Céline grew up in a crowded tenement in Montreal. Her neighbourhood may have been in a rough area, but the sense of community was very strong. At the age of 16, her life suddenly took an unexpected turn. Her charming but elusive father, a small-time gambler, got into trouble and had to relocate the family to a remote place in the far north of British Columbia in Canada, 3,000 miles away. During the long train ride that took her across the country to her new fate, Céline had plenty of time to reflect. Overnight, her academic ambitions were dashed. After losing her home, her friends, her French language and culture, she had to start all over again. This involved learning a new language, English, and reluctantly adapting to a wholly different way of life. Her sense of isolation first inspired her to write. And yet this was only the start of her travelling experiences and resettlement. She has since lived and worked as a scriptwriter in Vancouver, Los Angeles and London and travelled far and wide. She now resides in North London with her partner, Peter. Glaston Town is her debut novel.
In her youth, Céline had a wonderful time in the film industry, both in Vancouver and Los Angeles. First, working for the Canadian Broadcasting Corporation, then moving to feature films in Hollywood. Among the screenplays she wrote, City on Fire, a so-called disaster movie, which starred Ava Gardner, Henry Fonda, Leslie Nielsen, Shelley Winters and Susan Clark, and an adaptation of Gerold Frank’s novel Judy. The latter brought her to the attention of film director Ronald Neame, who directed Garland in her last picture I could go on singing. Neame and La Frenière formed a production company and developed several screen projects together. Among them, a British romantic comedy entitled Foreign Body, which starred Victor Banerjee, Trevor Howard, Warren Mitchell, Geraldine McEwan, Denis Quilley, Amanda Donohoe, Anna Massey and Stratford John, and which she adapted for the screen. Those were exciting times, travelling from film sets, to premieres and festivals.
Much as she appreciated her years in Hollywood, Céline does not miss the glamour. These days, she takes pleasure in writing at home. Creating Glaston Town was a labour of love. She will continue to write novels as long as people want to read them.
Extract from the pages of Glaston Town:
CHAPTER 41
The loss of innocence
Cynthia Casey has grown from childhood into womanhood overnight. She hasn’t lost her virginity, but she has lost her innocence. Fifteen is a vulnerable age. Sometimes, a girl will act grown-up and flirt with danger, then quickly revert back to being a child who seeks protection from things that are too much to cope with.
At fifteen, such behaviour might be understandable, but some women never grow out of that stage. Take Karen Thibault, the middle-aged seamstress who lives on the top floor of the Radford building, for example. Here is a grown woman who cannot take the heat. Cynthia watches Mrs. Thibault as she drags a trolley full of mending through the corridors of the Radford building with the help of her daughter, Lucy. “I can’t live in this hellhole anymore,” she moans.
“But where would we go, Mother?” asks Lucy.
“There’s got to be somewhere else.”
“Like what? The Dorchester Hotel?”
“What about the rest home?”
“Not again,” says Lucy. “You’ve been there so many times they’ll start wondering whether you might have lost your mind altogether.”
“Oh, my dear Lucy, I am so tired. I just cannot take it anymore.”
“You’ll feel better tomorrow,” Lucy assures her.
“No, I won’t,” says Karen. “One day, I’ll just explode.”
“You have to become more realistic, Mother. We’re not rich people. We cannot just pack up and move away. We simply have to do the best with what we’ve got.”
“And what’s that, then?”
“A nice flat in Glaston Town at an affordable price and yes, it comes with a troublesome neighbour.”
“That wretch is ruining my life!” Karen howls.
“She’s not ruinin