Ha!: A Self-Murder MysteryMcGill-Queen's Press - MQUP, 2003 M10 7 - 864 páginas On 15 March 1977, with his wife's consent, celebrated writer and former terrorist Hubert Aquin blew his brains out on the grounds of a Montreal convent school. Shocked by this self-murder, a filmmaker friend feels compelled to understand why Aquin killed himself - and discovers, at the heart of the tragedy, an unforgettable love story. A "documentary fiction" - a category which includes In Cold Blood and The Executioner's Song - HA! is a seminal work that reinvents the audio-visual revolution of the last century. Interweaving photographs, documents, and images with testimony from Aquin's friends and contemporaries, Aquin himself, and the writers and artists who influenced him, this intriguing novel takes the reader on a Joycean tour of a metropolis in the midst of political and cultural turmoil. |
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... woman, with a dog behind her tugging at his leash. The woman can barely speak; she gasps: – The man is dead! ... Call the police! - Where are you coming from? asks Mademoiselle Jutras, amazed. The woman points outside and repeats ...
... woman, with a dog behind her tugging at his leash. The woman can barely speak; she gasps: – The man is dead! ... Call the police! - Where are you coming from? asks Mademoiselle Jutras, amazed. The woman points outside and repeats ...
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... woman of women, the mirror of love ... the work of works. Since the beginning, and for some time to come, Sylvie is the supporting structure of the film: everything refers to her, everything is grafted on to her, and everything is ...
... woman of women, the mirror of love ... the work of works. Since the beginning, and for some time to come, Sylvie is the supporting structure of the film: everything refers to her, everything is grafted on to her, and everything is ...
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... women had changed from what it had been. andrée: Yes? sheppard: I think so. In his previous books, even when he killed his heroines he usually described them with lyricism and sympathy. And they usually died for a cause; their deaths ...
... women had changed from what it had been. andrée: Yes? sheppard: I think so. In his previous books, even when he killed his heroines he usually described them with lyricism and sympathy. And they usually died for a cause; their deaths ...
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... women, no longer embracing them – indeed has a murderous and cannibalistic attitude towards “the wife” – I wondered whether the book affected you in a special way? andrée: No no no ... I Yes ... There, perhaps am ... I do not know, I ...
... women, no longer embracing them – indeed has a murderous and cannibalistic attitude towards “the wife” – I wondered whether the book affected you in a special way? andrée: No no no ... I Yes ... There, perhaps am ... I do not know, I ...
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... women rising in voluptuous ecstasy. They represent the rejection of brute passion. Better still, by their departure for the far countries of the flesh they respond to a constant questioning by Hubert Aquin, who never stops talking about ...
... women rising in voluptuous ecstasy. They represent the rejection of brute passion. Better still, by their departure for the far countries of the flesh they respond to a constant questioning by Hubert Aquin, who never stops talking about ...
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able andrée arrived asked become began beginning believe body called Canada coming commit suicide continue course death didn’t don’t Emmanuel everything eyes face fact father feel felt finally French gave give going hand happened head Hubert Aquin husband idea important it’s Italy jacques kill kind knew later laughs leave Lemelin letter live longer look Madame March mean meet Monsieur months Montréal morning mother never night novel once perhaps person Pierre play possible Presse problem published Québec question relationship remember Rome seemed sense sheppard society speak stay sure talk tell there’s things thought told took trip understand wanted week whole wife wish woman women write wrote