La marche à l'amour
Encyclopedia
"La marche à l'amour" is a poem
by Gaston Miron
(1928–1996), one of the most studied and celebrated in Quebec poetry. It was originally published in Le nouveau journal in 1962, in a cycle of seven poems also entitled "La marche à l'amour". A slightly revised version was published in book form in 1970 in L'homme rapaillé (the poem would again be revised in a later edition).
Several themes of the poem are clearly expressed in the different interviews Miron gave about this time of his life. Part of different interviews he gave will be highlighted below, in italics, along the description of the poem.
Gaston Miron
self-described his work as similar in form to the American expressionism
a la Jackson Pollock
. By this, he meant that his poetry is often characterized by a succession of strong—and sometimes baffling—metaphors. "La marche à l'amour" is good example of this style.
His style has also often been characterized as espousing an "oral style" (for example, by the jury that honored him with the prix Quebec-Paris for L'homme rapaillé), although controversies abound about the exact extent of this orality
(see the book "Miron ou la marche à l'amour" for some strong opposing views). What is certain, though, is that Miron integrated in his poems, notably in "La marche à l'amour", a few expressions of a popular range that he does not hesitate to use in a different context to create an effect. This can be illustrated here by the use of "délabre" (wretched) and "au bout du rouleau" (at the end of one's tether) in the verse "Je m'en vais en délabre au bout de mon rouleau" (literally, I go in wretched (conditions) at the end of my tether).
The poem has ten individual sections, and each section may be viewed as highlighting specific themes. Below are excerpts of the poems, (in italics are English translations by D.G.Jones, from Earth and Embers of Guernica Editions
) with excerpts of different interviews that refer to the period of his life described by the poem.
This theme of the poem, the persistence to look for love despite the caveats, reveals in the finale as the main theme of the poem. Miron said that "(he) never renounced to the quest (to find love). I had deep dejection, but life is so strong that it always achieves to get back on top, like a "rooted" diving refusing to be uprooted. Like I said in "La marche à l'amour", I refuse tragedy, I refuse failure, and I say we must always yield a 101st chance to love: "j'ai du chien d'achigan plein l'âme"". (Mais je n'ai jamais renoncé (à cette recherche). J'ai des accablements profonds, mais la vie est tellement forte, qu'elle reprend toujours le dessus, comme une plongée racineuse qui ne veut pas déraciner. Comme je le dis dans "La marche à l'amour", je refuse la tragédie, je refuse l'échec, et je dis qu'il faut toujours donner la 101e chance à l'amour: "j'ai du chiendent d'achigan plein l'âme").
Poetry
Poetry is a form of literary art in which language is used for its aesthetic and evocative qualities in addition to, or in lieu of, its apparent meaning...
by Gaston Miron
Gaston Miron
Gaston Miron, was an important poet, writer, and editor of the Quebec post Quiet Revolution. His masterpiece, L'homme rapaillé has sold over 100 000 copies, in Quebec and overseas, ensuring Miron as one of the most widely read authors of...
(1928–1996), one of the most studied and celebrated in Quebec poetry. It was originally published in Le nouveau journal in 1962, in a cycle of seven poems also entitled "La marche à l'amour". A slightly revised version was published in book form in 1970 in L'homme rapaillé (the poem would again be revised in a later edition).
Background to the poem
In one interview (http://archives.radio-canada.ca/IDCC-0-72-1234-6809/arts_culture/gaston_miron/), Miron said of "La marche à l'amour" that "all his successive failures in love were projected (in this poem) written back between 1954 to 1958" ("toutes mes expériences, mes échecs successifs dans l'amour, se sont projetés dans (ce poème) qui date de 1954 à 1958).Several themes of the poem are clearly expressed in the different interviews Miron gave about this time of his life. Part of different interviews he gave will be highlighted below, in italics, along the description of the poem.
Gaston Miron
Gaston Miron
Gaston Miron, was an important poet, writer, and editor of the Quebec post Quiet Revolution. His masterpiece, L'homme rapaillé has sold over 100 000 copies, in Quebec and overseas, ensuring Miron as one of the most widely read authors of...
self-described his work as similar in form to the American expressionism
Abstract expressionism
Abstract expressionism was an American post–World War II art movement. It was the first specifically American movement to achieve worldwide influence and put New York City at the center of the western art world, a role formerly filled by Paris...
a la Jackson Pollock
Jackson Pollock
Paul Jackson Pollock , known as Jackson Pollock, was an influential American painter and a major figure in the abstract expressionist movement. During his lifetime, Pollock enjoyed considerable fame and notoriety. He was regarded as a mostly reclusive artist. He had a volatile personality, and...
. By this, he meant that his poetry is often characterized by a succession of strong—and sometimes baffling—metaphors. "La marche à l'amour" is good example of this style.
His style has also often been characterized as espousing an "oral style" (for example, by the jury that honored him with the prix Quebec-Paris for L'homme rapaillé), although controversies abound about the exact extent of this orality
Orality
Orality is thought and verbal expression in societies where the technologies of literacy are unfamiliar to most of the population. The study of orality is closely allied to the study of oral tradition...
(see the book "Miron ou la marche à l'amour" for some strong opposing views). What is certain, though, is that Miron integrated in his poems, notably in "La marche à l'amour", a few expressions of a popular range that he does not hesitate to use in a different context to create an effect. This can be illustrated here by the use of "délabre" (wretched) and "au bout du rouleau" (at the end of one's tether) in the verse "Je m'en vais en délabre au bout de mon rouleau" (literally, I go in wretched (conditions) at the end of my tether).
The poem has ten individual sections, and each section may be viewed as highlighting specific themes. Below are excerpts of the poems, (in italics are English translations by D.G.Jones, from Earth and Embers of Guernica Editions
Guernica Editions
Guernica Editions is a Canadian independent publisher established in Montreal, Quebec, in 1978, specializing in Canadian literature, poetry and nonfiction...
) with excerpts of different interviews that refer to the period of his life described by the poem.
This theme of the poem, the persistence to look for love despite the caveats, reveals in the finale as the main theme of the poem. Miron said that "(he) never renounced to the quest (to find love). I had deep dejection, but life is so strong that it always achieves to get back on top, like a "rooted" diving refusing to be uprooted. Like I said in "La marche à l'amour", I refuse tragedy, I refuse failure, and I say we must always yield a 101st chance to love: "j'ai du chien d'achigan plein l'âme"". (Mais je n'ai jamais renoncé (à cette recherche). J'ai des accablements profonds, mais la vie est tellement forte, qu'elle reprend toujours le dessus, comme une plongée racineuse qui ne veut pas déraciner. Comme je le dis dans "La marche à l'amour", je refuse la tragédie, je refuse l'échec, et je dis qu'il faut toujours donner la 101e chance à l'amour: "j'ai du chiendent d'achigan plein l'âme").