Today, Netflix released its own official trailer for Anne with an “E”, the episodic series whose first three episodes have already aired on the Canadian Broadcasting Corporation. Netflix will make the series available everywhere else in the world starting 12 May 2017.
Now, according to my PVR machine this morning, here is what’s scheduled to happen next: this Sunday, March 26, CBC will air episode two, “I Am No Bird, and No Net Ensnares Me,” in the series regular time slot of 8:00 p.m. (8:30 in Newfoundland). And then on Sunday, April 2, CBC will rebroadcast, in a four-hour block, the two-hour-long episode one and episode two, followed by the initial broadcast of episode three, “But What Is So Headstrong as Youth?”
Check your local listings for updates: who knows how this schedule might change again!
Tonight the Canadian Broadcasting Corporation will air the first episode of the Northwood Entertainment series Anne with an “E”, written and created by Moira Walley-Beckett. Although this series is not a remake or a reboot of earlier screen versions of Anne of Green Gables but a new adaptation of Montgomery’s book, CBC’s decision to broadcast the series on Sunday evenings acts as a return home, so to speak, connecting this to so many television adaptations of Montgomery’s books that came before it.
In a sense, then, Canadian viewers have been watching adaptations of Montgomery’s work on CBC on Sunday nights for over thirty years. And although Anne consists of a decidedly new take on the source material, I like the sense of continuity that comes with this scheduling decision, particularly for viewers who have fond memories not only of the earlier adaptations themselves but also of the experience of watching them on CBC on Sunday nights. And I look forward to tuning in on Sundays over the next seven weeks in order to discover where this new Anne universe will take us.
Anne in the news:
“The New ‘Anne Of Green Gables’ On CBC Is Super Dark, Feminist” (The Huffington Post)
This version, on the evidence of Sunday’s two-hour opener, is not reverential, nor is it overcontemporized, but it affords Anne Shirley an agency that is formidable. . . . It imagines rather than remembers or reveres previous versions, no matter how beloved they were. This Anne should be approached and appreciated in the same spirit—it’s a sublimely reinvigorated Anne of Green Gables.
My PVR machine has revealed the titles of the first two episodes of Anne with an “E”: “Your Will Shall Decide Your Destiny” and “I Am No Bird, and No Net Ensnares Me.” Both are allusions to Charlotte Brontë’s novel Jane Eyre, which had a profound influence on L.M. Montgomery’s writing.
This highly anticipated series premieres on CBC Television next Sunday, March 19, and on Netflix on Friday, May 12. Several clips have been posted to the Anne web page at CBC.ca, including a scene, released last week on International Women’s Day, depicting the women of the Avonlea sewing circle discussing the term “feminism.”
Earlier today, the CBC website released an official trailer for Anne with an “E”, the upcoming series that will premiere in Canada on Sunday, March 19. It has also released a two-minute clip from the first episode. Check it out, along with information about cast and crew, on the Anne web page at CBC.ca!
The premiere dates for CBC/Netflix’s upcoming series Anne with an “E” were announced today on the website The Televixen: the first episode will air Sunday, March 19 on CBC Television and on Friday, May 12 on Netflix! The series, written and created by Moira Walley-Beckett, will consist of a first season of seven episodes.
Given that 2017 marks the seventy-fifth anniversary of Montgomery’s death, and given that the typescript for the book was apparently delivered to her publisher the very day of her death (which was interpreted by her family as a suicide), I am especially pleased that the book will be released again during this anniversary year.
More details about this new edition, including cover art, will be published here as soon as they’re available!
Rita Bode has circulated this call for papers for a conference panel called Writers without Borders: US and Canadian Women Authors, proposed for the next NeMLA conference in Baltimore, Maryland, to be held on 23–26 March 2017. Deadline for submissions is 30 September 2016.
In her study of L.M. Montgomery (1874-1942) in the “Extraordinary Canadians” series, Canadian author Jane Urquhart invokes comparisons of L.M. Montgomery’s life and work to that of her near-contemporary American peers, Edith Wharton (1862-1937), Willa Cather (1873-1947), and Mary Wilkins Freeman (1852-1930), among others.
While the transatlantic connection among women writers is receiving increasing critical attention, the literary relationships among American and Canadian women writers offer a relatively recent area for scholarly explorations of the influences and alignments crossing North America.
This panel seeks comparative studies of American and Canadian women writers of the nineteenth and twentieth centuries that address a range of topics such as the handling of young and/or older female protagonists, representations of nature, depictions of regions, and other relevant subjects. In addition to Montgomery and the authors mentioned above, other possible authors to consider might include Montgomery and other American regionalists, such as Sarah Orne Jewett; Cather and Margaret Laurence; Alcott and her Canadian counterparts.
Also in December 2015, Vappu Kannas successfully defended her Ph.D. dissertation at the University of Helsinki in Finland. Entitled “‘The Forlorn Heroine of a Terribly Sad Life Story’: Romance in the Journals of L.M. Montgomery,” the dissertation is available for download. Congratulations, Dr. Kannas!
An article in the Charlottetown Guardian announced today that Breakthrough Entertainment’s telefilm L.M. Montgomery’s Anne of Green Gables will premiere on the YTV network in Canada on 15 February 2015, to coincide with Islander Day in Prince Edward Island. No news yet on broadcast details outside Canada or plans for a DVD release.
As I reported yesterday, news broke this week that the Canadian Broadcasting Corporation had ordered an eight-episode limited series based on L.M. Montgomery’s novel Anne of Green Gables from producer Moira Walley-Beckett, whose past writing credits include the television series Breaking Bad. The news received rather mixed comments, judging by the comments left on various news sites and even on the Facebook page for L.M. Montgomery Online: for some commentators, Sullivan Entertainment’s 1985 miniseries is of such high quality that any attempt to remake it is pointless (for several fans, no one but Megan Follows can ever play Anne), whereas others voiced concern about the decision to hire Walley-Beckett to helm the project, given not only her past writing credits but also the statement that the series would “chart new territory” by depicting “new adventures reflecting timeless issues, including themes of identity, sexism, bullying, prejudice, and trusting one’s self.”
In the midst of this mixed reaction, several additional articles were released in the last few days, emphasizing why a new take on L.M. Montgomery’s 108-year-old novel is not only understandable but absolutely necessary:
As for me, I’m thrilled that a talented writer/producer wants to interpret Montgomery’s best-known novel and ever-appealing protagonist for the twenty-first century, just as I am always fascinated by adaptations of Anne of Green Gables and its sequels for stage and screen, from a 1934 Hollywood “talkie” and Kevin Sullivan’s work to the recent hit play Anne and Gilbert and Breakthrough Entertainment’s upcoming telefilm. Given how meaningful the character Anne Shirley is to so many readers worldwide, surely there is room for a new take on this ever-popular character.
The Canadian Broadcasting Corporation announced yesterday that it had greenlit a new, eight-episode television series based on Anne of Green Gables. Entitled Anne, the project is expected to go into production this spring for release sometime in 2017. The project will be created and written by Moira Walley-Beckett, who received an Emmy Award for her work as a writer on the television series Breaking Bad and who will serve as executive producer alongside Miranda de Pencier, Alison Owen, and Debra Hayward.
At its heart, ANNE is a coming-of-age story about an outsider who, against all odds and numerous challenges, fights for acceptance, for her place in the world and for love. The drama series centres on a young orphaned girl who, after an abusive childhood spent in orphanages and the homes of strangers, is mistakenly sent to live with an elderly spinster and her aging brother. Over time, 13-year-old Anne will transform their lives and eventually the small town in which they live, with her unique spirit, fierce intellect and brilliant imagination. While the new series will follow a similar storyline to the book that millions of readers around the world know and love, it will also chart new territory. Anne and the rest of the characters in and around Green Gables will experience new adventures reflecting timeless issues, including themes of identity, sexism, bullying, prejudice, and trusting one’s self.
“Kids these days are done with stories where things happen,” said CBC consultant and world’s oldest child psychologist Obadiah Sugarman. “We’ll finally be giving them the stiff Victorian morality that I assume is in vogue. Not to mention, doing a period piece is a great way to make sure white people are adequately represented on television.”
“I can’t wait for yet more Anne,” enthused 22 year-old Alexandra Lewis, who has only been alive for 7 of Anne’s over two dozen adaptations. “Honestly there’s no better use of public funds than promoting the work of a long-dead, already immensely popular author.”
A tremendous resource for fans and scholars alike, the three-volume The L.M. Montgomery Reader gathers together a captivating selection of material, much of it recently rediscovered, on the life, work, and critical reception of one of Canada’s most enduringly popular authors.
Collecting material on Montgomery’s life (Volume One), her critical reputation (Volume Two), and reviews of her books (Volume Three), leading Montgomery scholar Benjamin Lefebvre traces the interplay between the author and the critic, as well as between the private and the public Montgomery. Each volume includes an extensive introduction and detailed commentary on the documents that provides the context for these primary sources, many of them freshly unearthed from archives and digital collections and never before published in book form.
These volumes have received tremendous praise from reviewers:
“While Lefebvre’s The L.M. Montgomery Reader is a vital resource of primary sources from and secondary assessments of one of Canada’s most popular twentieth-century authors, it is his insightful and knowledgeable analysis that shapes and gives meaning to the collection. . . . The depth of his knowledge results in a work that is as comprehensible as it is comprehensive.” –André Narbonne, American Review of Canadian Studies
“Lefebvre’s archival research is thorough and often brilliant, making the Reader an invaluable trove not only for Montgomery scholars but also for those working with the reception history of Canadian writers, especially women before Laurence, Munro, and Atwood. For Montgomery completists, the Reader is irresistible. For those engaged in Montgomery studies or Canadian literature more generally, it is invaluable.” –Anne Furlong, University of Toronto Quarterly
“With this volume, Lefebvre broadens our understanding of Montgomery’s reception and reputation both within Canada and internationally, unearthing previously obscure content and commentary and making it accessible to a far wider audience. This reader will thus prove a valuable resource to both existing and future scholars of Montgomery’s work and life, as well as those fans keen for a little more insight into the ever-elusive figure of L.M. Montgomery.” –Sarah Galletly, British Journal of Canadian Studies
“Lefebvre has uncovered a cache of new, important material in an already impressive and crowded field of Montgomery scholarship. . . . His sensitive editing of the material brings the public side of Montgomery into better focus as she fields endless questions about how she became a writer, how Anne came to be and whether or not she was a real girl and what the author thought of young women in her day. [This book will] deepen our knowledge and understanding of this beloved Canadian icon.” –Laurie Glenn Norris,Telegraph–Journal (Saint John, NB)
“Lefebvre has thoroughly mined earlier scholars’ bibliographies and online newspaper archives to find reviews in periodicals from eight different countries, including the Bookman (London), the Globe (Toronto) and Vogue (New York). . . . Collectively, these reviews . . . represent a superb barometer of [Montgomery’s] fluctuating cultural value as a writer.” –Irene Gammel, The Times Literary Supplement
Today, on what would have been L.M. Montgomery’s 141st birthday (she was born on 30 November 1874), I would like to share with you an extract from a journal entry dated exactly 101 years ago, on the occasion of Montgomery’s fortieth birthday:
Once I thought forty must be the end of everything. But it isn’t! I don’t feel any older today than yesterday—when I was only 39! Or the day before yesterday when I was—19! Thank God we don’t feel old. Life is much richer, fuller, happier, more comfortable for me now than it was when I was twenty. I have won the success I resolved to win twenty years ago. It is worth the struggle—but I would not wish to be twenty again with the struggle still before me.
I’m glad, because all this media attention reflects the continued relevance and the persistent quality of Montgomery’s writing, not only as works of literature but also as the basis for an enduring popular culture icon and a set of new Anne texts for stage and screen. I’m looking forward to delving back into the novel Anne of Green Gables next term, when I teach the book in an undergraduate children’s literature course at Wilfrid Laurier University, as an example of a crossover text that continues to appeal to both adults and children.