A debut novel by an unknown, A Voice is Calling received little attention when published and has been pretty much ignored ever since. So, how to explain this translation?
Consider this: A Voice is Calling was published in 1945, the very same year as Hugh MacLennan's Two Solitudes, described at the time as "the GREAT Canadian novel" (Chicago Sun). "Two Solitudes may well be considered the best and most important Canadian novel ever published” said the Globe & Mail. MacLennan's second novel, following the acclaimed Barometer Rising, Two Solitudes received the 1945 Governor General's Award for Literature and has been on high school, college, and university curricula ever since.
Two Solitudes wasn't available in French until 1963, a full eighteen years later... and, curiously, long after published translations in Spanish, Swedish, Polish, Dutch, and Estonian. Le dernier voyage, in contrast, appeared a mere six years after its English-language original.
I first heard of A Voice is Calling through Jean-Louis Lessard, who wrote about Le dernier voyage eight years ago. I'm a touch – just a touch – more positive about the work, though his review left me wondering whether we'd read the same novel. Had anything been cut in translation? A Voice is Calling is 487 pages long, while Le dernier voyage numbers 255. French translations of English texts are typically longer, not shorter.
And so, I bought and read Le dernier voyage. I can report that nothing was excised. Differences in layout, design and font size explain the divergent page counts. Translator Martine Hébert-Duguay is faithful to the original. My only criticism is that she is a touch – just a touch – more liberal in her use of exclamation marks.
Her efforts did not bring a change of mind concerning the original text.
The best Canadian novel of 1945 was, of course, Bonheur d'occasion – it, not Two Solitudes, is the GREAT Canadian novel.
Object: A nicely designed, well-bound paperback printed on good paper stock. Sadly, the cover image is uncredited.
Access: Held by Library and Archives Canada, Bibliothèque et Archives nationales du Québec, and thirteen of our universities, Le dernier voyage is nearly as common as A Voice is Calling.
I purchased my uncut copy last month from a Montreal bookseller. Price: US$8.00.
A Voice is Calling Eric Cecil Morris Montreal: B.D. Simpson,
1945
487 pages
The strangest novel I've read this year, I struggled to make time for A Voice is Calling between reference materials for my next book. This distraction may explain why it wasn't until late in the book that I remembered its prologue. In my defence, the scene depicted is uneventful: A middle-aged man and young girl enter a Montreal barber shop. A paperboy delivers a copy of the Gazette, and talk turns to the news that Andre Brousseau, wanted in the deaths of six people, has himself been found dead.
Still, I shouldn't have forgotten, because Andre Brousseau is the protagonist of this strange novel. His past is something of a mystery. An architect by training, Andre once worked in Quebec City, but something happened that made him quit both the profession and the city. Prologue aside, the novel opens with the poor sod working away as a lumber company clerk in the fictitious town of Trois Lupins. As a sophisticated city boy, he had attracted and married Suzanne Cote, the prettiest girl in town. It was her now-deceased father who got him the job. Fifteen years have passed – more than enough time to put to rest any idea Suzanne had that her husband will make something of himself. The couple have settled into a routine in which Suzanne nags him to remove his boots when arriving home from work. At the end of a particularly memorable workday, Andre brings news that his boss, M Lalonde, is transferring him to the Gaspé village of Ste Michele, where he will oversee lumber orders in the construction of a new factory. Suzanne, who once dreamed of Quebec City – and even Montreal – can't bear the thought. She confronts Lalonde in his office... and comes away defeated.
Unbeknownst to Andre, Suzanne and Lalonde have been having an affair. She's now pregnant with his child and the boss wants her out of the way. The story Lalonde gives his clerk involves Ste Michele's new church, built in anticipation of the influx of factory workers. Andre will be expected to play the organ on Sundays.
There's no exaggeration in writing that Andre lives for the organ. His love for Suzanne is dead. Though he does love Anne, their only child, it's not nearly with the depth one might expect of a father. No, his passion is invested in the organ and, with near-exclusivity, the music of Johann Sebastian Bach. Something can probably be read into the fact that he keeps the great man's music underneath the marital bed.
The Brousseau family's arrival in Ste Michele is not a happy one. The village is much smaller and less refined than Trois Lupins – as is the house found for them by the parish priest – and the winter weather is miserable. Suzanne spends the better part of her days in bed crying, while twelve-year-old Anne attends to her needs. Andre, on the other hand, settles in quite nicely. He finds a loyal friend and confident in goodnatured neighbour Lawrence Nixon, a cultured Englishman who has taken refuge in the Gaspé after having suffered some sort of tragedy.
Dust jacket copy describes A Voice is Calling as "a book for everyone – for those who like romances, thrills and adventure, for lovers of music, but most particularly for the countless thousands of readers who like a good, strong, interesting plot that will hold their attention on every page." To the point of Andre's budding friendship with Lawrence, the book held my attention, but this had more to do with it being something of a curiosity. Not many English-language Canadian novels feature French Canadian protagonists, and I can't think of another set in the Gaspé.
Then the novel took a very strange turn.
One evening, while playing the organ alone in the church, Andre senses a ghostly presence. This frightens him, but not so much that he doesn't return. He comes to believe that Bach is guiding his hands in performance. And then, on a later evening, a figure appears in coat, flowered waistcoat: "I am a friend of your's Andre Brousseau – you know me very well, said the man, in a deep quiet voice, "I am Johann Sebastian Bach."
In order to allay skepticism, the composer invites Andre to visit his afterlife, which is an idealized version of 1735 Leipzig. Once there, the lumber company clerk is treated to a chamber performance by members of the Bach family and falls in love with his host's dark-eyed daughter Katherina. He returns to twentieth-century Ste Michele intent on seeing her as much as possible, but doesn't want to press his welcome. Drama ensues when Suzanne attempts to abort the baby. Her departure by ambulance to a hospital in Rimouski fairly coincides Andre's discovery by two members of Montreal's Casavant Society, and an invitation to perform at Montreal's ill-fated First Unitarian Church.
First Unitarian Church, Montreal
27 May 1987
Andre's recital is a great success, but tragedy intrudes on his triumph with the news that Suzanne has died. Then comes further tragedy when the roof of the newly-constructed factory collapses. Andre is suspected of criminal negligence. He's taken to Quebec City for questioning, manages to escape, and heads back to Ste Michele in chapters loaded with tension and exclamation marks. Andre is convinced that by playing its church organ one last time he'll be able to leave this world and live for all eternity with Bach and his beautiful dark-eyed daughter.
I won't reveal more for fear of spoiling things.
Or have I already?
Not as much as the prologue.
Trivia: Catharina Dorothea Bach was the first of the composer's twenty children. Morris errs in spelling her name "Katharina."
Dedication:
A bonus:
Object: An attractive, bulky book in navy blue boards. The dust jacket is by C.W. MacDonald.
Access: Held by Library and Archives Canada, Bibliothèque et Archives nationales du Québec, and sixteen of our university libraries.
Four copies are currently listed for online. The good news is that they're going cheap, ranging in price from US$5 ("lightly rubbed," lacking dust jacket) to US$23 (Very Good in Very Good dust jacket). I purchased my copy in 2017 from a bookseller in Tacoma, Washington. Price: US$13.50.
Translated by Martine Hébert-Duguay as Le dernier voyage: Un roman de la Gaspésie (Montreal: Chanteclerc, 1951), the subject of next week's post.
Summertime, and the livin' is busy. Many irons in the fire add to the heat, the pressure is on, and I'm enjoying each and every day. This week I finished a Dusty Bookcase review of Margaret Murray Robertson's 1866 novel Christie Redfern's Troubles for Canadian Notes & Queries.
A forgotten bestseller published by the Religious Tract Society, I expect a fair percentage of sales came through purchase as gifts and prizes. My own copy, which I bought last year from a London bookseller, was presented in 1893 to Hattie Seymour, winner of Miss Moore's Prize at the Mall Board School, Brading.
The author herself taught at the Sherbrooke Academy in Sherbrooke, Quebec. Lorraine McMullin, who wrote the the Dictionary of Canadian Biography entry for Margaret Murray Robertson, records that "as a teacher, she was devoted to her pupils, she never called a student by a pet name; instead, she looked to the intellect. Correspondingly, her students revered rather than loved her."
I think of Margaret Murray Robertson as "Miss Robertson." That she never married renders this undated edition curious.
That the scene depicted on its cover does not feature in the novel adds to the mystery.
My thoughts on Christie Redfern's Troubles will appear in the next issue of CNQ. What did I think? Well, I found the following passages worthy of note. Préparez vos mouchoirs.
Night after night did her weary little head slumber on a pillow which her tears had wet. (15) Amid a rush of angry tears, there fell a few very bitter drops to the memory of her mother. (22) Christie did not speak; but the touch of her sister's lips unsealed the fountain of her tears, and clinging to her and hiding her face, she cried and sobbed in a way that, at last, really frightened her sister. (26) If Christie could have found words with which to answer him, she could not have uttered them through the tears and sobs that had not been far from her all the evening. (39) The disappointment was a very bitter one; and she turned her face away, that her sister might not see the tears that were gushing from her eyes. (41) The tears that wet her pillow were very different from the drops that had fallen on it a little while before. (45) Christie sank down, struggling with her tears. (64) She was not a demonstrative child, usually; but now she dropped her face upon her father's hand, and he felt the fall of her warm tears. (80). But she enjoyed the kind greetings and looks of sympathy that awaited them in the kirk-yard, though they brought many tears to Effie's eyes, and sent them gushing over her own pale cheeks. (90) Her cheeks were crimson, and there was a light in her eyes that bade fair to be very soon quenched in tears. (121) Her tears fell fast for a moment; but her heart was lightened, and it was with a comparatively cheerful face that she presented herself in the little back parlour, where she found Mrs, Mclntyre taking tea with a friend. (123) There were tears in Christie's eyes as she raised them to look in Mrs. Lee's face, called forth quite as much by the gentle tones of her voice as by the thought of 'the bairns' at home. (130) She was very much afraid that if Mrs. Lee were to speak so gently again her tears must flow; and this must not be if she could possibly help it. (137) It was a troubled, tearful face that Christie laid down on her hands as she said this. (147) It was only by a great effort that she restrained a flood of tears till her sister had gone. (156) She went early, as usual, and had time for the shedding of some very sorrowful tears before the congregation gathered. (157) Turning her aching eyes from the light, she did not, for a moment or two, try to restrain her tears. (166) In a little while she grew unconscious of the tears she had tried to hide, and her hands fell down on her lap, and her wet cheeks and smiling lips were turned towards the face that her dim eyes failed to see. (169) It was almost like seeing Effie herself, she told him, amid a great burst of tears that startled the grave John considerably. For a moment her sobs came fast. (191) His words were light, but there was a meaning in his grave smile that made Christie's heart leap; and her answer was at first a startled look, and then a sudden gush of happy tears. (200) Christie ceased to struggle with her tears now, but they fell very quietly. (214) Remembering all they had passed through together, Christie could hardly restrain her tears. (221) A few tears fell on the leaves of her little Bible; but by and by the former peace came back again, as she felt herself half resting indeed on the only sure foundation. (253) The letter fell from her hands, and her face, as she burst into happy tears, was hidden by them. (260)
Her face was flushed, and the tears filled her eyes, but she spoke very modestly and humbly too. (275) To say that the surprise was a joyful one would be saying little, yet after the first tearful embrace, the joy of both sisters was manifested very quietly. (315) Of Mrs. Lee's kindness she could not speak without tears. (317) She was weak and worn out, and she could not manage to say what she had to say without a flood of tears, which greatly surprised her mistress. (323) Her first night in the hospital was very dreary. No one can be surprised to hear that she shed some sorrowful tears. (327) Was it any wonder that many a time her pillow was wet with tears? (332) It was of no use to try to check her tears. They must flow for a minute or two. (333) Christie's countenance lighted up with pleasure as he read, and the tears that had been close at hand flowed freely. (339) Christie's face brightened as she turned her bright, tearful eyes upon him. (342)
Too many teardrops for one heart to be crying, wouldn't you say?
Kenneth Orvis' The Damned and the Destroyed arrives in bookstores this week. The fourteenth in Ricochet Books' series of post-war Canadian noir reissues, I'm particularly keen on this one. If anything, Lee Child is even more of a fan, choosing the novel for his entry in Books to Die For: The World's Greatest Mystery Writers on the World's Greatest Mystery Novels (New York: Atria, 2012).
Child writes about purchasing a copy – the 1966 Belmont edition (above) – after having been drawn by the cover:
What lay inside was not quite as advertised – although by no means a disappointment. Quite the reverse, actually. This was a solid, high-quality thriller.
First published in 1962, set in 1954 Montreal, I first read The Damned and the Destroyed four years ago. My opinion of the novel – shared here – was at the time lukewarm. That I pushed to have it republished as a Ricochet Book says something about first impressions. The Damned and the Destroyed has never let go. My interest in the novel and its author is such that I wrote the introduction to this, the first print edition in more than half a century.
Enjoy... as much as you can a story of smack and death.
A writer, ghostwriter, écrivain public, literary historian and bibliophile, I'm the author of Character Parts: Who's Really Who in CanLit (Knopf, 2003), and A Gentleman of Pleasure: One Life of John Glassco, Poet, Translator, Memoirist and Pornographer (McGill-Queen's UP, 2011; shortlisted for the Gabrielle Roy Prize). I've edited over a dozen books, including The Heart Accepts It All: Selected Letters of John Glassco (Véhicule, 2013) and George Fetherling's The Writing Life: Journals 1975-2005 (McGill-Queen's UP, 2013). I currently serve as series editor for Ricochet Books and am a contributing editor for Canadian Notes & Queries. My most recent book is The Dusty Bookcase (Biblioasis, 2017), a collection of revised and expanded reviews first published here and elsewhere.
