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Richler, Mordecai. Oh Canada! Oh Quebec!: Requiem for a Divided Country. Toronto: Penguin, 1992. Pp. 277 Sandra Campbell

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Richler, Mordecai. Oh Canada! Oh Quebec!: Requiem for a Divided Country. Toronto: Penguin, 1992. Pp. 277 Sandra Campbell Document generated on 09/29/2021 3:08 p.m. Urban History Review Revue d'histoire urbaine Richler, Mordecai. Oh Canada! Oh Quebec!: Requiem For A Divided Country. Toronto: Penguin, 1992. Pp. 277 Sandra Campbell Volume 21, Number 2, March 1993 URI: https://id.erudit.org/iderudit/1016798ar DOI: https://doi.org/10.7202/1016798ar See table of contents Publisher(s) Urban History Review / Revue d'histoire urbaine ISSN 0703-0428 (print) 1918-5138 (digital) Explore this journal Cite this review Campbell, S. (1993). Review of [Richler, Mordecai. Oh Canada! Oh Quebec!: Requiem For A Divided Country. Toronto: Penguin, 1992. Pp. 277]. Urban History Review / Revue d'histoire urbaine, 21(2), 118–121. https://doi.org/10.7202/1016798ar All Rights Reserved © Urban History Review / Revue d'histoire urbaine, 1993 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ Book Reviews / Comptes rendus early twentieth century architecture is a black and white drawings and 16 in masons and engineers were able to ac• rapidly shrinking resource that we sus• colour. One of the designers is quire professional credibility as ar• pect may have some value if we can only anonymous and three have no bibliog• chitects in the days before the find it before it vanishes. Most Canadian raphical information. Of the other thir• establishment of current regulations. In cities still have some left despite the teen, only three were immigrants, the nearly every drawing, architectural con• widespread destruction since the 1950s. other ten were all St. John native sons or tent is based on well-known stylistic con• What remains is highly valued because it at least New Brunswegans. None had ventions, though a few are freely projects an image of richness, craftsman• formal, academic training in architec• interpreted. Initial establishment of an ar• ship, pride, care, and worth that speaks ture. Nine of the thirteen became chitectural profession in Canada is seen of civic virtues, and represents the kind professional architects through some to have been deeply indebted to tradition• of community we want to build. form of office apprenticeship. The al forms and styles. At that time these others were able to establish themsel• were the traditions of the community, not These dear old, knobbly relics, from the ves as architects based on credibility just of the profession. Since then, the dawn of Canadian urbanism, possess earned in a related field such as build• profession has lost this grounding in wonderfully enjoyable features that seem ing, engineering, carpentry, or mason• widely-shared formal conventions, and no longer accessible either to our current ry. In other words, as Hughes must somehow seek to regain it. Music construction industry or to our architects emphasizes in his introductory text, of the Eye does not tell us how to do and designers. Recent attempts to apply these men contributed to establishing this, but certainly shows very clearly similar forms in large scale commercial architecture in Canada by setting up that it once did exist. The book is as and civic buildings by conspicuous dis• themselves as architects individually, deeply enjoyable as the architecture, play of historically derived detail emerge proceeding from a craft to a profes• an outstanding exhibition catalogue, as artificial and insincere despite, or per• sion, in exactly the way that the profes• rich in local knowledge. It is a pity that haps because of, their largeness and sion itself had done somewhat earlier in the colour plates could not have been their glitter. This particular brand of Post- Europe. printed at full page size, as the draw• Modernism seems to think that a few ings deserve, and it is to be hoped that paste-on pediments can achieve instant Music of the Eye is a catalogue written more comprehensive publication of historical and cultural continuity. But un• to accompany a travelling exhibition of such material will be possible in the fortunately, architecture has a relentless architectural drawings. Each drawing is future. way of always telling the truth. No matter accompanied by a short essay con• what we do, our buildings always show cerning issues adhering to the graphic, H. STANLEY LOTEN what we really belief, whatever we may its author, and the project. Subjects dis• School of Architecture intend. cussed are various, ranging from pos• Carleton University sible sources of stylistic influence to The designers of the buildings historic sketches of building types, and Richler, Mordecai. Oh Canada! Oh presented in Music of the Eye probably patterns of urban development in St. Quebec!: Requiem For A Divided did not have to wrestle with such thorny John. Some drawings are more or less Country. Toronto: Penguin, 1992. Pp. issues in the self-conscious way we everyday office products, but nearly all 277. must face them today. Perhaps this in• are satisfying merely as drawings, and nocence is one of the qualities that en• some are very fine. It is difficult to "A man without land," goes the refrain of dears their work to us and that we are avoid the inference that quality of draw• Mordecai Richler's satirical novel The inclined to envy. However it came ing and quality of architecture may be Apprenticeship of Duddy Kravitz about, whether by intent or inadver• related. Text references imply that (1959), "is nobody." After reading tence, their work has a ring of authen• many more such drawings have been Richler's Oh Canada! Oh Quebec!, we ticity that we would sell our souls for, preserved in various archives and sug• can only conclude that a man who and a capacity to engender love that gest the possibility of a more com• writes on his land is vilified. The book we can scarcely hope to gain. They prehensive publication that would be is a long essay on the state of the na• were the first generation of Canadian very valuable indeed. Hughes' introduc• tion, an amplification of Richler's piece architects. Twenty of their number, ac• tory essay focuses on architectural for The New Yorker in the fall of 1991. tive in St. John from 1822 to 1914, are drawings as one of the means by Richler's astringent account of the represented in this collection by 42 which former builders, carpenters, state of Canada, with its harsh picture 118 Urban History Review/Revue d'histoire urbaine Vol. XXI, No. 2 (March, 1993) Book Reviews / Comptes rendus of Francophone/Anglophone/Allophone The book's strength—and paradoxically to his subject matter. What relevance, for relations in Quebec, has evoked, its great weakness—is its tone. Richler's example, have the Christ Coin scheme of among much else, an angry response visceral prose exudes and evokes pas• Sinclair Stevens fame or the RCMP's from Lise Bissonnette, editor of Le sion, not reason. As a writer, Richler has Fruit Machine to the current national Devoir, and an indignant petition from a always been a moralist, and like many debate? primarily anglophone group of intellec• moralists, he favours the satiric mode. tuals sympathetic to Quebec, headed Satire holds vice or folly up to ridicule, If Richler never uses a neutral adjective by Patricia Smart, a critic of Québécois often through exaggeration, and there is where a loaded one can be found, the literature active with Canadian Forum. no doubt that Richler feels that the cur• book is nevertheless grounded not in The petition denounced Richler for rent state of the country is culpable folly. sensationalism, but in deep-seated pas• arousing partisan animosities in His conclusion is succinct: "Our continu• sion and outrage. Oh Canada! Oh Quebec. In the interests of harmony it ing quarrel [between anglophones and Quebec! \s no light-hearted, nose-tweak• seems that Richler should have francophones]—still unresolved, as I ing look at the current state of a city presented his analysis nicely or not at all write—could yet lead to the dismember• (Montreal), a province (Quebec) and a (or eschewed uncharitable references in ment of this incredibly rich but ineptly country (Canada) but a savage cri de his text to the literary quality of Lise governed country" (236). Even the title Oh coeur. Anyone who has followed Bissonnette's prose and that of Canada! Oh Quebec! is a satiric echo Richler's career as an essayist (Shovel• Canadian Forum). Readers of Le Devoir, not only of Canada's national anthem but ling Trouble, Home Sweet Home) for their part, were bemused to en• of Samuel Butler's nineteenth-century knows that the view of his country counter Lise Bissonnette's heated satiric poem about the foolish philistinism presented in this book is part and par• rejoinder to Richler's indictments of and puritanism of Montreal where classi• cel of his lifelong view of the nation, racism against Le Devoir \n the Thirties, cal Greek statuary was banished to a not some splenetic aberration cynical• only to read her stereotype of Richler dusty storeroom for "vulgarity": ly penned for pelf. Richler is angry, and the late Barbara Frum as on-screen but he is not phony. As a young man, evocations of evenings in old Salisbury Stowed away in a Montreal lumber room he scorned Canada to make a literary (Rhodesia). The Discobolus standeth and turneth his career elsewhere, a view point he later face to the wall; softened: The book has sold well in Canada, Dusty, cobweb-covered, maimed and primarily in Ontario and Quebec.
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