Rummagings, 3: A.M. Klein’s The Rocking Chair and Other Poems and Gabrielle Roy’s Bonheur d’occasion by D.M.R. Bentley |
Most of the pieces in A.M. Klein’s The Rocking Chair, and Other Poems (1948) deal with French Canadian subject matter: the collection’s title poem makes the rocking chair an icon of Quebec culture; “Parade of St. Jean Baptiste” describes the components of one of Quebec’s annual displays of its cultural heritage; “Quebec Liquor Commission Store” identifies alcohol as the opiate that prevents Quebecers from achieving social change; “M. Bertrand” is a depiction of a French Canadian rogue in the manner of Edwin Arlington Robinson–and so on, with poems that focus especially on the landscape, architecture, and people in and around Klein’s beloved Montreal. None of the poems in The Rocking Chair volume has escaped close critical attention and, of course, all have been supplemented by the meticulous annotations of Zailig Pollock in his 1990 edition of Klein’s Complete Poems, but nowhere in the existing corpus of Klein scholarship, so far as I am aware, has note been taken of the possible inspiration of “The Rocking Chair” and at least three other poems in passages in Gabrielle Roy’s Bonheur d’occasion (1945; trans. 1947). That Pollock places the composition of all but six of the poems in the collection (“Pawnshop,” “Bread,” “Commercial Bank,” “The Green Old Age,” “Montreal,” and “Portrait of the Poet as Landscape”) in 1945 or later and assigns most to his “probably no earlier than 1945” and “1946-47” categories (see Complete Poems 1: xxxii and 2: vii-x) certainly does not preclude the possibility that Roy’s novel lies in the background of some of them. |
A juxtaposition of passages from Bonheur d’occasion and from the poems in The Rocking Chair, and Other Poems will allow readers to make up their own mind about whether the novel was a source of inspiration for Klein. [page 5] |
1. La vielle madame Laplante, du fond de sa chaise geignante, semblait s’être muée en une négation obstinée de tout espoir. (1: 264) |
It is act
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2. La jeune infirmière [Jenny] . . . accourait à l’appel de l’enfant [Daniel]. |
. . . puis, ramenant les couvertures sur lui, elle lui demanda comme d’une grande personne à une autre: |
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3. Elle [Florentine] dit maintenant, très lasse. |
4. Rose-Anna, arrêtée pour réprendre haleine [en train d’ascendant la montagne], laissa filer son regard autour d’elle . . . . Entre les tiges de fer [d’une haute clôture], au loin, toute la basse ville se précisait: d’innombrables clochers s’élançaient vers le ciel; des rubans de fumée prolongeaint les cônes gris des cheminées d’usines; des enseignes suspendues coupaient l’horizon en morceaux de noir et de bleu; et, luttant pour un peu d’éspace dans cette ville de prière et de travail, les toits descendaient par étages, de plus en plus confus, de plus en plus resserrés jusqu’à ce que leur monotone assemblage cessât brusquement à la bordure du fleuve. Une légère brume, vers le milieu des eaux moirées, brouillant le lointain. Rose-Anna contempla le spectacle à travers sa fatigue pendant qu’elle retrouvait son souffle; elle n’eut même pas l’idée de chercher au loin d’emplacement de sa maison. (2:295-96) |
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As all these quotations make clear, if Klein drew inspiration from Bonheur d’occasion it was as a point of departure for his own very different and very distinctive purposes: Roy may have directed his attention to some of the subject matter of The Rocking Chair, and Other Poems but the manner of his handling of it was entirely his own. [page 7] |
Notes |
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Works Cited |
Klein, A.M. Complete Poems. Ed. Zailig Pollock. 2 vols. Toronto: U of Toronto P, 1990. Roy, Gabrielle. Bonheur d’occasion. 2 vols. Montreal: Société des Editions Pascal, 1945. |
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