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SAVOIR FAIRE
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 Josiane Polidori and Françoise Lepage. |
Françoise Lepage, children's literature specialist and teacher at the University of Ottawa’s Département des lettres françaises, was the SAVOIR FAIRE guest speaker last June 19, at the National Library of Canada.
There are many reasons for wanting to study children's literature, Mrs. Lepage said, such as the desire to discover and study the values and social evolution of a community. Mrs. Lepage selected examples from Québécois and French-Canadian children's literature to present her argument.
Right from the start, our speaker was eager to underline the undeniable contribution of the National Library and the perception it showed in setting up its Canadian Children's Literature Service in 1975. She stressed the unique richness of the collection and identified it as a source of inspiration.
She described the evolution of children's literature by first dividing it into three main eras: 1920 to 1945, 1945 to 1970, and 1971 to the present. Mrs. Lepage outlined the social evolution of Quebec and French Canada, illustrating her argument with examples from children's literature.
Literature produced between 1920 and 1945 was the first era outlined by Mrs. Lepage. Authors of children's literature during this period were primarily interested in transmitting their values and their convictions to the younger generation. Devotion to religious and patriotic values characterized Quebec society during these years; authors wanted moral edification, not entertainment. Adults and their values served as role models for children and teenagers. This focus would, however, undergo a profound change over the course of the century.
The publications characterizing this era include Marie-Claire Daveluy’s series starring Perrine and Charlot, and L’Oiseau bleu, a publication created and distributed by the Société Saint-Jean-Baptiste de Montréal. These were written for children of all ages with the obvious objective of ensuring the transmission of basic values to children and avoiding having them exposed to new ideas. Nationalists Luc Lacoursière and Marius Barbeau, whose mission was to collect and preserve the heritage of popular tales and songs, were true pioneers. Collective and social values were always dominant. As for religious values, they can be found in many religious biographies, such as those dedicated to the lives of saints. Reading this type of literature was strongly encouraged by the clergy and schools alike.
The 1946-1970 era is characterized by an opening to the modern world. Mass-media children's programs (radio and TV) began having a direct impact on the sale and consumption of literature. The Contes de tante Lucille, for instance, would remain on the air for 26 years. Who from that generation does not remember "Pépinot et Capucine" or "Grenier aux images"? And who could forget the daily Bobino et Bobinette? Réginald Boisvert, André Cailloux and Michel Cailloux created a turning point in literature for children in Quebec. Thanks to them, entertainment began to find acceptance, although social values were still not neglected.
Novels written for teenage girls, such as those by Berthe Potvin and Reine Malo, still advocated conservative values regarding the role of woman in Quebec's society. The heroines of these novels are pious women, loving mothers and wives devoted to their families. These authors denounce the idea of women entering the job market, mixed marriage or urban life, and any new way of doing things that encouraged the liberation of the modern Quebec woman. In her novel L’Été enchanté, Paule Daveluy tries to give her public a more contemporary image of the young Quebec teenage girl.
 From left to right: Ginette Landreville, Editorial Assistant, Lurelu; Daniel Sernine, Director, Lurelu; Françoise Lepage; Josiane Polidori, Head, Canadian Children’s Literature Service. |
There was a revival of traditional values during this era; children's literature from the period reflects a society in transformation. To go along with their social activities centred on sport, culture and fresh air, the Jeunesse étudiante catholique (JEC) published many works for young people. Group discussions were part of the daily routine of the JEC. The organization encouraged social involvement and self-reflection rather than the imitation of the previous generation and their publications reflect these values.
It is also during this era that science-fiction stories and comic-strip heroes appear, to counter the influence of American comic strips.
The transition between collective values and self-development strongly characterizes the third era portrayed by Mrs. Lepage. Indeed, after a period of latency in 1969-1970, there is a revival in children's literature in 1971. Several children's literature publishers appear. Our speaker mentioned Le Tamanoir in 1974, and La courte échelle in 1978. New subjects appear in children's novels, which are now sorted according to age: first novels (age 7 to 8); children's novels (age 9 to 11); and novels for teens (age 12 and older). The preoccupations of youth dominate. Suicide, divorce, racism, poverty and pregnancy are some of the many themes examined by children's literature authors of this decade. Story lines carry on for a few days, sometimes a few months, but rarely more than one year. Unlike previous authors, these authors do not impose a solution. The author's choice probably mirrors his moral convictions, as in Dominique Demers’ Les Grands sapins ne meurent pas; but several solutions are offered to the young reader, as well as a range of choices to ponder. Parental models have disappeared. At best, different types of adults can be found. Gothic and horror literature appears, as do books about social issues (the environment, pollution). The publisher Michel Quentin makes social issues his main concern. These end-of-century values come up against and question the individual preoccupied with his own fulfillment. Mrs. Lepage stated that children's literature refined itself during this last period. Thus, the narrative benefits from a more interesting structure or a more complex story line, as can be seen in books such as Un été de jade by Charlotte Gingras.
Throughout her presentation, Mrs. Lepage surprised us with her examples, immersed us in the memories of reading from our childhood, and aroused an interest in re-reading children's stories from our past, to discover the elements she has described. Joyful and nostalgic exchanges took place after the discussion between Mrs. Lepage and the audience. The presentation was a great success, proving that it is essential to study not only Canadian, but also foreign, children's literature.
Sources
Daveluy, Marie-Claire. -- Perrine et Charlot à Ville-Marie. -- Montréal : Granger, 1940. -- 192 p.
Daveluy, Paule. -- L’Été enchanté. -- Montréal : l’Atelier, 1958. -- 146 p.
Demers, Dominique. -- Les Grands sapins ne meurent pas. -- Montréal : Québec/Amérique, 1993 -- 154 p.
Gingras, Charlotte. -- Un été de jade. -- Montréal : La Courte échelle, 1999. -- 155 p.
L’Oiseau bleu : Revue mensuelle illustrée pour la jeunesse. -- Montréal : Société Saint-Jean-Baptiste de Montréal. -- 1921?-1940.
Potvin, Berthe. -- Le Calvaire de Monique. -- Montréal : Fides, 1953. -- 150 p.
Lepage, Françoise. -- Histoire de la littérature pour la jeunesse : Québec et francophonies du Canada; suivie d’un Dictionnaire des auteurs et illustrateurs. -- Orléans (Ont.) : Éditions David, 2000. -- 826 p.
