July 7, 2011

It Must Be As Tall As A Lighthouse by Tabatha Southey

If you accused me of being a Tabatha Southey fangirl, I could hardly deny it, because I have made a religion out of reading her columns aloud over croissant crumbs on Saturday mornings. And I kind of intended on liking her new book It Must Be As Tall as a Lighthouse (published by few-of-a-kind outlet The Book Bakery) because we’d read her previous picture book The Deep Cold River Story and really enjoyed it.

But no amount of Southey-admiration could have predicted the response I got to …Tall as a Lighthouse when I read it for the first time, out loud, and it left my husband and I both with tears in our eyes (and note that he is English, and only cries once annually). I think this is a book that will appeal more to parents than to children, although Harriet likes to pick out familiar images from the pictures– her favourite parts are the penguin, the fish, and the shovel. She also likes the rhyme scheme, and I do too, as it puts me in mind of one of my favourite picture books, A House is a House for Me.

And perhaps it’s because this is also a book about a house, about a house a mother will build her son, and she indulges all his impossible dreams–surrounded by ocean on all sides, in deepest outer space, near a good tobogganing hill, his window with a revolving view of jungle and desert (and with stairs made of eclairs). I particularly like “the window at which it is raining/when you just want to finish your book”.

But the house keeps changing as the boy keep changing, and he wants different things all the time. And then the end, oh my, the end– “For you’ve taught me that anything Perfect/ is only a moment of time…” That love so solid (red brick) for something so ephemeral is as impossible as the house itself, and yet that love exists, the most straightforward thing ever. Perhaps the loveliest articulation of parental love that I’ve ever encountered, the entire book is something to cherish.

July 7, 2011

Our Best Book from this week's library haul: The Terrible Plop by Ursula Dubosarsky/Andrew Joyner

The Terrible Plop is The Gruffalo meets Chicken Little, the story of a strange sound that sends a whole forest running until one tiny bunny is brave enough face a scary reality, and find it not so scary at all. With its bouncy verse and tiny outsmarting creature, the story is a bit too Gruffalo derivative, but in the end manages its own particular charm. It’s got bunnies, rhymes, and chocolate cake, so what more could we ask for? And we’re still having fun reading it over and over again.

July 6, 2011

Literary Women: The Womanly Art of Blogging

I’ve written a short essay on women and blogging for the wonderful blog Women Doing Literary Things, in which I write, “I’m not saying there aren’t any male bloggers—I just don’t read many of them. Though I also don’t read a lot of blogs written by women too: craft blogs, parenting blogs, home renovation blogs, fashion blogs, pregnancy blogs, infertility blogs, food blogs, and blogs about vintage rocking chairs. But the blogs that interest me, the literary ones— from the perspectives of common readers, academics, novelists, poets, mothers, book fetishists, illustrators, librarians, literary gossips, and critics alike—almost all of them are written by women.”

You can read the whole thing here, and I’d love it if you did.

July 5, 2011

Our own sense of righteousness

Yesterday I went to the bank, the machine ate my card, and told me to report to the teller. The teller was at a loss to explain why this had happened, but figured perhaps my card had been compromised. “It’s a safety feature,” he told me, and I thought, “Yeah, some feature.” Tapping my feet, and anxious to get back outdoors, because this withdrawal had turned into a lengthy process.

So I got a new bank card, and spent the rest of my day. And then tonight I tried to do some banking online, and my card was rejected again. I had to call Customer Service, and I explained my situation. They told me the number on my bank card was for a cancelled card, that I’d gotten my new card and my old card mixed up.

“That’s impossible,” I said. “Your machine ate my old card. This card here is the only one I have.” Well, they didn’t know what to tell me. They were very polite, and I was polite too, but I was seriously annoyed at the bureaucratic idiocy. At how my time was being wasted. I found the paperwork that had come with the new card, and the number was different from the card I was holding. Indeed, the number on the paperwork was what my new card number should have been. “Well, then the number on the card is wrong,” I said. “There has been a mix-up. And now I’m going to have to go down to the bank and get it sorted.”

“Are you sure it’s the number on the card? The card you’re holding in your hand.”
“There is no other card,” I told them. “I told you that already.”

And this was the point at which I did a further exploration of my wallet (which is often being rearranged by someone who is small), and came up with another bank card. The bank card I should have been using. And somehow I had two bank cards after all, and I’d gotten them confused. (How had this happened? Well, these are the mistakes that occur when you keep old, old bank cards for small people to play with. We’ve since discerned that the old, old bank card was used in the machine, retained because it was cancelled, when I went to the teller, he cancelled my current bank card, and gave me a new one. I didn’t bother explaining this to the customer service representative. Instead, I got off the phone really quickly. And then I called back later to apologize, and to make sure a note was put in that representative’s file so they’d know he was terribly patient with the stupid lady.)

Also, this morning a woman shouted at me from across the street for putting dog waste in somebody’s green bin. “I hope that was in a bag,” she said. I was confused. She yelled at me some more, gesturing toward the bin. “…whatever it was you put in there.”

“I didn’t put anything in there,” I told her. I had moved it out of the way so I could push my stroller by, and she’d heard the lid clatter, and assumed I was performing illegal acts of dumping. She felt pretty stupid once she’d realized her mistake, and quite rightly. Mostly because what kind of a person goes around dumping dog waste when they don’t even have a dog?

Anyway, the whole point of this is to say that half the time, none of us know what we’re talking about, even when we think we do. Which is probably something to keep in mind whenever we’re overwhelmed by our own sense of righteousness.

July 4, 2011

The O'Briens by Peter Behrens

There exists considerable difference between “a good book” and “a great book”, and lately I’d feared being so fixated on understanding the latter I had become unable to appreciate the former. Which would be a shame, I think, because there is pleasure in a good book, a big fat novel to while away a long weekend with. Losing the ability to enjoy such a thing would be like getting turned off timbits in favour of gourmet cupcakes. But once in a while it becomes clear to me that not everything needs to be placed in a hierarchy, or is another opportunity for a soapbox tirade. That we can simply have a donut and eat it too, in particular on summer weekends when the weather is so sunny, and heat lives on your skin along with a new crop of freckles. Though I will still stamp my foot for just a moment and say that this should have been a better book, but it wasn’t, and I ate it anyway.

It means something, it does, that though parts of Peter Behrens’ novel The O’Briens rang hollow to me, I read it with delight. Absolutely absorbed, and happy, and satisfied with its considerable bulk. The O’Briens is the sequel to Behrens’ award-winning The Law of Dreams (which I haven’t read; it stands alone), the story of Joe O’Brien and his siblings who escape their violent home in the Ottawa Valley at the turn of the century. The sisters are sent to a convent, and quite conveniently die of the Spanish flu years later, so we never hear of them again, but we follow Joe and his brother to California where Joe falls in love with Iseult, and then the rest of the book traces their story back and forth across the continent, and throughout the first half of the twentieth century.

The problems are this: characters are so unknown to each other that it’s not clear that author even knows who they are; that the action always happens off the page, the characters choosing passivity all the time; that the O’Briens are uncannily linked to all the major events of their time; that the structure of the novel is stilted, and uneven; and that we’re told far more than the writing actually shows until it’s like being beaten over the head with a Leica camera.

But still, the pages kept turning, even as I rolled my eyes. Partly because the novel’s events are so sweeping that I was swept along as well, and because some of Behrens’ depictions of place were so vivid that I could smell the sea air. Because there are real moments of absolute, pin-pointed tension and/or tenderness that show Behren’s would be a remarkable writer if his focus were narrowed. Moments do not make a novel of course, in particular if they’re not very well hinged together, but the moments still stand out here. Also because it’s been ages since I read a saga, and I’ve a thing for families as institutions, and I still think that America is a little bit glamorous (Happy 4th of July!), and Peter Behrens makes it so.

The O’Briens was a very significant part of my glorious weekend, a beach book even though I wasn’t at a beach, but it made me feel like I was missing nothing. And yes, I suppose if The O’Briens wins a big book prize later this year, then we’ll have reason to get on our soapbox about the sorry state of Canadian Literature, but until then, let’s not take a good book as an affront. Let’s just enjoy it, because it’s July after all, and good books are how summer days are very best spent.

July 4, 2011

The books keep coming.

In theory, I am making excellent progress at moving through my books-to-be-read shelf. I’m just about finished the Ds, having completing Joan Didion’s Salvatore this afternoon (and it’s so good. I don’t suppose anyone who ever invaded Iraq ever read it). But the problem is that the books keep coming faster than I can read them. And I’m not even talking about the new books I buy (which, according to my unstraightforward filing system, reside on another shelf altogether). It’s the books that keep finding their way into my life, and because they can be had for a quarter, or a loonie, or because they’re even free, I can’t help but bring them home with me.

Like tonight, when we walked past BMV and I found these two gems in the bargain bin. (I would also go on to find five bummis wraps outside someone’s house, which is very good, because the velcro is all shot in ours.) The one on the bottom is The Penguin Classic Baby Name Book. I am not pregnant, as ever, but the book is irresistible– conventional baby name book structure, except it lists which characters in literature have had these names, which include Bradamante and Britomart. The entry for Harriet begins, “Used by authors almost exclusively for secondary characters in the eighteenth and nineteenth centuries…” Will make for some fascinating thumbing, I think. And if I ever have another daughter, I can name her Cunegonde.

The other book is Can Any Mother Help Me? about a group of English women who set up a writing co-op in the 1930s through which to take stock of their domestic lives. I got it for a dollar, and it’s a gorgeous hardback, pristine, with the loveliest endpapers, and I think I’m really going to enjoy it. As much as I’m going to enjoy Barbara Gowdy’s Fallen Angels, which I found on a curb last week, Lorna Jackson’s A Game to Play on the Tracks, which I bought as a library discard for a quarter, The Eatons by Rod McQueen, which was also found curbside, and Olive Kittridge, by Elizabeth Stout, which I bought at a yard sale for a quarter.

July 4, 2011

A story that would not be illuminated

“This was a shopping center that embodied the future for which El Salvador was presumably being saved, and I wrote it down dutifully, this being the kind of “colour” I knew how to interpret, the kind of inductive irony, the detail that was supposed to illuminate the story. As I wrote it down I realized that I was no longer much interested in this kind of irony, that this was a story that would not be illuminated by such details, that this was a story that would perhaps not be illuminated at all, that this was perhaps even less a “story” than a true noche obscura [dark night]. As I waited to cross back over the Boulevard de los Heroes to the Camino Real I noticed soliders herding a young civilian into a van, their guns at the boy’s back, and I walked straight ahead, not wanting to see anything at all.” –Joan Didion, Salvador

July 3, 2011

Best morning ever

Our friends Jennie and Deep have a new house within the vicinity of Trinity Bellwoods Park, so that was where we met them this morning for a splendid picnic brunch. It was a brilliant walk in the sunshine, from our house all the way down to Clafouti for the best croissants in Toronto. We had teas and coffees, and sat on a blanket under a tree, and marvelled at the goodness of life in general, in particular on a day like today. And then Harriet went to the playground and the wading pool, while Jennie and I dashed across the street for a browse in Type Books. I bought Should I Share My Ice Cream? by Mo Willems and It Must Be Tall As A Lighthouse by Tabatha Southey. Jennie bought the Jack Dylan Trinity Bellwoods poster (at right). Then back to the park where we splashed around with Harriet in the pool. She was eventually bribed out of the pool with the promise of ice cream, which dripped until she was covered in it, and by then we were home. And then Harriet slept for three hours, which made this probably the very best day on record. Not a bad way to cap off a weekend of patio sitting, bbqs, and reading a big fat summer book. More about that book later…

July 2, 2011

A Day in the Life of a Smiling Woman by Margaret Drabble

All right, please forgive me, but I’d like to take the short story off its pedestal for just a moment or two. Not to demean it in any way, but rather to point out the utter banality of proclaiming a writer “a master of the short-story form”. If only because I don’t think there is any such thing as “the short story form”, which is of all forms is probably the most elastic. Think about what Ann Beattie has in common with Alice Munro, I guess. Or closer to home, even Sarah Selecky and Jessica Westhead’s stories are altogether different creatures. There is such diversity in short stories, which is the underlying flaw in any argument against them as a form, but it also means that many of us are sputtering critical banality when we try to talk about them in general.

But then, here is another thing…

Margaret Drabble’s complete short stories A Day in the Life of a Smiling Woman were written by a writer who has never been called a master of the short story form, mostly because most people don’t know she ever wrote short stories, because she only wrote a handful of them, and because she had been altogether occupied attempting to become master of the novel instead. (And can I just say that more than most contemporary novelists, she has probably come very close?)

But yet there are stories here which are masterful, because this is Margaret Drabble after all and she is so, so good. So the conclusion I take from this is that the short story form isn’t necessarily one requiring fervent devotion, the way some would like us to think it is– I’m referring to the pedastal. The conclusion is that anyone is capable of writing an excellent short story… as long as anyone happens to be Margaret Drabble.

The stories here, which are organized in chronological order, represent the same kind of trajectory evident in the progression of Drabble’s novels. Early stories are very focussed on the individual, interior and immediate, and were very fashionable in a way that hasn’t aged terribly well (but their quality remains evident). Her middle stories become more political with a strong feminist bent, and then the later ones are concerned with the limits of fiction, with stretching these limits, and also with history, and science and questioning. A reader seeking something conventional from later-Drabble will come away disappointed, but with an understanding of what she is trying (though not always managing) to achieve), the reader can appreciate these works’ greatness.

It is difficult to talk about a collection like this, which represents the work of five decades and was never intended to be discussed as a whole. Except to say that it’s a wonderful overview of (and perhaps introduction to?) Margaret Drabble’s work, and a must-read for any of her devotees. That a few of the early stories have a certain unsteadiness, but then the other assume the assurance of writers who, if she has not necessarily mastered the short-story form, has certainly managed to master the story in general.

July 1, 2011

The Vicious Circle Reads: Everytime We Say Goodbye by Jamie Zeppa

There were just four of us at the most recent meeting of The Vicious Circle, held in splendid east-end backyard digs last Wednesday. And one of us had absolutely nothing good to say about Jamie Zeppa’s Every Time We Say Goodbye, and nothing bad to say about it either because she couldn’t be bothered, it wasn’t even worth the effort to hate. The book had done nothing for the fiction ennui she’d been suffering from of late, and so she would not contribute much to our conversation. However, two of us were partial to the book’s beginning, the story of Grace who has a child out of wedlock and must put her life together enough to demonstrate that she’s capable of taking care of him. They liked her free spirit. And then the fourth of us confessed that she did not like Grace’s story at all, that she’d read the first part of novel afraid she’d dislike the novel entire. Because Grace’s “free spirit” was just a way to avoid investing her with actual, complicating human qualities so that she could function as a device for the plot the author had envisioned. (We had this with last month’s book too– these ethereal female characters so that authors don’t even have to bother making them human.)

We were all in agreement that the ending of the book should have been chopped right off– the cult storyline. That the tidy ending was too much, and that the precocious young protagonist was annoying. That perhaps 2/3 of the novel could have been chopped off altogether (editor, where art thou?) and what we would have ended up with is the story of the young boy, the charismatic misfit who learns he’s adopted and acts out, but perhaps he always would have. And nature vs. nurture questions that fascinate, and perhaps the only genuinely complicated character in the book, Dean Turner who’s portrayal as a 14 year old boy about to fall off the rails rang so true. (The fourth of our group kept her mouth shut). This part of the novel demonstrating that Jamie Zeppa can really write.

This is a first novel, but unlike others we’ve read, it’s not Zeppa’s first book, and she’s got years of writing experience and life experience behind her, and this shows in the best part of the book. The structure of the novel itself was faulty, but the parts that were sound are indicative of a writer whose next book could be better, of a writer who’s a member of the “one to watch” club.

And then we started in on the ribaldry again, broke out the pie, and sat there talking and talking until we were talking in the dark, and it was finally time to go home…