Monique Bosco was an Austrian-born Canadian journalist and writer.
Background
She was born in Vienna into an Austrian-Jewish family, but moved to France until 1939. In 1940, Bosco spent a year In Saint-Brieuc, then took refuge in Marseilles, where she hid and ceased going to school. In 1948 she emigrated to Montreal to join her father. There, she resumed her studies. Bosco enrolled at the University of Montreal in the Faculty of Arts and received her Masters in 1951 and her PhD in 1953. In 1961 she published An Unsteady Love, her first novel, and a year later she was appointed Professor of French Literature and Creative Writing at the University of Montreal. Bosco is considered one of the pioneers of modern Québécois studies. She worked for Radio Canada International from 1949 to 1952, as a researcher for the National Film Board of Canada from 1960 to 1962 and as a columnist for La Presse, Le Devoir and Maclean's.
Notable Works
Bosco's work is described as singular, intense, and full of characters who carry the weight of their lives. Several of her works transpose classic figures from Greek tragedy into a contemporary Quebec context. Themes of solitude and incommunication are prevalent and Monique Bosco systematically presented, in works that combined prose and poetry, the "divided beings of the world" - according to the expression of essayist Paulette Collet - suffering from painful feelings of isolation, rejection, rebellion and guilt.
Themes
Bosco's novels share similar themes—de/racination, the alienated female body, solitude and bitterness—but increase in their intensity of lamentation and rage from the lyrical Un amour maladroit and Les infusoires to La femme de Loth. This novel is a strong and bitter jeremiad, the lament of a rejected woman who has not yet broken through her fascination with a man-god. New Medea takes this rage to an even higher pitch, not quite succeeding in making convincing either Medea or her enormous act, but inspiring respect for the strength of her obsession. Charles Lévy M.D., despite the banality of its title and the familiarity of the situation it depicts, is a compassionate and subtle work, the confession of a weak man who is bound to his wife and convention through some fundamental lack of energy. The following novels, Portrait de Zeus peinte par Minerve and Sara Sage, make use of tragic classical and biblical myths, but are more developed structurally and linguistically. In Portrait de Zeus the poetic-prose style of recurrent waves of words and phrases combines with mixing of mythological and historical figures, literatures, and modern references to create a demystification of patriarchal values. Sara Sage takes on the biblical story of Sarah, casts it in France during the Second World War, and presents it from a first-person perspective in a lyrical, biblical style that expresses profound rage at male-dominant gender values. Bosco turned to the short-story form in the late 1980s and 1990s. She published a few highly thematic collections: Boomerang, Clichés, Remémoration, and Éphémères. As well, Bosco published the novelLe jeu des sept familles. The stories are atmospheric and often present highly interiorized but engaging characters. In Éphémères the characters are more static. Le jeu de sept familles depicts the condensed fluidity of its characters' perspectives during a family reunion—half of them are bourgeois Québécois and the others are working-class Italo-Canadians.
