Focussing on emerging literary voices in the 1980s and 90s, this issue
highlights the thematic preoccupations, formal concerns, and diverse cultural
perspectives of a new generation of QuÃ©bec writers. Essays by Anne-Marie
Gronhovd and FrÃ©dÃ©rique Chevillot underscore questions of representation,
identity, and gender construction in Madeleine Monette's Le Double suspect and
Petites Violences. Considering postmodern topics from another vantage point,
Susan Ireland studies the themes and structures of borrowing, copying, and
reproducing in Monique LaRue's Copies conformes.
The remaining essays in our dossier on writing today complement and
enrich the recent critical discussions of cultural pluralism in QuÃ©bec Studies 14
(Spring/Summer 1992). Examining the latest novel by Haitian-born Emile
Ollivier, Nicole Aas-Rouxparis establishes the centrality of exile and nostalgia in
Passages, while Frank Caucci interprets the thematics of the journey and of
remembrance in works by Italo-QuÃ©bÃ©cois writers such as Antonio D'Alfonso,
Marco Micone, and Dominique De Pasquale. In her study of the Egyptian-born
writer, Anne-Marie Alonzo, Louise DuprÃ© analyzes the interplay of autobiography
and poetry in Alonzo's refashioning of the prose poem. Concluding this special
focus on current literary innovators, Luise von Flotow provides an engaging
overview of the artistic preoccupations and social consciousness of new women
writers such as Anne Dandurand, Claire DÃ©, Flora Balzano, and Danielle Roger.
Essays by Bernard Andres, Sherry Simon, Robert Schwartzwald, and Julie
LeBlanc position literary discourse within various historical, social, political, and
philosophical contexts. Bernard Andres returns to the origins of QuÃ©bec letters to
discuss the ideology and dominant discursive practices that gave birth to literary
production in QuÃ©bec. Comparing cultural outlooks and ideological stances in
Jean Le Moyne's "Retour d'IsraÃ«l" and Gabrielle Roy's Alexandre Chenevert, Sherry
Simon looks at the discourse of Jewry and Jewishness in QuÃ©bec in the late 1940s.
Working in approximately the same period, Robert Schwartzwald argues that
Berthelot Brunet's polemical discourse on bohemianism and homosexuality is
grounded in the prevailing social critique of urbanity which emerged in QuÃ©bec
during the 1930s and 40s. More contemporary in her focus, Julie LeBlanc situates
her discussion of Aquin's Trou de mÃ©moire and Monette's Le Double suspect within
the context of deconstructionist and postmodern discourses on history, subjectivity, and self-representation.
Crossing the boundaries of the visual arts in her study of LÃ©a Pool's A corps
perdu and Jean Baudry and FranÃ§ois Bouvier's Les Matins infidÃ¨les, Denise PÃ©russe
explores the ways in which the photographic image is being integrated into
cinematographic practice in contemporary QuÃ©bec films.
In an article that outlines the contributions of American sociologists to
the study of familial traditions and economic growth in QuÃ©bec, Jacques Hamel and
Eric Forgues take a new look at the meaning of "family values" for the economic
development of the francophone QuÃ©bÃ©cois. And Charles-Philippe David offers
an informed, provocative assessment of the various defense scenarios that an
independent QuÃ©bec would need to consider in redefining its role in the international community.