Travel Reference
In-Depth Information
Chapter Eight
La montagne secrète
One major consequence of the innovations staged by Borduas and
Riopelle (chapter seven) is, according to Louise Vigneault, the promo-
tion of the artist figure to the position of torchbearer in the quest for
identity, displacing the coureur de bois and the voyageur (
Identité
,
178, 314-5). Certainly, two major novels published at some interval
bear out this contention: Gabrielle Roy's
La montagne secrète
(1961) and
Anne Hébert's
Le premier jardin
(1988).
Roy's novel,
La montagne secrète
, is both dedicated to and based on
the life of her friend, the painter René Richard, who later did an illus-
trated edition of the novel (1975). The third-person narrator recounts
the voyages of a painter called simply Pierre - whose last name is not
revealed until the final pages, thereby reinforcing the overarching ques-
tions of identity and universality. The painter, whose perspective the
narrator usually espouses, has for some time been bent on discovering
the 'secret' of nature, art, others, and the self: 'Il y avait déjà dix ans
qu'il était en route pour chercher ce que le monde voulait de lui - ou lui
du monde.' (18; Already he had spent ten years on this road, seeking
wrestles with his identity and vocation, the reader quickly perceives
that he represents not only Gabrielle Roy herself, but also every artist,
serving as setting for one of the novel's three parts: the Northwest
Territories (chapters 1-4); the Ungava region in northern Quebec (chap-
ters 10-16); and finally France (chapters 17-26). The location of the first
two parts in the 'far north' marks the culmination of a long-standing
fascination with the
pays d'en haut
that is a permanent part of the French-
Canadian psyche, as reflected in its art and ultimately, according to Jack
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