Literary
The Feminine Gaze
The story I have to tell begins in the glory days when Hugh MacLennan published Two Solitudes in 1945 and Mavis Gallant, Brian Moore, and Mordecai Richler emerged on to the international literary scene in the 1950s. It's a story that moves into a long decline in English-language Montreal fiction that started in the 1960s, when nationalism was on the rise, and lasted more than three decades. This is a literary story, in other words, and a literary story best understood in the context of the time.
It's a personal story, as well. I am not from Montreal, but I am more at home here than anywhere else, having lived here for most of the time since immigrating with my family in 1963. I became interested in Quebec, and sympathized with Quebec's frustrations and aspirations. When I started teaching and writing about the work of Montreal writers in the late 1970s and 1980s, I focused on writers working in French as well as in English, and I discovered that Montreal's English-language writers had now disappeared from sight. I got involved in working to create the context in which it would be possible for them to thrive. I myself became a writer, and when I got to know other writers, a couple of us crossed town to work with French-speaking writers. By the late 1990s, I was part of a small group convinced that Montreal needed an international literary festival that would bring together writers working in English and French and other languages. I called it Blue Metropolis.
The story I have to tell continues to evolve, as new writers, new books, and new events appear on the scene every season. It's a story worth telling, for it has a good shape, with a glorious beginning, a disheartening middle, and a better ending than any of us could have predicted. The Anglo Literary Revival is what we were working for all along, even if we never imagined it would happen.
