Can Lit, Culture, and “The Hockey Sweater”

The Toronto Maple Leafs and the Montreal Canadiens haven’t met in the NHL playoffs since 1979. That same year, a pivotal work of Canadian Literature was published: Roch Carrier’s The Hockey Sweater. Whether intended or not, the story reveals an age-old culture clash between Ontario and Quebec.

Have you read The Hockey Sweater (1979) by Roch Carrier? If you grew up in Canada and had parents even mildly invested in hockey, chances are you have.

Titled Le chandail de hockey in its original French, it was illustrated by Sheldon Cohen and translated into English by Sheila Fischman. The story is enjoyed across Canada, among anglophones and francophones alike. It’s a children’s book about a young Roch Carrier growing up in Sainte-Justine, Quebec, who – along with every kid in his village – loves the Montreal Canadiens and wants to be just like Maurice Richard. In the winter of 1946, Roch’s Canadiens sweater becomes too small, and his mother orders him a new one from “Monsieur Eaton” (of the family behind Eaton’s department stores). After a mishap with the order, Roch is sent a Toronto Maple Leafs sweater. How will he cope with the stigma of wearing the wrong jersey?

Illustration by Sheldon Cohen, from The Hockey Sweater (1979).

Now seems like the perfect time to be writing about The Hockey Sweater. This year’s Stanley Cup playoffs are underway in the National Hockey League (NHL). The Toronto Maple Leafs are facing the Montreal Canadiens in the first round for the first time since 1979 (incidentally the same year The Hockey Sweater was published). The Maple Leafs vs. Canadiens rivalry is the oldest in Canadian hockey history, as they were the only two Canadian teams in the NHL’s Original Six from 1942 to 1967. They have met 16 times in the playoffs: Montreal has won the matchup eight times and Toronto has won seven (potential eighth underway tonight? knock on wood).

Tim Horton of the Toronto Maple Leafs and Claude Provost of the Montreal Canadiens battling for the puck c. 1960s. Photo: Canadian Press / AP

Unlike the Leafs, who have only won the Stanley Cup once in 1967, the Canadiens – nicknamed “Habs” in reference to Habitants, the early French settlers of Quebec – have won it 24 times, more than any team in NHL history. Yet despite this discrepancy, the rivalry between the two teams endures. How does The Hockey Sweater help preserve it?

The Hockey Sweater was adapted into an animated short film for the National Film Board of Canada in 1980, with Carrier narrating his childhood story in both the French and English versions. The film was animated by Montreal-based illustrator Sheldon Cohen, in keeping with the aesthetic style of the picture book. Carrier had a long career in storytelling, receiving the Order of Canada in 1991 and serving as National Librarian of Canada from 1999 to 2004. He helped unify the National Archive and the National Library with Ian E. Wilson, the National Archivist at the time.

The 1980 short film adaptation by the National Film Board of Canada, narrated by Roch Carrier and animated by Sheldon Cohen.

Full disclosure: born and raised in Toronto, I’ll always be partial to the Leafs, albeit in the most passive way possible. We were by no means a hockey family when I was growing up (and still aren’t). My uncles and cousins are big fans, and while my dad also loved hockey growing up, his true passion is soccer. He raised us with that love of soccer, so that’s what we know best. At the same time, my parents enrolled my siblings and I in the Leafs Buds Club, the official kids club of the Toronto Maple Leafs, when we were little. We got to go to Leafs practices and chill with the Leafs’ mascot Carlton the Bear. (I think I’m more invested in Carlton than I am the actual hockey… he’s just so cute!)

So how come my family and I, along with countless anglophones across Canada, have always loved this little book even though it scorns the Leafs?

Kids have grown up with the story regardless of their favourite teams because it resonates as a cornerstone of Canadian culture. We can all identify with team rivalries in general, especially in childhood. The Hockey Sweater is incredibly funny and offers a glimpse into life in Quebec during the 20th century. But beyond being a fun piece of Can Lit, it’s also emblematic of wider cultural implications between English Canada and French Canada. And although we might not have known it at the time we read or watched it, we as children were internalizing a key element of Canadian culture from a young age.

To put it simply, Canada’s post-European contact history is rooted in the French and the British battling over the traditional lands of Indigenous peoples. Ultimately, the Battle of the Plains of Abraham was a decisive victory that paved the way for the British to take over France’s colonial presence, unilaterally establishing British North America to add to their existing American colonies. The ensuing tensions between French and English culture in what would eventually become Canada – from language to religion – set a precedent for the strained interplay between French Canada and English Canada today.

The Hockey Sweater illustrates that cultural clash, whether or not it intends to (more on that later). Despite being a straightforward retelling of the author Roch Carrier’s childhood experience, many critics and readers consider it an allegory for the French-English divide. The issue is complex, and goes beyond the simple act of wearing hockey jerseys, but we see in the story that the Quebecois culture is fiercely defended within society. Roch is not permitted to play hockey with the others while wearing the Leafs sweater; both the referee and young curate discipline him for his lack of conformity. “Just because you’re wearing a new Toronto Maple Leafs sweater, it doesn’t mean you’re going to make the laws around here,” the curate tells him. He’s sent off the ice to go pray in the church, where he asks for the most important thing on his mind:

“I asked God to send me right away, a hundred million moths that would eat up my Toronto Maple Leafs sweater.”
The Hockey Sweater (1979)

And so ends the book. It’s punchy, and drives two points home: first, the sense of being othered for non-conformity, especially in a cultural context (Ontario’s team vs. Quebec’s); and second, the fact that hockey rivalries run deep in Canada, and it’s been that way since the NHL first started.

But whatever The Hockey Sweater may show us about Canadian culture, Roch Carrier insists that he wasn’t trying to make a political statement or promote Quebec nationalism. Instead, he was simply sharing his personal experience.

“I never tried to portray Canada to anyone. I’m just a storyteller. I’m interested by the experience people have and everybody has personal experiences, and everybody has limited experiences about something but that’s what life is made of.”
Roch Carrier at St. Andrew’s College, 2015

There isn’t really a moral to the story. In a children’s book you might expect a lesson about not being embarrassed to be different, or how it doesn’t matter what you wear (Roch’s mother actually says the latter in the book and film). But the young Roch maintains his dislike for the blue sweater. There’s something so endearingly unapologetic about his adamance that readers can’t help but love. As I said before, I’m inclined toward the Leafs even though I rarely even follow hockey, yet I’m not offended by this book at all. It represents a specific point of view and it’s funny. Sports rivalries will always persist, and trying to end them would be futile – we wouldn’t want it any other way.

The Hockey Sweater and its film counterpart are considered standout works within the Canadian canon for a reason, somehow transcending heated cultural (and athletic) frictions to become well-loved across the board. Roch Carrier’s story is strongly emblematic of Quebecois identity, culture, and sport, but the story’s themes are broadly appealing. Sheldon Cohen’s illustrations are stylistically memorable. The whole package manages to be quintessentially Canadian.

Regardless of whether you’re a Leafs fan, non-Quebecer, anglophone, or all of the above, you can still relate to those feelings portrayed in the book and animated film. We all understand the pressures to conform – sometimes we derive comfort and community simply from the act of conforming. As humans, we’re always seeking connection, and identifying with something that represents home makes us feel united.

Take A Minute To Reflect

This week, Historica Canada dropped its latest Heritage Minute, featuring Canada’s liberation of the Netherlands at the end of World War II. What makes Heritage Minutes so iconic? Why are they engaging? What works and what doesn’t? And which ones do we like best? We’ve discussed all these questions and more in our latest dialogue post.

By Lilia Lockwood & Serena Ypelaar

Lilia Lockwood: “I can smell burnt toast.” To a generation of Canadians this phrase means one thing. No, not that our breakfast got away from us. It means that Dr. Penfield has made a breakthrough in seizure treatment. It means … Heritage Minutes!!! I’m among those who grew up watching Heritage Minutes, which first hit our TV screens in 1991 (read more about their history here). Each 60-second video presents an aspect of Canadian history, with topics ranging from scientific achievements to wartime efforts to social issues. Before we get too deep I’ve gotta be honest here: I’m a fan. My laptop bag displays a “But I need these baskets back” button, I own the complete collection on DVD, and I donated to Historica’s D-Day minute fundraiser in 2018. So I’m very excited to chat with you about these minutes that are sometimes cheesy, sometimes moving, but always educational.

Screencaps from Heritage Minutes. Photo: Historica Canada

Serena Ypelaar: Agreed! Heritage Minutes offer so much in the way of historical interpretation. Condensing a history into one minute – while providing the context we need to understand the significance – isn’t an easy task. Minutes range from sombre to funny to patriotic, each provoking a different reaction (for better or for worse, as in the 1992 Vikings minute where I could only say “What?”). While I don’t boast any cool Heritage Minute buttons (where did you get yours?) I also grew up seeing these spots on TV. I remember which ones stuck with me: I’ve always associated the Laura Secord minute most strongly with Heritage Minutes.

Something about the succinct narrative and memorable imagery of Secord trooping through the mud lodged itself in my memory. Interestingly, the War of 1812 later became one of my focus areas as a history major. Likewise, I often remember the Jacques Cartier minute, as silly as it is, when I reflect on my profound interest in New France history. I wonder if these minutes had anything to do with that – I love accessible storytelling, so “Canadian history in a nutshell” can be pretty effective. Are there any minutes you’d consider “classics” in the sense that you remember them from childhood?

LRL: For sure, those old minutes bring up a lot of nostalgia (that Vikings one might best be described as a … cinematic experience …). One that stayed with me was the Nitro minute, about Chinese labourers’ dangerous work on the Canadian Pacific Railway. It’s memorable for its dramatic explosion, and also because it ended with a grandfather telling his grandchildren about the experience, just the way my grandfather would tell us stories about his life. Suspenseful moments like Laura Secord running her mission and the Chinese workers setting explosives capture our attention. But it’s then the small, relatable details that make the minutes sink in.

Looking back on this Heritage Minute now, though, there’s a different aspect that makes it stand out. It’s one of only a few of the original minutes that presented the histories of ethnic minorities in Canada. Since Historica Canada started making a new series of minutes in 2012, the topics have been far more inclusive, reflecting broader contemporary trends in historical study and interpretation. The Vancouver Asahi and Kensington Market minutes are great examples of this. What are your thoughts on the older vs. the newer minutes?

SVY: I completely agree! Alongside more diverse content, perhaps the most widespread shift is in the newer minutes’ narrative voice. For instance, Heritage Minutes tended to present Indigenous histories from a European settler point of view, as seen in the minute on Sitting Bull. But then you have the Louis Riel minute from 1991, which despite being an earlier minute shares the story of the Métis leader in a much more active voice: Riel tells his own story directly to the viewer. Later, the Heritage Minutes “renaissance” reframed stories, finally tackling the trauma of residential schools in the 2012 Chanie Wenjack minute. Likewise, we see the Battle of Queenston Heights from the perspective of Mohawk warriors Teyoninhokarawen (John Norton) and Ahyonwaeghs (John Brant), though it’s worth noting that only their English names are used in the 2013 minute – the minutes still have a ways to go in terms of moving away from that colonial lens in favour of deepening ethical representation.

Nevertheless, the stylistic narrative developments join modern cinematography to create more polished minutes across the board. We learn about Lucy Maud Montgomery and the Acadian Deportation in a similar way – directly from the perspective of the people involved. Instead of “they did/experienced this”, the storytelling favours “I did/experienced/felt this”. This approach plays on our empathy, and I find it’s a key instrument of memory – I’m more likely to remember something that made me react emotionally (like the Terry Fox, Jim Egan and Winnipeg Falcons minutes).

LRL: I had similar thoughts about the changing way Indigenous histories are presented in the minutes. It’s worth watching Inukshuk and Kenojuak Ashevak back-to-back to appreciate the difference. The Kenojuak Ashevak minute was also the first to be made in a language other than English and French (Inuktitut), which is an important step in making minutes more accessible for the communities they engage with. Another aspect that creates that emotional connection is for people to see their own stories shared in the minutes as part of a nationwide narrative. I’m happy you brought up the Winnipeg Falcons minute, because it accomplishes exactly that (and is one of my favourites). On the YouTube page for the Falcons video, viewers commented that this minute made them proud of their cultural heritage, whether Icelandic or Western Canadian.

One of the reasons I personally like this minute is the way it ties together so many threads of the Falcons’ story. It doesn’t just show them as the first Olympic ice hockey gold-medal-winning team, but also as members of an immigrant community and veterans of the First World War. The amount that people can learn (and retain) from a one-minute clip shouldn’t be underestimated, when it is done well. Also! This minute highlights one of the fun sides of Heritage Minutes: celebrity cameos! This one is a double-whammy, starring Jared Keeso and narrated by George Stroumboulopoulos. Other minutes feature Colm Feore, Joy Kogawa, Dan Aykroyd, Graham Greene, Adrienne Clarkson, Pierre Houde, Allan Hawco, and – I’m not kidding – Pierce Brosnan. In fact, you may recognize the narrator in the newest Heritage Minute as well …

SVY: Oh, I’m so glad you mentioned celebrity cameos, because I was trying to think of a way I could weave in the fact that Pierce Brosnan appeared in a Heritage Minute (as Grey Owl, if you’re wondering). And I am a big fan of Stratford legend Colm Feore, so to see him playing John McCrae is incredible. Including celebrities from Canada and elsewhere provides another great layer of engagement, sparking connections for people (fun fact/brag: I’ve attended a concert George Stroumboulopoulos hosted in his living room! haha). And as per your hint at the newest minute, I was pleasantly surprised to hear that Peter Mansbridge narrates toward the end!

This minute, featuring the liberation of the Netherlands, is near and dear to my heart because I am a Dutch-Canadian. My Opa was ten years old and living in Holland during World War II – he experienced the Nazi occupation firsthand. Just over a decade later, he immigrated to Canada, met my Nana, and they married in 1961. For me, the emotional parallels in this Heritage Minute really highlight how powerful a condensed snapshot can be when it hits just right.

As Lilia pointed out, it’s amazing that the minutes allow us to see ourselves within them; to feel woven into Canadian history and unified by events that shaped our nation, whether they’re tragic like the Halifax Explosion minute, hopeful like the Boat People minute, inspiring like the Richard Pierpoint and Edmonton Grads minutes, or divisive like the Sir John A. Macdonald minute. We see, and hopefully will continue to see, our stories reflected back at us as Historica Canada continues producing Heritage Minutes that reflect the diversity of people that live here.

Conservation and Construction in the Limestone City

Canada’s first capital is home to historic buildings and a housing crisis. How does this affect Kingston’s tourism and city planning?

By Daniel Rose

On a recent visit to Fort Henry, I struck up a conversation with two visitors from Philadelphia who were astonished by Kingston’s historic charm. From enclaves of private homes in the downtown core dating back to the early 19^th century to historic sites such as Kingston Penitentiary, they were surprised that the changing needs of the city hadn’t led to more mishaps. One remarked that, “In Philly, we’d have bulldozed half the city fifty years ago for a freeway, so good on ya!”

The British Whig building, an amalgamation of the Ontario Bank Building (constructed in 1894) and the Daily British Whig Building (constructed in 1895). Photo: Daniel Rose

As Canada’s first capital and home to the highest concentration of museums per capita in the country, Kingstonians often take their immersion in the country’s history for granted. When my family moved to Kingston in 1998, we visited local museums to get a handle on the city. Once we settled in, I didn’t return to most of them for almost twenty years! Many historic areas are more commonly used as points of reference when giving direction to the visiting tourists (or “seeds” as some old-timers call them) that descend upon the city every year.

For residents, the historic city brings a significant challenge: the lowest vacancy rate in Ontario. Sites along the waterfront, such as the old train yards on “block D”, remained vacant for decades for fear of stirring up industrial waste. Other swathes of the city cater to the need for university and college student housing. There is no easy fix – per municipal regulations, new downtown buildings must maintain Kingston’s skyline. As a result, iconic locations such as the S&R building incorporate their original façade with a modern interior. These changes have not come without drawbacks, as affordable businesses are replaced with upscale boutiques. Once home to a budget department store, the S&R building is now a posh mixed office and retail space, while block D is now luxury condos and hotels.

The Smith-Robinson Building, formerly home to S&R Department Store. Photo: Waymark

One place where concerns for housing and heritage preservation meet is the land around Kingston Pen and the Prison for Women (P4W). Kingston Pen, opened in 1835 as Canada’s first penitentiary, housed offenders of all ages, genders and backgrounds over its 178 years of operation, while P4W was the only prison for women doing sentences longer than two years in Canada from 1934-2000. Ironically, neither site was considered part of the City of Kingston until the 1960s!

The North Gate of Kingston Penitentiary, 2018. Photo: Daniel Rose

Each site has changed since closing. Queen’s University purchased P4W in 2008, demolishing the perimeter wall and additions to the original structure. In 2018, a private developer purchased P4W with the intent of building residential, office and commercial properties incorporating the prison. Meanwhile, Kingston Pen is still owned by Corrections Canada, with a partnership with a local parks commission bringing in thousands of visitors every year to attend guided tours featuring testimony from retired staff.

How can places of significant national heritage with a complicated legacy incorporate the memorializing nature of an historic site while accommodating the need for residential space? In some ways, the Kingston Pen tours acknowledge the difficult and dangerous work staff put in during the penitentiary’s operation. Without any inmate testimony, however, the tours can feel like an incomplete picture of operations. Some activists, such as the P4W Memorial Collective, have suggested establishing a memorial garden on the grounds of P4W to acknowledge the hardships encountered by the women incarcerated in the prison. While an intriguing suggestion that holds merit, this decision ultimately remains in the hands of the developer who purchased the site.

The front entrance to Prison for Women (P4W), 2018. Photo: Daniel Rose

The fate of Kingston Pen and P4W remains in motion. The contract for tours at Kingston Pen is renewed on a year-to-year basis, while development plans for P4W are still in their infancy. The decisions taken on both sites will affect locals and tourists alike.

A March Through Time: The Continued Appeal of Re-enactments

How do spectacles like historical re-enactments help place us at the scene of a major historical event? By using sensory stimulation, historic sites ensure visitors keep coming back (in time) for more.

By Serena Ypelaar

I love military re-enactments. There’s just something about showing up at a historic fort and catching sight of thousands of redcoats, canvas tents, musket fire and cannon blasts that offers pure indulgence for any history buff, especially one who grew up in the Upper Canada region. I’ve been involved with the history of the War of 1812 since I was a kid, having slept in the soldiers’ barracks at Fort York (Toronto, ON) twice for Girl Guides camp. Later, as a teenager, I started volunteering at the Fort; I also wrote my IB Programme thesis on Tecumseh’s Indigenous Confederacy before and during the War of 1812.

During the bicentennial commemorations of the War of 1812, I could be found at the Battle of Queenston Heights, the taking of Fort George, and the Battle of York re-enactments. It’s been six or seven years since I last attended an event, so when I returned to Fort George yesterday it felt like a long-awaited homecoming.

*Re-enactors at Fort George National Historic Site, 13 July 2019. Photo: Nicholas Ypelaar*

These kinds of events tend to draw a huge crowd, for obvious reasons – the performances are almost like 200-year-old action movies. People love loud bangs and smoke, music, and (I say with a wry smile) violence – all of which are sensational elements of performance. Complete with lemonade served in a corked glass bottle, regimental fife and drum corps, and a sutler’s row, the immersion level at Fort George yesterday was off the charts.

Military re-enactments offer the sights, sounds and smells of battle, which, though a dynamic and exciting prospect, should also be treated with respect. The Battle of Fort George re-enactment included a lament performed by the musical corps to honour the victims of the war who fought and died at the site – as well as Indigenous peoples who supported either the British or the Americans and yet were not compensated with their promised outcomes. Certainly, military conflict isn’t actually something to shout “huzzah!” about – it’s a grim product of colonial interests. But by portraying early military combat at the original site of its happening, interpreters and re-enactors can educate visitors on the scale, impact, and ongoing legacies of battles.

*American troops attempting to invade Fort George. Photo: Nicholas Ypelaar*

Re-enactment is an active form of interpretation which immerses the visitor and offers what I call a “passive” visitor experience – passive in a way that indicates that on-site interpretation is excellent. The more organically information is presented to me as a visitor, the less I have to work to picture the historic site in use – meaning I can be passive during the learning process since I’m provided with plenty of interpretation and storytelling. I don’t even need to read text during a re-enactment – I’m shown, not told, what happened. The spectacle aspect creates emotional reactions, and the impressive visuals are what I remember. At the Battle of Queenston Heights re-enactment, when British-Indigenous leader John Norton (Teyoninhokarawen) emerged to lead the Mohawk warriors into battle, the audience applauded its heartiest – something which intrigued me, and which I haven’t ever forgotten.

There are numerous complicated perspectives in the War of 1812, and it can be a lot to grasp. What I found excellent at this year’s Fort George re-enactment was the commentary provided throughout. When the two interpreters first started narrating the battle, I thought it would be annoying, but it was actually so informative. I learned tactical insights about what was happening on both sides – the invading American contingent and the defending British & Indigenous forces. Visitors from both sides of the border had come to attend, and I found that hearing the context imparted valuable knowledge to the audience, myself included. It also demonstrated the re-enactors’ commitment to authenticity, as actions such as “flanking” the invaders were explained, and so on. It gave the battle meaning, and I felt confident I could then share my tactical understanding of the history with others in the future.

Re-enactments animate historic sites, meeting visitors where they’re at – in the 21st century. I didn’t have to struggle to picture the broad expanse of grass as a battlefield because it became one, simulated before my eyes. I was transported into the early 19th century, with historic vendors selling historic wares and wearing historical clothing. And the re-enactors themselves get to explore historical research in a thoroughly hands-on way – stepping into the soldiers’/warriors’ shoes and living history.

That’s why I jump at the chance to go. I get to witness history … or at least the closest thing to it.