Montreal Winter Quotes

In Montreal spring is like an autopsy. Everyone wants to see the inside of the frozen mammoth. Girls rip off their sleeves and the flesh is sweet and white, like wood under green bark. From the streets a sexual manifesto rises like an inflating tire, “the winter has not killed us again!

She and Marie were Montreal girls, not trained to accompany heroes, or to hold out for dreams, but just to be patient.

La liberté,” Cherie was fond of saying, in that charming Montreal accent of hers, “est une question de logistique.” Freedom is a matter of logistics.

My seams gape wide so I'm tossed aside To rot on a lonely shore, While the leaves and mould like a shroud unfold, For the last of my trails are o'er, But I float in dreams on Northland streams That never again I'll see, As I lie on the marge of the old portage With grief for company. When the sunset gilds the timbered hills That guard Timagami, And the moon beams play on far James Bay By the brink of the frozen sea, In phantom guise my spirit flies As the dream blades dip and swing Where the waters flow from the Long Ago In the spell of the beck'ning spring. Do the cow-moose call on the Montreal When the first frost bites the air, And the mists unfold from the red and gold That the autumn ridges wear? When the white falls roar as they did of yore On the Lady Evelyn, Do the square-tail leap from the black pool deep Where the pictured rocks begin? Oh! the fur fleet sings on Temiscaming As the ashen paddles bend, And the crews carouse at Rupert's House At the sullen winter's end; But my days are done where the lean wolves run, And I ripple no more the path, Where the grey geese race 'cross the red moon's face From the white winds Arctic wrath. Tho' the death-fraught way from the Saguenay To the storied Nipigon, Once knew me well, now a crumbling shell I watch as the years roll on, And in memory's haze I live the days That forever are gone from me, As I rot on the marge of the old portage With grief for company.

Della & I are drunk at the top of Mont-Royal. We have an open blue plastic thermos of red wine at our feet. It's the first day of spring & it's midnight & we've been peeling off layers of winter all day. We stand facing each other, as if to exchange vows, chests heaving from racing up & down the mountain to the sky. My face is hurting from smiling so much, aching at the edges of my words. She reaches out to hold my face in her hands, dirty palms form a bowl to rest my chin. I’m standing on a tree stump so we’re eye to eye. It’s hard to stay steady. I worry I may start to drool or laugh, I feel so unhinged from my body. It’s been one of those days I don’t want to end. Our goal was to shirk all responsibility merely to enjoy the lack of everyday obligations, to create fullness & purpose out of each other. Our knees are the colour of the ground-in grass. Our boots are caked in mud caskets. Under our nails is a mixture of minerals & organic matter, knuckles scraped by tree bark. We are the thaw embodied. She says, You have changed me, Eve, you are the single most important person in my life. If you were to leave me, I would die. At that moment, our breath circling from my lungs & into hers, I am changed. Perhaps before this I could describe our relationship as an experiment, a happy accident, but this was irrefutable. I was completely consumed & consuming. It was as though we created some sort of object between us that we could see & almost hold. I would risk everything I’ve ever known to know only this. I wanted to honour her in a way that was understandable to every part of me. It was as though I could distill the meaning of us into something I could pour into a porcelain cup. Our bodies on top of this city, rulers of love. Originally, we were celebrating the fact that I got into Concordia’s visual arts program. But the congratulatory brunch she took me to at Café Santropol had turned into wine, which had turned into a day for declarations. I had a sense of spring in my body, that this season would meld into summer like a running-jump movie kiss. There would be days & days like this. XXXX gone away on a sojurn I didn’t care to note the details of, she simply ceased to be. Summer in Montreal in love is almost too much emotion to hold in an open mouth, it spills over, it causes me to not need any sleep. I don’t think I will ever feel as awake as I did in the summer of 1995.

The French sailed upriver as far as Stadacona, later to be called Quebec. Stadacona was at the heart of a region known as the “Kingdom of Canada,” with “Canada” being a place name of Iroquoian origin meaning a village or group of houses. After a brief visit to the large Aboriginal town of Hochelaga on the island of Montreal, Cartier and his men settled in to face the rigours of their first North American winter. Early in May 1536 before weighing anchor for France, he erected another cross with the French coat of arms and the Latin inscription, “François I reigning by the grace of God, King of the French.” This was in fact a second claim to possession of the land.

Remember that three of the most bike friendly cities in North America also have serious winters Montreal, Minneapolis, and Anchorage.

Baseball was Expos' play-by-play man Dave Van Horne's livelihood, and he had to press on. He got back to work when play resumed, though he did stage a kind of silent protest. Van Horne carefully wrote the names of the entire 25-man roster on a little index card, then placed that card in his wallet, where it would sit through the harsh winter that followed the '94 disaster, into 1995 and onward. Ask him about it today and Van Horne will pull out that card, read through the names, and flash a sad smile. Twenty years after baseball sabotaged the best team in Expos history, he remembers what might have been. That card-that incredible roll call-will sit in his pocket for as long as he lives, a reminder of a dream destroyed.

maidservant of the family. All but two of the squad of militia were out patrolling around the field where the habitants were at work. In those dangerous days it was not thought safe for the people of the seigneury to scatter to their various farms. All worked together in one field and then went on to another, and always with an armed guard. In the spring of that year 1692, raiding bands of Iroquois had kept the country around Montreal and for many miles downriver in continual alarm. Seeding had been delayed, the fields farthest from the stockade had lain untilled, and harvest was late in those that had been planted. Though the middle of October was now past, there was still work to be done, fall plowing and clearing and burning of refuse, before winter settled down on the St. Lawrence. So the soldiers had gone to the fields with the workers, leaving only two on guard within the stockade.

intricately patterned. There is nothing rustic here. Only when she looks at the paintings does Elizabeth remember the dark approach through the forest. These are outdoor paintings, trees and wild cliffs, huge sunsets. Elizabeth sits with Nina on a divan before a cluster of Bierstadts. Deep trees and cerebral winter skies. The museum is nearly empty this weekday morning. The elaborate gallery still. Elizabeth looks intently at the winter landscapes. And as she looks, she whispers to Nina, “It’s marvelous, just sitting here while the girls are at camp.” Nina looks at the floor. Renée is working as a junior counselor at the camp. It was Nina’s idea. She thought the job with the Lamkins would be good for her daughter, that it would teach her responsibility and how to care for children. But Renée made a fuss. Nina had to threaten and cajole and, in the end, force Renée to go. There were tears and threats up to the day she started. Even now, Renée is sulking about working there with the little children. “Renée doesn’t like the camp,” Nina says. “I think she’d rather waste her time wandering around, doing nothing, playing with that Arab girl. Andras doesn’t care. I hear the father owns a trucking business—he just drives trucks from New York to Montreal—” She breaks off, frustrated. “She’s a good child, really,” Elizabeth says. “But Andras spoils her,” says Nina. Then Elizabeth sees that Nina is really upset. There are tears in Nina’s eyes. It’s hard for her to speak. Elizabeth sees it, and doesn’t know what to do. They are close neighbors, but they are not intimate friends. Beautiful Nina in her crisp dress, downcast among all these paintings. “He’s very … indulgent of the children, both of them,” Nina says. “He used to take them to the warehouse and let them pick out any toys they liked.” “At least he’s not in the candy business,” Elizabeth says. “Toys won’t rot their teeth.” “He’s going to let Renée quit piano,” Nina says bitterly, utterly serious, “and she’ll regret it all her life.” Elizabeth tries to look sympathetic. She’s heard Renée play. “And now that Renée is working at the Lamkins’ camp, she wants to quit that too.” “He wouldn’t let her do that,” Elizabeth ventures. “I