Translated by Sheila Fischman
Without even realizing it, every Canadian has had a piece of Roch Carrier’s writing in their hands: an excerpt from his well known conte “The Hockey Sweater” is reprinted on the back of the five dollar bill. The former National Librarian of Canada has built a reputation as one of the great observers of French-English tensions in Quebec. One of Carrier’s early novels, La Guerre, Yes Sir!, released in its original French in 1968 and translated in 1970, looks at these tensions through the lens of a small Quebec village during World War II. Quebec fiction typically has a few common structural points that are worth mentioning for those who are not familiar with les livres Quebecois. These works are often filled to the saturation point with characters. This particular novel is just over 100 pages but there are at least 15 characters that the story is told through. Also, perhaps as a result of the large number of characters or vice versa, Quebec novels are often told through a number of vignettes from the point of view of several different characters. The result is often times a rich mosaic filled with memorable dialog and sharp wit. Carrier, Tremblay, Beauchemin, Godbout, and Aquin all fit this mold. This novel is funny, heartbreaking, violent, shocking, and an all around great read that has aged very well; 42 years after its first publication, this book is still as relevant as the day it was written.
With conscription as the backdrop for the story, La Guerre, Yes Sir! centers on a family who’s son has just been killed in the war; a troupe of English soldiers, or the maudits Anglais as they are referred to, bring the body to the parents’ kitchen for the wake, making this young man the first war casualty of the village to be repatriated. What ensues is a mix of a tears, laughs. fists, tourtiere, and cider. As I mentioned previously, dialog is the driver of this novel, but there is one scene in particular that I believe demonstrates the linguistic and cultural divide better than any other: Arsène, the local gravedigger and butcher is enjoying the wake as much as everyone else but has been making very strong comments against the men in uniform. Bérubé, a soldier who recently returned home with the body of the casualty, takes great issue and brutally assaults Arsène to show him what being a soldier is truly like. The other guests of the Corriveau home make no comment and many barely even take notice, but the Anglais who delivered the casket take great offence with this, decide the party is over, and evict the well-wishers. This is a great insult to the French villagers, and without giving too much detail that will spoil the book, does not go unpunished. The idea that English soldiers dare interfere with the grieving village’s customs is an insult of the highest order. With all of this in mind, it will come as no surprise that the overall tone of the novel is decidedly anti-war. We have characters who are deserters, characters dodging conscription, and characters who will do whatever it takes to be disqualified from conscription; take this example from page 1:
Joseph spread the five fingers of his left hand on the log.
His other fingers, his other hand, seized the axe. It crashed down between the wrist and the hand, which leapt into the snow and was slowly drowned in his blood.
Renowned translator Sheila Fischman did a superb job on this book. Fischman has a keen eye to translate sentences or phrases that could be considered untranslatable. One technique that is used in this novel is leaving some of the French writing as is. One obvious example is the title. La Guerre, Yes Sir! was the original title; it is meant to highlight the linguistic divide, and to change this would be to take away part of the fundamental raison d’etre of the novel. Much of the profanity, and there is a lot of it, is also preserved in the original French. For those who are not familiar with how to swear in French, it is mostly taken from words that are religious in nature, i.e. hostie, tabernacle, or vierge; whereas English profanity is taken from words that were originally sexual in nature. This is very effective because if Fischman were to simply transliterate this it would be senseless. The book reads like it could have been written by an Englishman from Quebec; the language is rich and the translated idioms and speech patterns fit the class of character that Carrier is portraying.
This book is a fine read. It is definitely a must for anyone interested in any facet of Quebec culture. This is also a must for anyone who is interested in the effects of World War II on small town Quebec, or really any small town. Or, if you would simply like a funny book, this is pretty good choice.