FRENCH CANADIAN LITERATURE FOR CHILDREN In her book, Pleins feux sur la littérature de Jeunesse au Canada Français , pubIishell in 1972 Ey L"ëmëac, Louise Lemieux summarizes the evolution of French Canadian literature for children: 1.1940-1947: Children's literature began to be known in French Canada. 2.1948-1954: Children's literature was in the process of becoming known mainly because of l'Association des Ecrivans pour la jeunesse (Writer's Association for Young People) founded by Béatrice Clément. 3.1955-1964: These became the Golden Years of French Canadian literature for children. 4.1965-1971: A decline in French Canadian literature for children began. A brief look at some of the publications that appeared during the years 1965-1971 shows, however, that the decline was not due to the lack of talented authors and illustrators. It is during those years that such books as Le chêne des tern» êtes by Andrée Maillet, Un drôle de »etit~ cheval by 'enr ette Major, La maison aux couleurs »y Jocelyne Lapointe, La » etite TTlIe du »rintem»s by Monique Corriveau, and Le soIëT «es »rofondeurs »y Ro ande Lacerte were published . To remedy the pro» em, Communication- Jeunes se was formed . There is no doubt that since its foundation in 1971, Communication-Jeunesse has been largely responsible for the revival and the interest in French Canadian literature for children. The purpose of the association is to encourage and stimulate the production and the diffusion of such literature. The association has succeeded and its impact will be felt for many years to come. One cannot discuss French Canadian literature for children without mentioning two prominent and prolific authors, Monique Corriveau and Suzanne Martel, both winners of many literary prizes. It is difficult to choose a favourite from the books of Corriveau since each differs from the other. The late Madame Corriveau wrote science- fiction books (Patrick et Sophie en fusée) , mystery books (Le maitre de mess ire) , historical nove1 s (Le Wapiti, which "Eks been translated into English) , and bo"ö"ks about family life (La petite fille du «rintem»s, Les saisons de la mer and Le garçon au cerf-vo ant . The main characters Tn these book's" are young people. TEe author likes them. She writes for them and knows how to bring them to life in her books. Le petit garçon au cerf-volant, published by Fides in 1974, has all the prerequisites for becoming one of our classics. After the death of his wife, Norbert Colin is lonely and lives alone with his son, Arnaud, in a small camp removed from the town. Norbert Colin spends very little time with his son who is also lonely. Arnaud makes friends with a girl next door. One day, while making a kite, he realizes that the paper he is using is the lost novel his father had written when his mother was still alive. With the help of Nathalie and the Dugas family, Arnaud tries to have the book published. This psychological novel is well-written, and children facing the death of a parent will relate to the touching character of Arnaud. His tenderness toward his father and his hope that his father will forget the past and become his friend again is handled with great emotion. Death and its consequences are difficult topics to handle, but Corriveau does it beautifully. Suzanne Martel, like her sister Monique Corriveau, knows how to bring her characters to life. This prolific author has touched on many styles: science- fiction books (Quatre montréalais en l'an 3000, Titralak, cadet de 1' espace)^ historical novels (Jeanne , fille du royT^ sports novels (Pi-Oui) , recipe books (Marmittons , Goûte à tout) , and craft books (Tout sur Noël}~. It Is also difficult to choose a favourite with Martel. Her books are all so different . Quatre montréalais en 1 'an 3000, however, which has been translatée! into English under EEe title The City Underground , is probably her most well-known novel . An atomic bomb destroys Montreal, and the survivors take refuge under Mont Royal, organizing their life underground while trying to safeguard...