It’s almost that time of year again! The Lucy Maud Montgomery Society of Ontario will be holding its annual L.M. Montgomery day on Saturday, October 27, 2018. Several presenters will give papers on this year’s theme, L.M. Montgomery at Home in Leaskdale:
Although many Canadian viewers were disappointed to learn that the second season of Anne with an “E” would drop on Netflix months before it would air in Canada, tonight that wait is over, since the first episode of the second season, “Youth Is the Season of Hope,” airs tonight on the CBC, with the remaining nine episodes airing throughout the fall on Sunday nights. As I mentioned in a blog post last year, adaptations of Montgomery’s books have been a Sunday-night tradition for the CBC, since it was on Sunday evenings that the CBC aired the first halves of Sullivan Entertainment’s Anne of Green Gables (1985) and Anne of Green Gables: The Sequel (1987) as well as nearly the entire run of the episodic series Road to Avonlea (1990–1996) and Emily of New Moon (1998–1999, 2002–2003).
By coincidence, the third Anne movie from Breakthrough Entertainment, L.M. Montgomery’s Anne of Green Gables: Fire and Dew, which aired on YTV on 1 July 2017 and which was released on DVD just this week, has its U.S. premiere on PBS this evening. So it looks as though both American and Canadian viewers finally get the chance to see a much-anticipated follow-up production that their neighbours across the border have already been talking about!
For more on this announcement, see the website for the Koffler Centre of the Arts. The winners of the 2018 Vine Awards will be announced on 11 October 2018, shortly after the publication of the paperback edition of Maud on 2 October 2018.
Yesterday, I took a hard copy of the proofs of my afterword to A Name for Herself: Selected Writings, 1891–1917 with me when I went to get an oil change, because when a deadline looms, every spare minute counts. Because the goal of the volumes in The L.M. Montgomery Library is not simply to reprint Montgomery’s work but also to provide some original content that’ll place that work within its historical and literary contexts, the afterword of this first volume discusses Montgomery’s career and her choice of an androgynous signature (“L.M. Montgomery”) in the context of British women writers who preceded her, especially Charlotte Brontë and George Eliot. There are numerous parallels between these three authors, particularly between Montgomery and Brontë, to the point that Carole Gerson, in her contribution to Storm and Dissonance: L.M. Montgomery and Conflict (2006), declares that “at one level, Montgomery is always rewriting Jane Eyre.” I’m going a bit further with this, speculating that Montgomery may have named her two major book protagonists Anne and Emily after two of the Brontë sisters but refrained from naming a third one Charlotte in order to make the point of connection less definite. (Not to mention that Charlotte Brontë’s second novel is entitled Shirley.)
Then I remembered that the second season of Anne with an “E” was released that day on Netflix everywhere in the world (except Canada, meaning that I’ll have to wait until late September, when it starts airing on the CBC, to watch it), so I posted on Facebook a request from my non-Canadian friends with access to Netflix to share the episode titles from the second season, to see if they, too, were quotations from Jane Eyre.
A friend who’s on holiday outside Canada posted the list shortly thereafter:
S2E10: The Growing Good of the World
S2E09: What We Have Been Makes Us What We Are
S2E08: Struggling against the Perception of Facts
S2E07: Memory Has as Many Moods as the Temper
S2E06: I Protest against Any Absolute Conclusion
S2E05: The Determining Acts of Her Life
S2E04: The Painful Eagerness of Unfed Hope
S2E03: The True Seeing Is Within
S2E02: Signs Are Small Measurable Things, but Interpretations Are Illimitable
S2E01: Youth Is the Season of Hope
They sound familiar, right? But they’re not from Jane Eyre. They’re from Middlemarch. By George Eliot.
Looks like I’m going to need another endnote. And maybe I should make the time to read Middlemarch before the new season of Anne with an “E” starts on the CBC.
One hundred and seven years ago today – on 5 July 1911 – L.M. Montgomery married the Reverend Ewan Macdonald, in Park Corner, Prince Edward Island, at the home of her maternal relatives, the Campbells (the location is now known as the Anne of Green Gables Museum and is a delightful place to visit).
One aspect that has always amazed me about Montgomery’s journals is the murkiness of her overall portrait of Ewan Macdonald. Montgomery’s first mention of him in her journals is when she announces their engagement, in an entry dated October 1906 in which she devotes far more space outlining why marrying him would be a bad idea before revealing that she’d indeed accepted his proposal, ending with a lukewarm statement: “I feel content.”
The engagement wasn’t exactly promising: Macdonald proposed to her just as he was about to embark on further studies in Scotland, although Mary Henley Rubio notes in her biography of Montgomery that there’s no evidence that he completed any work there, whereas Montgomery would not be free to marry for as long as her elderly maternal grandmother was still living, hence the five-year engagement. Scholars who have tried to establish the composition and submission timeline of Anne of Green Gables based on Montgomery’s few (and conflicting) clues have pointed out that, if the novel was accepted in April 1907 after being refused by four other publishers – as well as an unspecified amount of time in which the typescript sat in a hat box, something the recent Heritage Minute on Montgomery captured very well – then quite possibly Macdonald’s proposal coincided with a particularly discouraging point in her attempt to launch herself from freelance writer of short stories and poems to novelist.
Not only that, but two major changes happened after the 1906 engagement: the publication of Anne of Green Gables in June 1908 changed the trajectory of Montgomery’s career completely, and Macdonald being called to a parish in Leaskdale, Ontario, in early 1910 – something Montgomery does not mention in her journals – meant that she would have to leave Prince Edward Island in order to marry him. In short, marriage would not resemble what either of them had had in mind in 1906. But there’s no record that indicates that Montgomery contemplated breaking off the engagement at any point.
Macdonald proved in many ways to be a difficult husband, according to Montgomery’s account. Not only did he express no interest in Montgomery’s career, but also, he resented her success as an author as well as any tribute she received for her work as a minister’s wife. What’s most noticeable about Montgomery’s record of him in her journals, however, is how often he disappears from the journal for pages at a time, almost as though it often didn’t occur to Montgomery to write about him unless something was wrong. Still, he made a mistake in underestimating the power of her pen. Although Macdonald spelled his name “Ewen,” Montgomery consistently wrote it as “Ewan” in her journals – consequently, everyone now follows her lead. Not only did they name their second surviving son “Ewan Stuart Macdonald,” but also, both spellings appear on their tombstone in Cavendish. Every time I go to the Cavendish cemetery to pay my respects, I ponder this.
I also frequently wonder about the fact that no photograph of the wedding or of Montgomery wearing her wedding dress survives. (The dress itself is on display at the Lucy Maud Montgomery Birthplace in Clifton, PEI.) Instead, we have nine trousseau photographs depicting Montgomery, standing in roughly the same spot, wearing elaborate dresses and hats. Two different combinations of six of these images appear in cropped form in Montgomery’s Selected Journals and Complete Journals, but to me, the uncropped versions are even more fascinating. She must have been aware of the laundry flapping on the clothesline behind her, but if so, I can’t imagine what point she was trying to make. (Actually, on second thought, maybe I can.)
All images courtesy of L.M. Montgomery Collection, Archival and Special Collections, University of Guelph Library.
When she wrote about her wedding day in a retrospective journal entry in 1912, she records feeling “contented” the night before her wedding and again the morning of the wedding, repeating the term she used in her journal the day of her engagement. After the ceremony was over, however, her emotions took a decidedly different turn:
I had been feeling contented all the morning. I had gone through the ceremony and the congratulations unflustered and unregretful. And now, when it was all over and I found myself sitting there by my husband’s side – my husband! – I felt a sudden horrible inrush of rebellion and despair. I wanted to be free! … At that moment if I could have torn the wedding ring from my finger and so freed myself I would have done it! But it was too late – and the realization that it was too late fell over me like a black cloud of wretchedness.
The mood passed, and she does not record expressing these feelings to anyone else at the time. But she immortalized this moment in the pages of her journal, which she wanted to be published after her death, as though she wanted future readers to understand why, at that wedding feast, “I was as unhappy as I had ever been in my life.”
What Montgomery omits from her journals, however, is that she’d done whatever she could to keep the media away from the event, as revealed in an unsigned piece appearing in The Boston Herald three weeks later and reprinted in Volume 1 of The L.M. Montgomery Reader:
Well, of course, a time came when she had to share her secret with a few intimate friends outside of her own family. Her publisher, Mr. L.C. Page of Boston, was one of the earliest of these, and naturally he wished to share it with the public. But straightway he received a letter, part of which ran as follows: “As for the ’embargo’ – no, it must not be lifted until after the event. I am resolved that no hint of the matter shall get into the ‘paper news’ until it is over, and I shall be much annoyed if anything of the sort occurs.”
It is unclear how the Boston Herald had obtained a copy of this letter or whether Montgomery was aware they had published this piece, but it seems a safe bet that she did not consent for it to be published. After all, when she wrote about her marriage in “The Alpine Path,” she was brief and to the point: “As my husband was pastor of an Ontario congregation, I had now to leave Prince Edward Island and move to Ontario.” Not only did she not identify her husband by name or disclose either the denomination they belonged to or the Ontario location they lived in, but also, Montgomery’s wording emphasizes that her departure from Prince Edward Island had not been her choice. I have a new theory about why she chose to say so little about her husband in this public memoir, thanks to a new piece of evidence given to me by a longtime friend of mine, which I talk about in the afterword to A Name for Herself, coming this fall from University of Toronto Press.
UPDATE, 5 JULY 2018: I’ve just been reminded by someone in the Montgomery community that the dress on display at the Lucy Maud Montgomery Birthplace is a replica of Montgomery’s wedding dress, not the original.
Happy book birthday to the Penguin Modern Classics Edition of L.M. Montgomery’s rediscovered final book, The Blythes Are Quoted! Completed by Montgomery shortly before her death in 1942 as a final sequel to Anne of Green Gables and first published in its entirety in 2009, this book features a blend of short fiction, poetry, and vignettes that shows the contrast between the dynamics between Anne and her family members and how they’re perceived by outsiders. Divided in two parts, one set before and one after the Great War of 1914–1918, the book consists of Montgomery’s final word about a number of preoccupations in her earlier books, including war, family, romance, and childhood.
This edition includes the full text of the 2009 edition, along with an updated introduction and suggestions for further reading by me and an updated afterword by Elizabeth Rollins Epperly. It is available primarily across Canada, but it can be ordered through Amazon.ca and Chapters.Indigo.ca, both of which ship worldwide.
“[T]his re-acquaintance with the voice of L.M. Montgomery is marvellously satisfying … Lefebvre’s patient and meticulous scholarship has resulted in this fascinating volume, a gift to insatiable followers of Anne Shirley’s story.”
—Aritha van Herk, The Globe and Mail
Today has been, as Anne herself would say, “an epoch in my life.” My book came today, fresh from the publishers. I candidly confess that it was for me a proud, wonderful, thrilling moment! There in my hand lay the material realization of all the dreams and hopes and ambitions and struggles of my whole conscious existence – my first book! Not a great book at all – but mine, mine, mine, – something to which I had given birth – something which, but for me, would never have existed.
This morning, one hundred and ten years later, at a desk several hundred kilometres away from Montgomery’s home in Cavendish, I began correcting the proofs of my next Montgomery book, A Name for Herself: Selected Writings, 1891–1917, due out in September. What I like best about this stage of a book’s production is that the manuscript that I’ve watched evolve through several stages of compilation, drafting, editing, annotating, and revising is finally starting to look like a book. Proofreading Montgomery’s work one last time against the original copy-texts also allows me to immerse myself in the text again. And while there are still some adjustments to be made to ensure that everything fits on the page, for the most part, the book is done.
The reason I’m especially drawn today to this quotation from her journal entry dated 20 June 1908 is because of how it appears in Montgomery’s 25,000-word celebrity memoir, “The Alpine Path,” first published in 1917 and included in my volume. Although Montgomery makes reference to a journal entry with that date, the entry she quotes reads slightly differently:
To-day has been, as Anne herself would say, “an epoch in my life.” My book came to-day, “spleet-new” from the publishers. I candidly confess that it was to me a proud and wonderful and thrilling moment. There, in my hand, lay the material realization of all the dreams and hopes and ambitions and struggles of my whole conscious existence – my first book. Not a great book, but mine, mine, mine, something which I had created.
In a sense, the two versions are more or less identical – the most noticeable difference is the term “spleet-new,” which she places within quotation marks (it’s basically an archaic form of “brand new” or “perfectly new”). But now that I’m at this late stage in the editorial process for a new edition of “The Alpine Path,” I see these discrepancies differently than I used to. One of the aspects of “The Alpine Path” that I discuss in the book is the source of all this material. Montgomery quotes self-consciously from her journals on a number of occasions, complete with dates, but, to quote my headnote in the book, “a closer comparison of this text and her private life writing reveals that she mined her journal for far more material than she let on, changing only details that would contradict the public myth of her life that she aimed to construct for public consumption.”
In other words, most of the text of “The Alpine Path” is cobbled together from journal entries dated 1892 to 1912. I identify all of these borrowings in my notes, but what I want to say for now is that, except for details she wanted to keep private, most of the changes between her journals and “The Alpine Path” are fairly minor. This means that, with some exceptions, the differences between the journal entries dated 20 June 1908 are more noticeable than those between her journals and the rest of the “Alpine Path” text.
The other question, of course, is this: which of these is the “true” entry of 20 June 1908?
Starting in the winter of 1919 – two years after she wrote “The Alpine Path” – Montgomery announced her plan to transcribe all of her journals from a variety of notebooks into a uniform set of ledgers because she saw her journals as having significant cultural value. It’s these ten ledgers that survive as the “official” journals that form the basis of five volumes of Selected Journals and six volumes to date of Complete Journals. When she finished this transcription a few years later, she left explicit instructions to her heirs about both conserving the ledgers and publishing their contents after her death. Because she destroyed the original notebooks, we have to take her at her word that she transcribed the full text without alteration – even though she frequently uses the beginning or the ending of a ledger volume as an opportunity to reflect on her life. (Vanessa Brown and I talk about this and other archival mysteries in a chapter that’s reprinted in Volume 2 of The L.M. Montgomery Reader.)
So again – which is the “true” entry of 20 June 1908, given that the version that was actually written that day was subsequently destroyed? Did she add the term “spleet-new” when rewriting the entry for “The Alpine Path,” or did she delete it when she “transcribed” her early journals into uniform ledgers? There’s no way to answer this question, and for that reason I don’t know what to make of the fact that the terms “spleet-new” and “The Alpine Path” return in chapter 21 of Emily’s Quest, at which point Emily receives copies of her first book, The Moral of the Rose:
There lay her book. Her book, spleet-new from the publishers. It was a proud, wonderful, thrilling moment. The crest of the Alpine Path at last? Emily lifted her shining eyes to the deep blue November sky and saw peak after peak of sunlit azure still towering beyond. Always new heights of aspiration. One could never reach the top really. But what a moment when one reached a plateau and outlook like this! What a reward for the long years of toil and endeavour and disappointment and discouragement.
I’ve always enjoyed this kind of detective work, even when – especially when – burning questions aren’t followed by concrete, plausible answers. But I should get back to proofreading, since I have a fair bit of work left to do before I can receive “spleet-new” copies of A Name for Herself from my own publisher.
I am enormously pleased to announce an exciting new series forthcoming from University of Toronto Press: The L.M. Montgomery Library, which will collect Montgomery’s extensive periodical output of short stories, poems, essays, columns, and miscellaneous pieces, first published between 1890 and 1942. Most of this material has never been collected in book form, so these volumes will add tremendously to our understanding and appreciation of Montgomery’s evolution as a professional writer.
The first two volumes will be published in fall 2018:
A Name for Herself: Selected Writings, 1891–1917—This volume contains the full text of Montgomery’s so-called “miscellaneous pieces”: personal and travel essays, a playlet, contributions to student magazines, as well as texts that blur the lines between fiction and non-fiction. It includes for the first time the full text of Montgomery’s “Around the Table” column that she published in the Halifax Daily Echo over a nine-month period in 1901–1902 as well as a new edition of her celebrity memoir, “The Alpine Path.” (This volume was previously announced as Becoming L.M. Montgomery.)
A World of Songs: Selected Poems, 1894–1921—This volume contains a new selection of fifty poems published between 1894 and 1921, focusing on landscape, lamentation, death, war, and love. It was designed to be a companion to Montgomery’s rediscovered final book, The Blythes Are Quoted, since most of the forty-one poems in that book were published between 1919 and 1942.
Each volume contains a preface, an afterword, and annotations that provide context for all readers: the afterword to A Name for Herself discusses Montgomery’s use of gender-neutral double initials (“L.M.”) as well as a range of other pseudonyms (including “Maud Cavendish” and “Belinda Bluegrass”) within the context of strategies used by English-speaking women writers of the nineteenth and early twentieth centuries, whereas the afterword to A World of Songs identifies points of connection between Montgomery’s poetry and her book-length fiction and places the work within post-Confederation poetry in Canada.
Additional volumes showcasing Montgomery’s short stories and poems in chronological order are in progress.
I will post details about cover art, pre-ordering information, launches, and readings once they’ve been finalized, as well as sneak previews, so please subscribe to this blog (at the very bottom of the page) to ensure you get every update.
I’ve been gathering copies of this material for over a decade with the ambition of making this work available in book form to Montgomery’s international community of readers, so it’s humbling and gratifying to see this series finally going ahead. I look forward to continuing the discussion with you all in the years to come.