— Boy with Bread, by Ozias Leduc (8 October 1864 – 16 June 1955)
I believe this is the complete list of posts on regionalism, “roman de la terre,” “roman du terroir” I have written so far. They are at times repetitive because I do not know whether or not someone has read earlier posts. Maria Chapdelaine was written by Louis Hémon, a Frenchman, or an outsider. However, it is the one novel interested persons should read. Menaud, maître-draveur (a draveur is a river driver taking lumber logs to their destination) is a very poetical novel.
Louis Hémon, the author of Maria Chapdelaine, sees Quebec as eternal. Such hope is not expressed by Félix-Antoine Savard whose 1937 novel, Menaud, maître-draveur, is embedded in Hémon’s Maria Chapdelaine. Foreigners have come…
As you will notice, I did try to give more descriptive titles to older posts, but failed miserably. Fortunately, my cat said: enough! He’s in charge, so what could I do. Lists were my solution.
Unless otherwise indicated, the artwork featured in this post is used with permission from La Galerie Walter Klinkhoff.
Félix-Antoine Savard’s Menaud, maître-draveur and Louis Hémon’s Maria Chapdelaine, are intertwined as in a liturgical responsory, expressing legitimate nationalism, attachment to one’s root, and somewhat aggressive nationalism.
The Voice of Quebec: Maria Chapdelaine & Menaud
As Maria is trying to decide whether she will marry Eutrope Gagnon, a cultivateur (a farmer) or leave for the United States as Lorenzo Surprenant’s wife,she hears inner voices, one of which is the voice of Quebec. The voix du Québec directs Maria to live as her mother lived. Jack Warwick[ii] has defined this voice as “l’appel du Nord,” the call of the north. The voice Maria hears resembles that her father, Samuel Chapdelaine, also heard when he went north to “make land.” I should think it is also the voice Menaud is listening to and has always heard. Menaud is the main character in Savard’s Menaud, maître-draveur (1937).
In Maria Chapdelaine, the voice of Quebec is a mélopée (from the Greek melopoia), a recitative and monotone chant. Still, in Menaud,l’appel du Nord is a tearful lament and, at other times, a visceral and angry scream. Menaud loves the land he has inherited from his forefathers. He loves its smell, voice, wind in the willows, rough shape, and majestic Saguenay River.
So Menaud lives up the Saguenay River, as do Samuel Chapdelaine and Savard. Félix-Antoine Savard, an ordained priest, was born in Quebec City (1896), but he was raised in Chicoutimi and died (1982) in Charlevoix,where he had founded the parish of Clermont.
Photo credit: Wikipedia
Menaud’s Story: the Plot of the Novel
Menaud is, first and foremost, a draveur or river driver. He has driven wood down the river all his life, dancing atop the wood boxed in so it is transformed into somewhat fragile rafts. But Menaud is also an agriculteur, a voyageur, a coureur des bois and a hunter. A widower, he lives in his grey house with Marie, his daughter, and Joson, a son he will lose to the river but not the Saguenay. Joson, Menaud’s son, drowns in the Malbaie (formerly: Murray Bay).
Le Délié: the first Suitor
Menaud and his neighbours in Mainsal (the main sale means: dirty hand) are on the verge of losing access to their mountain, a mountain that has provided sustenance since the early days of New France. The mountain has been rented out to Englishmen by le Délié (the unattached). Lier is to bind, as in to link.
The same Délié has also made plans to marry Marie when winter comes. He tells Menaud that, as his father-in-law, he will be allowed to go to the mountain. Menaud is mourning his son and knows his daughter plans to marry le Délié. Having lost his son, he is about to lose his daughter. Finally, he and his people have lost their mountain, not so much to Englishmen as to le Délié’s greed and lack of respect for his roots. The mountain did not belong to anyone, but le Délié would be renting it, making money. We are witnessing faithlessness.
Alexis le Lucon: a second suitor
Fortunately, Alexis le Lucon, who tried to rescue Joson, finds a place in Marie’s heart. She chases away le Délié and tells Alexis le Lucon that it might be pleasant to live peacefully “here” (icitte): « Il y a de la bonne terre, avait-elle dit; ce serait plaisant devivre icitte tranquille ! » (There is good land, she had said; it would be nice to live here quietly.)
« Je n’ai plus que toi » (I have no one left but you)
Then, as her father enters into a delirium bordering on dementia, Marie tells Alexis that she has no one left but him. « Je n’ai plus que toi[,] » (p. 211) and that, if he loves her (avoir de l’amitié [love as it was then called]), he will continue, as did Joson, as did Menaud. « Alors, si tu as de l’amitié pour moi tu continueras comme Joson, comme mon père ! » He opened his arms and made himself a refuge, she cried for a long time with her head leaning against his face: « Puis, dans le refuge des bras qu’il ouvrait, longtemps elle pleura contre son visage. » (p. 212)
Félix-Antoine Savard (Photo credit: Wikipedia)
Félix-Antoine Savard: biographical notes[iii]
Félix-Antoine Savard, OCMSRC (August 31, 1896 – August 24, 1982) was a priest, a poet, a folklorist and, in 1945, a few years after the publication, in 1937, of Menaud, maître-draveur, he became Professor of Literature at l’Université Laval, in Quebec City, and served as Dean of his Faculty from 1950 to 1957. He was a member of the Order of Merit of Canada and the Royal Society of Canada.
Menaud, maître-draveur earned Savard a medal from the French Academy, l’Académie française, an honour he richly deserved given his exceptional command of the French language and proficiency as a writer. Menaud, maître-draveur changed the course of Savard’s life. From a parish priest, he was transformed into an academic and a very productive poet and novelist. See Wikipedia‘s entry on Félix-Antoine Savard. It has a list of his works and a list of his awards.
Savard’s Menaud, maître-draveur, a novel, is successfully embedded in Hémon’s poetical Maria Chapdelaine but further poeticized. Although Félix-Antoine Savard was born in Quebec City, his family moved to Chicoutimi, up the majestic Saguenay River near Lac Saint-Jean. That is Maria Chapdelaine’s country, filled with raftsmen, whom Savard often visited, lumberjacks, coureurs des bois, men like Maria’s François Paradis. He was also acquainted with men, cultivateurs, who tilled an inhospitable land tirelessly. In other words, Savard knew the people and the region that led Louis Hémon to write his eternal Maria Chapdelaine, published in 1914.
Moreover, Father Savard occupied various ecclesiastical positions in Charlevoix as a priest and founded a parish in Clermont. Savard calls Charlevoix his land, a metaphysical land. In 1989, it was designated a World Biosphere Reserve by UNESCO.[iv] You may remember that Du Gua de Monts, under Tonnetuit and Gravé Du Pont, tried to establish a settlement at Tadoussac, now a town located at the confluence of the St Lawrence River and the Saguenay. Savard died in 1982 at Charlevoix. He was 85.
First, it is both a novel and a poem. As a poem, it is a formulaic poème en prose. It contains a recurring refrain, and the refrain is borrowed from the novel’s source, Maria Chapdelaine: « Nous sommes venus il y a trois cents ans et nous sommes restés. » (Menaud, p. 31)[v] (We came three hundred years ago and we stayed.) Menaud has his daughter Marie read passages from Maria Chapdelaine to him, which comforts him. Louis Hémon wrote: « Au pays de Québec, rien n’a changé. Rien ne changera. » (p. 194) (In the land of Quebec, nothing has changed. Nothing will change.) Louis Hémon also wrote: « Ces gens sont d’une race qui ne sait pas mourir…Nous sommes un témoignage. » (Maria Chapdelaine, p. 194): “These people belong to a breed that does not know how to die… We are a testimonial.”
I have translated the word “race” by “breed,” which is the word’s meaning in the current context.
Second, Menaud is un homme du Nord, a voyageur, a coureur des bois, and perhaps an explorer. He is, at any rate, bigger than life and, therefore, a mythic figure. He has lived dangerously and, by dint of doing so. However, he is now an older man, suddenly feeling young again, putting on his snowshoes and walking in the direction of the Royaume [kingdom] du Saguenay, as that region is often called. The snow is thick, so he gets tired and can’t continue. He takes off his snowshoes and sends Baron, the dog, to fetch help. Alexis finds him, but Menaud’s legs will no longer take him very far. So Menaud is not a typical farmer.
But there is a third dimension, a dimension I have introduced: nationalism, but nationalism with a slightly different twist. There is much nostalgia, but more importantly, there is a French Canadian, le Délié (the unattached), who has rented the mountain and will collect the rent. So, Menaud, maître-draveur features a new breed of men: the capitalist. Money is now the motive. Le Délié is, therefore, a “vendu” (a sold man). Was that mountain for him to rent out? We are entering a new world in which Menaud’s profound pride in his land and lineage will not be taken into account no more than ecological concerns. It is the world we live in.
Alexis’s last words in Savard’s novel are: “Ce n’est pas une folie [Menaud’s dementia or madness] comme une autre! Ça me dit, à moi, que c’est un avertissement.” (It is not just another madness. What it tells me, what I hear, is a warning.) (p. 231)
As for my post, I will close it by quoting the most nationalistic statement in Maria Chapdelaine and repeated in Menaud, maître-draveur. I will close, but I prefer not to comment except to say that estranged people are cutting down the rainforest and letting the planet melt. Not to mention that we can no longer afford our father’s house. It was too expensive.
Autour de nous des étrangers sont venus, qu’il nous plaît d’appeler des barbares ; ils ont pris presque tout le pouvoir ; ils ont acquis presque tout l’argent ; mais au pays de Québec rien n’a changé. Rien ne changera. »Maria Chapdelaine. p. 194; Menaud, maître-draveur, p. 32 and elsewhere.[vi]
(Around us, foreigners have come, whom we call barbarians; they have taken nearly all the power; they have acquired almost all the money: but in the land of Quebec, nothing has changed. Nothing will change.)
[O.S. 24 July]: O. S. means Old Style. There is a discrepancy of twelve days between the Julian Calendar and the Gregorian calendar, introduced in 1582. For instance, according to the Gregorian Calendar, Christmas occurs on the 25th of December, the date closest to the longest night, but in the Eastern Church the Nativity is celebrated on January 6th, twelve days later. On that day, the Western Church celebrates the rapidly disappearing Epiphany. So, when you see O. S., add twelve days to switch from the old style to the new style.
In my last blog, I noted the existence of a site containing Russian and Canadian art. I have since been exploring Russian Art. I have discovered a picture of rafts of wood in rivers. Does this mean there were Russian draveurs as in Félix-Antoine Savard‘sMenaud, Maître-Draveur, men who risked their lives driving rafts or cages of wood down rivers, like the Canadian raftsmen?
As for the Barge Haulers of the Volga, to a certain extent, they resemble the Canadiens voyageurs who were at times spared a painful portage by standing on the two sides of a waterway hauling canoes. But the boats the Volga River boatmen pulled were extremely heavy.
I have also seen villages and towns that are quite similar to Canadian and particularly Quebec villages and towns. A church stands at the centre, above other buildings, except that the pointed clochers (steeples) of Quebec villages are onion domes or steeples in Russia or pear-shaped domes, in the Ukraine. But these domes, sometimes swirly in shape, are also found in other countries, Bavaria for instance, and on various buildings, including the Vatican, the
But to return to our Russian villages and towns, the church dominates the landscape, because of its clocher, as it does in Quebec villages and small towns.
I am not including the news. But I have chosen to insert Bulgarian bass Boris Christoff‘s (18 May 1914 – 28 June 1993) interpretation of the Song of the Volga Boatmen.
Today, I will start and perhaps finish writing about our last Regionalist Novel in Quebec: Ringuet‘s Trente Arpents. If you are interested in French-Canadian literature and use my posts as further information on both Canadian literature and history, you may wish to keep the list below. There are other romans de la terre or romans du terroir, or novels of the land (regionalism), but the works listed below are fine representatives of this school, and some are classics. The theme underlying these novels is survival, as in Margaret Atwood‘sSurvival.
Classification: The Canadien runs out of Land
I do not want to put these novels into little boxes, but a moderate degree of classification is necessary. Maria Chapdelaine,by Louis-Hémon, a Frenchman, tells the entire story. However, it does not convey the despair of those French-Canadians who had to leave Canada because they the thirty acres allotted their ancestors in the seventeenth century had shrunk. The exodus was a tragic and quasi-genocidal episode. Quebec could not afford to lose close to a million inhabitants.
1.In La Terre paternelle, French-Canadians are told that it is better to stay on the land. The same advice is given in Charles Guérin,were it not that Charles Guérin,Pierre-Joseph-Olivier Chauveau‘s novel, also brings up the thorny matter of the lack of professions available to French-Canadians living in Quebec.
2. Un Homme et son péché (Les Belles histoires des pays d’en haut), by Claude-Henri Grignon, is about a séraphin, a miser. But it features real-life who advocate colonisation:faire de la terre (making land). “Notre culture sera paysanne… ”supports that ideology.
Poetical
1. InMenaud, maître-draveur, Félix-Antoine Savard‘s novel, no explicit ideology is expressed, but Englishmen will be renting the mountain so they can harvest its riches. Menaud feels dépossédé (disowned). A French-Canadian no longer “tied” (lié) to the land, le Délié, will be pocketing the rental money. Savard’s novel is a masterpiece. It is a poetical, evocative, and “green” novel. Do not abuse nature.
2.Le Survenant (and its sequel: Marie-Didace),Germaine Guèvremont‘s novel is also very poetical. It has a bucolic and, at times, spell-binding quality. The land is rich and it still feeds French-Canadians. In The Outlander (Le Survenant), the central character, is both liked and feared.
Patrie Littéraire (after Lord Durham’s Report)
La Terre paternelle and Charles Guérin are Patrie littéraire novels. They were written in the wake of Lord Durham’s report, who described French-Canadians as having no history or literature.
Radio and Television serials
Un Homme et son péché*(Radio and TV) and Le Survenant* (TV) were serialized and extremely popular.
The “Bad” Englishman and the “Vendu” (sold)
The “bad” Englishman is Wagnaër in Charles Guérin and the “vendu,” le Délié inMenaud, maître-draveur.
Unless otherwise indicated, the artwork featured in this post is used by permission of La Galerie Walter Klinkhoff.
Yet, both Maria Chadpelaine and Félix-Antoine Savard’sMenaud, maître-draveur,a novel literally intertwined with Maria Chapdelaine,as in a liturgical responsory, express nationalistic sentiments. But there is legitimate nationalism, attachment to one’s root, and hostile nationalism: nationalism as perceived in indépendantiste ideology.
The Voice of Quebec: Maria Chapdelaine & Menaud
As Maria is trying to decide whether she will marry Eutrope Gagnon, a cultivateur (a farmer) or leave for the United States as Lorenzo Surprenant’s wife,she hears inner voices, one of which is the voice of Quebec. The voix du Québec directs Maria to live as her mother lived. Jack Warwick has defined this voice as l’appel du Nord, the call of the north.[ii] The voice Maria hears no doubt resembles the voice her father, Samuel Chapdelaine, also heard when he went north to “make land.” I should think it is also the voice Menaud is hearing and has always heard. Menaud is the main character in Savard’s Menaud, maître-draveur (1937).
In Maria Chapdelaine, the voice of Quebec is a mélopée(from the Greek melopoia), a recitative and monotone chant, but in Menaud,l’appel du Nord is at times a tearful lament and, at other times, a visceral and angry scream. Menaud loves the land he has inherited from his forefathers. He loves its smell, its voice, its ‘wind in the willows,’ its rugged shape, and the majestic Saguenay River.
So Menaud lives up the Saguenay River, as does Samuel Chapdelaine and as did Savard. Félix-Antoine Savard, an ordained priest, was born in Quebec City (1896), but he was raised in Chicoutimi and died (1982) in Charlevoix,where he had founded the parish of Clermont.
Photo credit: Wikipedia
Menaud’s Story: the Plot of the Novel
Menaud is, first and foremost, a draveur, or river driver. All his life he has driven wood down the river dancing atop the wood boxed in so it is transformed into rather fragile rafts. But Menaud is also an agriculteur, a voyageur, a coureur de(s) bois and a hunter. A widower, he lives in his grey house with Marie, his daughter, and Joson, a son he will lose to the river, but not the Saguenay. Joson, Menaud’s son, drowns in the Malbaie (formerly: Murray Bay).
Le Délié: the first Suitor
However, Menaud and his neighbours in Mainsal (main sale means: dirty hand) are also on the verge of losing access to their mountain, a mountain that has provided them with part of their sustenance since the early days of New France. The mountain has been rented out to Englishmen by le Délié (the unattached). Lier is to bind, as in to link.
The same Délié has also made plans to marry Marie when winter comes. He tells Menaud that, as his father-in-law, he will be allowed to go to the mountain. Menaud is therefore mourning his son and knows that his daughter plans to marry le Délié. Having lost his son, he is about to lose his daughter. Finally, he and his people have lost their mountain, not so much to Englishmen as to le Délié‘s greed and lack of respect for his roots. The mountain did not belong to anyone in particular, but le Délié will be renting it out to make money. We are witnessing faithlessness from within.
Alexis le Lucon: a second suitor
Fortunately, Alexis le Lucon, who has tried to rescue Joson, finds a place in Marie’s heart. She chases away le Délié and tells Alexis le Lucon that it might be pleasant to live peacefully “here” (icitte): “Il y a de la bonne terre, avait-elle dit; ce serait plaisant devivre icitte tranquille !” (There is good land, she had said, it would be nice to live here quietly.)
“Je n’ai plus que toi” (I have no one left but you)
Then, as her father enters into a delirium bordering on dementia, Marie tells Alexis that she has no one left but him. “Je n’ai plus que toi[,]” (p. 211) and that, if he loves her (avoir de l’amitié [love as it was then called]), he will continue, as did Joson, as did Menaud. “Alors, si tu as de l’amitié pour moi tu continueras comme Joson, comme mon père !” He opened his arms and made himself a refuge, she cried for a long time with her head leaning against his face: “Puis, dans le refuge des bras qu’il ouvrait, longtemps elle pleura contre son visage.” (p. 212)
Félix-Antoine Savard (Photo credit: Wikipedia)
Félix-Antoine Savard: biographical notes[iii]
Félix-Antoine Savard, OCMSRC (August 31, 1896 – August 24, 1982) was a priest, a poet, a folklorist and, in 1945, a few years after the publication, in 1937, of Menaud, maître-draveur, he became Professor of Literature at l’Université Laval, in Quebec City, and served as Dean of his Faculty from 1950 to 1957. He was a member of the Order of Merit of Canada and a member of the Royal Society of Canada.
Menaud, maître-draveur earned Savard a medal from the French Academy, l’Académie française, an honour he richly deserved given his exceptional command of the French language and proficiency as a writer. Consequently, Menaud, maître-draveur changed the course of Savard’s life. He had been a parish priest, but was transformed into an academic and a very productive poet and novelist. You may wish to see Wikipedia’s entry on Félix-Antoine Savard for a list of his works and a list of his awards.
Although Félix-Antoine Savard was born in Quebec City, his family moved to Chicoutimi, up the majestic Saguenay River and near Lac Saint-Jean. That is Maria Chapdelaine‘s country, then filled with raftsmen, whom Savard often visited, lumberjacks, coureurs des bois, men like Maria’s François Paradis. He was also acquainted with men, cultivateurs (farmers), who tilled tirelessly, an inhospitable cultivateurs (farmers). In other words, Savard knew the people and the region that led Louis Hémon to write his epochal Maria Chapelaine, published in 1914. Savard’s Menaud, maître-draveur, a novel successfully embedded in Hémon’s poetic Maria Chapdelaine, but further poeticized.
Moreover, as a priest, Father Savard occupied various ecclesiastical positions in Charlevoix and founded a parish in Clermont. Savard calls Charlevoix, his land, a metaphysical land. In 1989, it was designated a World Biosphere Reserve by UNESCO.[iv] You may remember that Du Gua de Monts, under Tonnetuit and Gravé Du Pont, tried to establish a settlement at Tadoussac, now a town located at the confluence of the St Lawrence River and the Saguenay. Savard died in Charlevoix in 1982, at the age in 1982 at the age of 85.
First, it is both a novel and a poem. As a poem, it is a formulaic poème en prose. It contains a recurring refrain and the refrain is borrowed from the novel’s source, Maria Chapdelaine: “Nous sommes venus il y a trois cents ans et nous sommes restés.” (Menaud, p. 31)[v] (We came three hundred years ago and we stayed.) Menaud has his daughter Marie read passages from Maria Chapdelaine to him and he feels comforted.
Louis Hémon wrote: “Au pays de Québec, rien n’a changé. Rien ne changera.” (p. 194) (In the land of Quebec, nothing has changed. Nothing will change.) Louis Hémon also wrote: “Ces gens sont d’une race qui ne sait pas mourir…Nous sommes un témoignage.” (Maria Chapdelaine, p. 194): “These people belong to a breed that does not know how to die… We are a testimonial.”
I have translated the word “race” by the word “breed,” which is the word’s meaning in the current context. A breed of cats is une race de chats.
Second, Menaud is un homme du Nord, a voyageur, a coureur des bois, and, perhaps, an explorer. He is, at any rate, bigger than life and, therefore a mythic figure. He has lived dangerously and, by dint of doing so, although he is now an older man, he suddenly feels young again, puts on his snowshoes and starts walking in the in the direction of the Royaume [kingdom] du Saguenay, as that region is often called. The snow is thick, he gets tired, and he can’t continue. He takes off his snowshoes and sends Baron, the dog, to fetch help. Alexis finds him, but Menaud’s legs will no longer take him very far. So Menaud is not a typical farmer.
But there is a third dimension, a dimension I have introduced: nationalism, but nationalism akin to nostalgia. But more importantly, there is a French-Canadian, le Délié (the unattached), who has rented the mountain and will collect the rent. So Menaud, maître-draveur features a new breed of men: the capitalist. Money is now the motive. Le Délié is therefore a “vendu,” (a sold man). Was that mountain for him to rent out? We are entering a new world in which Menaud’s profound pride in his land and lineage will not be taken into account, no more than ecological issues. It is the world we live in.
The last words of Savard’s novel are spoken by Alexis: “Ce n’est pas une folie [Menaud’s dementia or madness] comme une autre ! Ça me dit, à moi, que c’est un avertissement.” (It is not just another madness. What it tells me, what I hear, is a warning.) (p. 231)
Conclusion
I will close my post by quoting the most nationalistic statement contained in Maria Chapdelaine quoting the most nationalistic statement contained in Maria Chapdelaine and repeated in Menaud, maître-draveur. But I prefer not to comment except to say that “estranged” people are cutting down the rainforest and letting the planet melt. Not to mention that we can no longer afford to buy the house in which we were brought up. It’s too expensive:
“Autour de nous des étrangers sont venus, qu’il nous plaît d’appeler des barbares ; ils ont pris presque tout le pouvoir ; ils ont acquis presque tout l’argent ; mais au pays de Québec rien n’a changé. Rien ne changera.”(Maria Chapdelaine. p. 194; Menaud, maître-draveur, p. 32 and elsewhere.)[vi]
(Around us, foreigners have come, whom we like to call barbarians! they have taken nearly all the power; they have acquired nearly all the money: but in the land of Quebec nothing has changed. Nothing will change.)
—ooo—
[i] Félix-Antoine Savard, Menaud maître-draveur, (Québec: Librairie Garneau, 1937). The novel has been translated by Alan Sullivan as Boss/ Master of the River (Toronto, Ryerson Press, 1947).
[ii] Jack Warwick, L’Appel du Nord dans la littérature canadienne-française : essai (Montréal : Hurtubise/HMH, 1972).
[iv] “As early as 1760, Scottish noblemen Malcolm Fraser and John Nairn hosted visitors at their manors. For much of its history, Charlevoix was home to a thriving summer colony of wealthy Americans, including President William HowardTaft.” (Wikipedia)
[v]All my quotations are from Félix-Antoine Savard, Menaud, maître-draveur(Montréal & Paris: Fides, 1973[1937]).
[vi] Louis Hémon, Maria Chapdelaine (Montréal, Bibliothèque québécoise et Fides, 1990 [1914]).
— Boy with Bread, by Ozias Leduc (8 October 1864 – 16 June 1955)
I believe this is the complete list of posts on regionalism, “roman de la terre,” “roman du terroir” I have written so far. They are at times repetitive because I do not know whether or not someone has read earlier posts. Maria Chapdelaine was written by Louis Hémon, a Frenchman, or an outsider. However, it is the one novel interested persons should read. Menaud, maître-draveur (a draveur is a river driver taking lumber logs to their destination) is a very poetical novel.
Louis Hémon, the author of Maria Chapdelaine, sees Quebec as eternal. Such hope is not expressed by Félix-Antoine Savard whose 1937 novel, Menaud, maître-draveur, is embedded in Hémon’s Maria Chapdelaine. Foreigners have come…
As you will notice, I did try to give more descriptive titles to older posts, but failed miserably. Fortunately, my cat said: enough! He’s in charge, so what could I do. Lists were my solution.
© Micheline Walker
14 June 2012
Micheline's Blog 