Quietly Quebec: French Canadians in Vermont

I’ve been thinking lately about two seemingly unconnected conversations. The first was with a friend, an immigration lawyer, who said that since Canada passed Law C-3 her business has been overrun with Americans applying for Canadian citizenship (C-3 eliminates the “first-generation limit”). The second conversation was with another friend who is married to a rural-born Quebecer who grew up in a lively farm family. She was observing how his family events were centred around the kitchen, not the living-room or parlor. Meals were served on the kitchen table and after a big feast, like Easter, everyone would push back their chairs to the walls and then the afternoon would be filled with conversation. For me there was a resonance in what she was saying.

In the 1950s, in the hills of central Vermont, I was told I was growing up in “Yankee” country. The word rolled easily off adult tongues, summoning a picture of stone walls, maple sugaring, town meetings, and old leathery New England families who had been there forever. I hadn’t been, but that’s incidental to this story. When I think back, when I really replay what went on in those school corridors, walk into those kitchen-shed entrances, and sit at the kitchen tables in my mind, what I see and hear feels far less purely “Yankee” and much more like a quiet, unacknowledged extension of rural Quebec.

An amusing (and unlikely) pair – a Peugot 504 (vintage 1950s) and a much earlier Ford truck – placeholders for French/Yankee duality – in the apple orchard of an old Vermont hill-farm (photo taken 1972).

Many of my classmates were not Yankees at all. They were the children of Quebecers, families who had moved south over the border in search of work, trading rocky Quebec farm fields and the poor economy for Vermont’s mills and small factories. Their parents still spoke French at home, still had filet crocheted bible scenes on their walls, still crossed themselves instinctively, still held onto Catholic feast days and family rituals, even as their children sat beside me behind desks reciting the Pledge of Allegiance in English.

The geography encouraged a kind of illusion. Compared with Quebec, with its broad St. Lawrence valley and wide fields, most of Vermont is hill country. The farms that still existed in those days were small and coughed up a lot of rocks, more a patchwork of cleared land between forests than the sweeping agricultural vistas one imagines when one says “farm.” Yet many of the people working those small farms, or supplying labor for the mills, had roots that ran straight back to Quebec. On paper, in town histories and news-stories, it might have been called “Yankee Vermont.” On the ground, it was something more complicated: a hybrid of old New England and transplanted rural Quebec, stitched together by rivers, roads, and the hum of machinery.

The mills were the real magnets. They were scattered along Vermont’s rivers, some still visibly tied to the old water power era with raceways and old brick, others already retooled and electrified. In those years, they wove cotton and wool cloth, most of it rough, and a little further south (along the larger rivers) manufactured industrial parts. They were not glamorous places, but the work was steady, and they needed hands. Hands came from the hills and from across the border.

So, in my grade school classroom, many of the desks were filled with kids whose grandparents had been farmers in Quebec, whose parents now worked for businesses in the town or the mills that bordered it. Many of them bore names that had been smoothed into English, as if the crossing of the border had required passing through a kind of linguistic customs warp. A “Leblanc” became “White.” Sometimes the change was deliberate. Other times, it seemed to have been imposed by immigration bureaucrats who simply wrote what they could pronounce. It was as if the name itself had to be pushed into shape to fit the idea of America. I knew the drill.

Late spring and scrounging up the dregs of the woodpile.

Some of my friends embraced that shaping. They practised their English carefully, and worked hard, as I did, to appear fully “American.” When you’re a child, you are acutely aware of the small signals that mark you as different, and you quickly learn to sand down those edges. When we were older we learned to call it racism. Others, though, held on to more of their ancestral life. They disappeared from play on certain feast days, learned their catechism, and later, in adolescence, you might see them slipping off to the large Catholic church that we never entered. Their houses felt different when you stepped inside: religious images on the walls, perhaps a rosary hanging from a nail, and often a sense that English was something you spoke for the outside world, not in the kitchen.

Coming back to the kitchen and my friend’s description of her husband’s family gatherings. To me it always felt like the kitchen was the next room after the shed. First you went through the shed, a kind of transition area that had the sweet smell of split drying wood, moist earth, and wet wool. Then the was the warm kitchen, with a stove crackling and the smell of food being cooked.

But what really registered with me was pushing the chairs back, making a ring of people rather than a scattered group. I always liked being there. At the time, I understood those families as simply “farm families,” (though that wasn’t the way my parents described them). Only later did I understand how many of them were not just “country people,” but Quebecois by origin, bringing with them patterns of family life shaped north of the border.

Of course, we did not have the language of “Franco-Americans” or “diaspora” for this; the word that floated around instead was “Frenchies,” often used with a derisive and mean edge. It was the sort of racist nickname that passed as normal in those days. The implication was that the “real” Vermonters, the real Americans (which I felt excluded from too), were the Yankees, and the “Frenchies” were a kind of tolerated, but alien, presence. Yet, in reality, Quebec immigrants made up a large portion of the local population – fifteen to twenty-five percent, by some estimates – and their influence seeped into the “Yankee” culture.

As a child, I absorbed both the prejudice and the intimacy without fully understanding either. I heard the jokes and the slurs, but I also knew that the kid sitting next to me with a “funny name” (like mine!) was the one I skied with after school, or the one whose mother handed me a plate of food when I was a visitor. The contradiction was simply part of the air we breathed. We were caught between the received story – Vermont as a bastion of old Yankee stock – and the lived reality of a mixed, evolving community where Quebec was a silent but important part of the mix.

Lately, hearing about law C‑3 and how it has opened the door for Americans with a Canadian parent or grandparent (or even further back) to claim Canadian citizenship, I find myself thinking about those classmates and their families. Many of them, I suspect, would now qualify to move back up here with little trouble. What strikes me is how, in the 1950s, the direction of movement was almost entirely one way: people came from Quebec to Vermont to work, to be American, to give their children a future “down south.” The border itself felt more like a one-way bridge than a shared threshold. Now, that’s changed.

With C‑3, the current is running the other way. Americans are trying to reclaim or confirm a Canadian identity they only vaguely knew they had before, or even tried to conceal. Underneath the legal arguments – who qualifies, what documents are needed, how far back descent can run – I sense an echo from my childhood days. The law is new, but the story is old: families shifting across the invisible line that cuts through the hills and fields, children caught between languages and loyalties, names bending to fit whichever side of the border they find themselves on.

For me I’m much more aware now that the most striking realization is not just that Vermont in the 1950s was more French Canadian than anyone wanted to admit, but that the ways people tried to appear “American” were often layered on top of habits and values that remained stubbornly, quietly Quebecois. The kitchen as the centre of family life. The chairs pushed back to make room for talk. The insistence on gathering everyone around a table, not just for the meal, but for the hours afterwards, when stories and teasing and small arguments stitched a family and friends together.

In retrospect, that gesture of pushing back the chairs feels almost like a metaphor for the whole period. Publicly, the chairs of identity were lined up neatly: Yankee, American, English-speaking. Privately, inside the kitchens, they were rearranged, pushed back to the walls, making space for another way of being together – more communal, more rooted in the rhythms of Quebec than the official story would allow. I grew up in that in-between space, in some ways wanting to believe I was part of “Yankee Vermont” while actually feeling more comfortable sitting in kitchens surrounded by people whose lives had been shaped by the culture of where is my home now.

Now, as Americans look north for citizenship rights and legal recognition, I find myself looking back instead – back to those kitchens and classrooms full of children with anglicized names and hidden bilingual homes. The border that seemed so definitive on maps was far more porous than we were taught. We didn’t then have the words or the awareness to describe it.

Posted in Canada, Québec, Vermont
Tags:

The Ghosts of Chapultepec

Mexico City skyline with Chapultepec Castle, center.

Each time we’ve visited Mexico City we’ve moved between different neighborhoods. This trip we settled down in a decidedly affluent section, called Polanco, which borders on Chapultepec Park. The park is a huge, mostly forested space, which occupies an important position in the city. Physically it’s roughly in the center of the metropolis, but historically it has a long narrative that is hidden from the casual eye.

A Snowy Egret in one of Chapultepec’s lakes.

Walking through it has an eerie feeling. Yes, it’s inhabited by a lot of public buildings and institutions, but lurking under the surface there’s more to it. Walking under the tall trees of Chapultepec, there’s a feeling of ghosts watching you. Today it’s full of families, street vendors, and paddle boats, but the paths weave through a landscape shaped by invasion, survival, and resistance. The Spanish conquest is there, written into the stones, hills, and trees,

A sacred hill turned seat of power

Seen from the vantage point of the Castle, the park occupies a central position in the city.

Long before the first Spanish soldiers saw the Valley of Mexico, Chapultepec Hill was sacred ground for the Mexica (Aztec). It was a royal retreat, a place of springs and ahuehuete trees (a type of cypress) where rulers came to rest and perform ceremonies. When the Spanish invaded, this forested hill became part of the battlefield of 1521, and later, the perfect lookout from which to control a conquered city.

Chapultepec Castle, which now crowns the hill, was built in the 18th century as a symbol of colonial and later national power. Seen from below, the fortress on the skyline is a reminder of how Spanish rule tried to place itself above the world the Mexica had built. Yet the forest at its feet, still filled with life, recalls a much older relationship to this land – one rooted in water, trees, and ceremony rather than walls and cannons.

A new city on top of an old one

The green roofs are over excavation sites of Templo Mayor, just adjacent to the Metropolitan Cathedral and the National Palace. The Zócalo (main square) is just visible in the centre right, the Cathedral spikes up above the buildings on the right, and the National Palace is the long flat building in the center, just adjacent to the the excavations.

A short metro ride from the park, the Centro Histórico makes the violence of conquest visible in stone. After the fall of Tenochtitlan, the Spanish tore down much of the Mexica capital and used its stones to build their own city. The massive cathedral that dominates the Zócalo stands where important sacred buildings once rose, its walls literally made from the ruins of temples it replaced.

The Metropolitan Cathedral towers over the Templo Mayor excavations, the walls of which are visible in the foreground.

Standing in the plaza, you can see two worlds at once. On one side, the cathedral bell towers and the presidential palace represent the institutions Spain introduced – Christianity, monarchy, and European law. On the other, just behind a low fence, the excavated ruins of the Templo Mayor reveal the foundations of Mexica religious and political life. The two sites almost touch, but they do not blend; that gap between them holds centuries of conflict, forced conversion, and survival.

Epidemics, forced labor, and broken worlds

On the third floor of Diego Rivera’s Anahuacalli Museum, the room he hoped to have as his studio. He died before it was completed, but it now stands as a foundational display of Mexico’s cultural wealth.

The Spanish invasion hit indigenous communities with more than swords and cannons. Within a century of first contact, up to 90 percent of the population in central Mexico died (plunging the indigenous population from 20-25 million people, to 1-3 million), mostly from epidemic diseases like smallpox and cocoliztli (a particularly lethal viral or mixed-cause hemorrhagic disease), made worse by famine and war. Survivors were pulled into the encomienda and later hacienda systems, where their labor and tribute supported Spanish landowners and the colonial state.

Land that had been held and worked communally before the conquest was carved up, privatized, or simply seized. Indigenous religions were suppressed, temples demolished, and a racial hierarchy put in place that unsurprising pushed indigenous people to the bottom of society. These structures didn’t disappear with independence; they laid the groundwork for inequalities that still shape Mexico today.

Everyday resistance in the present tense

As soon as the steel barriers went up around the National Palace people started covering them with graffiti as if to say “you can exclude us physically, but not our voices – we are here”.

And yet, every time you walk through Chapultepec on a Sunday or cross the Zócalo on a busy afternoon, you’re seeing another side of this history. Despite centuries of pressure, many indigenous communities have kept their spirit, languages, festivals, and communal ways of organizing land and life. People from Oaxaca, Guerrero, and beyond come to the capital to for many reasons – to work, protest, study, and sell food and crafts – at the same time bringing their cultures into the city’s plazas and parks.

The woman taking care of her child near the National Palace, the family resting under an ahuehuete in Chapultepec, the musician playing traditional melodies in the Zócalo – each of them have survived conquest, epidemics, and attempts at erasure. Their presence is a reminder that the impact of the Spanish invasion is not just a tragic past, but exists in the present.

This is what makes photography so meaningful to me here, it’s not just capturing pretty views. I see a city built on another city, a sacred hill turned fortress and subject to different battles, a people who move through streets laid out to control their ancestors that they now claim as their own through relentless protest. Five centuries after the first Spanish soldiers crossed into this valley, the story continues and is visible. I’m almost an irrelevant part of it, but still there’s a quiet remembering whose land this has always been, and the observant viewer will see it.

Posted in Mexico, Parks
Tags:

The Iztapalapa Passion Play: Walking Into 200 Years of History

Iztapalapa

Iztapalapa is one of the poorest and most densely populated areas of the Mexico City, with high levels of marginalization and crime but also intense community organization. I felt that the borough was off limits to me except for one exception: during Holy Week. I guessed that then I would probably be safe visiting because I would be a guest. So I decided to go to the borough on the eastern side of Mexico City for the 2015 Iztapalapa Passion Play. I wanted to see for myself what this part of Mexico City was like. With the Good Friday parade I knew I was stepping into something big, but I didn’t yet grasp how far back the story went. I arrived by metro, carried along by the crowd, as if the entire east side of Mexico City were flowing uphill toward Cerro de la Estrella. I didn’t know it at the time, but somewhere under the loudspeakers, plastic stools, and street food a promise that was made almost two centuries ago was being fulfilled.

Back in 1833, Iztapalapa wasn’t a massive borough of Mexico City, just a town on the edge of the capital facing a terrifying cholera epidemic. People were dying in huge numbers, and children were left without parents. In the middle of that fear, the community turned to a local image of Christ known as the Señor de la Cuevita, kept in a small sanctuary near a cave, and made a vow: if they were spared, they would honor him every year with a special act of devotion. When the epidemic finally subsided, they kept their word. A simple thanksgiving procession took shape, the seed of the Passion Play I walked into many years later.

From Procession to Drama

Standing in the crowd in 2015, squeezed between families, food vendors, police lines, and steel fences, I watched the actor playing Jesus ride into “Jerusalem” on a donkey. It was easy to imagine the play had always looked like this. In reality, the enactment has changed a lot, while keeping the borough’s vow to the Señor de la Cuevita.

Early in its history the procession began to absorb scenes from the Gospel story. Mexico already had a long tradition of religious dramas used to teach the faith, and Iztapalapa slowly made that tradition its own. By the mid‑1800s, locals were no longer just walking; they were acting out the Passion. At first the focus was Good Friday and the crucifixion, but the script expanded: Palm Sunday, the Last Supper, the trial, the Via Crucis. By the time I watched the Good Friday climb in 2015, the result was a fully formed Passion narrative spread across days and locations.

The Eight Barrios Behind the Scenes

One of the things that struck me that year was how deeply the local neighborhoods own this tradition. Iztapalapa’s eight original barrios still form the backbone of the organization. Committees choose the actors, coordinate rehearsals, handle logistics, and even resolve disputes. The people on stage are not professionals parachuted in for Holy Week; they’re neighbors, and I could feel it.

The role of Jesus goes to a young man who meets strict requirements of moral conduct, physical endurance, and community involvement. Months before Holy Week, he and the rest of the cast are already rehearsing in parish courtyards and streets, while families cut fabric and paint props in their homes. By the time the first scenes play out, the borough has effectively turned itself into a giant backstage. Watching in 2015, I realized the real performance wasn’t just on the hill. It was in every alley where someone had spent evenings sewing a tunic or reinforcing a cross.

From Cuevita to Cerro de la Estrella

The geography of the Passion Play has shifted over the years, even as the underlying commitment remains the same. Originally, the focus was the sanctuary of the Señor de la Cuevita and its immediate surroundings. Flooding and difficult conditions eventually pushed organizers to move the climactic scenes to the slopes of nearby Cerro de la Estrella in the early 20th century.

That hill wasn’t chosen at random. Long before Christianity arrived, Cerro de la Estrella was a sacred site, famous as the place where the Aztec New Fire ceremony was held every 52 years. Today’s Passion Play climbs the same hill. As I followed the Via Crucis up the hill in 2015, dusty and sweating alongside thousands of others, I felt those layers under my feet: pre‑Hispanic rites, colonial processions, and nearly two centuries of Passion Plays.

You can hear that layered history in the sounds of the day. Drums, flutes, and other sounds blend indigenous traditions with Catholic imagery. The result isn’t a museum piece; it’s a living example of how older traditions don’t disappear but get woven into newer ones.

A Local Vow on a Global Stage

By the time I showed up with my camera, the Iztapalapa Passion Play was already one of the largest Holy Week events on the planet. Loudspeakers hung from poles. Big screens helped people in distant streets follow the action. Television crews, helicopters, and rudimentary news drones turned the Via Crucis into a national broadcast. What began as a small-town show had grown into a massive urban ritual that could draw millions over Holy Week.

Yet, amid the scale and the cables, some principles have remained non‑negotiable. The cast is still drawn from local residents. The event is coordinated by neighborhood committees, not a commercial production company. The story remains anchored in the same episodes of the Passion that have been staged here for generations. Even as the city and the media landscape changed around it, Iztapalapa held on to the idea that this is a community promise, not a show for hire.

Remembering 2015 With New Eyes

Looking back on my visit now, I see more than the scenes I watched and photographed. I see the shadow of the 1833 epidemic that gave birth to the vow, the gradual evolution from simple procession to full Passion Play, and the eight barrios that have carried the story forward. I see Cerro de la Estrella both as a pre‑Hispanic altar and a modern stage, and every cross carried up its slopes as part of an unbroken chain.

The Iztapalapa Passion Play reenacts the last days of Christ, but it also reenacts Iztapalapa’s own history: its fears, its faith, and its determination to keep a promise made in the face of death. Every Holy Week I think of being there and of the people renewing their vow. Would I go back? I’m not sure, but probably not. I felt too much like a privileged gringo with a camera, even though my intentions were benign. But what I remember besides the spectacle are the small acts of kindness: the family that shared their umbrella with me in the scalding sun, and the man who gave me a bottle of water. On a person-to-person level, people were friendly. It was more me, and how I felt. I felt out of place even though I was correct that I had protection as a guest. It just didn’t feel right, but still I did it.

Posted in Mexico
Tags:

Skylines and Saints: Mexico City

If you have a choice, please view on a screen large enough that you can read the captions.

Posted in Architecture, Mexico
Tags:

Returning to an old friend: al-Andalus

We first ate at al-Andalus in 2013, on our first visit to Mexico City. A Mexican friend who had moved to Montreal told us it was her favorite restaurant in the city. We took that as a high recommendation and went. We have gone back almost every time since. But with the pandemic there was a big gap, and we skipped it on last year’s trip, so it had been nearly seven years since we’d entered its quiet courtyard and climbed up the worn stone stairs to the dining rooms. In that time al-Andalus has expanded to other locations and become a well-known brand in CDMX. The original, though, is still at Mesones 171, in a seventeenth-century colonial building in the Centro Histórico – a building that was, by local lore, the city’s first officially licensed brothel. To me it’s like a pilgrimage.

The open entrance in the center of the photo is where you enter al-Andalus.

That the restaurant sits on Calle Mesones is no accident. The street’s eastern stretch, running toward the old La Merced market district, has been the center of Arab commercial life in Mexico City for well over a century. Lebanese immigrants began arriving in the second half of the nineteenth century, and many of them set up shop here and on the surrounding streets – Correo Mayor, Jesús María, República del Salvador, Venustiano Carranza – selling textiles, haberdashery, foodstuffs, and dry goods. The Maronite Cathedral of Our Lady of Valvanera, just a few blocks away on República de Uruguay, became the spiritual anchor of the community and remains the seat of the Maronite Catholic Eparchy in Mexico. Its statue of Saint Charbel, draped in colored ribbons bought at the mercerías on the same street, is venerated by Lebanese and Mexican faithful alike, and you can still hear blessings spoken in Aramaic inside (though I haven’t).

The Maronites who came to Mexico were mostly young – more than half were between sixteen and thirty – and they arrived carrying Ottoman passports that marked them simply as Turks. Lebanon did not yet exist as a nation. They were fleeing the same conditions that influenced my family’s history and that I wrote about here. They entered through the Gulf ports of Veracruz, Tampico, and Progreso, and many who had intended to continue to the United States found opportunity enough in Mexico to stay. As was the pattern in other countries, the Lebanese immigrants started as ambulant peddlers, loading a wooden box with tinned goods and walking from town to town. From that box, dynasties were built. Julián Slim ran a dry-goods store on Calle Jesús María, a few steps from the Plaza de Loreto; his son Carlos became the richest man in the world. Antonio Domit started a shoe workshop in the 1920s in La Merced that grew into a national brand. Neguib Simón, a Yucatecan of Lebanese origin, created the Plaza de Toros México and pioneered the shopping arcade.

Carlos Slim, the second generation immigrant from Lebanon, has had a huge impact on Mexico City. He donated this plaza next to the Basilica of Our Lady of Guadalupe, built the Museo Soumaya and filled it with artwork, and owns dozens of buildings in the Centro Histórico of the city where he is a key player. Through his construction company he was the main promoter for a new airport that was opposed and canceled by the Morena government.

That the Maronites integrated as deeply as they did owes something to religion. They were already Christians – Eastern-rite Catholics – and in a country where Catholicism was the social fabric, that mattered enormously. They married locally, hispanicized their names, learned Spanish quickly, and sent their children into Mexican schools and churches. But they also kept their own institutions. Although Lebanese immigrants made up less than five percent of Mexico’s foreign-born population in the 1930s, they accounted for roughly half of all immigrant economic activity. Today there are an estimated 400,000 to 600,000 Mexicans of Lebanese descent.

And it runs, unmistakably, through the food. The Lebanese brought shawarma; Puebla turned it into tacos árabes on pan árabe, and Mexico City turned those into tacos al pastor on corn tortillas with pineapple and salsa. It is arguably the most eaten street food in the country, and it began with a vertical spit and a Lebanese cook.

A CDMX street vendor selling shawarma, not connected to al-Andalus.

Al-Andalus was opened in 1994 by chef Mohamed Mazeh, who had arrived in Mexico in 1990 and started by selling tacos árabes. The original Mesones location – thick stone walls, high ceilings, white tablecloths, not much decoration – feels more like a family home than a restaurant. It has since expanded to branches in Nápoles, San Ángel, Santa Fe, and inside Palacio de Hierro. But the Mesones original remains the place where I want to eat and feel at home.

Today we went back. Fresh lemonade. Tabbouleh made primarily with tomatoes and flat-leaf parsley – unlike my mother’s recipe, which was heavy on curly parsley and mint. Hot pita, baked fresh in the massive stone oven, brought to the table still puffing with steam; I photographed the baker afterwards spinning the pita onto the oven floor like frisbees. Roasted lamb chops served sizzling on a cast-iron plate. Yoghurt with cucumbers. Kibbeh in a wedge, delicate as anything, with more tabbouleh on the side. And to finish, small, crispy Lebanese baklava.

Seven years away, and it was exactly as we wanted, our favorite place to eat in the city, by far.

Baking pita at al-Andalus.

Posted in Mexico, Middle East, Travel
Tags:



Return to Damascus is my new book of photographs, available for order, that preserves fleeting impressions and the spirit of a place through the lens. Accompanied by brief reflections and memories, the photographs offer a tribute to the place and its people, focusing on enduring character and the subtle interplay of light, architecture, and tradition. Return to Damascus is a quiet celebration of observation and memory, inviting viewers to participate.

custom styled page
How Many Roads? is a book of photographs by Jonathan Sa'adah, available for order, offering an unglossy but deeply human view of the period from 1968 to 1975 in richly detailed, observant images that have poignant resonance with the present. Ninety-one sepia photographs reproduced with an introduction by Teju Cole, essays by Beth Adams, Hoyt Alverson, and Steven Tozer, and a preface by the photographer.
If you'd like more information, please have a look at this page.
Jonathan's photo blog

Sign up to receive an email
each time I post new content

Please check your email for a confirming link to click on.

No spam! Read my privacy policy for more info.

To see more work
To visit my blog

Contact information

All material © Jonathan Sa'adah no use without written permission