October 9, 2009

Clare/Lawler Thanksgiving Menu

Butternut Squash Soup
Grandma Reynolds’ tea biscuits
Roast turkey with blue potatoes and rainbow carrots
Sweet potato sausage stuffing
Steamed broccoli
Cranberry sauce
Apple Pie

October 9, 2009

Generation A by Douglas Coupland

In the early 1990s, I sort of thought that Douglas Coupland would marry Naomi Klein, because he’d written a book called Generation X (that I hadn’t read because I was 12 and too busy reading true crime), and her column in The Toronto Star had the very same name. The match, however, was not to be, and this is apropos of nothing except that some things come full circle (while some things don’t, because Naomi Klein no longer writes lifestyle columns).

While certainly no slouch (he’s a novelist, an artist, recently a groomer of one enormous beard), Douglas Coupland has been doing the same thing for nearly twenty years. Which is fine, because apart from a few bookish missteps (which I’ve heard him reference as “failed experiments” and fair enough), Coupland does what he does very well. He writes quirky, pop-culturally infused literature that reads a bit like junkfood and/or sushi. His characters tend to all speak in the same kind of voice, peppered with colloquialisms, as self-aware as their author, victims of the air they breathe. He writes about lonely people in a world that is exciting, colourful and ripe with possibility, and somehow also cold and empty at the very same time. But then all these lonely people together are therefore not alone, and Coupland has made a career out of the hope of that. There is solidarity to be had in the collective voice.

His new novel Generation A is described on its jacket as “mirror[ing] Generaton X“, which isn’t really full circle either. Coupland revisits themes and ideas from his first novel, but this new book offers a re-evaluation. ‘A’ is very far from ‘X’, I mean, which isn’t exactly progress, but perhaps it is when that ‘A’ is a brand new beginning. And certainly time’s ripe for such a thing in Generation A, which takes place in the not-too distant future (2015, I think, because 34 year-old Diana was named for you-know-who, so I calculate her birth date as Royal Wedding 1981).

Everybody is addicted to a drug called Solon that allows one to live without thought of the future. And bees have also mysteriously died out, though life goes on thanks to synthetic pollination, but that can’t really be called life. Or perhaps that it is called life after all says something about how standards have fallen.

Then a bee stings a naked farmer in Iowa (who is plowing obscene shapes into his field of corn, and broadcasting live via webcam), and a young woman in New Zealand who’s making an earth sandwich, and a French World of Warcraft addict, a Sri Lankan call centre zealot, and a girl in Northern Ontario with tourettes. Officials swoop in, the stung are taken away to government centres for testing, and kept in solitary confinement for weeks. Once returned to their habitats, the five find they’re not safe from a crazed public to whom they symbolize hope (and plus their homes have been dismantled for complete investigation). So it is for their own safety that they’re each taken away and assembled on a remote island in British Columbia.

Why were they chosen? What binds this group beyond their bee-stings? And why do crates of Solon keep turning up everywhere? In a kind of Scheherazad-like task, the five are instructed to tell stories to save their lives. When they resist, they’re told that people have become so obsessed with their lives being stories, they’ve forgotten invention. And so the stories begin, and they’re actually wonderful to read (unlike the story within a story in Coupland’s previous novel [remember Glove Pond?] which was meant to be bad, but we still had to read it.) The five grow closer, and the truth gets nearer.

Generation A is funny, sad, illuminating, weird, and the world in a bottle. There is also hope. Coupland has decided against an apocolypse this time, opting for the Scooby Doo ending instead, and though anything that isn’t an apocolypse might be considered a high note, the bottle here is really half-full.

October 7, 2009

Some links

DoveGreyReader reflects upon reflecting upon reading (after reading Susan Hill’s Howards’ End is on the Landing, which has joined my bookish wishlist and I will probably buy it when we go to England next week, along with all the other books I’ll probably buy when we go to England next week. Too bad everything is my weakness, huh?). At Inklings, the first interesting article in ages I’ve read about e-books. Salon de Refuses lives on in academia! The misadventures of The New Quarterly at Word on the Street. Dionne Brand is Toronto’s new poet laureate. Hilary Mantel on being a social worker.

October 7, 2009

Wolf Hall: Dare I Venture There?

Pictured here is Hilary Mantel’s Writer’s Room, and HARK! She won the Booker! Which is good news, because I love Hilary Mantel: may I recommend Giving Up the Ghost, Beyond Black, Eight Months on Ghazzah Street, Every Day is Mother’s Day, A Change of Climate. But, similar to Margaret Atwood’s forays into sci-fi, I really don’t have much to do with her many adventures in historical fiction. To be honest, I’d rather read sci-fi than hi-fi (can I call it that?). And for an excellent take on the problems with historical fiction, read Alex Good’s assessment here.

But now Hilary Mantel has won the Booker for Wolf Hall— dare I venture there? “Peeling back history to show us Tudor England”: ick. The premise does nothing for me, whatsoever. And didn’t I already read it all in A Man for All Seasons (and apparently find it completely forgettable?). But, however unbelievably, I am tempted. And I do love everything I’ve ever read by our ‘Ilary, and I am going to England next week where they’ll have the book in paperback. Oh, I have a feeling I’ll be buying another book. Except this is one I might hate. A wise decision? Stay tuned…

October 6, 2009

Little Women Report #2

Perhaps I spoke too soon awhile back, because the second half of Little Woman was really wonderful. Though the characters were good, they were good in ways that were true to themselves and the ways in which they strayed beforehand weren’t necessarily obvious and were interesting to read. The chapter where Meg makes jelly that doesn’t set on the day her husband brings home a dinner guest without warning was an incredibly realistic depiction of domestic dynamics. Jo’s experiences as a writer were fascinating and so true. Amy became a wonderful mass of contradictions, and the most interesting sister by the end. I really enjoyed this part of the book and am glad I followed through.

But the second half was so different from the first that I could scarcely believe that the two were published a year apart. I’d figured Alcott must have grown significantly as a writer in the interim. Or perhaps she realized her characters had wider appeal than she’d initially planned?

It’s the tone of the second half that is so very different, as though it’s growing up along with the characters. And that’s something I’ve never found in a book before, an omniscient narrator so in tune with her characters’ perspectives. In the first half of Little Women, there is little going on beneath the surface. Of course, you get the sense that Marmee is wiser than she lets on, but it’s so obvious, and the other characters know it too. But it was distinctly a children’s book, whereas the second half wasn’t.

And maybe that’s what young readers like so much about Little Women, that they begin with something quite geared towards their level but the book takes off on its own speed, and by the end the narrative is quite above them. So that it would be a book one would revisit time and again, to find out what has changed since the last time.

Note: I was so glad that Jo didn’t marry Laurie. The Professor is so lovely, however much German and old. Obviously, Jo hadn’t watched enough Sex and the City to be brainwashed into thinking enacting adolescent drama is an aspiration more worthy than mere happiness.

October 2, 2009

Let it be known

Let it be known that the scones at the Royal Botanical Gardens’ Turner Pavilion Tea House are some of the best I’ve ever had. And scone-wise, I’ve been around, so that is saying something.

Let it also be known that some days maternity leave is sinfully delightful.

October 1, 2009

Wish List

Cheeky, cheeky, I know. Any excuse to slip in a baby picture, but I assure you that this is entirely relevant. Obligatory baby shot amidst some pumpkins is a symbol of autumn, which means that Harriet is four months old, which means that in two months, she’ll be six months old. Which means that I will soon lose my maternity leave top-up, and then will have to stop spending money like a Rockefeller. (Or did the Rockefellers make money? And save it? Perhaps this is my problem.)

All of this is fine, except that it throws a kink into my book-buying habits. Or at least it should, particularly as I have forty-two books waiting to be read on my book shelf. (Some are more likely to be read than others. Nightwood by Djuna Barnes has been there since 1998).

When I buy new books, it’s a kind of compulsion. I feel as though said book has to be mine as soon as possible, and if I delay, I’ll lose track of my desire for it, and then the world will end. I’m serious. But seeing as we’re entering a new age of impecuniousness, I’ve got to change my ways.

Which doesn’t mean I’ll stop buying books. No, I once read an essay by Annie Dillard who wrote that anyone who hopes to make money from literature has to spend money on literature (and hard cover literature to boot), all for the sake of karma. (And I would extend this to anyone who values and enjoys literature as well, but that’s just me.) I will continue to buy new books, of course, which provide the best value for money I’ve ever known, but I have to be more careful about going about it.

There will be no more rash purchases. A good review in The Globe no longer means I have to rush around the corner to Book City immediately. Instead, I will wait on my urge, think about it for a while. Perhaps I will even wait until Christmas, for somebody to give it to me? And in order that the world not end, and I keep my desires neatly organized, I’ve started a new list in my ever-expanding sidebar. See “Wish List”, to the left, which has already two.

I don’t expect it will stay so short for long.

October 1, 2009

Why I love the LRB

As a person who loves driving but hates cars, I found Andrew O’Hagan’s “A Car of One’s Own” the very best thing I read today. From the London Review of Books, 11 June 2009. Read the whole thing. Excerpt as follows:

“I could easily say I loved my car – I missed it when I went to bed at night. On that first long drive from London to Wales and thence to Inverness – which took 14 hours – I believe I discovered my autonomy. As with all illusions, I didn’t care that others found the enchantment funny: the feeling was new, and its newness is something that millions of people express rarely but understand fully. In American fiction, a great number of epiphanies – especially male epiphanies – occur while the protagonist is alone and driving his car. There are reasons for that. One may not have a direction but one has a means of getting there. One may not be in control of life but one can progress in a straight line. When your youth is over and definitions become fixed, even if they are wrong, it might turn out that the arrival of a car suddenly feels like the commuting of a sentence. It may seem to give you back your existential mojo. That is the beauty of learning to drive late and learning to drive often: it gives you a sense that life turned out to be freer than it was in your childhood, that time agrees with you, that your own sensitivities found their domain in the end, and that deep in the shell of your inexpensive car you came to know your subjectivity. Of course, one may find these things in the marriage bed or in a gentleman’s club, but those places have rules and your car is your own bed, your own club. Music? Yes. Tears? Yes. Singing? Yes. Stopping under the stars? OK, if you must. And here is Tintern Abbey. And there is Hadrian’s Wall. And should I stop in Glasgow for a drink? If you read the novels of Joan Didion, you will see there can come a time in anybody’s life, women’s as much as men’s, when they climb into their car and feel that they are driving away from an entire kingdom of dependency. The motorways don’t offer a solution: they offer a welcome straitjacket. Your car will get all the credit for bringing you home to yourself, for showing you the only person you can truly depend on is not merely yourself, but yourself-in-your-car, a somatic unity. Those who spend most of their lives being alert to the demands of others – and that’s most employees, most husbands, wives, parents, most believers – will know the rhythmic, sedative pull of the motorways as the road performs its magic, pulling you back by degrees to some forgotten individualism that the joys and vexations of community always threatened to turn into an upholstered void. Virginia Woolf was almost right: all one really needs is a car of one’s own, the funds to keep it on the road and the will to encounter oneself within. Though most of those men aren’t listening to Virginia Woolf – they’re listening to Dylan’s Highway 61 Revisited.”