By Jean Vaquié
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Claire Farrer points to this oversight, telling us that when collectors of folklore had a choice between a story as told by a man or as told by a woman, the man's version was chosen. "Women and Folklore: Introduction," in Women and Folklore (Austin: University of Texas Press, 1975). 31. I am indebted to Nancy K. Miller's discussion of the interpretation and reappropriation of a story as it relates to gender, power, and identity in "Arachnologies," in The Poetics of Gender, ed. N. K. Miller (New York: Columbia University Press, 1986), 270-95.
13) [The difference between the liar and the fibber, in my country, is the same as between the historian and the teller of tales: the first one recounts what he will and the other tells you what you want to hear. ] What Maillet is interested in is not official archival history but the mechanism that makes a people create oral epics from their history and how the production of orature is related to their survival. The seeds of such concern can be seen in Maillet's early work Par derriere chez mon pere (1972), where she states that at a time when it was forgotten by history itself, Acadie was forging its own new soul, so filled with vitality that historiography would be quite incapable of containing it.
The latter and his informant share bloodlines with previous tellers of the tale, signaling the durable nature of the cart story, reaching the reader via the narrator who is genealogically linked to the oral source of the first telling. Such a device is the narrator's guarantee of authenticity required for the reader's willing suspension of disbelief, and for the creation of a founding myth. The narrator's voice is heard throughout, interrupting the diegesis to sum up, make a point, or ensure that the reader has grasped the causal relationship between the oral tradition and cultural survival.