The disclosures and hints of recognition of characters in La Grosse femme at the time of their encounters on la rue Fabre or in le Parc Lafontaine at the beginning of May, 1942, as well as the telltale conflicts in Thérèse et Pierrette surrounding little Simone, l'Ecole des Saints-Anges and the Feast of Corpus Christi in June of the same year, are, in fact, already arranged crosswise to the chronicle of the families whose members are identified with the pattern (trame) of those actions that are specifically theatrical (e.g. the evening of premium stamp pasting in Les Belles-soeurs, the crisis in Marie-Lou and the retrospective view of that crisis, etc.) Tremblay is perfectly conscious of the parallelism of these structures and chooses to emphasize it, as for example in the remarks of Dr. Sanregret concerning the Corpus Christi street altar which for him is no more than a pagan mascarade. One could even consider that the woof threads in the chronicles already dramatize that which will be made explicit in the plays, but which remains implicit in the novels (e.g. Thérèse's loss of innocence, Marcel's transition to madness) or which remains in the mythical form of a recreated primary scene.
Past Perfect Michel Tremblay
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