Az Eszterházy Károly Tanárképző Főiskola Tudományos Közleményei. 1994. [Vol. 2.] Eger Journal of American Studies. (Acta Academiae Paedagogicae Agriensis : Nova series ; Tom. 22)

STUDIES - Judit Molnár: Search for Identity in the English-language Writing of Allophone Quebecers

Place des Arts in Montreal (91). Despite the fact that Nina has a contraversial rapport with her Italian heritage, which is only partially integrated into her own self, the fundamental reason for the turmoil lived in her marriage can be found in the spouses' diverse ethnic origin. Paul-André Linteau's claim certainly holds true for Nina as well: "But their choice of English as the language of instruction for their children by no means meant that Italian Montrealers became assimilated into the British community" (1992: 191). Nina fails to establish a harmonious relationship at any level including her own body and mind, her immediate Italian relatives, her husband, the artistic community, the workplace. The multiethnic environment depicted in the novel serves as a context of crucial importance for the proceedings of Nina's self-discovery and self-definition through creation, which is the most pervasive element in her development The mode of Mary Melfi's representation is surreal, while that of Raymond Filip is realistic with a lexicon that is often determined by metaphor and to a lesser extent irony. Her protagonist is also a surreal artist, whose work is not appreciated by Canadians because instead of "entertaining" (123), her canvases are mirrors of her inner landscape. Her paintings, many of which are described in great many details or are commented on by herself and other characters as well, share a sense of fragmentation. This is the world of darkness, sewer land, guilt, blood, fear, an infertility maze: "I am neither Canadian nor Italian, but a citizen of the underworld, trapped in its maze, where it is always badly lit" (48). Things relate to one another in an absurd, displeasing manner in the same fashion as they do in her constant nightmares. Disconnected parts of the human body and the colour of red, the colour of blood dominate the recurring images of the novel. The generative force in the narration is provided by the continous threat of possible abortions the narrator struggles with. The fact that her mother does not miss a single occasion to remind her of her various failures, as if they were due to her personal weaknesses, only increases her deep sense of utter hopelessness. Susan Iannucci's observation about second generation Italians qualifies true for Nina as well: 104