
L.-O. David was a Canadian author and playwright, recognized for his contributions to French-Canadian literature in the late 19th and early 20th centuries. He is best known for his novel 'Le Héros De Châteauguay,' which reflects the historical context of Canada during a time of national identity formation. David's works often explored themes of heroism and the complexities of Canadian society, particularly in relation to its colonial past and the emerging sense of nationalism among French-speaking Canadians. David's literary significance lies in his ability to capture the spirit of his time, blending historical narrative with cultural commentary. His portrayal of characters and events from Canadian history provided a framework for understanding the evolving identity of French Canadians. Through his storytelling, he contributed to the broader discourse on nationalism and cultural pride, making him an important figure in the literary landscape of Canada during his era. His legacy continues to influence contemporary discussions on Canadian literature and identity.
“Tony:...but you need something to do about Noah.Paul: I know, I know. The only problem being that (a) he thinks I'm getting back with my ex-boyfriend, (b) he thinks I'll only hurt him, because (c) I've already hurt him and (d) someone else has already hurt him, which means that I'm hurting him even more. So (e) he doesn't trust me, and in all fairness, (g) every time I see him, I (h) want everything to be right again and I (i) want to kiss him madly. This means that (j) my feelings aren't going away anytime soon, but (k) his feelings don't look likely to budge, either. So either (l) I'm out of luck, (m) I'm out of hope, or (n) there's a way to make it up to him that I'm not thinking of. I could (o) beg, (p) plead, (q) grovel, or (r) give up. But, in order to do that, I would have to sacrifice my (s) pride, (t) reputation, and (u) self-respect, even though (v) I have very little of them left and (w) it probably wouldn't work anyway. As a result, I am (x) lost, (y) clue-free, and (z) wondering if you have any idea whatsoever what I should do.””
“Nel tennis il vero avversario, la frontiera che include, è il giocatore stesso. C'è sempre e solo l'io là fuori, sul campo, da incontrare, combattere, costringere a venire a patti. Il ragazzo dall'altro lato della rete: lui non è il nemico; è più il partner nella danza. Lui è il o l' per incontrare l'io. E tu sei la sua occasione. Le infinite radici della bellezza del tennis sono autocompetitive. Si compete con i propri limiti per trascendere l'io in immaginazione ed esecuzione. Scompari dentro al gioco: fai breccia nei tuoi limiti; trascendi; migliora; vinci. [...] Si cerca di sconfiggere e trascendere quell'io limitato i cui limiti stessi rendono il gioco possibile. È tragico e triste e caotico e delizioso. E tutta la vita è così, come cittadini dello Stato umano: (, p. 116)””
“Hypothetically, then, you may be picking up in someone a certain very strange type of sadness that appears as a kind of disassociation from itself, maybe, Love-o.’‘I don’t know disassociation.’‘Well, love, but you know the idiom “not yourself””
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