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Volkswagen Blues

Volkswagen Blues

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The novel is set in Canada during the 1970s. With this period, the author explains, came a large group of French-speaking Quebecians who thought it wise to try to declare independence from the rest of Canada. As we know, this did not end up happening, but it plays a role in conflict in the story. The idea of secession from the country isn't the main problem in the story, rather, the main ideas that each person considers in times like that, like cultural unity and self-actualization. Bernier, France, (1998), Du paratexte au texte: lire l’Amérique dans Volkswagen Blues de Jacques Poulin, Laval, Faculté des Lettres Université Laval.

a “In Volkswagen Blues, […] New France and contemporary North America cross and intertwine with one another.” Special thanks to Dr. Stéphanie Nutting for her passionate lectures and discussions on Francophone culture in North America, as well as for her support and supervision of this paper. Dr. Margot Irvine’s careful editing of this manuscript is greatly appreciated; many thanks are also due to Carmen Evans for encouragement and to Professor Waldemar Scholtes for help translating the Old Volks’ graffiti. Lintvelt, Jaap, (2000), Aspects de la narration : thématique, idéologie et identité : Guy de Maupassant, Julien Green, Anne Hébert, Jacques Poulin, Québec, Éditions Nota bene, 218.The pastel Fjord Blue (L 434) was available from 1958, and Capri also made a re-appearance at about that time. The somewhat understated Slate Blue (L 361) was offered from 1959 alongside the equally sombre Indigo Blue (L 436). Gulf Blue (L 390) came along in 1960, and the popular and long lasting Sea Blue (L 360) followed from August 1963 until 1966 (below).

the believability of the novel by reminding the reader of the predominantly Anglophone nature of today’s America. As well as underscoring the realism of the novel, the inclusion of other languages “ suppose une compétence de lecteur bilingue [ c], according to Simon [ 9], and suggests a greater theme: the affect of language on individuals and culture. At the end of the journey, the couple find Théo and to their surprise he is suffering from amnesia and paralysis, he is unable to remember his brother. However, as a result of this, Jacques finds the inspiration to write a new book and he seemingly has a fresher outlook on life, as though he is finally affirmed as to his true identity. Furthermore, the couple end up having a rather sceptical view of the ideological American dream, perhaps because they have travelled such a long way through the vast land of North America only to find Théo terminally ill rather than the wealth and prosperity that they had hoped for. Things started to come a bit more down to earth again with rather unimaginatively named VW Blue (L 633) – see below – which was offered between 1966 and 1968 alongside Zenith Blue (L 639) from August 1967. Cobalt Blue (L 630) was similarly subdued and appeared on a variety of VWs until around 1970. This was followed by Diamond Blue (L 50B) from 1969 and Marina Blue (L 54) and Sapphire (L 50D) from 1970. Gemini (L 96) heralded the first of the vibrant ‘70s metallics. Gentian (L 51B) joined VW’s colour palette from 1971 and a rather unusual Turquoise metallic (L 95) appeared a year later.Postcolonialism in North America: Imaginative Colonization in Henry David Thoreau’s “A Yankee in Canada” and Jacques Poulin’s “Volkswagen Blues” The contradictory sounding Deep Light Blue (LE6P) was offered from 1986, alongside Dove (LA5Z) which always looked nice on the Golf. A host of new blues came along in 1988, including Blue (LD5V), Monza (LE5L) above, Marine (LA5B), Biskava (LB5Z), Surf Blue (LD5B) and Deep Sea Blue (LD6A). The dark Orly Blue (LP5Z), Jade (LN6V) and Bright Blue (LP5V) appeared in 1989. The striking Calypso (LA6Z) joined VWs blues in 1990. Volkswagen Blues was translated into English by Sheila Fischman and published by McClelland & Stewart in 1988 and subsequently re-issued by Cormorant Books in 2002.



  • Fruugo ID: 258392218-563234582
  • EAN: 764486781913
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