Myth and Morality in ‘Alexandre Chenevert’ by Gabrielle Roy by Paul G. Soeken (review)

202 LETTERS IN CANADA 1988 mais ne confondons pas signifiant et signifie, ni contenant et contenu, ni maniere et matiere, ni forme de l'expression et forme du contenu. Ces lettres sont ecrites dans une langue des plus honnetes, rien de moins, mais rien de plus. Et pouvait-il en etre autrement d'ailleurs de la part d'une auteure qui n'ecrivait pas dans un but de publication mais qui n'en etait pas moins rompue au metier d'ecrivain? Une 'ecriture de la compassion' n'est pas forcement une belle ni une neuve ecriture. A la fin, d'ailleurs, quand Gabrielle ecrit une lettre par jour (avril-mai 1970) pour accompagner Bernadette dans les souffrances qu'elle endure sur son lit de mort, force est de peser cette petite phrase: 'J'ai bien de la difficulte a trouver du neuf a te raconter.' Depuis quelque temps deja, en effet, Ie ronron d'une plume non soutenue ni relancee par aucun exercice litteraire special se faisait entendre... . Les 'lettres a Bernadette,' somme toute~ revelent plus une personne, moins un ecrivain, et Ie cote anecdotique (ou biographique, si l'on prefere) y a largement Ie dessus. Mais qu'importe: sans doute ce dernier livre sera-t-il pour plusieurs la porte d'acces a une oeuvre dont Ie public ne cesse heureusement de s'accroitre. (JEAN-GUY HUDON) Paul G. Soeken. Myth and Morality in 'Alexandre Chenevert' by Gabrielle Roy Peter Lang 1.987. European University Studies 88.96. Myth and Morality in 'Alexandre Chenevert' by Gabrielle Roy consists of two chapters which present different but complementary readings of the novel, followed by a number of interesting and well-annotated early writings by Roy which Socken selects in order to demonstrate the genesis and development of Alexandre Chenevert. He includes an interview he conducted with Roy, which also focuses on the genesis of the novel and on her interpretation of the protagonist's character and gives a welcome insight into Roy's creative process. Finally, Socken provides a list of Alexandre Chenevert variants, which adds little to our knowledge of the novel, since the variants seem to be almost exclusively of a minor stylistic nature. Socken offers two· interpretations of the novel - one 'vertical,' one 'horizontal.' The 'vertical' reading examines'Alexandre's revelation, his encounter with a divine presence and a transcendent reality.' The 'horizontal ' reading is intended to be 'an analysis of the text from a humanist viewpoint, primarily taking into account Alexandre's relationship with his fellow man.' However, these two lengthy articles, 'Mythic Dimensions ' arid 'Morality,' do not deliver the 'multiple yet complementary .readings' promised by the author. The terms 'vertical' and 'horizontal'. sound interesting and hint at a new critical method, but they mask, in fact, a traditional critical approach. Socken's cautionary remarks indicate that he is aware of this: 'The humanist preoccupation (in the chapter HUMANITIES 203 "Morality") is still very strong in the "vertical" relationship - indeed, the revelation has meaning only inasmuch as it illuminates the world of men - but the focus is very different.' It is really not as different as he claims. Socken's traditional approach is especially evident in the chapter 'Morality,' where he uses excerpts from the novel almost exclusively as the basis for his interpretation ofthe protagonist's personal development, which leads to self-knowledge, a positive relationship with his fellow humans, and, finally, acceptance of his place in this world. Socken concludes that'Alexandre Chenevert is a literary symbol ofman's love for his fellow man.' This chapter, while representing a good introduction to the novel for the uninitiated reader, is less interesting than the first chapter, 'Mythic Dimension,' from which it draws extensively. 'Mythic Dimensions' relates the novel and particularly Alexandre Chenevert to 'the tradition of world mythology.' Socken argues convincingly and with a wealth of interesting references that Chenevert is a 'modem' mythic hero, modern in that - on the surface - he is a miserable human being caught in the web of an imperfect society which he can neither change nor escape; here he stands in the tradition of Buchner's Woyzeck and many of Kafka's protagonists. However, Socken points out how, transcending this level...