November 16, 2013 Leonard Rosmarin is Professor Emeritus of French literature and former Chair of the Department of Modern Languages at Brock University in the Niagara Region of Ontario, Canada. He received his Doctorate from YaleUniversity where he began his teaching career in 1964, then was appointed Assistant Professor at Wesleyan University, also in Connecticut.
He returned to Canada in 1969 to take up a position as Associate, then Full Professor at Brock, which, at that time, was only five years old. Leonard felt it would be an exciting challenge to create programs and traditions at a place that was just beginning its existence.
Before reincarnating himself as a novelist, Leonard has been an internationally recognized scholar and published nine books that have taken him all over the map of literary scholarship, from the 17th century to the 21st.
He has been decorated twice by the Government of France for distinguished service in the cause of French letters. From 1992 till 2002 he was Visiting Professor at the School for Doctoral studies at the University of Perpignan in Perpignan, France.
A self-confessed opera addict, he has written a study on the relationship between literature and lyric drama titled When Literature Becomes Opera. He is especially proud of the essays he has devoted to the works of some of the great Franco-Jewish writers of the 20th century: the novelist Albert Cohen, the philosopher Emmanuel Lévinas, the dramatist Liliane Atlan and the Nobel Prize winner, Elie Wiesel.
His English adaptation of Mme Atlan’s finest play, Les Mers Rouges, was mounted by the very popular Toronto Fringe Festival in 2005 and will eventually be made into a film for television.His essay on the novels of Elie Wiesel has been enthusiastically endorsed by the great man himself. Leonard is fully fluent in both French and English, and navigates effortlessly between the two languages and cultures.
Leonard has become a novelist rather late in life, at the ripe old age of 70! Why did it take so long? Here is how he relates his unusual trajectory: “For literally decades I had wanted to immortalize my over-the-top, larger-than-life Jewish family. They were refreshingly un-hypocritical. In fact, they were always brutally frank. They would never stab you in the back; it was always in the chest. So at least you knew where the blows were coming from. They were absolutely transparent. What you see was what you got.
“But whenever I felt inclined to sit down and actually write about them, I would begin to worry about what would happen to my academic career. As of the late 70s, Canadian, just like American universities, were becoming afflicted with the neurosis of ‘Publish or Perish.’ In order to rise through the ranks, I simply had to concentrate on my scholarship and leave novel writing on the back burner.
“Once I retired, however, I had no more excuses. My immediate family and friends got after me to finally put down in writing all the tantalizing, scandalous stories I had been relating to them for years about the extended family of my childhood. So I sat down and started working on the novel in earnest.
“I had written a few chapters way back in 1982, twenty-six years earlier. At that time, all I intended to do was to make fun of my relatives and throw in some sex into the story for good measure. When I returned to them so many years later, my attitude had, by then, changed radically. I felt a deep empathy towards them. I could no longer mock them. Instead of making my readers laugh at them, I wanted my readers to laugh with them. I still wanted my novel to be hilarious, but I wanted it to have poignancy, too. Hence the title, Getting Enough.
“It’s the story of a group of individuals from the same family who are desperate for emotional and spiritual fulfilment but go about seeking it the wrong way. They get short-circuited by their erotic cravings. Rubbing epidermises is not the same thing as being in love with another human being.
“The two main characters, at least, come out stronger and better people. Once they stop typecasting one another, they can move towards a loving reconciliation after 26 years of an acrimonious, hate-ridden marriage.
“Now that I have written my first work of fiction, I would love to continue. When you create a novel, you experience the thrill of roaming, untrammelled, within your imagination. The sense of freedom is boundless. You are absolute master of the world you are building. And what is so wonderful is that by creating imaginary destinies you can see more clearly into yourself and our whole human condition.”
Howard Shrier was born and raised in Montreal, where he earned an Honours Degree in journalism and creative writing at Concordia University. He has worked as a writer for more than thirty years in a wide variety of media, including print, magazine and radio journalism, theatre and television, sketch comedy and improv, and high-level corporate and government communications. His critically acclaimed first novel, Buffalo Jump, which introduces Toronto investigator Jonah Geller, won the Crime Writers of Canada’s Arthur Ellis Award for Best First Novel. The sequel, High Chicago, won the Arthur Ellis for Best Novel of 2009, making Howard the first author in the history of the awards to win both back to back. Boston Cream was published to rave reviews in 2013, including starred reviews in Publisher’s Weekly and the Library Journal. Miss Montreal, the fourth Geller book, is due out May 14, 2013. All the Geller books are published by Random House Canada and have been optioned for television by Toronto-based Media Headquarters. Howard is also the author of one standalone thriller, Lostport (2011). He now lives in Toronto with his wife and sons and is working on a new novel set in Montreal in 1950-51. He also teaches writing at University of Toronto’s School of Continuing Studies. He plans to write a longer bio when he needs to procrastinate a bit more.
