Michel Tremblays Werk befasst sich oft mit dem Leben der Arbeiterklasse und untersucht die Schnittstelle von sozialem und moralischem Leid. Seine Charaktere, häufig Frauen, werden mit einer Mischung aus Realismus und Humor dargestellt, die ihre Unvollkommenheiten neben ihren liebenswerten Eigenschaften zeigt. Tremblay ist bekannt für seinen innovativen Sprachgebrauch, der umgangssprachliche Ausdrücke einbezieht, die seinen Erzählungen Authentizität verleihen und literarische Konventionen herausfordern. Sein produktives Schaffen umfasst verschiedene Formen, darunter Theaterstücke und Romane, die alle durch eine ausgeprägte Erforschung der menschlichen Verfassung vereint sind.
Set against the backdrop of September 1935, the narrative explores the intertwining lives of characters like Ti-Lou, Édouard, Victoire, and Josaphat, each grappling with profound loss and the quest for connection. As they navigate their struggles, particularly Josaphat’s daughter Laura’s desperate search for her mother, the story delves into themes of resilience amidst disillusionment. It captures fleeting moments of joy and the harsh realities of life, highlighting the enduring human spirit even in the face of forgotten dreams and inevitable heartache.
Michel Tremblay is the most important playwright in Quebec theatre history.
Bill Findlay and Martin Bowman have translated eight of Tremblay's plays into
Scots, capturing the energy and versatility of the Quebecois language. These
critically acclaimed translations constitute an important body of work in
modern Scottish theatre.
"Michel Tremblay's Twists of Fate gathers volumes 6 and 7 of the critically acclaimed Desrosiers Diaspora series of novels, If by Chance and Destination Paradise. In If by Chance, set in 1925, the great Ti-Lou, the famous She-Wolf of Ottawa, returns to Montréal. After a fruitful career at the Château Laurier, in the royal suite where she welcomed diplomats and men of the world, politicians and ministers of worship, she packs up and sneaks off, her suitcases replete with savings acquired at the cost of her body. Unrepentant, always whimsical, a damsel in distress, Louise Wilson-Desrosiers was a proud, free, exemplary courtesan ... When she arrives in the hall of the Windsor station, she wonders what surprises life may have in store for her. Five possible fates await her, each with their share of risks and opportunities, of good and less good fortune. But in each of these lives, Ti-Lou will have to deal with more than mere chance, because awaiting her at the crossroads are the blade of loneliness and, worse still, the fear of allowing herself to be loved. In Destination Paradise, we enter the Paradise Club, on 1930s Montréal's Main Street, one of the few places that caters to old boys, in a spot dubbed the Ringside. It's where Édouard Tremblay made his entry into the "big world," shortly after becoming a shoe seller on the avenue du Mont-Royal. Precocious despite his eighteen years of age, he is carried away by his double, the Duchess of Langeais, whose story he has just read in Balzac's eponymous novel. Of course, we already know that Édouard will become the Main's undisputed queen of the Montréal drag scene, associated with the spectacular Acapulco nights; but we knew less about Édouard's beginning in life, the childhood of his stage character. Destination Paradise tenderly reveals Édouard's rite of passage."--Provided by publisher
It's May 1922, and preparations are in full swing for the marriage of Nana and Gabriel, which will take place the following month. There's just one problem: Nana's wedding dress has yet to be bought. Nana's mercurial mother, Maria, torn between her desire to measure up as a mother and the inescapable constraints of poverty, wonders how to pay for the wedding. And she's not the only one battling demons - the thought of the upcoming reunion unsettles every member of the large and dispersed Desrosiers family. While the wedding invitations announce a celebration, they also stir up old memories, past desires, and big regrets.
The story explores Nana's tumultuous transition from childhood to adolescence, as she grapples with new responsibilities while caring for her ailing grandmother, Josephine. Simultaneously, her mother Maria struggles with her own inner turmoil in Montreal, caught between her rebellious nature and conflicting desires. This dual narrative highlights the challenges of familial bonds and the complexities of growing up amidst emotional upheaval.
"À soixante-seize ans, Marcel a passé le plus clair de sa vie à l’ombre – enfermé à vingt-trois ans dans l’étrange asile de Nominingue, au fin fond des Laurentides, il est toujours au pied de ses mystérieuses et menaçantes montagnes, plus de cinquante ans plus tard, bien qu’on l’ait laissé sortir. Ces montagnes, il les peint, avec beaucoup de ciel. Il peint aussi la mer, qu’il n’a jamais vue « en vrai ». Et comme dans une tardive tentative de libération, le voilà qui se lance dans un projet inédit : écrire son journal. Remonter le fil d’une folie qui l’a mis à l’isolement – malgré les visites de sa mère morte et de son chat imaginaire. Dans cette variation d’une grande douceur sur l’évaporation du temps et la terrible violence faite à une âme simple, les lecteurs fidèles reconnaîtront un personnage qu’ils ont vu grandir dans les Chroniques du Plateau-Mont-Royal. Mais s’il fleurit comme un nouveau bourgeon de l’œuvre-arbre de Michel Tremblay, Le peintre d’aquarelles se lit comme le roman unique et bouleversant d’une vie volée."--Page 4 de la couverture.
"En 1913, à Sainte-Maria-de-Saskatchewan, Rhéauna apprend de sa grand-mère que sa mère souhaite l'avoir près d'elle, à Montréal. Il lui faut donc quitter cette famille d'adoption où, avec ses soeurs Béa et Alice, elle a grandi au milieu d'infinis champs de maïs.En trois jours et quatre rêves, elle traverse le continent et rencontre des personnages aux ailes felliniennes. À son arrivée dans la métropole, une des pages les plus mémorables de sa jeune vie aura été tournée. Ce qui l'attend, au-delà du bonheur fragile de retrouver Maria, n'a pas encore de nom en elle." -- cover.
In this third installment of the "Notebook" trilogy, Celine delves into the complexities of her tumultuous relationship with Gilbert, capturing the highs and lows in her notebook. The narrative explores themes of love, conflict, and emotional turbulence, revealing the intricacies of their bond and the challenges they face together. Through Celine's reflections, readers gain insight into the depths of passion and the struggles that define their connection.
« Je voulais faire de La cité dans l’œuf un roman fantastique structuré comme une histoire policière, le suspense policier étant presque plus important que le fond imaginaire. François Laplante fils, le héros, est non seulement victime d’une histoire abracadabrante plus grande que lui, mais il en est aussi l’investigateur, le "Maigret", la "Miss Marple". Je crois qu’il faut suivre les aventures de François Laplante fils sans trop essayer d’en décortiquer les symboles, comme on lit un bon roman policier sans chercher à surprendre les invraisemblances. » — MICHEL TREMBLAY
The narrative explores the challenges faced by Celine Poulin during her night shifts at a bustling restaurant on Boulevard St-Laurent in Montreal. Through her experiences, she highlights the vibrant atmosphere of the area while revealing the personal and professional hurdles encountered in the fast-paced restaurant industry.
