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Tag: Rilla of Ingleside

L.M. Montgomery, Jane Austen, and Self-Repetition

By the strangest of coincidences, a few evenings ago I took a break from writing some contextual material for an item in my next volume of Montgomery’s periodical work, specifically a headnote that mentions that four extracts from Anne’s House of Dreams had appeared in Donald Graham French’s anthology Standard Canadian Reciter: A Book of the Best Readings and Recitations from Canadian Literature, published in 1921 (something I had already mentioned in my overview of Montgomery’s career in my introduction to Volume 1 of The L.M. Montgomery Reader). Donald G. French (1873–1945) was co-author, with J.D. Logan (1869–1929), of Highways of Canadian Literature (1924), the first of six book-length surveys of Canadian literature published in the 1920s. In that volume, which includes a biographical sketch of Montgomery and a summary of her books published up to that point, Logan and French place Anne of Green Gables in a list of Canadian novels “of the Community type,” alongside Marian Keith’s Duncan Polite and Nellie L. McClung’s Sowing Seeds in Danny.

While searching for something else Montgomery-related on the open-access website Early Canadiana Online, I came across for the first time a much earlier article by French – entitled “Canada’s Jane Austen” and appearing in the December 1914 issue of The School, a Toronto publication – from which the bulk of Logan and French’s remarks about Montgomery in Highways would be lifted. The full text of this earlier article is as follows:

No history of English literature is considered complete unless it gives due place to the work done by Jane Austen in her portrayal of rural English domestic life; and no history of Canadian literature, when such comes to be written, should fail to recognize that L.M. Montgomery has done for Canada what Jane Austen did for England.

L.M. Montgomery (now Mrs. (Rev.) Evan [sic] Macdonald) was born at Clifton, Prince Edward Island, and spent her childhood in Cavendish – a seashore farming settlement which figures as “Avonlea” in her stories. Like many another young Canadian she has to the credit of her experiences a few years as teacher in the schools of her province. That her life so far has been spent chiefly within the limits of the little island province and the bounds of an Ontario country parish does not narrow her outlook although it necessarily confines her to themes bounded by rural experiences, for her forte is the portrayal of what she has seen and knows. She has the imaginative and creative gifts, but she uses these in enabling us to see the beauty, the humour, and the pathos that lies about our daily paths.

Anne of Green Gables,” which was Miss Montgomery’s first novel, has an interesting literary history. She tells us that upon being asked for a short serial story for a Sunday school weekly, she cast about for a plot idea. A faded note book entry suggested: “Elderly couple apply to orphan asylum for a boy; a girl is sent to them.” The writing of a serial was started, but time did not allow the author to complete it for the purpose intended. As she brooded over the theme it began to expand and the result was a book which may already be confidently labelled a “Canadian Classic.”

In Anne we have an entirely new character in fiction, a high-spirited, sensitive girl, with a wonderfully vivid imagination; wise beyond her years, outspoken and daring; not always good but always lovable. The basis of the story is already explained; its working out is somewhat different from the original suggestion. Matthew and Marilla Cuthbert, an elderly bachelor and his sister, living alone on the farm of Green Gables, send a message to an orphan asylum asking that a boy be sent them. Through some mistake a girl comes – the girl Anne. At first Marilla wants to send her back, but sympathy with the child’s longing for a real home, and an interest in her very quaintness, ends in establishing her as a member of the Green Gables family – and then the story has only begun. It is Anne who dominates the whole book. There are other characters, quaint too, and well-drawn, but the introduction of Anne into the community – Anne, so unconventional, so imaginative, and so altogether different from the staid, prosaic, general attitude of the neighbourhood proves to be the introduction of a peculiar ferment, and the incidents which discover to us the process of fermentation are most delightfully odd and mirth-provoking.

In “Anne of Avonlea” we follow the career of our orphan heroine. When we said goodbye to her she was fitting herself to become a teacher and it is with two eventful years of school teaching that this book deals. The writer understands children thoroughly and makes her child characters of all types perfectly natural and life-like. The same creative faculty which gave us in Anne an entirely new shadow-child shows itself in the portrayal of the mischievous but lovable Davy Keith, his demure twin sister Dora, the imaginative Paul Irving, and the many individualities of the pupils of Avonlea School.

Plot interest is not a strong feature of this or of any of L.M. Montgomery’s books. There are, nevertheless, several threads of action which bind together the series of incidents. Her novels are novels of incident rather than of plot; they do not, however, lack in continuity and unity. Frequent passages of nature description reveal at once the author’s intimacy with nature and her poetic attitude of mind.

Here is a typical descriptive passage: “A September day on Prince Edward Island hills; a crisp wind blowing up over the sand dunes from the sea; a long, red road, winding through fields and woods, now looping itself about a corner of thick set spruce, now threading a plantation of young maples with great feathery sheets of ferns beneath them, now dipping down into a hollow where a brook flashed out of the woods and into them again, now basking in the open sunshine between ribbons of goldenrod and of myriads of crickets.”

Chronicles of Avonlea” is a volume of short stories, which contains some of the most finished work of this author. The perfect art that conceals all art is shown in many of these short stories. There is a strong vein of simple humour in this as in all Miss Montgomery’s work; there is also a very keen personal sympathy of the author towards her characters.

Two other books by this author, “The Story Girl” and “The Golden Road,” are written with even less attention to a central plot than either of the two “Anne” books. They are somewhat loosely connected series of incidents in which the same characters take part. But they have none the less a high value when viewed from our standpoint; we are to remember that our Canadian Jane Austen need not invent for us thrilling plots. Other writers can do that, but other writers cannot or at least do not hold before us the mirror of Canadian country life.

Kilmeny of the Orchard” is in a sense but an expanded short story. It is a prose idyll and does not, perhaps, bulk very large when compared with the other books. It is really one of the extended “chronicles” of Avonlea.

In characterizing L.M. Montgomery the Jane Austen of Canada, let it be understood that we are not regardless of the difference in the scope of the work of the two writers. Jane Austen’s canvas is immensely broader, yet L.M. Montgomery’s portrayal of her fellowmen and fellowwomen shows a much keener personal sympathy; her work has more heart to it.

This is not the first time Montgomery had been referred to as the Canadian counterpart to Jane Austen; the earliest instance of this that I’ve found (so far) is a Toronto World review of Chronicles of Avonlea (included in Volume 3 of The L.M. Montgomery Reader) that suggests that “we might perhaps call L.M. Montgomery the Jane Austen of Canadian literature.” And it is also not the first time French would recycle some of his own work. Take a look at an article (signed “D.F.”) entitled “Rilla, Daughter of Anne” that French published in the Toronto Globe in 1921, shortly after the publication of Rilla of Ingleside:

The creation of the character “Anne” was a literary achievement which won enthusiastic commendation from writers of the highest rank – Bliss Carman and Mark Twain. Since then L.M. Montgomery has definitely fixed her place as the Jane Austen of Canadian literature and she has gone on employing her wonderful imaginative and creative gifts in portraying the beauty, the humor and the pathos that lies about our daily paths.

Possessed of a keen personal sympathy, a close intimacy with nature, a poetic attitude of mind, she captivates an ever widening circle of readers with the lightness, spontaneity, quaintness and humor of her stories.

“Rilla of Ingleside,” her latest book, follows up the career of the daughter of “Anne” of “Anne of Green Gables.” Rilla is impetuous, fun-loving, like Anne Shirley, and yet different. Anne herself and the doctor have important parts; Susan, Miss Cornelia and many other old friends reappear.

Canada’s tiny sea-girt Province, Prince Edward Island, was her birthplace. Her childhood was spent at Cavendish – a seashore farming settlement, which forms the background of many of her stories. She attended the country school and Prince of Wales College, Charlottetown, afterwards teaching for three years.

“As far back as my memory runs I was writing stories for my own amusement,” she says. In 1909 [sic], with the publication of her first book, she found the true field for her talents, although she is equally successful as a writer of verse and short stories.

In 1911 she married Rev. Ewan Macdonald, a Presbyterian minister, and came to Ontario to live, her husband’s charge being not far from the city of Toronto.

Although the bulk of this article is original, notice the echo between the 1914 piece (“She has the imaginative and creative gifts, but she uses these in enabling us to see the beauty, the humour, and the pathos that lies about our daily paths”) and the 1921 piece (“she has gone on employing her wonderful imaginative and creative gifts in portraying the beauty, the humor and the pathos that lies about our daily paths”) in addition to the connection in both pieces between Montgomery and Austen.

With only minor changes, the text of the 1914 article would be reused for Logan and French’s Highways ten years later – but without the connection between Montgomery and Austen. Instead, they add a paragraph to discuss the novels that Montgomery had published in the intervening time:

The story of Anne Shirley continues through several volumes – Anne of the Island pictures her college days; Anne’s House of Dreams sees her established as mistress of her own home; while Rilla of Ingleside carries over the history into the second generation, Rilla being the daughter of Anne. There is no new development of method or treatment in these. In Emily of New Moon (1923) Miss Montgomery created a new child character, with a new environment, new conditions, and a new group of minor personages, yet in effect it is of the same type and in the same literary field as her previous novels. The chief difference to be observed is that she employs a more analytic psychological method in depicting her heroine – a method that tends to produce an adult’s story of youth. In a way it marks an advance in literary technique but is not as yet entirely divorced from that minute objective observation which makes equal appeal to the young in years and the young in heart.

Given the amount of repetition between these 1914, 1921, and 1924 pieces on Montgomery by French, how to account for the mysterious disappearance of Austen? Could it be that French’s co-author, J.D. Logan, didn’t share French’s enthusiasm for the literary merit of Montgomery’s work? That seems unlikely, given that, according to Montgomery’s journal entry dated 30 April 1923, Logan had approached her at a recent social function and exclaimed, “Hail, Queen of Canadian Novelists.” Might this be due to a decreased enthusiasm for women’s writing generally? Maybe, yet in Highways Logan and French claim that 1908 marked “the real beginning of the Second Renaissance in Canadian fiction” due to the publication of Montgomery’s Anne of Green Gables, McClung’s Sowing Seeds in Danny, and Keith’s Duncan Polite (even though Keith’s book had actually appeared in 1905). Might Logan and French have preferred to keep the focus on Canadian authors? Possibly, and yet their discussion of Keith’s novels a few paragraphs later links them to the Thrums books of Scottish author J.M. Barrie, best known as the author of Peter Pan.

So while I can’t guess what’s behind French’s decision (or possibly Logan and French’s decision) to drop the connection between Montgomery and Austen, it’s fortuitous that I came across this instance of repetition when I did. The next phase of my research on Montgomery’s periodical work focuses on periodical short stories in which Montgomery tested out characters, situations, and settings that she would rework – sometimes decades later – in her book-length fiction. Individually, these stories have been referred to as “practice exercises” by Elizabeth Waterston, as “prequels” by Irene Gammel, as “brief periodical warm-ups” by Wendy Roy, as an “early working-out in narrative” by Cecily Devereux, and as “recycled” and “replanted” by Claire E. Campbell. My earlier volumes in The L.M. Montgomery Library highlighted several instances of self-repetition in her non-fiction and her poetry – in A Name for Herself, for instance, I noted that parts of her essay “A Half-Hour in an Old Cemetery” and of her newspaper column “Around the Table” had been woven into Anne of the Island, whereas in my afterword to A World of Songs I noted that the fourteen extracts from the poems Emily shares with Mr. Carpenter in the last chapter of Emily of New Moon had been taken from Montgomery’s own poems. But when it comes to short fiction, the self-repetition becomes more strategic, more nuanced, and more complex. And so, discovering Donald French’s 1914 essay when I did was especially fortuitous, because it reminded me that Montgomery was hardly the only author who repurposed and revised their own work for new audiences, and there are multiple possible reasons for doing so.

Bibliography

Campbell, Claire E. “‘A Window Looking Seaward’: Finding Environmental History in the Writing of L.M. Montgomery.” In The Greater Gulf: Essays on the Environmental History of the Gulf of St. Lawrence, edited by Claire E. Campbell, Edward MacDonald, and Brian Payne, 283–318. Montreal and Kingston: McGill-Queen’s University Press, 2019.

Chronicles of Avonlea.” In The L.M. Montgomery Reader, Volume 3: A Legacy in Review, edited by Benjamin Lefebvre, 115–38. Toronto: University of Toronto Press, 2015.

Devereux, Cecily. Headnote to “Our Uncle Wheeler,” by L.M. Montgomery. In Anne of Green Gables, by L.M. Montgomery, edited by Cecily Devereux, 335. Peterborough, ON: Broadview Editions, 2004.

D.F. [Donald G. French]. “Rilla, Daughter of Anne.” Globe (Toronto), 8 October 1921, 19.

French, Donald G. “Canada’s Jane Austen.” The School (Toronto), December 1914, 268–70. Online at https://www.canadiana.ca/view/oocihm.8_06954_28/.

Gammel, Irene. Looking for Anne: How Lucy Maud Montgomery Dreamed Up a Literary Classic. Toronto: Key Porter Books, 2008.

Lefebvre, Benjamin. Afterword to Montgomery, A World of Songs, 105–20.

—. Introduction to The L.M. Montgomery Reader, Volume 1: A Life in Print, edited by Benjamin Lefebvre, 3–28. Toronto: University of Toronto Press, 2013.

Logan, J.D., and Donald G. French. Highways of Canadian Literature. Toronto: McClelland and Stewart, 1924. Online at https://archive.org/details/highwaysofcanadi0000unse/.

Montgomery, L.M. A Name for Herself: Selected Writings, 1891–1917. Edited by Benjamin Lefebvre. Toronto: University of Toronto Press, 2018. The L.M. Montgomery Library.

—. The Selected Journals of L.M. Montgomery, Volume 3: 1921–1929. Edited by Mary Rubio and Elizabeth Waterston. Toronto: Oxford University Press, 1992.

—. A World of Songs: Selected Poems, 1894–1921. Edited by Benjamin Lefebvre. Toronto: University of Toronto Press, 2019. The L.M. Montgomery Library.

Roy, Wendy. The Next Instalment: Serials, Sequels, and Adaptations of Nellie L. McClung, L.M. Montgomery, and Mazo de la Roche. Waterloo: Wilfrid Laurier University Press, 2019.

Waterston, Elizabeth. Magic Island: The Fictions of L.M. Montgomery. Toronto: Oxford University Press, 2008.

A Rilla of Ingleside Readathon

Recognizing the many ways that L.M. Montgomery’s books have brought people together over time, and mindful that the current global pandemic means we need to be creative about staying in touch with people, Andrea McKenzie and I have started a Rilla of Ingleside readathon on Facebook. Starting Monday, March 30, we will read together three chapters a week from Montgomery’s Great War novel, supplementing our conversation about the text with book covers, reviews, ads, literary allusions, and historical context. Please join us!

Odd Trend in Public Domain Editions of L.M. Montgomery Texts

Those of you who follow this site on social media (specifically on Facebook or on Pinterest) have a sense already of how fascinated I’ve become with a phenomenon that has involved not only Montgomery but also any other still-popular author whose work is in the public domain: cheap reprint editions, either in print or in ebook form. Sometimes it seems as though new cheap editions of Montgomery’s books become available on Amazon every day, many of them offering numerous titles for 99 cents, most of them with cover art that is completely random and, as such, entirely unsuitable, with this recent cover of an edition of Rilla of Ingleside as just one example:

"Wake up, Rilla—it's war time!" A random and utterly unsuitable image for the cover of a recent cheap ebook reprint of <em>Rilla of Ingleside</em>.
“Wake up, Rilla—it’s war time!” A random and utterly unsuitable image for the cover of a recent cheap ebook reprint of Rilla of Ingleside.

In other cases, creators of these cheap ebooks take art from existing editions, which could mislead readers about what edition they are buying. A couple of months ago, one such edition of Rilla of Ingleside appeared with the cover art from the restored and annotated edition that Andrea McKenzie and I edited for Penguin Canada in 2010. Because most of the editions do not identify any creators or publishers and simply have the line “Sold by Amazon Digital Services LLC,” it is impossible for consumers to know who is behind these editions. Thankfully, though, when we reported this edition to Amazon, it was soon taken down all its platforms.

But now a new twist has occurred, evident in the following screen caps taken yesterday:




While it is true that these books are in the public domain and that anyone anywhere can reprint them or make ebook versions of them, these editions are most definitely not Norton Critical Editions or part of the Penguin Twentieth Century Classics series (which is now called Penguin Modern Classics) or the Oxford World’s Classics series. These are all existing covers, although the cover for The Story Girl is actually from one of eight abridgements done for Zonderkids over a decade ago. Although one would have to buy these Kindle editions to assess the extent that they are “annotated,” my sense is that, if these editions were sufficiently annotated for publication by Norton, Penguin, or Oxford, they would not be retailing for $3.73. Not to mention that the editor of a critical or annotated edition is always identified, since it is that editor’s expertise in the subject matter that is of paramount importance.

And then, of course, is this recent ebook, which appears to be an L.M. Montgomery title no one has ever heard of: Bev’s Childhood. It is actually The Story Girl.

So what do you make of this new trend? What should be most important in terms of the book market?

Rilla of Ingleside on Remembrance Day

Cover art for Rilla of Ingleside, published by McClelland and Stewart (Canada) and Frederick A. Stokes Company (USA) in 1921.
Cover art for Rilla of Ingleside, published by McClelland and Stewart (Canada) and Frederick A. Stokes Company (USA) in 1921.

“And you will tell your children of the Idea we fought and died for—teach them it must be lived for as well as died for, else the price paid for it will have been given for naught. This will be part of your work, Rilla. And if you—all you girls back in the homeland—do it, then we who don’t come back will know that you have not ‘broken faith’ with us.”

The L.M. Montgomery Reader, Volume 3

The L.M. Montgomery Reader, Volume 3: A Legacy in ReviewI seem to have dropped the ball on my promise, made in November, to post either an extract of a review or an ad every single day on this website until I received my first copy of The L.M. Montgomery Reader, Volume 3: A Legacy in Review. Since mid-December, I’ve been so busy with the end-of-year rush, with illness, with the holidays, and with some behind-the-scenes updates on this website (including lists of journal articles, book chapters, paratexts, dissertations/theses, and reviews) that I haven’t posted anything in several weeks.

But I’m pleased to let you know that my first author’s copy of Volume 3 arrived last week, with the remaining author’s copies getting to me Thursday afternoon. As I mentioned on my own blog last week, the fact that this multi-year project has finally come to an end is bittersweet, and it’s been nice to clear my desk, both literally and figuratively, as I start to ponder what it is I’d like to tackle next. I do hope that the materials included in all three volumes will prove useful and interesting to Montgomery’s diverse readership, and of course I’m always happy to hear from readers in terms of questions, responses, and alerts to items I missed.

For those of you who are in the Toronto area: on the evening of Tuesday, 27 January, I will be joining Laura M. Robinson and Melanie J. Fishbane for an event called “The  Canadian Home Front: L.M. Montgomery’s Reflections on War” at the North York Central Library branch of the Toronto Public Library. I’ll be talking briefly about how Montgomery’s shifting vision of the war appeared in periodicals of the period, not only in terms of some of Montgomery’s essays and letters published prior to the writing of Rilla of Ingleside but also the ways in which all her war books—not only Rilla but also Rainbow Valley, Anne’s House of Dreams, and The Watchman and Other Poems—were reviewed in North American newspapers and magazines. It promises to be a terrific evening, so please join us if you can.

Montgomery Ads 7: Rilla of Ingleside

I know it looks like I’ve been a bit neglectful this week of my promise to post every single day a review of or an ad for one of Montgomery’s books (the focus of Volume 3 of The L.M. Montgomery Reader, available late this December). In truth, I’ve become really busy with the end-of-year crunch, but there’s also a method to my madness, since what I planned to show next was an overall marketing strategy for L.M. Montgomery. In the second half of December 1921, Montgomery’s Canadian publisher, McClelland and Stewart, placed—in the Toronto Globe and the Toronto Daily Star—several different ads for Rilla of Ingleside, always prominently at the top of a page, as a way to promote it as a choice title for the holiday season. What’s especially noteworthy is that while Rilla is now celebrated as one of the only near-contemporaneous Canadian novels about women at the homefront during the First World War, the war is barely mentioned in this campaign.

Each image zooms in when you click on it, and you can also go through all of them as a slide show.

First, the Toronto Daily Star published this ad, complete with reviewers’ quotes, on 12 December:

Ad for Rilla of Ingleside, 12 December 1921.

Second, in the Globe, on 15 December:

The Most Charming Gift Book for Christmas / Rilla of Ingleside / A Captivating, Sunny Story / By the Author of "Anne of Green Gables" / A Gift Which Will Appeal Equally to Mother, Wife or Daughter. / Published by McClelland and Stewart, Limited. / You can get "RILLA OF INGLESIDE" at any Bookstore.
Ad for Rilla of Ingleside, by L.M. Montgomery. The Globe (Toronto, ON), 15 December 1921.

An almost identical ad appeared the next day, on 16 December, in the Toronto Daily Star:

Ad for Rilla of Ingleside, Toronto Daily Star, 16 December 1921.
Ad for Rilla of Ingleside, Toronto Daily Star, 16 December 1921.

Third, in the Globe, on 16 December:

Books MAke the Best Gifts—Here Are the Best New Books [Rilla of Ingleside is listed fourth under "Canadian Fiction"] / These are McClelland & Stewart Publications—Ask Your Bookseller For Them
Ad for McClelland and Stewart, /The Globe/ (Toronto, ON), 16 December 1921, 10.
Fourth, in the Globe, on 17 December:

The Gift Book for Mother, Wife or Daughter / Rilla of Ingleside / By L.M. Montgomery / Author of ANNE OF GREEN GABLES / A Captivating, Sunny Story of Rilla, Daughter of Anne. / Ask Your Bookseller for RILLA OF INGLESIDE
Ad for Rilla of Ingleside, The Globe (Toronto, ON), 17 December 1921, 16.

This one, too, appeared in the Toronto Daily Star, three days later:

Ad for Rilla of Ingleside, The Toronto Daily Star, 20 December 1921.
Ad for Rilla of Ingleside, The Toronto Daily Star, 20 December 1921.

Fifth, in the Toronto Daily Star, on 19 December, advertising Rilla of Ingleside alongside Marian Keith’s novel Little Miss Melody (Montgomery and Keith would eventually collaborate, along with Mabel Burns McKinley, on the volume of essays Courageous Women, published in 1934):

Ad for Rilla of Ingleside and Little Miss Melody, by Marian Keith, The Toronto Daily Star, 19 December 1921.
Ad for Rilla of Ingleside and Little Miss Melody, by Marian Keith, The Toronto Daily Star, 19 December 1921.

Sixth, the Globe, on 20 December:

The Book That Every Woman or Girl Wants to Read / Rilla of Ingleside / By L.M. Montgomery / The Author of "ANNE OF GREEN GABLES" / It is a human story, bright, readable, wholesome and entertaining. Everybody loves Rilla, the impetuous, fun-loving daughter of Anne. / Ask Your Bookseller for "RILLA OF INGLESIDE"
Ad for Rilla of Ingleside, The Globe (Toronto, ON), 20 December 1921.

Seventh, a similar ad in the Toronto Daily Star, on 21 December:

Ad for Rilla of Ingleside, The Toronto Daily Star, 21 December 1921.
Ad for Rilla of Ingleside, The Toronto Daily Star, 21 December 1921.

Eighth, in the Globe, on 21 December:

No Book Will Please Her Better Than a Copy of RILLA OF INGLESIDE / By L.M. Montgomery / Author of ANNE OF GREEN GABLES / A gift that will delight the heart of every woman. The book to choose for Mother, Wife or Daughter. / Ask Your Bookseller for RILLA OF INGLESIDE
Ad for Rilla of Ingleside, The Globe (Toronto, ON), 21 December 1921, 13.

Stay tuned next week, when I start posting extracts from reviews that were less than enthusiastic about Montgomery’s writing—starting with the earliest known review of Anne of Green Gables.

“This Hideous War”

L.M. Montgomery’s novel Rilla of Ingleside is justly celebrated as one of the only contemporaneous Canadian novels to depict the experiences of women and children at the homefront. It is important to remember, though, that while Montgomery had planned to write about Anne’s children during the war as early as 1917, it was only early in 1919, after the war had ended that she began drafting this book, meaning that the book’s depiction of characters waiting and working at home was written only after the waiting had stopped.

Yet the novel was not the first time that Montgomery’s perspective on the war made it into print. In a letter to an unidentified friend published as part of the “Writers and Books” column in the Boston Evening Transcript in November 1915, Montgomery offered a spontaneous and uncensored account of her experience at home, one that neither relied on hindsight nor was definitively intended for publication, for the benefit of a recipient living in the United States, which would not join the war effort until 1917.

“As for ‘the boys’ keeping me from literary work—alas it is not the boys. I could manage so far as they are concerned. It is this hideous war. . . . We are at war—at close grips with a deadly and determined enemy. We live and breathe in its shadows. Never for one moment is the strain lifted. . . . This horrible waiting—waiting—waiting every day for the war news—the dreadful uncertainty—the casualty lists—it all seems to me as if I were crushed under an ever-increasing weight. . . . Amid all this think you I can sit me down to calm creation of imaginary people and their imaginary joys and sorrows? No, I cannot. Literature for a while must wait on life and death.”

The full letter is available exclusively in The L.M. Montgomery Reader, Volume 1: A Life in Print, available now.

“Duty and Privilege”: L.M. Montgomery’s Rilla of Ingleside

Rilla of Ingleside (Viking Canada, 2010)“In my latest story, ‘Rilla of Ingleside,’ I have tried, as far as in me lies, to depict the fine and splendid way in which the girls of Canada reacted to the Great War—their bravery, patience and self-sacrifice. The book is theirs in a sense in which none of my other books have been: for my other books were written for anyone who might like to read them: but ‘Rilla’ was written for the girls of the great young land I love, whose destiny it will be their duty and privilege to shape and share.” —L.M. Montgomery, “How I Became a Writer,” Manitoba Free Press, 1921

This edition of Rilla of Ingleside—the only modern edition to consist of the full text of the original 1921 edition—includes introductions to the novel and to the First World War, maps of Europe, war poems by L.M. Montgomery and Virna Sheard, and an extensive glossary of terms, allusions, and events. It was edited by Benjamin Lefebvre and Andrea McKenzie and is available exclusively from Penguin Random House Canada.

For more on Montgomery’s depiction of the First World War in her fiction and in her journals, please visit the website of Laura M. Robinson’s excellent exhibit The Canadian Home Front: L.M. Montgomery’s Reflections on the First World War.

For more on Rilla of Ingleside as one of the only near-contemporaneous accounts of the First World War by a Canadian woman, see the following sites:

Montgomery Review 1: Rilla of Ingleside

Cover art for Rilla of Ingleside, published by McClelland and Stewart (Canada) and Frederick A. Stokes Company (USA) in 1921.

Today, on this day of days, we look back on the prediction made by two unidentified reviewers of how L.M. Montgomery’s novel Rilla of Ingleside would eventually be remembered.

As a record of the war years, as seen from Glen St. Mary, the author has presented a faithful and worthy picture, spiced by realistic conversation and records of sentiment, and often illuminated by poetic touches in describing the charm of life in that island garden. —The Globe (Toronto)

A hundred years hence, Rilla of Ingleside will be useful to historians for a picture of Canadian home life during the Great War. Every great event of the conflict is traced with its effects on Ingleside, and Walter, the shy, sensitive boy, the poet of the family, takes his leave – but, why spoil the story? —Manitoba Free Press (Winnipeg)