Many writers, French artists, very talented, often, alas, unknown within the Francophonie.
Centre Francophone de Bourgogne had the good fortune to receive a number. But many others are well deserving of our attention. ALLARD Francine is one of them. It is an honor for us to recognize him in our " Francophone artists have talent .
Centre Francophone de Bourgogne had the good fortune to receive a number. But many others are well deserving of our attention. ALLARD Francine is one of them. It is an honor for us to recognize him in our " Francophone artists have talent .
Five Questions for Francine Allard, writer, poet and artist from Quebec.
1) Francine Allard, you're in Quebec, and Quebec has played an active role in the constitution of the French-speaking, what do you personally for La Francophonie?
In 2008, I attended the XVII International Conference of French-speaking peoples who was in Quebec. I am a member of the Association of Francophone Writers of America is saying that the Francophonie is of major importance to me. And I add that it must be omnipresent for all Quebec writers because our province is shaken, as you know, by political considerations, being a small French sailing boat by wind and tide on a sea of anglophones.
In 2008, I attended the XVII International Conference of French-speaking peoples who was in Quebec. I am a member of the Association of Francophone Writers of America is saying that the Francophonie is of major importance to me. And I add that it must be omnipresent for all Quebec writers because our province is shaken, as you know, by political considerations, being a small French sailing boat by wind and tide on a sea of anglophones.
French is at risk here and the writer - one who carries the words - should exert a greater influence than in any francophone country. I carry this desire for an independent country as a loving mother wants freedom from her child. I also work in the bulletin of the Association for safeguarding and expansion of the French language (ASSELAF) based in Paris, representing the views of a Quebec writer.
In Quebec, Francophone literatures and attending just tickle our roots and our many humanistic spirit. The writers of all backgrounds are welcome in French Canada a copy.
As a writer with many facets, I'm the first to benefit from the generous influence of designers in the world. My novels for young people led my young readers in Scotland, Mexico, Africa, even though I've never been there. A collection of Michelin guides and Petit backpacker decorate my personal library and help me to make travel very close to reality. As if you were there! My novels of the era, in Montreal and Quebec countryside, The Seamstress , show that French was best for the intrusion of the Quebec International Francophone world. The contribution of literature to my socio-political world is now incontrovertible and I am delighted. Being part of the international Francophone literature is the greatest good that I wish for 2010.
2) In your work, you discuss topics rarely addressed in literature: psychiatry, childhood disability, Is this by training, compassion or humanity?
I do not write children's books for only entertain children. Like most novels are written for young people with "old" I'm always amazed that many authors are ignoring here the quality of the language to facilitate understanding of youth. So they do not feel alone in the center of their entanglements, these authors attempt, through complacency, to forge links with their readers. The author speaks like them, place them in a familiar world, their present circumstances they know, and never take them away or ask them the effort required to move forward. There is now a children's literature became king. I try to disassociate myself.
So here I am with literary fiction (already a difference) who talk to children
elderly, the consecration of children, if I may say so, but also respect for adults. In my novels, children are not always right and they are placed in front of their own mirror and must learn to judge their actions. I speak to them also children with intellectual disabilities ( Two little bears in the middle of the tornado - ed. West Wind; The last race of Mado Belanger - ed. Québec-Amérique ) of the difference ( A flower between two stones - ed. Marcel Broquet ; The Secret Universe of Willie flyboat - Hurtubise HMH ) not forgetting all my collaborations with collectives in which I treat Alzheimer's and childhood cancer. I also wrote fantasy novels that were the trigger.
I as a teacher of handicapped children with whom I have always called "my little flower sick." I have taught that few years, but I was always concerned about people dissimilar. Coming out of my novel Two little bears in the middle of the tornado, five journalists told me about the beginning of chapter twelve that has marked as Bertrand, the main character, tells how his mother feels a mentally handicapped child. It's a very touching passage as if I was able to enter the head of a young mentally handicapped. I have always been affected by the difference. I am still involved with my pen, as more defensive than offensive weapon for the protection of people put on the road shoulder: sick or abused, the abandoned elderly, the innocent victims. I do it with all the poetry that characterizes my writing.
In Quebec, Francophone literatures and attending just tickle our roots and our many humanistic spirit. The writers of all backgrounds are welcome in French Canada a copy.
As a writer with many facets, I'm the first to benefit from the generous influence of designers in the world. My novels for young people led my young readers in Scotland, Mexico, Africa, even though I've never been there. A collection of Michelin guides and Petit backpacker decorate my personal library and help me to make travel very close to reality. As if you were there! My novels of the era, in Montreal and Quebec countryside, The Seamstress , show that French was best for the intrusion of the Quebec International Francophone world. The contribution of literature to my socio-political world is now incontrovertible and I am delighted. Being part of the international Francophone literature is the greatest good that I wish for 2010.
2) In your work, you discuss topics rarely addressed in literature: psychiatry, childhood disability, Is this by training, compassion or humanity?
I do not write children's books for only entertain children. Like most novels are written for young people with "old" I'm always amazed that many authors are ignoring here the quality of the language to facilitate understanding of youth. So they do not feel alone in the center of their entanglements, these authors attempt, through complacency, to forge links with their readers. The author speaks like them, place them in a familiar world, their present circumstances they know, and never take them away or ask them the effort required to move forward. There is now a children's literature became king. I try to disassociate myself.
So here I am with literary fiction (already a difference) who talk to children
elderly, the consecration of children, if I may say so, but also respect for adults. In my novels, children are not always right and they are placed in front of their own mirror and must learn to judge their actions. I speak to them also children with intellectual disabilities ( Two little bears in the middle of the tornado - ed. West Wind; The last race of Mado Belanger - ed. Québec-Amérique ) of the difference ( A flower between two stones - ed. Marcel Broquet ; The Secret Universe of Willie flyboat - Hurtubise HMH ) not forgetting all my collaborations with collectives in which I treat Alzheimer's and childhood cancer. I also wrote fantasy novels that were the trigger. I as a teacher of handicapped children with whom I have always called "my little flower sick." I have taught that few years, but I was always concerned about people dissimilar. Coming out of my novel Two little bears in the middle of the tornado, five journalists told me about the beginning of chapter twelve that has marked as Bertrand, the main character, tells how his mother feels a mentally handicapped child. It's a very touching passage as if I was able to enter the head of a young mentally handicapped. I have always been affected by the difference. I am still involved with my pen, as more defensive than offensive weapon for the protection of people put on the road shoulder: sick or abused, the abandoned elderly, the innocent victims. I do it with all the poetry that characterizes my writing.
I think this is the greatest legacy that I left several generations of young readers. 3) You're a novelist, poet, you've made the Conservatory of Music and Drama, you taught, you have been a chorister at Radio Canada, a time comedian, you are watercolors, make pottery, shows you step, step in on topical issues with passion and without compromise, what motivates such a bustle?
An incredible activity comes from an overactive imagination. I am among those who are born with the beginning of Québec culture in Canada. My mother then enrolled in ballet classes, piano, fine arts, folk dance, painting and surely I'm forgetting. Very encouraged by my parents, I was admitted to the Conservatory of Music and Dramatic Art in Quebec in classical singing, then I could complete high school together (classical studies) to university philosophy. Paradoxically coasting Søren Kierkegaard, Plato, Martin Heidegger and Nietzsche that I realized I had to choose a profession humanist. Their contradictions were mine and I was convinced to become a teacher to educate the adults of tomorrow.
I was born teacher. I'm still remained. Thus, faced with a group of any kind, I turn into something transmitter. I say the poetry to a packed theater, I give lectures on the topics of greatest concern and I'm in my element. That the cross looks, signs approvers, especially laughter. As I studied performing arts, drama and song, and I made my debut as a comedian, I am very comfortable in front of an audience. Where I'm totally destabilized, is when I doubt that the audience understands me. My first trip to Nice in 2004 made me realize that I had to leave Quebec accent, even if my boyfriend made fun of my southern accent! I suffer from acute mimicry. You might have heard me talk with Marseille and their "assent." Same thing when I go to Acadia, New Brunswick. I get the accent.
I need to speak but also to ensure eternal life because it promised me that the Catholic Church of old, disappeared along with my enthusiasm. I try by all means to leave traces: lace, watercolors, pottery, writing is my preferred means. Show what I am by the things I do! We have built an artist studio at fifty yards from our house called Den Ferron (Ferron Jacques is a great writer and doctor Quebec as my husband) when I installed an art gallery and poetry. Tourists who enter have a Japanese tea (in honor of Dany Laferriere) and can hear the poetry, mine. I live for creativity. And I also suffer for it.
4) Your trilogy "The Dressmaker" is amazing, and hopefully destined for a great future, why did you get started in a saga so grand and what do your research you have learned about Quebec?
The Seamstress ( The hands of time and the revenge of the black widow ) is a saga of almost 1 500 pages, published by the great Victor-Lévy Beaulieu, probably our Victor Hugo to us. I am very proud. But the French can read and loved this trilogy (The persistence of rosemary , third volume in the pipeline) would fill me with happiness. Yes, I dive into the lives of the Quebec countryside with the character of Donald Crevier became caregiver by plants, and Montreal, the city, with the character of Emilia Trudel, become a fashion designer Christian Dior was like.
I need to speak but also to ensure eternal life because it promised me that the Catholic Church of old, disappeared along with my enthusiasm. I try by all means to leave traces: lace, watercolors, pottery, writing is my preferred means. Show what I am by the things I do! We have built an artist studio at fifty yards from our house called Den Ferron (Ferron Jacques is a great writer and doctor Quebec as my husband) when I installed an art gallery and poetry. Tourists who enter have a Japanese tea (in honor of Dany Laferriere) and can hear the poetry, mine. I live for creativity. And I also suffer for it.
4) Your trilogy "The Dressmaker" is amazing, and hopefully destined for a great future, why did you get started in a saga so grand and what do your research you have learned about Quebec?
The Seamstress ( The hands of time and the revenge of the black widow ) is a saga of almost 1 500 pages, published by the great Victor-Lévy Beaulieu, probably our Victor Hugo to us. I am very proud. But the French can read and loved this trilogy (The persistence of rosemary , third volume in the pipeline) would fill me with happiness. Yes, I dive into the lives of the Quebec countryside with the character of Donald Crevier became caregiver by plants, and Montreal, the city, with the character of Emilia Trudel, become a fashion designer Christian Dior was like.
When a French bed besides The Seamstress, he learned all about Quebec, the lives of people in 1910 to the arrival of the Universal Exhibition of 1967. That year was entering Quebec in the big leagues and thanks to Jean Drapeau, the visionary mayor of Montreal, the world began to hear us. Like Felix Leclerc, arrived in Europe many writers, singers, theater people and circus performers and comedians. Although there is still much to be done to promote our literature in France - as your body does to the wonder-Quebec writers are in better positions than before.
I can not claim to have learned a lot from my Much research on Quebec from the early twentieth century. The women in my life, my grandmothers and my mother had me so much. But I learned about the psychology of people whose children went to the front for a monarchy that was a legend. Britain has given long ago, a pat on the back of Canada by offering him his freedom. Quebec alone has understood that as the child of the ten most cheeky. But I learned an important thing: when a writer tells the past, he must know everything in detail about what happened.
I can not claim to have learned a lot from my Much research on Quebec from the early twentieth century. The women in my life, my grandmothers and my mother had me so much. But I learned about the psychology of people whose children went to the front for a monarchy that was a legend. Britain has given long ago, a pat on the back of Canada by offering him his freedom. Quebec alone has understood that as the child of the ten most cheeky. But I learned an important thing: when a writer tells the past, he must know everything in detail about what happened.
is what I think I achieved by writing The Seamstress. The third volume will be accompanied by a lengthy bibliography which will prove the many historical books that I consulted. My readers may continue their incursion into this universe that has served the mine. I refuse however to include a glossary of Quebec. Because when I heard that said Fernandel example Cucugnan The Cure, and when I read Pagnol all contemporary authors who use the slang of Paris, I just found out the background and I want my players French fun too. Although the language of The Seamstress is almost free of Quebec.
I learned from the vast horde of vintage novels that populate the bookstores right now, he must multiply the efforts of promotion. The novel Les Filles de Caleb, for example, arrived at the right time and has sold thousands of copies. In Quebec, given the small number of readers, was a bestseller when it sells 3,000 copies of a novel. The seamstress has surpassed 10,000 copies.
5) Your watercolors are very striking: the colors, editing, research, why is this art that you prefer?
The watercolor has almost always served by transparency, drawing landscapes, flowers or fish. This is what the school taught me watercolor. Knots on the trunks of trees, grass out of the snow, flower gardens. My first watercolor was a large woman holding a mirror behind which stood a young child, saliva in the mouth. There were lots of colors faded in tissue. I asked him a master and I brought it to my teacher. It was much to criticize as a technician, but admitted that she was subdued. The following week, the publisher Alain Stanke was using the big lady with horn for the cover of my first novel: My beautiful pitoune Gold (1995).
Like madness that allows me the visual arts. The pastel or dry, acrylic, handmade paper, masks, semi-porcelain in glass cases, allow me to express myself, but never like watercolor that requires a large spontaneous gesture we do not touch the watercolor - and lends itself well to contemporary gestures. So, right now, I work in a collection entitled VINO why I use first the calligraphy pen to write hundreds of names of French wines and Italian (my love is dedicated oenophile) that I drown in watercolor and then add labels and even bottle caps transformed into a lead that I sesterces. The result is greatly appreciated.
I learned from the vast horde of vintage novels that populate the bookstores right now, he must multiply the efforts of promotion. The novel Les Filles de Caleb, for example, arrived at the right time and has sold thousands of copies. In Quebec, given the small number of readers, was a bestseller when it sells 3,000 copies of a novel. The seamstress has surpassed 10,000 copies.
5) Your watercolors are very striking: the colors, editing, research, why is this art that you prefer?
The watercolor has almost always served by transparency, drawing landscapes, flowers or fish. This is what the school taught me watercolor. Knots on the trunks of trees, grass out of the snow, flower gardens. My first watercolor was a large woman holding a mirror behind which stood a young child, saliva in the mouth. There were lots of colors faded in tissue. I asked him a master and I brought it to my teacher. It was much to criticize as a technician, but admitted that she was subdued. The following week, the publisher Alain Stanke was using the big lady with horn for the cover of my first novel: My beautiful pitoune Gold (1995).
Like madness that allows me the visual arts. The pastel or dry, acrylic, handmade paper, masks, semi-porcelain in glass cases, allow me to express myself, but never like watercolor that requires a large spontaneous gesture we do not touch the watercolor - and lends itself well to contemporary gestures. So, right now, I work in a collection entitled VINO why I use first the calligraphy pen to write hundreds of names of French wines and Italian (my love is dedicated oenophile) that I drown in watercolor and then add labels and even bottle caps transformed into a lead that I sesterces. The result is greatly appreciated.
I try to sell it to tenants Québécois works that call their products with pretty names. This is not so different from writing. And I can write picola a bit, right? 
You can visit my gallery by going to my site:
http://www.francineallard.com/
You can visit my gallery by going to my site: http://www.francineallard.com/
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