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The Loved and the Lost
Book by Callaghan, Morley
Paperback
First published January 1, 1951
3 people are currently reading
89 people want to read
About the author
Morley Callaghan
82 books48 followersEdward Morley Callaghan was a Canadian novelist, short story writer, playwright, and TV and radio personality.
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Displaying 1 - 15 of 15 reviews
January 9, 2012
I can't count the number of times that I've tried to read this book, but I finally made it through. The setting of the book - racial segregation and attitudes in Montreal in the middle of the twentieth century - was extremely interesting. I loved the character of the young white woman who was fascinated by "black" music and culture, but whose refusal to see black and white as different made her unpopular with both groups.
But the main character, the reporter through whose eyes we hear the story, was totally dull and unappealing, and the writing style was difficult to get past. I don't think there was ever a point where I gave myself up to the writing ... I felt every painstaking word as it came off the page.
Amazon describes The Loved and the Lost as "deceptively simple", but I think it's less simple and more dry and unemotional, with a bummer of an ending. It's one of those works that you appreciate rather than enjoy.
But the main character, the reporter through whose eyes we hear the story, was totally dull and unappealing, and the writing style was difficult to get past. I don't think there was ever a point where I gave myself up to the writing ... I felt every painstaking word as it came off the page.
Amazon describes The Loved and the Lost as "deceptively simple", but I think it's less simple and more dry and unemotional, with a bummer of an ending. It's one of those works that you appreciate rather than enjoy.
November 12, 2012
This novel is worthy of the Governor General's Award. Social commentary on gender, race and power. Extremely well written with a plot line that will keep you rapt until the end of the book. Fabulously Canadian and at points it will make you question your morals in a society that still discriminates to this day. This is definitely a re-read for me, its too deep for just a once over, but still thoroughly enjoyable!
March 25, 2020
A clever and insightful exploration of 1950s racism and sexism through the battle between a person’s identity and the imposition of others’ ulterior perception. Peggy is a first-generation Manic Pixie Dream Girl tragically caught in a web of assumptions about who she is and what she wants. Even the most perceptive around her — narrator Jim McAlpine — cannot help but paint her with motivations that say everything about him, and little about her. Racial politics may have changed since this novel was published, but Callaghan’s insight into how confidently we apply assumptions to others remains timely.
February 21, 2021
I really thought this was super. You can see this Montreal as sleazy but also as beautiful and timeless. Great, underrated Canadian novel. Makes you wonder why some books become known and others languish in the back of the collective imagination. Callaghan deserves more eyes on his works. One of the best Canadian writers that we have had.
March 1, 2025
I am using in my database the cover of a different edition from the one that I read of "The Loved and the Lost" because it better reflects the a sordid and tawdry nature of the novel.
The heroine is Peggy Sanderson a free-spirited young woman living in Montreal just after the end of WWII who continually seeks out the company of black males. The male characters whatever their colour find her alluring and spend a great deal of time speculating about who she is sleeping or not sleeping with. The majority of characters of both the black and white communities dislike her. Peggy Sanderson is simply ignoring the rules. The author announces early on that she is like Joan Arc in that she disrupts the existing order and thus is doomed to die.
I am somewhat surprised that this trashy novel received the Governor's General Award of 1951. I speculate that the jury felt that, based on his earlier works, Callaghan merited the prize and gave it to him when they had an opportunity..
It helped that in 1951 the subject of racism was very topical. The US civil rights movement was ramping up. The discrimination and barriers were still very important. Most American states still had anti-miscegenation laws making mixed race marriages illegal and would continue to do so until 1967 when the Supreme Court would strike them down. In Canada no laws were on the books but the social sanctions against marriages involving blacks and whites were very severe.
The first problem for me is that Peggy's story is far from the dominant debate of the Civil Rights era. Peggy is a non-conformist who is sympathetic to the blacks but who has no articulated political program. Unlike the whites in the American civil rights movement (for example those in the NAACP), the whites in Callaghan's novel have no clear rules or protocols for socializing with people of African descent. They simply choose be secretive. Peggy has a tragic lack of discretion. She dies a violent death like Desdemona or the wife of O.J. Simpson.
"The Loved and the Lost" proceeds in a certain logical fashion but lacks authenticity. The black community was miniscule in the 1950s in Toronto where Callaghan lived. Presumably for this reason he chose to set the novel in Montreal which at the time had a larger black population. His descriptions however ring false.
Like most GR reviewers I feel that the biggest problem with the novel arise from its highly improbable and artificial protagonist Jim McAlpine. Having decided to resign as a history professor from the University of Toronto, McAlpine arrives in Montreal where Joseph Carter the owner of a newspaper offers him an excellent salary to become a columnist. Carter's daughter Catherin falls in love with him and his future seems assured. However, he then proceeds to run after the racy Peggy Sanderson. Peggy's death will attract sufficient attention to McAlpine to end his relationship with Catherine and cause father Carver to dismiss him. Unfortunately, McAlpine has neither the qualities of a professor or a newspaper columnist. His pursuit of Peggy and his blindness to the inevitable consequences are inexplicable. Worst of all, McAlpine is so dull that the reader cannot understand why either Peggy or Catherine are interested in him.
"The Love and the Lost" is irrelevant as a commentary on the social barriers facing Blacks in North America in the 1950s. As a love story it fails. The redeeming quality is that it tells very effectively the old tale of how a woman with no other sin that to be attractive to men comes to a violent end.
The heroine is Peggy Sanderson a free-spirited young woman living in Montreal just after the end of WWII who continually seeks out the company of black males. The male characters whatever their colour find her alluring and spend a great deal of time speculating about who she is sleeping or not sleeping with. The majority of characters of both the black and white communities dislike her. Peggy Sanderson is simply ignoring the rules. The author announces early on that she is like Joan Arc in that she disrupts the existing order and thus is doomed to die.
I am somewhat surprised that this trashy novel received the Governor's General Award of 1951. I speculate that the jury felt that, based on his earlier works, Callaghan merited the prize and gave it to him when they had an opportunity..
It helped that in 1951 the subject of racism was very topical. The US civil rights movement was ramping up. The discrimination and barriers were still very important. Most American states still had anti-miscegenation laws making mixed race marriages illegal and would continue to do so until 1967 when the Supreme Court would strike them down. In Canada no laws were on the books but the social sanctions against marriages involving blacks and whites were very severe.
The first problem for me is that Peggy's story is far from the dominant debate of the Civil Rights era. Peggy is a non-conformist who is sympathetic to the blacks but who has no articulated political program. Unlike the whites in the American civil rights movement (for example those in the NAACP), the whites in Callaghan's novel have no clear rules or protocols for socializing with people of African descent. They simply choose be secretive. Peggy has a tragic lack of discretion. She dies a violent death like Desdemona or the wife of O.J. Simpson.
"The Loved and the Lost" proceeds in a certain logical fashion but lacks authenticity. The black community was miniscule in the 1950s in Toronto where Callaghan lived. Presumably for this reason he chose to set the novel in Montreal which at the time had a larger black population. His descriptions however ring false.
Like most GR reviewers I feel that the biggest problem with the novel arise from its highly improbable and artificial protagonist Jim McAlpine. Having decided to resign as a history professor from the University of Toronto, McAlpine arrives in Montreal where Joseph Carter the owner of a newspaper offers him an excellent salary to become a columnist. Carter's daughter Catherin falls in love with him and his future seems assured. However, he then proceeds to run after the racy Peggy Sanderson. Peggy's death will attract sufficient attention to McAlpine to end his relationship with Catherine and cause father Carver to dismiss him. Unfortunately, McAlpine has neither the qualities of a professor or a newspaper columnist. His pursuit of Peggy and his blindness to the inevitable consequences are inexplicable. Worst of all, McAlpine is so dull that the reader cannot understand why either Peggy or Catherine are interested in him.
"The Love and the Lost" is irrelevant as a commentary on the social barriers facing Blacks in North America in the 1950s. As a love story it fails. The redeeming quality is that it tells very effectively the old tale of how a woman with no other sin that to be attractive to men comes to a violent end.
November 26, 2024
In 1950 Morley Callaghan wrote The Loved and The Lost, considered his "finest and certainly his tenderest, novel". The story takes place in Montreal, Canada after WWII, and features young professional men who share food and drinks at downtown bars/city clubs. Giving up a position as an academic in Toronto, Jim McAlpine relocates, find old friends, meets new people and falls in love. Trouble among those old timers and newcomers is stirred up along black/white color lines and those who try to smooth things out get hurt, one dies.
March 14, 2025
This was a fantastic book. I was captivated the whole time, at first falling in love with the main characters only to grow frustrated and annoyed with them as the story went but I think that's the point, to be confronted with these situations and to dislike how people react to it all. Peggy was the only character that I ended up enjoying and everything at the end was just so tragic but I highly recommend this to anyone curious.
I felt like I was reading a literary classic as I was going through this and it really made me want to read more from Morley Callaghan.
I felt like I was reading a literary classic as I was going through this and it really made me want to read more from Morley Callaghan.
July 23, 2023
Published in 1951 with definite 1940’s tone ..I felt at times I was watching a 40s movie with some of the dialogue. The scenes of old Montreal were dramatic,
The ‘situation’ with Peggy unsettling.
This book a great find at the library for a dollar, and large print as a bonus.
The ‘situation’ with Peggy unsettling.
This book a great find at the library for a dollar, and large print as a bonus.
March 4, 2018
Pretty boring and corny
September 11, 2023
Interesting look at racism in 1950s Canada
May 4, 2022
От домашната библиотека на нашите ми попадна този роман от слабо известен или позабравен канадски писател. Харесан обаче от издателство Народна младеж през 1970-те. Морли Калахан. В Канада може и да не е забравен. А е възможно даже да се е върнал на мода предвид темите, които са го вълнували. Стига да са го пропуснали чувствителните уоук филтри на 2020-те. Конкретно темата за „защо биете негрите“ през различните етапи на европейския колониализъм и в частност – британския – и по различните континенти и доминиони за мене е от постоянен интерес. Като небалансирано повече впечатления от литература и собствени наблюдения съм добил върху Африка. А в Канада?
Първото любопитно наблюдение изскочи още в първата глава: между думите „черен“ и „негър“ политически коректната е „негър“, а „черен“ - обидната! В Монреал в началото на 1950 те. Расово-социалният разрез на Квебек за периода е съвсем правилна пирамида. На върха – икономически и интелектуален – комфортно се разполага английският елит. Под него е френската средна класа, от която нищо не зависи, но се чувства доволна, без да се налага да бъде забелязвана. Освен при бой със стикове на хокейната пързалка. Под нея е френската работническа класа, която седи едно ниво над черната единствено заради илюзията, която дава бялата кожа за възможна социална мобилност. Нагоре – към хокея и елитните квартали в подножието на планината, а не надолу към нощните заведения около Сен Антоан, където свирят негърските бендовете и кипи купонът. И където за междурасовите сбивания даже не са нужни стикове.
На този фон романът е една любовна история (в едната посока – от пръв поглед), но такава, от която нищо добро не би могло да излезе. Между двама досадници, чието място (или поне неговото) според очакванията на околните, включително - третия ъгъл на триъгълника, е на върха на пирамидата. Той обаче въплъщава една от най-неприятните за мене форми на човешко поведение – да си досаден и да не схващаш „не“ от първия път. Нито на езика на думите, нито на езика на тялото. А тя се опитва да реши световната несправедливост и в частност - расовата сегрегация - с детинско (за времето си!) социално поведение, затваряща сетивата си за „не“-та на всички езици от всички възможни посоки. И раси. Някои ревнуват, д��уги ги презират, трети завиждат, четвърти просто се боят за бизнеса си. А те и двамата се мотивират преди всичко да спасят някого от неговия собствен свят, но без да бъдат помолени. Тя – негрите, той – нея.
Второто любопитно наблюдение е от началото на 2020-те. В същия (!) момент, в който се зачетох в хартиена (!) книга за Монреал, в една от социалните мрежи на телефона получих предложение да се френдна със стар познат от Монреал, с когото не бях имал връзка повече от 20 години.
Първото любопитно наблюдение изскочи още в първата глава: между думите „черен“ и „негър“ политически коректната е „негър“, а „черен“ - обидната! В Монреал в началото на 1950 те. Расово-социалният разрез на Квебек за периода е съвсем правилна пирамида. На върха – икономически и интелектуален – комфортно се разполага английският елит. Под него е френската средна класа, от която нищо не зависи, но се чувства доволна, без да се налага да бъде забелязвана. Освен при бой със стикове на хокейната пързалка. Под нея е френската работническа класа, която седи едно ниво над черната единствено заради илюзията, която дава бялата кожа за възможна социална мобилност. Нагоре – към хокея и елитните квартали в подножието на планината, а не надолу към нощните заведения около Сен Антоан, където свирят негърските бендовете и кипи купонът. И където за междурасовите сбивания даже не са нужни стикове.
На този фон романът е една любовна история (в едната посока – от пръв поглед), но такава, от която нищо добро не би могло да излезе. Между двама досадници, чието място (или поне неговото) според очакванията на околните, включително - третия ъгъл на триъгълника, е на върха на пирамидата. Той обаче въплъщава една от най-неприятните за мене форми на човешко поведение – да си досаден и да не схващаш „не“ от първия път. Нито на езика на думите, нито на езика на тялото. А тя се опитва да реши световната несправедливост и в частност - расовата сегрегация - с детинско (за времето си!) социално поведение, затваряща сетивата си за „не“-та на всички езици от всички възможни посоки. И раси. Някои ревнуват, д��уги ги презират, трети завиждат, четвърти просто се боят за бизнеса си. А те и двамата се мотивират преди всичко да спасят някого от неговия собствен свят, но без да бъдат помолени. Тя – негрите, той – нея.
Второто любопитно наблюдение е от началото на 2020-те. В същия (!) момент, в който се зачетох в хартиена (!) книга за Монреал, в една от социалните мрежи на телефона получих предложение да се френдна със стар познат от Монреал, с когото не бях имал връзка повече от 20 години.
March 3, 2016
To a certain degree, Peggy reminds me of other literary women, Naomi (Junichiro Tanizaki), Mildred (W. Somerset Maugham), The Last Duchess (Robert Browning), in that she does break the men she interacts with, however, these men break only because they are unable to live up to their own ideals when Peggy puts them to the test. They become embarrassed around her as if realizing that they are defined by their choices, the sacrifice between reaching their goals and remaining uncorrupted.
Peggy is a great character, not so much in who she is, but in what she represents. Even we as readers understand the pain of Jim McAlpine, as we continually are unable to live up to our own childhood ideals. We have all compromised ourselves, even as we have accepted new, and hopefully better, ideals. She forces us to acknowledge our of hypocrisy and our own shame.
Peggy is a great character, not so much in who she is, but in what she represents. Even we as readers understand the pain of Jim McAlpine, as we continually are unable to live up to our own childhood ideals. We have all compromised ourselves, even as we have accepted new, and hopefully better, ideals. She forces us to acknowledge our of hypocrisy and our own shame.
August 7, 2008
Canadian take on black / white relationships.
February 25, 2014
Really made me miss Montreal. Had a weird kind of limited 3rd-person POV that hopped from person to person weirdly (I know I'm repeating myself but it's weird ok?). Good though.
November 10, 2013
While the theme was significant and thought provoking, I felt its delivery to be dry.
Displaying 1 - 15 of 15 reviews