During the 1960s Quebec society underwent the greatest upheaval of its history. A new Liberal government set about modernizing the province, revamping the educational system, and creating a powerful Ministry of Cultural Affairs. Campaigns for the independence of Quebec were launched by separatist organizations that coalesced in the Parti Québécois (founded 1968), which became the provincial government in 1976. Intellectuals became vocal, and literary production more than tripled during the decade. A group of writers, including André Brochu, Paul Chamberland, and André Major, founded the magazine Parti pris (1963–68; “Position Taken”) and a publishing house of the same name to press their demands for a secular, socialist, and independent Quebec. The Parti pris writers politicized joual, the Quebec working-class dialect, by using it to express their alienation in works such as Major’s short-story collection La Chair de poule (1965; “Goose Bumps”) and Jacques Renaud’s novel Le Cassé (1964; Broke City, or Flat Broke and Beat). In 1968 the young playwright Michel Tremblay revolutionized Quebec theatre with Les Belles-Soeurs (“The Sisters-in-Law”; Eng. trans. Les Belles-Soeurs), which was first read at the Centre d’Essai des Auteurs Dramatiques (Centre for Dramatic Authors), established in 1965 to give a forum to Quebec playwrights. The “new Quebec theatre” ushered in by Tremblay was characterized by experimental approaches, including improvisation and collective creation; by proletarian language (Tremblay, Jean-Claude Germain, and Jean Barbeau); by parody (Robert Gurik, Hamlet, prince du Québec [1968; Hamlet, Prince of Quebec]); and by audience participation (Françoise Loranger, Double jeu [1969; “Double Game”]).

In poetry the territory of Quebec (referred to as le pays) was rediscovered in Paul-Marie Lapointe’s Choix de poèmes: arbres (1960; “Selection of Poems: Trees”) and Gatien Lapointe’s Ode au Saint-Laurent (1963; “Ode to the St. Lawrence”). Nationalism adopted revolutionary language in Chamberland’s Terre Québec (1964), and personal rebellion triumphed in the avant-garde magazines La Barre du jour (founded 1965) and Les Herbes rouges (founded 1968). A preoccupation with freedom of expression (la parole) revealed itself in titles such as Giguère’s L’Âge de la parole (1965; “The Age of Speech”) and Yves Préfontaine’s Pays sans parole (1967; “Speechless Country”). Perhaps the most influential collection was Miron’s L’Homme rapaillé (1970; Embers and Earth: Selected Poems), a poetic record of the search for a Quebec identity. Michèle Lalonde’s ironic “Speak White” condemned the Anglo-American economic exploitation embedded in the racist jeer “Speak white,” often hurled at Québécois who chose not to speak English; the poem was first recited at a 1968 show and again at the Montreal cultural event Nuit de la Poésie ("Night of Poetry") in 1970 and was published in 1974. With chansonniers (singer-songwriters) such as Gilles Vigneault, the “Quebec song” became the poetry of the people. Fusing elements of traditional Quebec folk music with politically charged lyrics, the Quebec song gained new importance at this time for its role in sustaining political fervour and national pride. Vigneault’s music incorporated many elements of traditional Quebec folk music but was also influenced by contemporary French music.

During the 1970s poetry was less political and more experimental: the concerns of American counterculture were adopted in the works of Lucien Francoeur and Raoul Duguay. Committed to the notion that there exists an essential harmony between music and poetry, Duguay founded the Infonie group and dedicated himself to the performance of his poetry (Or le cycle du sang dure donc [1967; “So the Cycle of the Blood Endures”]). Pierre Morency’s poetry embraced a holistic vision of life that found its expression in a celebration of nature (Le Temps des oiseaux [1975; “The Time of the Birds”], Quand nous serons [1988; “When We Will Be”]). Michel Beaulieu (Pulsions [1973; “Urges”]) created a poetry of intimacy and desire rooted in everyday life. But as published poetry became more esoteric, the general public turned to chansonniers such as Robert Charlebois, whose American-influenced rock was just as concerned with Quebec identity as Vigneault’s music.

Since the 1970s, feminism has been a potent force in French Canadian literature. In contrast to their Anglophone peers, who took much of their inspiration from the social criticism of American feminists, Francophone feminists primarily turned to the literary theory of French critics. Important in the realm of theoretical explorations was the work of Nicole Brossard (L’Amer; ou, le chapitre effrité [1977; These Our Mothers; or, The Disintegrating Chapter] and Picture Theory [1982; Eng. trans. Picture Theory], both works of theory and fiction). With Le Désert mauve (1987; Mauve Desert), her feminist fiction was made more accessible to the general public. The gender assumptions embedded in the semantic and syntactic conventions of language as well as in the conventions of literary form were exposed in quite a number of works; of note in this endeavour was the work of Madeleine Gagnon (Lueur [1979; "Glimmer"]), France Théoret (Une Voix pour Odile [1978; "A Voice for Odile"]), and Yolande Villemaire (La Vie en prose [1980; “Life in Prose”]). In her utopian novel L’Euguélionne (1976; The Euguelion), Louky Bersianik (pseudonym of Lucile Durand) used the conventions of the fantastic to conjure up alternatives to the existing social structure and verbal discourse, and in Tryptique lesbien (1980; Lesbian Triptych), a mix of poetry, essays, and dramatic writing, Jovette Marchessault envisioned a society of women free from male domination.

An important part of this polemical movement was the emergence of women’s theatre, performed by groups such as the Théâtre Expérimental des Femmes and featuring controversial plays such as Denise Boucher’s Les Fées ont soif (1978; The Fairies Are Thirsty) and Marchessault’s La Saga des poules mouillées (1981; Saga of Wet Hens). Dramatist and novelist Marie Laberge continued the tradition of feminist theatre with, for example, C’était avant la guerre à l’Anse à Gilles (1981; "Before the War, Down at l’Anse à Gilles"), a historical drama centring on women’s rights in the 1930s, and L’Homme gris (1986; "The Gray Man"; Eng. trans. Night), which explores the issues of spousal abuse, eating disorders, and incest.

The Quiet Revolution of French Canadian minorities

Influenced in part by Quebec’s Quiet Revolution, Francophone minorities outside Quebec began to experience a surge in literary production in the 1970s. This surge was aided by the 1969 federal policy that made French and English Canada’s official languages, which fostered the development of publishing houses such as Les Editions d’Acadie in Moncton, N.B., Prise de Parole in Sudbury, Ont., and Les Editions du Blé in Saint Boniface, Man. New Brunswick novelist and playwright Antonine Maillet played an important role in the evolution of modern Acadian literature. Creator of the immortal Acadian charwoman La Sagouine in the play by the same name (1971; Eng. trans. La Sagouine; “The Slattern”) and recipient of the Prix Goncourt for Pélagie-la-charrette (1979; Pélagie: The Return to a Homeland), an epic novel about the fate of Acadians after the deportation of 1755, she created an awareness of Acadia and its history. Her novel Les Confessions de Jeanne de Valois (1992; “The Confessions of Jeanne de Valois”) reviews the 20th-century history of Francophone New Brunswick through the fictional autobiography of a teaching nun. Inclined to reject the more folkloric aspects of Maillet’s writing, the new generation of Acadian writers includes poet and playwright Herménégilde Chiasson (Mourir à Scoudouc [1974; “To Die at Scoudouc”], Conversations [1998; Eng. trans. Conversations]) and postmodern novelist France Daigle. Acadian literature excels in lyric poetry, represented by authors who include Raymond Leblanc, Dyane Léger, and Serge Patrice Thibodeau.

Franco-Ontarian culture underwent tremendous revitalization in the 1970s, particularly in northern Ontario with the development of regional theatre in French. André Paiement, one of the founders of the Théâtre du Nouvel-Ontario in the early 1970s, achieved popular success with his musical comedy Lavalléville (1975). Continuing the theatrical tradition into the 1980s and 1990s, both Jean Marc Dalpé (Le Chien [1987; “The Dog”]) and Michel Ouellette (French Town [1994]) won Canada’s Governor General’s Award for drama in French. Poet Patrice Desbiens explored the alienation of the Francophone minority in his bilingual poetry collection L’Homme invisible/The Invisible Man (1981). Novelist and short-story writer Daniel Poliquin has taken a more playful, satiric tone, most notably in his novel L’Ecureuil noir (1994; Black Squirrel) as well as his polemical essay Le Roman colonial (2000; In the Name of the Father: An Essay on Quebec Nationalism). Contemporary writers of western Canada include novelist Marguerite A. Primeau (Sauvage Sauvageon [1984; Savage Rose]), editor, poet, and novelist J.R. Léveillé (Une si simple passion [1997; “Such a Simple Passion”]), and poet Paul Savoie (A la façon d’un charpentier [1984; “In the Manner of a Carpenter”]). In 1993 Alberta-born author Nancy Huston, who has lived much of her adult life in France, caused a considerable stir when her novel Cantique des plaines (1993), written first in English as Plainsong and then re-created in French, was awarded the Governor General’s Award for fiction in French, raising questions about the very definition of French Canadian literature.