Sovereignty needs artists

The PQ is leading in voting intentions, but the sovereign is far from the support it needs.

This is normal. After the 1995 debacle, the idea was neglected like wasteland.

To reactivate it, it is necessary not only to respond to economic concerns, but also to evoke emotion.

We never achieved national independence strictly for accounting reasons.


For decades, artists have expressed this emotion.

They often abandoned the cause: fear of losing contracts, fear of being associated with a program often portrayed as ethnic repatriation, because of a sense that it was no longer “fashionable,” it was over.

I went to see the movie last week melt, By Simon Lavoie.

In a future Canada, completely Anglicized and renamed the “Postnational State of the Unincorporated Territories of Canada,” Quebec separatists are in jail or in hiding.

The film is based on these prisoners. One of them carries a worm in his bowels, which, by a bold metaphor, will be the memory of the people of Quebec.

A voice-over narrates excerpts from classic texts of Quebec nationalism (Aquin, Dumont, Séguin, etc.).

Deliberately vague and lapidary, the film borrows from Falardeau, Perrault and Cronenberg, and as strange as it may seem, this fusion is powerful, even if the film is not without its faults.

The director’s thesis is clear: if Quebecers don’t wake up quickly, if they don’t realize the mortal danger hanging over them, they will become a folk remnant.

The media reactions were perfectly predictable.

Pres He saw it as “an obsession with outdated political ideas”.

Should we worry about the future of a “passive” population?

Duty He found the film lacked “openness to others”.


the sun Condemns his “attitudes”: good French-speaking separatists and bad English-speaking federalists.

We certainly have the right to criticize this film, but the nature of criticism, essentially ideological, reveals itself here.

Earlier this year, I published a love story about the dark years in our history, during and after the rebellions of 1837-1838.

Most of the questions I was asked were about my work style, my decision to write a novel, timing etc.

In short, when a work of art, like Lavoie, does not hide its sovereignty, we use an old set of federal principles to denigrate it.

We will gloss over this dimension when it simply refuses to remove itself from a political context like mine.


At home, the best interests of the nation are reduced to current affairs, ignored or dissolved in partisan clamor.

Often, we see ourselves through the eyes of the dominant rather than Him.

It is more dramatic and deadly than tragedy.

Must return to see PQ and Bloc artists.

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