In slightly more than a decade of sustained productivity, Michel Tremblay created no less than eleven plays set in the working-class environment of east-end Montreal. With the advent of Damnée Manon, sacrée Sandra, he announced that the collection was in fact "un premier cycle" and now complete. The series comprises Les Belles-Soeurs (1968), En pièces détachées (1969), La Duchesse de Langeais (1969), Troit Petits Tours (1969), Demain matin, Montréal m'attend (1970), A toi, pour toujours, ta Marie-Lou (1971), Hosanna (1973), Bonjour, là, bonjour (1974), Surprise! Surprise! (1975), Sainte Carmen de la Main (1976), and Damnée Manon, sacrée Sandra (1977). Tremblay's failure to clarify his intentions at the outset has led critics to treat the scripts in piecemeal fashion; and no comprehensive analysis of the cycle has appeared since the playwright underscored its coherence. As a modest and preliminary step in this direction, it may be useful to identify one of Tremblay's...