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• W76205874 abstract "A n its various editions Yves Beauchemin's Le matou (1981) has sold well over a -J million copies (not counting translations) and can therefore lay claim to being one of the few international best-sellers to issue from the pen of a Quebec novelist. Although it was sporadically criticized in the press sometimes justly so for its insensitivity to feminist and multicultural concerns, the fact that it has also elicited considerable serious critical commentary confirms that its significance surpasses its status as a popular novel.1 In this essay, I propose that in addition to the various existing readings of the novel and without detracting from them, Le matou can be read as a narrative reflective of the evanescence of religious culture in the Montreal of the 1970s, the decade of the action of the novel.2 More broadly, I will further suggest that in this novel Beauchemin transforms the traditional competition between good and evil into a secular, as opposed to transcendent, struggle, thereby de-absolutizing its problematics. In the first half-dozen years after its publication, commentators read the novel as sans message explicite (Summers 1987b:390). Beauchemin confirmed the validity of this approach in a 1984 interview when he affirmed: Je ne crois pas au romanmessage, and added that his was not a roman a these (Summers 1987a: 360). But in this same interview, he also insisted that his novel was not a pure divertissement and that his aims were those of Dostoievski, Balzac, and Romains. In acknowledging that some of his ideas he cites political ones permeate his novel, he protests that this was not by design, but rather that [c]a c'est fait spontanement (Summers 1987a:361). Beauchemin's concession restates the truism that all narratives carry to some degree a reflection that is broader than their simple diegesis. Few readers, however, would accept at face value Beauchemin's contention that none of the opinions expressed in his novel were deliberate, so sharply evident are his political convictions, to cite but that area of his reflection. In his discourse on the silenic image, Rabelais reminds us that ancient boxes with comic and frivolous decorations on the outside contained precious metals on the inside. So, too, can Beauchemin's tale of comic adventure comprise valuable insights, one of them relating to the triumph of secularism and its attendant blurring of absolutes. C'est-a-dire, to quote Rabelais, que les matieres ici traitees ne sont pas tant folâtres, comme le titre audessus pretendait (85). No reader of Le matou can fail to note Beauchemin's allusions to the tearingdown of churches in Montreal. To be sure, this demolition takes place within the context of a general destruction of Montreal's architectural patrimony during Jean Drapeau' s mandate as mayor, a process that grieved Beauchemin greatly3 and which constitutes an important sub-theme of his following novel, Juliette Pomerleau (1989).4 Yet, among the dozen or so demolitions mentioned, the only buildings the narrator specifies by name are churches: Saint-Jacques and Sainte-Madeleine. The" @default.
• W76205874 created "2016-06-24" @default.
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• W76205874 date "2016-01-01" @default.
• W76205874 modified "2023-09-27" @default.
• W76205874 title "The End of the Sacred: A Religiological Reading of Le matou" @default.
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