A novelist, a dramatist
and a poet, Serge Lamothe carried on several trades before devoting
himself to writing. A holder of a master’s degree in literature, he
published to this day four novels: La Longue Portée (1998), La
Tierce Personne (2000), L’Ange au berceau (2002) and Les
He’s also published poems and short stories in literary journals. His play, Le Prince de Miguasha was granted the Yves-Theriault Award by; Radio-Canada in 2003. His adaptation for the stage of Kafka’s Le Procès novel (The Trial) was produced by Le Théâtre du Nouveau Monde, in Montreal, and directed by filmmaker François Girard (The Red Violin).
The dark Trial of Josef K. is brought to life in an authentic dramatization of Le Procès.
The Baldwins are among us !
Delightfully disconcerting, this book can be savoured thanks to a magnificent writing that reveals a stunning imagination. (…) A tone that undeniably recalls the genius of Kafka. (…) After his remarkable trilogy (The Long Range, The Third Person and The Angel in the Cradle), Serge Lamothe embarks on the exploration of a dreamlike and zany world that is inexplicably believable. One simply has to let go of standard reading formats and surrender to the bliss of the imaginary. Are you ready for the Baldwin experience?
In this novel, Serge Lamothe sets the foundations of an ambitious and innovative writing project, laden with surprises!
Getting to know the Baldwins is like slipping into the inscrutable maze of the human soul. (…) Serge Lamothe’s novel falls under the sign of utter creative freedom and is filled with word and language play, evocative imagery and poetic moods. When at the end “a black lake comes ablaze and reddens the night sky”, it recalls the unforgettable sentence that opens Hubert Aquin’s Prochain épisode. A similar sequence of emotions, abrupt disorientations and tugs at the heart can be found in The Baldwins.
It is the subtlety of the writing and the irony of the language that are so enchanting in this collection of short texts, in which echoes of the poetry of Cosmicomics, one of Italo Calvino’ s masterpieces, or the biting humour of Boris Vian in The Ants can at times be found.
In his fourth novel, Serge Lamothe makes us happily dive into a ludic universe that is not unlike Monty Python’s. And even though this book is composed of many short texts, each portraying a Baldwin in his own twisted and well-crafted world, it can still be read in one sitting, with much pleasure and a sly smile upon one’s lips.
In this novel, Serge Lamothe sets the foundations of an ambitious and innovative writing project, laden with surprises. The author of La longue portée (The Long Range) reveals here a new facet of his colourful imagination, filled with characters who, even if they are at times kooky or unnerving, are always fascinating!
Due in good part to Serge Lamothe’s narrative virtuosity, L’Ange au berceau (The Angel in the Cradle) does more than satisfy the great expectations raised by his two preceding novels. This is an ambitious narrative collage that draws from all forms and styles of novel writing (…), this kaleidoscopic book is nothing short of a ‘tour de force’ and irrefutable proof, if it was at all needed, that Serge Lamothe is now one of the front runners of contemporary literature.
L’Ange au berceau (The Angel in the Cradle) presents the last instalment of a work that has been carefully, patiently created and organized, with the power and breadth of great literary works. The sentences, the images, and the ideas they convey touch us in a subtle way, and require a certain span of time to be fully felt. Whether experienced on a small or a large scale, the sense of tragedy often does its work long after the initial shock!
There are novels that are infused with intelligence; reading them allows us to come closer to the mysteries of the world and of the self. (…) What a pleasure to read an authentic novel brimming with a humour that is both brilliant and refined, and where playfulness balances the acuity of a scrutinizing eye!
Serge Lamothe shows himself to be a young novelist in full possession of his talent who dares every audacity, including the least widespread and most appreciated one: stylistic sobriety. We can thus see this pseudo whodunit as a kind of one-way mirror behind which hides (but barely!) a true writer, and a darned talented one at that!
Serge Lamothe’s writing is entrancing (…); we are charmed by the incantatory tone of certain passages, by the poetry of the language and by the evocative power of the images. If this author’s strength, since La longue portée (The Long Range) 1998, resides in rare but spectacular plot twists (…), it especially rests in his ability to make his characters transparent, along with their misery, their power and their humanity. To accomplish this, sobriety and simplicity are an author’s best allies.
This is a spectacular first novel from an author whose upcoming works should be carefully watched!
In this line of work, it is very rare to emerge from reading a first novel with the certainty that one is dealing with an extremely talented writer. This is nevertheless what just happened to me. I have no intention of erring on the side of prudence: Serge Lamothe, if he holds on to his inspiration and discipline over the years, will lay the foundations of a potentially major literary work.