Let everyone go!

Everybody go!


Not a pretty novel! We are in the guts, the sweat, the blood, against a backdrop of cruelty and spinelessness. But who will triumph?

It is a time of warnings, which is often annoying. Hence the urge to raise eyebrows at the “Editor’s Warning” that precedes the start of Traphole Territory.

He indicates that the novel contains scenes of violence and discriminatory remarks, unrelated to what the authors and publisher think. Of course, isn't this fiction? And then, we are strong!

But we quickly realize the relevance of the opinion: Territoire de trappe tells about a hunt without morals and without pity. It shoots, mutilates, dismembers, attacks; it bleeds, screams and groans; it is crude and rude. No respite for the sensitive!

This bloody story, however, keeps us hooked as it exposes the madness of men who abuse their privileges and fear to be stripped of them. What is the madness of other men responding to who cry vengeance without caring about the consequences?

Let everyone go!


The story takes place at the beginning of the 20th century, in a region of northern Quebec so isolated that a mayor can lay down his law there and the priest disguise that of God. The villagers keep quiet. 

In this month of December, trappers return to celebrate Christmas; Leon can't wait to be reunited with his family. He does not know that his wife died of consumption a few months earlier and that Rose, his daughter, recently drowned in the Platte, a shallow watercourse. 

Thanks at Rose's diary, he learns that the mayor abused her and everyone turned a blind eye. Leon's anger is immense: may the culprits be punished, may the village become a tomb!

But Leon has an enemy: Reth, with whom he was hunting not long ago. He decides to side with the mayor, just to pocket a bonus if he delivers Léon and his allies. But since each side knows how to target and attack, the confrontation will last a long time.

So we come across brutes — which Leon is as much as the others — and even more cowards in this Territory hatch. With their mocking tone, Sébastien Gagnon and Michel Lemieux gradually lead us to ask ourselves the question: basically, who deserves to get out of this?

But implicitly there are women: after all, isn't it for their honor that this great slaughter unfolds? In fact, it is better for them to rely on themselves to save themselves.

Thus Yvonne, the solid teacher who, “married to a bad man, was made a widow by her own means”, and of Rita who shoots an archery and is fooled by no one despite her 16 years.

They are the light of this cynical novel where finally, the lucidity eclipses the announced hardness.