I grew up reading these short stories, and my well-worn copy, whose cover I lost years ago, can attest to that. The themes in LM Montgomery's stories are always the same: births, marriages, deaths; love, redemption, jealousy, betrayal; all told against the backdrop of her beloved Prince Edward Island. I love the characters as much as I love the red sandstone cliffs and stormy seas of the Island, even if they are often the same archetypes in different forms. This author, more than any other person, formed and fed my deep love for words, and even as an adult, when I can criticize the repetition, the tropes, and sometimes the overwrought tragedy and emotion of the tales, I still feel a deep sense of nostalgia and love for her works.
However, I had to drop the rating of this book for two stories, "The Education of Betty" and "Tannis of the Flats." I was, quite frankly, appalled by each, and for different but perhaps equally egregious reasons. Here they are:
"The Education of Betty" should rather have been called "Grooming." In it, an old bachelor takes it upon himself to educate an old friend's ten year-old daughter, only to promptly marry her the second she turns eighteen. Here are some choice excerpts, written in first person from the predator's point of view:
"As I had premised, Betty was good material, and responded to my training with gratifying plasticity. Day by day, week by week, month by month, her character and temperament unfolded naturally under my watchful eye. It was like beholding the gradual development of some rare flower in one's garden. A little checking and pruning here, a careful training of shoot and tendril there, and, lo, the reward of grace and symmetry!"
"Although I was a crusty old bachelor, I approved of girls, holding them the sweetest things that good God has made."
"Betty had learned that she must consent to whatever I decreed, even when my decrees were opposed to her likings . . . [b]ut Betty had acquired confidence in me to the beautiful extent of acquiescing in everything I commanded."
Once Betty has spent a year in finishing school, and come back to the "crusty old bachelor," he is delighted to find that she has become "a woman!", changed completely from a wild girl to a demure lover. Of course, turns out she has always loved him, and theirs is one of happy ever after.
This is supposed to be a love story. I found it creepy AF. I read with horror as he bends the child to his will, literally training her to be the woman he wants her to be, forcing her dependence on him, and then chasing all of her suitors away so that he can have her for himself. It's written as a light-hearted love story that obscures a more sinister one of a child whose free will is utterly broken by a man more than twenty years her senior, who literally grooms her to become his ideal, and pounces on her the moment it is legal.
It was a super gross story. It gets zero stars.
Even after reading about poor Betty, I was still utterly unprepared for the last story about Tannis, a Native woman whose unrequited love for a white man leaves a wake of tragedy behind her. It is told from the viewpoint of an unknown narrator who lives in Avonlea, even though it takes place in the "West," in northwestern Canada. We don't know the narrator's name, age, or gender, only that they are telling the story third-hand.
The story itself is an ugly one, riddled with racist tropes, caricatures, and white colonial narratives about culture and race. Perhaps Montgomery gives the story to a rough-edged narrator to more fully vent the "wildness" of the landscape, even though it is told from the safety of a "civilized" Eastern (white) vantage. Either way, the vocabulary, descriptions, and stereotypes of Native peoples and their culture are deeply disturbing. Derogatory language like "half-breeds" and "pure bloods" are used to distinguish between mixed-race people and white people, and also to make clear the differences in culture as well as morality and virtue between the two. Tannis is sent as a young woman to a white finishing school, but comes back "with a very thin, very deceptive, veneer of culture and civilization overlying the primitive passions and ideas of her nature." When she learns that the white man she loves does not love her, she trembles "with all the passions of her savage ancestry." The Native man who who has long pursued her is nonetheless angry and jealous, and we are assured that "[t]here is no worse enemy in all the world than a half-breed. Your true Indian is bad enough, but his diluted descendent is ten times worse."
It ends, as you might surmise, in a drunken brawl; the white man nobly tries to intervene, the Native "half-breed" shoots him dead.
Here is the thing: Tannis is the heroine of this story. As a white audience, we are to admire her "wild" beauty and her "passions," even as we are told that they are racially inherited and that as members of the "dominant race," we must only admire them from afar. The tale is tragic because Tannis did not understand, as we are meant to, that "religions might mingle, but the different bloods – ah, that is not the right thing!"
The "noble savage" is a trope that is written into many of our stories told to justify the colonization of Native land and the genocide of Native people on this continent, stories white people continue to repeat to themselves today. As colonizers, white people are still not done turning Native people into caricatures, one-dimensional (even when we are trying to be positive, flattering). I've seen it in the Natural History museum in New York City and the Jamestown settlement in Virginia; I recognize it in the many lies we tell about Native Americans during Thanksgiving and in the costumes people wear on Halloween. It makes it easier for us to brush aside the fact that the history of our countries is one of genocide, our oldest sin. It makes it easier to avoid grappling with the idea that most white people will never meet a Native American today. Native Americans are still working to overcome the racist stories white people continue to tell about them.
So, this story gets negative a million stars. And all my childhood love and nostalgia for LM Montgomery can't atone for it.