April 13, 2010
Lists
1) The New Quarterly 114 has a stunningly gorgeous cover
2) Issue is guest-edited by Diane Schoemperlan
3) On the theme of lists
4) (like Amy Jones’ blog!)
5) TNQ Blog The Literary Type has been doing list-inspired blogging lately
6) The issue has overflowed out of its covers into some “online exclusives”
7) Including my short story “Anna Lambert Lived and Died” which will go online next week
8) I’ll keep you posted.
April 13, 2010
Mini-Break fun.
Harriet was extremely wary of her first Muskoka Chair
Because we’re a family that thrives on extravagance, we’ve started a tradition wherein we book one single night at a very nice resort during the off-season and live it up for about twenty-four hours. (Check out the photo from last year’s mini-break to see what was sitting on the chair then instead of a baby). It was a little different this year with Harriet in tow– she couldn’t get enough of the swimming pool (because she is our child, after all), but dinner was take-out on the floor in our room rather than hours spent lingering over delicious food on plates with elaborate coulis designs. Once Harriet was stowed away asleep in the pack n’ play, however, Stuart and I were able to indulge in copious episodes of Mad Men season two (and have I mentioned here how much I love that show? Season One took a while to win me over to the show’s intelligence, though maybe the LRB review had made me prejudiced, but now I’m totally enthralled and intrigued…) And then reading in bed. Could a night be any more perfect? Capped off the next morning by brunch with a chocolate fountain– the stuff of dreams. It was a beautiful drive back to the city the next day, and it felt like we’d been gone for three weeks. .
April 12, 2010
Joan Bodger's The Crack in the Teacup
Oh, wow– I just finished reading The Crack in the Teacup, such a tremendous book. As I read it over the last four days or so, I kept clutching its bulk and thinking what an amazing device this is with such transporting properties. Joan Bodger’s life was never, ever boring, from the grandmother who was killed in a shipwreck, to her unconventional girlhood as the daughter of a sailor, her stint in the army working as in decoding, the terrible sadness of her family life, what she learned about story and its power to transform children’s lives (and what I learned about Where the Wild Things Are in reading about this), her fascinating work in early childhood education, the loveliness of her second marriage, her shamelessness (which is learned, and earned with age), her honestly, her passion, that she placed her husband’s ashes in the foundations of the Lillian H. Smith Library which was then under construction.
Anyway, it makes me wonder what came first. Does she tell stories this way because of the stories she’s lived through, or do they only seem to be stories because she tells them as such? Regardless, the rest of us are lucky for them.
Bodger wrote How the Heather Looks which I read last month, and I’m pleased to say that this memoir behind the memoir didn’t run the former for me. If anything, I’m so grateful for the paperback release of How the Heather… because I might not have encountered Joan Bodger otherwise.
April 11, 2010
Author Interviews @ Pickle Me This: Kerry Ryan
This is the way the world works: I met Kerry Ryan last fall when her sister married my husband’s friend, and we were introduced at the wedding reception as two Kerrys who like books. As I enjoyed meeting her, I borrowed her book The Sleeping Life from the library, and absolutely loved it. These days, I have my own copy and was very happy to reread it in preparation for this interview, which was conducted over three days last week, with Kerry answering my questions by email from her home in Winnipeg.
I: Hi Kerry. I started rereading your book this morning– the first section “Winter Itch” sure seems more foreign and exotic here in April than it did back in December, which is a relief. The first thing I want to ask you about is your collection’s narrative “I”. When I’m talking to fiction writers, I make a real point of avoiding conflation of the writer’s and the narrator’s voices, but this seems harder to do with poetry (unless we’re reading something like Gwendolyn MacEwen’s TE Lawrence poems, but even then…). Do you agree? And the following is not a veiled question as to your work’s autobiographical content, because frankly, I don’t care about that, but I would like to know how you talk about the “I” of these poems without referring to yourself. Can you?
KR: Great question! I DO find it difficult to separate the poet from the poem — both as a reader and a writer. I’m not sure why we, as readers, make these assumptions with poetry and not fiction. Is it because there’s not (generally) the same attention to character development in a poem as a story, and thus less distance between the writer and the voice? Or because there’s a tradition of poetry being confessional and soul-baring, a kind of mystique around poems coming from a deeper, more intimate place within the writer? I don’t know. But, as much as I hate stereotypes, I do think we’re usually right to deduce a poem’s “I” is the author, at least at some level.
As a poet, it’s important to me that my work be grounded in genuine experience. But that’s very different than historical accuracy. (How freeing to discover that a poem doesn’t have to be about “what actually happened,” that I could use a poem to imagine a new scenario, a new ending, a better one!) So, while the “I” in my poems shares many things in common with my actual self, especially in terms of experiences, “I” is a character. My friends and family might recognize me in certain elements, but the “I” in my poems is often smarter, more articulate and more graceful than I actually am (though sometimes she’s more lonely, sad or shy than I am). I might look at this differently if I were a more experienced, or scholarly writer, but when I talk about my poems or read them, I proudly claim my “I.” (more…)
April 11, 2010
the british museum
that first day in london,
we were so drenched
with exhaustion
we fell asleep
at st. martins-in-the-fields –
bellowing organ,
hard wooden pews,
congregation of office workers
at a lunch hour concert
and the two of us:
eyes rusted shut,
heads flapping forward
as if we were being rear-ended,
over and over,
by our own dreams
i think of that now
as you cover my ears,
my eyes to baffle light
i try to imagine
ever sleeping again,
let alone on a double-decker bus,
under creaking stairs
of a youth hostel
with no curfew
but in our bed,
late night or early morning,
scratch of eyelashes
on pillowcase,
constant movement
of my own chest,
half degree of heat
and i wake you
just to say i can’t sleep
you ask if i remember
the courtyard of the british museum:
we were weightless,
would have floated
if it weren’t for backpacks
room soft as a cocoon,
white as meringue
on a bone china plate
sunlight filtered
through a thousand trillium petals,
which we counted
before falling asleep
on a marble bench
-by Kerry Ryan
April 9, 2010
Poetry, poetry
Poetry, poetry. That Michael Lista is all over the place this week– he reads the full text of Bloom over at Seen Reading. He’s Guest Editor at The Afterword this week. The Griffin Poetry Prize shortlist is stacked with women. Pickle Me This pal Laisha Rosnau has been shortlisted for the Pat Lowther Memorial Award. We’re getting poetry vending machines here in the city. And then there’s Dani Couture’s Poetry Fortune Tellers, which have been described as “the coolest thing ever”.
April 8, 2010
So Much For All That by Lionel Shriver
Lionel Shriver breaks all the rules– her best-known novel (and, perhaps, best full-stop) We Need to Talk About Kevin was epistolary, for godsakes. Her last novel The Post-Birthday World is as close to a choose-your-own-adventure for adults as you’re going to get. Her sinfully smart newspaper columns are always out to piss somebody off, and her other novels that I’ve read are uncomfortable, the end-results of fixations. She even dares to be a woman called Lionel.
So it’s no surprise that her latest book, So Much for All That, appears to have a lot wrong with it at first glance. That it’s an “issues” novel, about a topic as timely as the American health care system, and their health insurance system in particular. That, like all Shriver novels, it’s populated by wretched characters who treat one another badly. That one character’s chief occupation is ranting about government control, and taxation, and “mooches and mugs” and these diatribes go on for pages, seemingly only furthering the novel’s political agenda. That nothing much actually happens in the novel, but rather the characters just talk about things that happened, so that expository dialogue is where the action is. That Lionel Shriver characters don’t talk like people– no one is that wry, particularly for multiple dense paragraphs, and nobody actually talks in paragraphs either.
So it will probably surprise you when I report that the book is wonderful. That nobody talks like Lionel Shriver characters, but I wish they did, and eavesdropping onto their conversations for 400 pages still wasn’t enough. That the whole book is conversation rather than action, but that conversation is so vibrant, so pointed and sporting, and brilliant. So Much For That is a satire, the old-fashioned kind. It goes up against the American system and Shriver offers 400 pages of smackdown with more than enough force to sustain itself. It’s a book with a job to do, but the narrative never falters. The plot is gripping, the prose is crafted, the story is sad, but (most essentially) it’s also hilarious.
Shep Knacker has been planning for The Afterlife, but for one here on this earth. For years, he’s been squirreling money away to finance early retirement and the rest of his life in some exotic place where the American dollar goes far. He’d sold his handyman business in the late ’90s and made a tidy sum which has been earning interest ever since, and though it’s a farfetched plan in theory, its achievable in practice. Due to Shep’s conventional streak, his inability to shirk responsibility, however, nobody actually thinks he’s going to follow through.
He’s just about to show them for once and for all, though, the airline tickets bought and he’s made the announcement to his wife (from whom he’s been distant lately) that he’s doing it, he’s taking off for Pemba Island to live out his (still innumerable) days drinking out of coconuts. He’s going, he tells Glynis, with her, or without her. “I do wish you wouldn’t,” she tells him. “…I’m afraid I will need your health insurance.”
What follows is a year in the life of the sick, as Glynis begins treatment for an aggressive form of cancer (and Shep’s bank account for The Afterlife begins its steady depletion). Shriver pulls no punches in her portrayal of disease, and the details of Glynis’ ravaged body are absolutely horrifying. Unceasingly horrifying too, and I’ve never read such a portrayal of sickness. Though the portrayal is multiplied by three– Shep’s best friend Jackson’s daughter has been suffering with a rare debilitating disease since infancy, Shep’s father is elderly and beginning to decline, and then Jackson gets himself into a spot of trouble when elective cosmetic surgery on his penis gets botched. (Critics have questioned this final plot line; I actually kind of loved it, and it delivered the appropriate lightness I required to counter all the rest.)
Lionel Shriver’s books are always, however unconventionally, about family and relationships, and in this novel she shows how disease is a family affair. Moreover, how serious disease becomes the only family affair, and everything else is an extension of it. Her portrayal of Shep and Glynis’s marriage and how the cancer changes it (and the ways in which it doesn’t change it) are hearteningly rendered– Shriver writes a sex scene between them that is the most pointful, perfect and uncliched sex I have ever read in any book. Like every character in this book, Glynis is alternately hateful and sympathetic, a nasty piece of work who you’ve no doubt why Shep fell in love with. She pulls no punches either– sick of false sympathy, of friends who don’t bother (or are just scared to), unwilling to offer redemption to those who come seeking it from her. She is real, striking, scary and wonderful.
The book is bleak. I wouldn’t have considered stopping reading, but it’s a lot of misery to get through, but Shriver makes it all worthwhile with the most wonderful ending I could have imagined. Where there is justice, and goodness, and everybody gets what they deserve, and I’ve never known Lionel Shriver to be such an optimist (or a dreamer).
So it’s too bad this ending is the most storied part about the whole tale, but that’s the world’s fault, and not Lionel Shriver’s.
