of her loving foster family, Nana is suddenly told by her mother, whom she hasn’t seen in five years and who now lives in Montreal, to come “home” and help take care of her new baby brother. So it is that Nana, with her faint recollection of the smell of the sea, embarks alone on an epic journey by train through Regina, Winnipeg, and Ottawa, on which she encounters a dizzying array of strangers and distant relatives, including Ti-Lou, the “she-wolf of Ottawa.” To our delight, Michel Tremblay here takes his readers outside Quebec for the first time, on a quintessential North American journey – it is 1913, at a time of industry and adventure, when crossing the continent was an enterprise undertaken by so many, young and old, from myriad cultures, unimpeded by the abstractly constructed borders and identities that have so fractured our world of today. This, the first in Tremblay’s series of Crossings novels, provides us with the back-story to the characters of his great Chronicles of Plateau Mont-Royal, particularly of his mother, “The Fat Woman Next Door …” and his maternal grandmother, who, though largely uneducated, was a voracious reader and introduced him to the world of reading and books, including Tintin adventure comics, mass-market novels, and The Inn of the Guardian Angel, which fascinated the young Tremblay with its sections of dramatic dialogue, inspiring the many great plays he would eventually write.

Germaine Lauzon has won a million trading stamps from a department store. Her head swimming with dreams of refurbishing and redecorating her working-class home from top to bottom with catalogue selections ranging from new kitchen appliances to “real Chinese paintings on velvet,” she invites fourteen of her friends and relatives in the neighbourhood over to help her paste the stamps into booklets.Raucous, reckless and rude, the women shamelessly share their most secret hopes and fears, complain stridently about their friends and relatives, fantasize wistfully about escaping the misogynist drudgery of their lives and surreptitiously tuck most of the stamps into their purses and clothing, self-righteously appropriating what they consider to be Germaine’s “illegitimate” good fortune.While earlier attempts had been made to stage the realities of Québécois life using colloquial language and a realist backdrop of working-class Montréal, these populist hits were considered rustic and anomalous, while “real” (Parisian) French continued to dominate theatre and “high culture” until the end of the 1950s.As Québec searched for a new socio-political identity and a language that could articulate its rapidly emerging post-colonial reality throughout the “quiet revolution,” Michel Tremblay struggled to find an authentic Québécois voice. Written in 1965, it took three years for him get a first production of Les Belles Soeurs in 1968. Premiering at the Théâtre du Rideau-Vert in the same year that René Lévesque founded the nationalist Parti Québécois, this first of what was to become more than a dozen plays in Tremblay’s Cycle of Les Belles Soeurs became an overnight success. In one fell stroke, Joual, the distinctive Québec vernacular that had evolved over centuries since the end of French colonial rule had been legitimized, and Michel Tremblay, much like Chaucer in English and Dante in Italian, had become “the father of the Québécois language.”

In Act 1, Claude, 55, visits his father Alex, 77, in an Alzheimer’s ward, intimately tending to his bodily functions and needs while hopelessly trying to reach his silent, vacant father with a series of monologues—to settle old scores and misunderstandings between them.In an astonishing and eerie reversal of roles, in Act 2 it is Alex who visits his son Claude in the same Alzheimer’s ward and it is Alex’s turn to rant and rail at what he perceives to be his mute son’s contempt for his own working class life.With a cruel and disconsolate irony, we come to see that his father’s lifelong attempt to mock and censure Claude’s work as consisting of nothing but mediocre, misrepresentative lies, has been the very driving force behind Claude’s compulsion to continue to reveal the “truth” of human relationships as he so desperately wants his father to understand it.

A transvestite’s illusion of herself is shattered when she goes to a costume party dressed up as Elizabeth Taylor in Cleopatra. Cast of two men.

The story continues … The second in Michel Tremblay’s new series of novels presents two very different lives. We meet Maria as she leaves the city of Providence, Rhode Island, pregnant and alone. Two years later, we also meet Maria’s older daughter, Rhéauna, as she disembarks the train at Windsor Station, having crossed the continent from her grandparents’ farm in Saskatchewan, called home to Montreal to care for her one-year-old baby brother, Théo, while Maria works.

Along the way, Crossing the City affectionately and accurately depicts Montreal’s Plateau neighbourhood at the beginning of the last century. Readers will delight in the small details of description, and Tremblay fans will revel in the backstory to the characters of his great Chronicles of Plateau Mont-Royal, particularly of his mother, celebrated as Nana throughout his work, including as his famous Fat Woman next door. In this novel, Nana is the young Rhéauna, reunited with her mother, Maria, for better or for worse.

Crossing the City continues the Desrosiers Diaspora novel series.

Talonbooks is pleased to announce a new edition of one of Michel Tremblay’s most unusual novels. First published in English translation by M&S in 1989 under the title The Heart Laid Bare [Le coeur découvert, Leméac, 1986], British and American rights to this novel were sold to Serpent’s Tail, who published this same book under a different title, Making Room, which is now out of print.This new Talonbooks edition proudly restores this novel to its rightful place in Tremblay’s sweeping and compassionate imagination of human sensibility and passion.Jean-Marc has fallen in love. The object of his affection is Mathieu, a young actor working as a salesman at Eaton’s while waiting for his big break. As a dowry to their new relationship, Mathieu brings Sébastien, his son. Jean-Marc, a fusty academic, is not sure about being able to make room in his life for this four-year-old boy.While daring, for some even shocking when it first appeared in the 1980s, this story has, like Tremblay’s entire ouevre, stood the test of time and revealed itself to be a work of both enduring and prophetic visionThe Heart Laid Bare marks a significant departure for Michel Tremblay, because it is the first of his mature novels which is not set in the semi-autobiographical milieu of his childhood. Yet this thoroughly contemporary love story is told with all the warmth and empathy that is so characteristic of all of his other work.

In Birth of a Bookworm, Michel Tremblay takes the reader on a tour of the books that have had a formative influence on the birth and early development of his creative imagination. Included are his readings of and reactions to some of the great classics of world literature by such writers as the Comtesse de Segur, Jules Verne, Robert Louis Stevenson and, above all, the Brothers Grimm. One of the great moments in this very personal voyage of literary discovery is Tremblay’s astonishingly revelatory and prescient account of a summer spent regaling his little friends with his invented alternate endings to the story of Snow White. Here, more than anywhere else, do we get a sense of an author emerging from the received magic of his encounters with stories, and discovering his own need to tell them anew, with the fresh, contemporary sensibility of his own time, place and circumstance.As in the other two volumes in “the education of Michel Tremblay”— his memoir of the formative films in his life, Bambi and Me, and his first encounters with the world of the theatre, Twelve Opening Acts — Birth of a Bookworm is first and foremost a love story of Michel for his muses, ushered into his life and hovered over with the acute care and concern of his match-making mother. As in all of Tremblay’s work, the physical and emotional world of his childhood is celebrated as the fertile ground on which his new, vivid way of seeing and imagining is built.

A Crossing of Hearts continues Michel Tremblay’s Desrosiers Diaspora series of novels, a family saga set in Montreal during World War I. August 1915. Montreal is stifled by a heat wave while war rages in Europe. The three Desrosiers sisters – Tititte, Teena, and Maria – had been planning a whole week of vacation in the mountains, to do nothing but gossip, laugh, drink, and overeat while basking in the sun. Maria had decided to leave her children, Nana and Théo, in Montreal, in the care of a neighbour who gives her a hand when she needs it. Now Maria’s children come roaring into the kitchen, pink with pleasure, begging to come too. “I keep telling you, Momma, we’ll be as quiet as little mice,” Nana assures her. “We’ll hardly take up any room. You won’t even know we’re there.”Reluctantly, Maria takes her children along on the week-long trip to the Laurentians. As the reader views the journey through young Nana’s eyes, we come to understand the impoverished circumstances they leave behind in Montreal, only to find poverty ever more present in the country. Yet here it is surrounded by mountains, reflected in a lovely lake, and the blue sky gives them a moment of respite. It feels good to get out of town, and Tremblay’s writing remains so vivid that the reader imagines dipping into cool lake water along with the family. Encounters with rural relatives crystallize young Nana’s true feelings for her mother, as confidences and family secrets fuse day into night. This third novel in Tremblay’s Desrosiers Diaspora series bursts with life as Nana, the young city girl, explores the natural world – and the enchanted forest of her inner, maturing self. The novel also further develops the character of Maria so that we understand her motivations more fully, and at the same time recognize nods to the history of Quebec and the dynamics of the family under the strictures of the Catholic church.

They say hindsight is 20/20. They’re not wrong. Ten years after their parents’ death in a car accident, now-grown sisters Carmen and Manon are together for one of their rare visits – and one of them is finally ready to confront their shared tragedy. Carmen is a boisterous country-and-western singer who has left her home, and all her past, in the dust. Manon lives a more sheltered life, closely aligned with the traditions of religious Quebec, which are now – in the mid-1970s – only beginning to come apart at the seams. Carmen is convinced it’s time for Manon to end the years of mourning, while Manon is insulted that Carmen seems to have responded so unfeelingly to such a horror. Each sister has kept the memory of their parents alive in her own way. In fact – here they are, in living memory: Marie-Louise and Lèopold, the girls’ parents, are on stage simultaneously. Just beyond the ken of their daughters, they live out their final day. As the two daughters struggle to reconcile the events preceding the fatal crash, and as their parents play out the culmination of their sodden marriage, we discover there is more to the memory of that fatal day than meets the eye. And yet, can the blame really be laid at the feet of one person? Or can a whole socio-cultural paradigm that twist its subjects into unbearable contortions and trap them in fear and submission, be at fault?

Cast of 3 women and 1 man.

This second revised edition of Forever Yours, Marie-Lou, which played at the 1990 Stratford Festival, is John Van Burek and Bill Glassco’s new translation of Michel Tremblay’s original French text.

From the theatre of Euripides to the theatre of Montreal’s Main, Michel Tremblay casts some of his most famous and exotic personae, The Duchess, Fine Dumas, Jean-le-Décollé and Babalu, in a whole new light in his new Notebooks. Unlike his Plateau Mount Royal novels, wherein these flamboyant transvestites and their community of social misfits are seen from the perspective of a child destined to discover the defining characteristic of his own otherness as gay, the Notebooks are narrated in the voice of a young woman, and one whose difference is not primarily determined by her sexuality, but by her highly visible physical deformity—Céline Poulin is a midget.The year is 1967—Expo—and everyone in Montreal is waiting for the great day when they can visit its exotic foreign pavilions. For the characters of The Red Notebook, the second in this trilogy, life in Montreal has shaken off its conservative glumness as a new age arrives. Change is everywhere in the air: politically the Quebec independence movement has been given a major boost by Charles de Gaulle’s famous “Vive le Québec libre!” declaration; and things will never be the same. Céline Poulin, former waitress at the bohemian hangout “Le Sélect,” is now about to start a new job: that of hostess in a bordello just opened by Montreal’s famous Madame, Fine Dumas. Its specialty? All the “girls” in “Le Boudoir” are transvestites. Some are old pals of Céline’s who’ll also be her room-mates after she finally escapes the stifling unhappiness of her family home and moves into their communal boarding house.Having always maintained that he does not write politics, but fables, Tremblay celebrates how it is possible for Céline to embrace her difference and to flourish in solidarity with a community of others with transcendent eloquence and compassion.

Michel Tremblay considers Bonjour, Là, Bonjour to be the best of all his works. “In Bonjour, Là, Bonjour, I apprehended the most of what I wanted to do in the theatre—to take out everything that is not strictly necessary.“This new substantially revised translation by John Van Burek and Bill Glassco updates their original English translation of Bonjour, Là, Bonjour which has been available from Talonbooks since 1975.Cast of 6 women and 2 men.