From Amazon
The Fat Woman Next Door Is Pregnant, the first volume of Michel Tremblay's immense
Chroniques du plateau Mont-Royal, finds him abandoning much of the bleakness and anger that sustain his plays in favour of a more benevolent mode of storytelling. Without relinquishing his favourite themes--the social and spiritual poverty of working-class Quebec--Tremblay brings a lovingly comic approach to the inhabitants of
la rue Fabre. The result is a rarity, a novel that realistically and (almost) unsentimentally portrays the family life of the working poor without drowning in misery.
Misery is, of course, everywhere on the plateau Mont-Royal. The Fat Woman Next Door Is Pregnant will be immediately recognizable to followers of Tremblay's plays, in which many of the same characters and stories appear. The women of la rue Fabre (with the exception of two prostitutes, Mercedes and Béatrice) are trapped in their marriages, families, and religion; the men (again, with the exception of the half-mad fiddler Josaphat-le-Violon and the homosexual Uncle Edouard) work at uninspiring jobs and lead uninspired lives. Children are granted a slight reprieve from this fate, but their coming adulthood is a looming menace.
There is very little plot in The Fat Woman Next Door Is Pregnant. It simply takes the community of the plateau Mont-Royal through a single eventful day, and even as it rambles from story to story it remains compulsively readable. Every character, from the tomcat Duplessis to the foul-mouthed but impeccably skilful streetcar driver Mastaï Jodoin, to the three knitting Graces on the porch next door (who are only visible to cats and crazy people), is rendered with great compassion and understanding. The remaining five volumes of the Chroniques du plateau Mont-Royal will look extremely tempting to anyone lucky enough to become involved with the tenants of la rue Fabre. --Jack Illingworth
Book Description
It is the glorious second day of May, 1942. The sun is drawing the damp from earth still heavy with the end of a long Quebec winter, the budding branches of the trees along rue Fabre and in Parc Lafontaine of the Plateau Mont Royal ache to release their leaves into the warm, clear air heralding the approach of summer.<br /><br />Seven women in this raucous Francophone working-class Montreal neighbourhood are pregnant-only one of them, "the fat woman," is bearing a child of true love and affection. Next door to the home that is by times refuge, asylum, circus-arena, confessional and battleground to her extended family, with ancient roots in both rural Quebec and the primordial land of the Saskatchewan Cree, stands an immaculately kept but seemingly empty house where the fates, Rose, Mauve, Violet and their mother Florence, only ever fleetingly and uncertainly glimpsed by those in a state of emotional extremis, are knitting the booties of what will become the children of a whole new nation.<br /><br />In this first of six novels that became his Chronicles of the Plateau Mont Royal, Tremblay allows his imagination free reign, fictionalizing the lives of his beloved characters, dramatized so brilliantly in his plays and remembered so poignantly in his memoirs."The fat woman" both is and is not Michel Tremblay's mother-her extended family and neighbours more than a symbol of a colonized people: abandoned and mocked by France; conquered and exploited by England; abused and terrorized by the Church; and forced into a war by Canada supporting the very powers that have crushed their spirit and twisted their souls since time immemorial. This is a "divine comedy" of the extraordinary triumphs and tragedies of ordinary people caught up by circumstances that span the range of the ridiculous to the sublime.