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Pickle Me This

March 20, 2018

New books by Elisabeth de Mariaffi and Nathan Ripley

Hysteria, by Elisabeth de Mariaffi

The week I was reading Hysteria, I was a bit all over the place, and in the beginning was having some trouble following the novel. “Is it you or me?” I wondered, which was kind of fitting, because the protagonist is wondering the same thing about everybody around her. The novel wasn’t what I’d been expecting either—from the jacket copy, I’d been picturing Gone Girl, domestic suspense, and girls on trains. But then I began reading and found myself in the land of Betty Draper—although not before a prologue with fairy tale elements, a girl lost in the woods and even in the land of Grimms, not far from Dresden near the end of World War Two. But de Mariaffi’s Betty and the girl in the woods turn out to be the same person, just a decade apart. Heike, rescued from a Swiss convent by her American doctor husband—she’d been for a time his patient—who has delivered her to America, and now to a lake house in New York State near the mental hospital where he is working and where Heike will spend the summer caring for their four-year-old son. All of which isn’t to say that I wasn’t enjoying the book—I adored de Mariaffi’s previous novel, The Devil You Know—but instead that I found it disorienting, and I soon realized that I was supposed to. Because Heike, like I felt as a reader, is also out of place and unable to trust her own senses—she’s fragile from her wartime trauma and her husband keeps giving her pills that make her dozy. So that when she starts seeing ghostly images of a young girl, it generally seems in keeping with the spirit of things. And then her son disappears, and Heike’s husband won’t tell her where he’s gone, and it’s around this point when Heike’s agency becomes apparent and she takes up with a television writer inspired by the creator of The Twilight Zone, and I was thinking about The Turn of the Screw and the mechanics of ghost stories. Hysteria was excellent, even before I found my feet, and now I want to go back and find my way through it again.

*

Find You in the Dark, by Nathan Ripley

Once you’re reading enough books about murder, your standards for gruesomeness start to change, so that all of the sudden you’re on the radio saying, “Oh, yeah, it’s a book about a man obsessed with serial killers and digging up the long-lost remains of their unclaimed victims.” Like that isn’t weird at all, right? Which is the point of Find You in the Dark, by Ripley (a pseudonym for the award-winning Naben Ruthnum), the way that it’s easy to be swayed by the protagonist, Martin Reese, a retired tech millionaire whose hobby just happens to be unearthing remains. Plus, he’s married to the sister of a woman who disappeared twenty years ago, and begins to slip comments about nasty deeds committed in his youth. Is Martin—loving husband and father, albeit a bit weird—really such an ordinary guy? The reader begins to discern that his intentions aren’t as honourable as he’d have us suppose. And we aren’t the only ones who are suspicious, because someone else has found out what he’s up to and there’s a fresh body buried in a decades-old grave, and Martin Reese’s carefully constructed reality is seriously under threat. There’s also a kick-ass police detective who is smarter than he is, so Martin has to figure out something fast. But do we want him to? Is he a good guy or bad? That moral ambiguity is one of the most compelling parts of the novel, whose creepiest aspect turns out not to be the unearthed bodies, but instead the experience of being made to feel so sympathetic to such a messed up mind.

March 13, 2018

More Fun at English Bookshops

That we only visited three bookshops seems a bit paltry, although a little less so when you consider we were only in England for six days. My only regret is that this time we didn’t get to visit a bookshop on a boat where we were fed Victoria Sponge Cake, but perhaps that can only happen so often in a lifetime. Our trip to England was a little more local this time, focussed on Lancaster where we’d rented a house for a week. A house that came with a wall full of books, which seemed like a good omen—”But don’t let this make you think we don’t have to go to all the bookshops,” I reminded everybody.

We’d actually visited our first bookshop before we even got to England, because I like the idea of travelling to England with no books, instead picking them up on my travels. Which is pretty risky, actually, considering the decimation of book selection at the Pearson International Airport where there are no longer actual bookshops, and instead a small display of books on display alongside bottles of Tylenol and electrical volt adapters. But I found a couple of titles that interested me, ultimately deciding on Anatomy of a Scandal, by Sarah Vaughan, the story of a political wife whose life comes apart when her husband is accused of rape. A timely book, and it was interesting, but spoiled for me by a “twist” that made this very fathomable story a little bit less so. Which meant that I was all too ready to buy another book at our first English bookshop, Waterstones in Lancaster.

I love the Waterstones in Lancaster. My heart belongs to indie bookshops, but Waterstones is better than your average bookshop chain, and the Lancaster Waterstones in particular, which its gorgeous storefront that stretches along a city block. With big windows, great displays, little nooks and crannies and staircases leading to more places to explore. It’s a gorgeous store, with great kids’ displays too, and my children were immediately occupied by reading and also by a variety of small plush octopuses. I ended up getting Susan Hill’s Jacob’s Room is Full of Books, a follow-up to Howards End is on the Landing, which I bought when we were in England in 2009 and Harriet was a baby and I spent our week there reading it while she napped on my chest. Jacob’s Room… would turn out not to be as good as Howards End…, which broadened my literary world so much (and introduced me to Barbara Pym!). The new bookwas kind of rambling and disconnected and not enough about books, but was so inherently English that I was happy with it.

On the Wednesday we drove across the Pennines to Ilkley to visit The Grove Bookshop, which is one of my favourite bookshops ever. It’s located up the street from Betty’s Tea Room, which makes for one of the best neighbourhoods I’ve ever hung out in. After afternoon tea, where the children behaved impeccably, we took them to a toyshop for a small present as reward, which was good incentive for their behaviour in The Grove Bookshop too, where I was able to browse for as long as I liked. I love it there, the perfect bookshops and well worth a trip halfway across the world. I had been in the mood for a Muriel Spark novel since reading this wonderful article, and The Grove Bookshop delivered with The Ballad of Peckham Rye, a new edition in honour of Spark’s centenaryI was also very happy to find a rare copy of Adrian Mole: The Collected Poems, as Mole’s work has had a huge impact in my own development as an author and intellectual.

I really loved The Ballad of Peckham Rye, so weird and contemporary in its tone, strange and meta, the way all Spark’s work is. When we’re on vacation, I don’t like getting out of bed, lingering instead with a cup of tea and toast crumbs, and Peckham Rye was perfect for that,

On Friday we went to Storytellers Inc, located in Lytham-St. Anne’s, just south of Blackpool. Originally a children’s bookshop, they’ve branched out to books for readers of all ages, although the children’s focus remains—they have a huge selection of kids’ books and a special kids-only reading room with a tiny door and kid-sized furniture. (Sadly, we’d not brought our kids along with us that afternoon and it would have been weird to go in there without them.) In addition to the kids’ books, they had lots of Canadian fiction, and poetry. We ended up buying Welcome to Lagos, by Chibundu Onuzo, just because we liked the cover. And also Motherhood, by Helen Simpson, because I’d seen it on the shop Instagram page, and then I saw that Emily was reading it.

I don’t think I’ve ever read Simpson before, but this is a mini-collection of her stories from a few different books over the decades—and I loved it. Plus there was a boob on the cover. I finished reading it on the plane journey home, and then started Welcome to Lagos, which was really great. It’s Onuzo’s second novel, after the award-winning The Spider King’s Daughter. The latest is about a ragtag crew who arrives in Lagos and attempts to make a life there, in spite of the odds. They end up running in with a corrupt former Minister of Education with a suitcase full of money, and what they choose to do with this fate will make or break their destinies. In this case, choosing to buy a book for it’s cover was a very good decision.

March 8, 2018

The Red Clocks, by Leni Zumas

Book Cover Red ClocksThe week before we went away when I was sick in bed, I was reading Leni Zumas’s The Red Clocks, which I purchased after reading the review in The New York Times. I wasn’t reading it with an eye toward review, and I honestly wasn’t sure how I felt about it as I made my way through the novel—it’s a strange narrative, constructed of five different women’s voices that would have been “woven together” in another book, but this isn’t what’s happening here, and it wasn’t until close to the end of the novel that I really understood how the pieces were fitting. I really liked it, this novel about a dystopian America situated a week from now in which abortion is once again illegal.

“She was just quietly teaching history when it happened. Woke up one morning to a president-elect she hadn’t voted for. This man though women who miscarried should pay for funerals for the fetal tissue and thought a lab technician who accidentally dropped an embryo during in vitro transfer was guilty of manslaughter. She had heard there was glee on the lawns of her father’s Orlando retirement village. Marching in the streets of Portland. In Newville: brackish calm.”

It’s fitting, really, that I was unable to see how the voices in the novel were fitting together, because I don’t think they were supposed to fit together. Zumas does interesting things with the idea of women being in competition and opposition with/to each other, and how difficult it is to support other women who make different kinds of choices. Mostly because, I think, we’re often told that there is not enough to go around and that becomes a self-fulfilling prophecy. But the point of the The Red Clocks is that ultimately, our fates are all connected whether we like it or not, and that as a woman there is very little that can happen to women that in the end has nothing do with you. Zumas makes this all the more meaningful by connecting fertility and infertility to the abortion question, which I’ve realized it really should be, all being about questions of choice. In the book, a high school teacher has to figure out whether or not to help her student obtain an illegal abortion, all the while she is undergoing to fertility treatments (but not IVF, which has been outlawed) and being made ineligible to adopt at the government brings in rules stipulating that all adopted children have two parents (because what are all these laws about but keeping women from controlling their bodies and shaping their lives after all…).

There’s a whole lot more to it than that, fascinatingly, and it’s all very stranger and weirder than you might expect, but also not at the same time. I liked this book a lot.

February 22, 2018

The Lost Girls of Camp Forevermore, by Kim Fu

I’ve read twelve books this month (so far!), barrelling through each one with gusto. They have been so good and I haven’t encountered a bookish dud in weeks and weeks—which meant that Naben Ruthnum’s recent tweet really resonated with me: ‘You haven’t “lost the ability to read,” you are just being lazy. Fuck the neuroscience, leave your phone in the other room and have some discipline.” YES. Or else you’re reading all the wrong books? Maybe I should be selecting your books for you, books that will recovery your ability to read—and top of the list is Kim Fu’s second novel, The Lost Girls of Camp Forevermore. It’s a novel shaped like no other novel I’ve read before, original, heartbreaking, subtle and resonant. Packing a whole lot of story into a couple of hundred pages, I have no doubt that this will be one of the best books I read this year.

Imagine a novel about summer camp, about a kayaking trip gone terribly wrong, a novel that holds within it the span of a life like The Stone Diaries did, except there are five lives. Nita, Andee, Dina, Isabel and Siobhan. Ten-years-old, the dynamics between them are complicated, alliances and enemies emerging in the relationships between any relationship proper. And then the first chapter ends, and the reader finds herself sweeping through the next three decades of Nita’s life, what happened (or, as the book is constructed, is still going to happen) at camp just one detail among many that informs the person who Nita becomes. Or is it so incidental? Which is the question about which Fu’s narrative hangs.

Every other chapter outlines chronology of the camping trip, interspersed with the story of who each girl becomes—puberty, high school, friendships, sex, independence, marriage, motherhood—years and decades going by at a clip but Fu pinpoints her details so well that these chapters are each like a novel in themselves. (Some of the girls’ lives are more elusive than others; we see wha happens to Andee, the “scholarship camper” through the prism of her sister’s experiences.) And then once we get to end of the novel and know what happened to the girls on their trip, those children, those hapless (maybe?) re-enactors of Lord of the Flies, each woman’s story is cast in a different kind of light. And just a note that what actually transpires on the trip is kind of banal in its disturbingness—or is it? Is it more disturbing that this story is banal? All of which is to say that those with an aversion to stories about children in peril need not avoid reading this book. Nick Cutter’s The Troop this is not, and they don’t encounter any witches in gingerbread houses. That they don’t need to is a testament to Fu’s craft though, as she is making a lot here out of very little. Or making a little out of a lot, and this is the question the novel hangs on in the most fascinating way.

February 5, 2018

Things To Do When It’s Raining, by Marissa Stapley

I didn’t know Marissa Stapley when I read her debut novel Mating For Love four years ago, and loved its bookishness, intelligence, and what a pleasure it was to read it. In the years since I’ve come to admire her criticism, her championing of commercial fiction and its writers, and her feminist take on the CanLit community. And I’ve also come to benefit from her community directly, with her support of my own book when it came out last year, and with her friendship. Which means that I’ve been especially looking forward to her second book, Things to Do When It’s Raining, and I’m thrilled that it’s finally here. I read an advanced copy back in January, and I devoured it in a day.

It begins with Mae Summers, whose fiancé has just disappeared along with all of the money people had invested in their business, and who turns out not to be who he said he was. Her life in pieces, Mae decides to go home again, back to the inn in the 1000 Islands where she was raised by her grandparents after her mother’s tragic death. But all is not well at home either—a secret hidden in Mae’s grandparents’ past has returned to the surface and disturbed their relationship, plus Mae’s old flame and first love is back in town, right at the moment when she’s most raw and shaken.

Obviously, with a set-up this riddled with landmines, this is going to be a book with twists and turns, plus an impromptu journey to Niagara Falls. The plot had me fixed, but I was especially in love with Marissa’s prose, her words and sentences, not to mention the amount of wisdom contained within. About life, and about love—this is a story that’s so rich. The advanced copy I read in January didn’t come with the reader’s guide contained in the final book, in which Marissa explains that the story was inspired by one in her own family history, but when I read this it illuminated the story for me, its meaningfulness and resonance. Although part of it too was that it’s also written by a wonderful writer. And I particularly loved the book’s structure, the chapters moving between different characters’ points of view, but each one preceded by an item from the list that gives the novel its title. “Things to do when it’s raining,” written by Mae’s late mother in her youth, so that her voice infuses the novel like the presence of a ghost, so that we know full well what the other characters are missing. And the subtle ways these items tie into each chapter: “Build something. There are tools and scrap wood in the shed. And yes, bandages and ice in the kitchen, in case you accidentally hammer your finger.”

I received a finished copy of Things to Do When It’s Raining, but I’m fully intending to buy one too, which means I’ve an extra now for giveaway. Leave a comment on this post and let me know your favourite thing to do when it’s raining, and I will randomly choose a winner. Canadians only please, for postal reasons. And happy book birthday, Marissa!

UPDATE: Thanks for the comments, everyone! The winner has been chosen via Random Number Generator (i.e. very scientific…)

January 30, 2018

Boat People, by Sharon Bala

The debut novel by Sharon Bala (who was acclaimed for her short fiction with the award of The Journey Prize last year) is The Boat People, an ambitious, engrossing and absolutely important book that I keep hearing about everywhere—Bala was on The Sunday Edition; reviewed in The Globe & Mail—and for good reason. It’s a book that might be called timely, except that stories like this—of people fleeing war and persecution, chancing everything on survival in a new land, being viewed with suspicion upon arrival, the threat of outsiders and others being manipulated for government propaganda—are as old as stories about people venturing across seas at great peril in search of a better life are. Which is to say: as old as stories themselves. And peoples, and seas.

Inspired by the 2010 story of a ship of Tamil asylum-seekers arriving in British Columbia, Bala’s story begins with Mahindan, a Tamil mechanic who has lost everything except his young son and has bet everything he has on the chances of finding a new start in Canada. The novel begins with the ship’s interception as it reaches Canada, and follows Mahindan through the process of being imprisoned and separated from his son as months go by and his fate is left in limbo—will he get to stay in Canada, or will be he deported to Sri Lanka where nothing good awaits him. Alternate chapters also take us back through his history, showing us how he went from a happily married man with family, friends and a rich life, awaiting the birth of his first child, to someone with (almost—save for his son) nothing left to lose—the gradual reveal of Mahindan’s backstory makes for compelling, powerful reading.

But Mahindan is not the story’s centre, or not its only one; that this is a story with multiple centres and voices and points of view is an important aspect of its construction. Because there’s never just one centre of a story, and all the best narratives refuse to be contained, overflowing to be resonant in all kinds of surprising ways and flowing into other stories. Like the story of Priya, a second-generation Tamil-Canadian who would just like to finish her placement in corporate law so she can become accredited and begin work in mergers and acquisitions, thank you very much. But the fact of her ethnicity means she’s roped into a position with another lawyer in the company who’s working in refugee law and who overestimates her knowledge in terms of Tamil language and culture to assist him as he supports the Tamil asylum seekers with their refugee claims. Like Mahindan, Priya is somewhere she doesn’t belong, and for a while she resists being involved with the asylum seekers and the war her parents had been so intent on leaving behind them when they arrived in Canada. But eventually, she becomes invested, and the ramifications of this are felt deep within her family.

Like Priya, the story’s third central character has also worked to put the past behind her, a third generation Japanese Canadian called Grace whose hard work in the civil service has been rewarded with a role adjudicating refugee claimants. She begins her new position not long after the Tamils arrive, and political tensions are high, and ever being manipulated by Grace’s former boss and mentor, the Federal Minister for Public Safety whose interests lie in keeping the threat of terrorism high. Meanwhile, Grace’s mother is ailing from Alzheimers and the past and the presents are intermingling in her head, stirring stories of the internment of Japanese-Canadians during World War Two, stories that Grace’s family had been careful never to dwell on. Stories of othering, persecution, public safety threats, racism, and so much terrible history that’s so analogous to what’s going on in the present day.

Bala’s prose is beautiful, the narrative so careful woven, and the shape of the novel itself so terrifically undefined in a way that allows the story to go beyond its limits, to pose questions that don’t necessarily have answers, to unsettle its readers in the most powerful way. There is a didacticism at work, but with a depth and complexity that saves the novel from its few too-earnest moments. Further, a little earnestness is nothing to scoff at, and maybe the author of a book this interesting, original and well-written has earned those moments. Especially since this is such an essential book for Canadians to be reading right now.

January 29, 2018

Encyclopedia of An Ordinary Life

I got Amy Krouse Rosenthal’s Encyclopedia of an Ordinary Life out of the library on Friday and devoured it in two days while annoying everybody in my presence because I’d insist on reading passages aloud while they were trying to play Pokemon or read a different book or conduct a conversation. I loved this book so much, for all kinds of reasons, which weren’t necessarily the reasons its author intended the book to be loved when she published it for the first time in 2004. Except for this one: that she’d intended the book as a document of ordinary life at the beginning of the twenty-first century, and at this it succeeds so wildly, but so much so because life in 2004 seems very far away from 2018, where I read this book now. Answering machines, compact discs, and faxes. There is an image of a Yahoo email message, and I’d forgotten what those looked like—the font, the logo, the peculiar line breaks. The internet exists, but you’re not carrying it in your pocket, your purse. It’s still rife with possibilities for human connection, old friends getting in touch, hearing from strangers. The internet in 2004 was bringing us closer together instead of driving us further apart.

This book had absolutely nothing in common with Ellen Ullman’s Life in Code, which I finished reading a week ago, except that both had me thinking about the internet’s early days and all that possibility for connection. Rosenthal’s book reminded me of how exciting it was to be on the internet in 2004, the access to offered to worlds I didn’t know existed. The first job I had with an internet connection was at the Financial Post during the summer of 2001, which was the same summer I discovered that there was this fantastic literary culture happening in the world right now—that was the summer I bought White Teeth and A Heartbreaking Work of Staggering Genius. 2004 was when I was living in Japan and avidly reading Maud Newton and other book bloggers, and while actually becoming a book blogger still seemed like it was beyond me, living in a world where I had this window onto people doing and thinking and being literary culture was really astounding and transformative to me.

And Amy Krouse Rosenthal’s book gave me that same frisson of inspiration—these glimpses of fascinating people doing cool things. Or even mundane things, which this book is more about, the very point of it. The mundanity of the 2004 internet is also something I missed, as opposed to the YOU WON’T BELIEVE WHAT HAPPENED NEXT… clickbait. Smart people being boring, was the theme of the internet in 2004, or at least the corners of it I frequented. And it’s how I fell in love with blogging, really. The way that smart people being boring illuminated the secret wondrous corners of everyday existence, its various miracles the dancing dust motes (were dust motes actually things that people noticed who weren’t characters in novels).

She also writes a lot about death, which would not be so noticeable were she now, in 2018, not actually dead. It makes this ordinary book much more poignant, extraordinary, necessary, a gift. (See my 2015 post about blogs as “survival gear for our stories.”)

“I shopped for groceries. I stubbed my toe. I danced at a party in college and my dress spun around. I hugged my mother and my father and hoped they would never die. I pulled change from my pocket. I wrote my name with my finger on the cold fogged-up window. I used a dictionary. I had babies. I smelled someone barbecuing down the street. I cried to exhaustion. I got the hiccups. I grew breasts. I counted the tiles in my shower. I hoped something would happen. I had my blood pressure taken. I wrapped my leg around my husband’s leg in bed. I was rude when I shouldn’t have been. I watched the cellist’s bow go up and down, and adored the music he made. I picked at a scab. I wished I was older. I wished I was younger. I loved my children. I loved mayonnaise. I sucked my thumb. I chewed on a blade of grass.

I was here, you see. I was.”

January 23, 2018

Winter, by Ali Smith

I walked through a blizzard to buy Winter a week and a half ago, the new release by Ali Smith that I’ve been looking forward to since rereading Autumn in the autumn. A novel that helped me so much through the political turbulence that was 2017, contemporary events as rendered by literature so that they were just enough at a distance–it was clarifying, and gave me hope. And so it was strange to pick up Winter, the second book in Smith’s seasons sequence, and see that everything wasn’t okay after all. That one book is not going to cure us of what ails us, and the trouble continues through winter, a season during which nature settles down to sleep:

“God was dead: to begin with. / And romance was dead. Chivalry was dead. Poetry, the novel, painting, they were all dead, and art was dead. Theatre and cinema were both dead. Literature was dead. The book was dead. Modernism, postmodernism, realism, and surrealism were all dead…”

The novel opens the day before Christmas, with Sophia Cleves who is haunted by a disembodied head. Interestingly, this being an Ali Smith book where surrealism is so often present, it doesn’t occur to me until later when we see Sophia through the eyes of other characters, that there is anything unusual about a woman being haunted by a disembodied head. Autumn had the weirdness of people turning into trees, and the head spectre is the strangeness of Winter, and usually these are points that would make me want to give up, but so much else makes me go on. Autumn opens with the absurdity of a character’s engagement with a bureaucrat at the passport office, and Winter does a similar trick with Sophia Cleves’ visit to the bank before they close at noon on Christmas Eve—the insanity and banality of these kind of engagements with the state and/or corporation, the robotic interaction between a human being and a person who’s just doing their job—presumably a human being as well.

Sophia Cleves is not the centre of Winter (the dead of?), which is instead her son Arthur, Art. Who writes a blog called Art in Nature, about stepping in puddles and bird sightings. Art who I was all prepared to sympathize with, all set for him to be my hero—and then we realize that as a hero he’s terribly flawed. His furious girlfriend berating him for his lack of engagement with the world around him, for believing he’s doing his part through his blog posts (which are totally made up; Art never leaves the city), and not seeing what’s going on around them. He tells her, “We’re all right… Stop worrying. We’ve enough money, we’ve both got good assured jobs. We’re okay.”

“Forty years of political selfishness…” she continues. Political divides, the rise of fascism, plastic bags, etc. And he dismisses her, all of it. It’s the way it always been, he tells here. These things are cyclic. Whatever, whatever. We’ll be all right. It’s all fine.

I am Art. This revelation occurred to me around page 58. This, and the fact that I’m a climate change denier, which is a revelation I had on Friday when I got in an argument with my dad about why we see robins around in the winter. “It’s totally normal,” I say, because I read it somewhere once. “Climate change,” says my dad. “It’s getting warmer, it’s scary.” And I become a bit hysterical. I don’t want to be scared. I know climate change is real, but I’m not sure what I’m supposed to do about it in my tiny little life, and so to preserve my sanity I cling to signs that everything is normal. For example, about how when I bought this book, I walked through a snowstorm. A blizzard. In the winter. Things are fine.

The story takes place over Christmas at Sophia’s, when Art comes to stay with his girlfriend, who is not his girlfriend (who has just broken up with him due to his political selfishness) but instead a random woman he meets on the street, an immigrant from Croatia via Toronto with a penchant for Shakespeare who is struggling to get by. When they arrive, it becomes clear that Sophia is not okay, and so they call her estranged sister Iris to come and help, Iris the old hippie, who’d protested against nuclear weapons at Greenham Common, Iris who is the living embodiment of another way to face the world, a way that’s different from Sophia and Arthur’s denial—of seeing, of engaging, and doing her part to change the world. Insisting that, via Greenham Common, she really did.

But it’s not as simple as that, of one way being the good way to live, and the other being bad. There is a moment when Iris and Sophia say to each other, “I hate you.” “I hate you.” And then embrace, and lay down together in bed, and there it is, what has to happen. It isn’t easy. It isn’t neat. But somehow these characters, “see its the same play they’re all in, the same world, that they’re all part of the same story.”

That last line a reference to Shakespeare’s Cymbeline (which I’ve never read or seen!), the play that makes Arthur’s not-girlfriend come to England, in fact. “A play about a kingdom subsumed in chaos, lies, powermongering, division and a great deal of poisoning and self-poisoning”…. “I read it and I thought, if this writer from this place can make this mad and bitter mess into this graceful thing it is in the end where the balance comes back and all the lies are revealed and all the losses are compensated, and that’s the place on earth he comes from, that’s the place that made him, then that’s the place where I’m going.”

Art is how we get there, is Smith’s thesis in this novel. Through Shakespeare, yes, but also by seeing what happens when we put real things in fiction—things like Brexit, and the Grenfell Tower fire. What happens to books when we put the world in it is a question that’s addressed in the most wonderful way, Arthur’s not-girlfriend (whose name is Lux) telling the story of an old copy of Shakespeare kept in a library with the imprint of what was once a flower pressed between the pages. “The mark left of the page by what was once the bud of a rose.” She’d called it, “the most beautiful thing I have ever seen… it was a real thing, a thing from the real world.”

Which was exactly what had made Autumn so powerful to me, and otherworldly too in the ways in which it did engage with the world. It was why reading it again in October was such a big deal, to be present in the novel’s moment. It was why it was especially meaningful to keep reading and discover that the Shakespeare play Lux refers to is housed at the Fisher Library here in Toronto, right at the end of my street. Uncanny, isn’t it? The line between life and fiction blurred in the most fascinating fashion.

My favourite thing about Winter was everything, but I especially loved its connections to Autumn, which are lovely, subtle, and so unbelievably perfect. Except I read somewhere that Spring’s not out until 2020, and how am I supposed to wait that long?

January 15, 2018

“The umbrella exists in a state of flux…”

“Nowadays, in a time when most umbrellas aren’t worth the stealing and are tossed aside like sweet wrappers when they fail, umbrella theft and ‘frightful moralities’ have been largely replaced by general indifference. Like pens, plectrums [guitar pick: who knew?], and Tupperware containers, the umbrella often seems an entity that is not owned but exists in a state of flux, travelling from person to person, taken up and left behind according to various states (or absences) of mind. Think of umbrellas doing endless loops on the Circle line, the inevitable bundles in the corner of lost property offices, the umbrellas in the staff room that nobody seems to own, or forgetting which they do own, they are afraid to take one away lest it actually belong to someone else. I would suggest that modern-day umbrella ownership has less to do with a specific object than the category as a whole: one possesses an umbrella, not their umbrella.” -Marion Rankine, Brolliology: A History of the Umbrella in Life and Literature.

January 10, 2018

“Be as large as you’d like to be.”

I was all set to write a blog post about how I hurt my elbow on the Christmas holidays because I fell off the couch when I was bound and gagged (this actually happened) but you’re going to have to wait until next week now for that story because I’ve got something on my mind. I was thinking about the fallout from what’s happening regarding Concordia University’s English Department (short version: a man articulated something women have been talking about for years regarding predatory males on the faculty, and then yesterday it was the six o’ clock news), all these conversations about men in positions of power—and then it occurred to me, “What is this ‘power’ we’re talking about?” The power of a part-time job teaching creative writing? The power of a handful of slim books of poetry whose sales total into the hundreds? The power of editing a literary magazine that nobody ever reads unless they’d like to be published by them (which would then permit said reader/writer the power of a publication credit)? If this is what passes for “power,” then we’re sadly impotent, the lot of us.

Of course, there is power. As a reader and a writer and someone who published a small press book and continues to be grateful to publish in literary journals, I know that there is indeed power in words, poems and stories; that lit mags can be magic; that small independent presses can move mountains; and a slim book that sells a few hundred copies might matter so much. I do not seek to undermine these institutions, systems and networks. I feel fortunate to have benefitted from them, but I also know that their power is in the works themselves, and that it’s a small and subtle thing, a power that can’t be quantified. This real power is also not a thing that can be lorded over others.

But I’m getting away from the point here, which is the ridiculous  fact that a slovenly man with a part-time job and magazine imagines himself as having power. That we’re meant to  looking up to a guy who churns out books that nobody reads and who is trapped in perpetual adolescence. That eventually that guy is in his fifties, and he’s entertaining the notion that a brilliant young woman might want to have sex with him—where, I would like to know, does a person get a sense of entitlement like that? Because, quite frankly, I would like to go there and get some too.

On Sunday I read an advanced copy (out in March) of Elizabeth Renzetti’s brilliant, generous, biting and moving collection of essays , Shrewed: A Wry and Closely Observed Look at the Lives of Women and Girls. I loved it. I wanted to read passages to my daughters, buy a copy for my mother, and plan to implore everyone I know to pick up a copy. Several essays had me in tears by the end, others made me want to grab a placard and march down the street, my shrill voice exclaiming, Feminist, feminist, feminist, feminist, feminist is for me! It’s a beautiful book rich with lessons learned from a few decades on the feminist frontline. And the theme that emerged as I read the essays was of not-enoughness—not enough women on the US Supreme Court, not enough women MPs in Canada’s House of Commons. (Related: why does nobody ever ask how many is enough men? Oh, wait! Me all the time. But never mind. Maybe a man will write a blog post about it and then we can hear about it tomorrow on the news.)

And of course, the book is very much about the way that women are made to feel as though they themselves are never enough—not smart enough, pretty enough, assertive enough, friendly enough, small enough, imposing enough, busty enough, thin enough, conforming enough, or original enough. As a woman, there are infinite ways to be faulty. Which is why it’s particularly powerful when Renzetti writes in her final piece, “Size Matters: A Commencement Address”: “Be large. Be as large as you’d like to be. Take up room that is yours. Spread into every crack and corner and wide plain of this magnificent world. Sit with your legs apart on the subway until a man is forced, politely, to ask you to slide over so he can have a seat. Get the dressing on the salad. Get two dressings. Order the ribs on a first date.”

(And then she goes on to write, “Throw away your scale. Stop weighing yourself. Is there ever a reason to know your precise weight? Are you mailing yourself to China? Are you a bag of cocaine?” Oh my gosh, this book…)

There are so many lessons that I’m taking away with this tragedy/debacle at Concordia/the world in general, but here’s the one I am focussing on today: if a slovenly largely unsuccessful middle aged writer can imagine himself a powerful sexual Lothario then it is possible I might actually be enough after all. Even more than. If a fucking imbecile can be President of the United States, there is really not limit for the rest of us sentient beings. If some guy who edits a literary journal is a powerful figure, then I am fucking King Kong with Godzilla riding on my shoulders, and so are you. And from now on we should be that large, and own the power we’re entitled to.

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Mitzi Bytes

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