October 25, 2018

Radiant, Shimmering Light, by Sarah Selecky

Last week, I reread Sarah Selecky’s debut novel, Radiant Shimmering Light, before her panel at the Stratford Writers Festival, which I was moderating. I’d first read the novel back in the winter as a manuscript, and found it strange and fascinating. “Fresh and original, Sarah Selecky’s novel clever satirizes our insta-world but also takes its characters seriously enough to give them an ending that’s moving and transcendent,” so my blurb went. “Deceptively light,” was another blurb, by Lisa Gabriele, and it’s exactly right and what makes Radiant Shimmering Light such a challenging novel. Challenging not in the usual ways—no paragraph breaks or all the characters have names that are adverbs—but instead for how it’s situated in a space between. It’s a satire that takes its characters seriously. This is not Lucky Jim, I mean, absurdity spiralling down into disaster. Which is not to say that book isn’t funny—there is a character called Knigel, for starters. Lifestyle blogs are beautifully skewered by the main character’s friend who runs a blog called “Pure Juliette”,  and who guides her followers with cute ways to freshen up their Easter baskets “with things you already have at home! It’s amazing what you can do with silk flowers, a nip of floral tape, and spray glitter.” The novel’s protagonist, Lilian, attempts to self-actualize alongside the personal development gurus she follows online, whose entrepreneurial sensibilities resonate since she runs her own business painting pet auras. It’s all completely ridiculous—someone else makes “consciousness truffles,” whose gluten-free batter is infused with monk chats. Characters attempt mindfulness by meditating on their cell-phone chimes. The perfect set-up for a joke, all of it, but that would be far too easy. And this is where the challenge comes in.

In our conversation on Saturday, I asked Selecky about this, about the appeal of the narrative space-between realism and satire. Where, as she puts it, the reader is forced to sit in discomfort. But the discomfort is the very point, particularly at a moment when people’s refusal to be uncomfortable has led to dangerous social and political polarization. She talked about how she started with the idea of writing the novel as straightforward satire, but the satire was mean and shallow and she wanted to write something deeper than that. And so Radiant Shimmering Light was born, satire from the inside. She talked about the problematic aspects of online women’s empowerment culture—commodification, cultural appropriation, issues around personal branding—and yet there is something fundamental to the messages as well, messages that do many women a lot of good. “The challenge is to hold both realities at once.”

Considering the ways that books marketed to women are undervalued in a literary sense, it’s not shocking to me that a book about the ways that women are marketed to might not receive the credit it deserves as a sophisticated and multi-faceted novel with literary value. I recall an interview with a Scotiabank Giller jury from a previous year who noted that he’d been able to dismiss certain books out of the gate for being “problematic in their sensibility,” whatever that means, and it’s true that a reader’s first encounter with Lilian Quick might not create a great appreciation for her as a literary character or for the novel as a literary project. Deceptively light, remember? This is a novel about a woman who is silly, and it seems straightforward that such a thing could be so one-dimensional—but this book isn’t. Selecky takes light and lightness, and works it into a novel that is subtly profound. The subtlety not undermining the profoundness, in fact underlining it. The detail is fine, and you have to read closely to see.

I was pleased to see that this year’s Governor General’s Award finalists for fiction includes Sarah Henstra’s The Red Word, a book that left a huge impression on me when I read it, and I read it at the same time I was reading Radiant Shimmering Light. A books whose power is as brutal and difficult as Selecky’s is subtle, but I still see many connections between them. In our Q&A, Henstra talked about her inspiration from a Susan Sontag quote about good fiction existing to “enlarge and complicate—and, therefore, improve—our sympathies. They educate our capacity for moral judgment.” Henstra shares how she had difficulty finding a publisher because her book too is situated in a space-between and didn’t offer easy answers to questions like, “So what’s the takeaway for feminism?” Both are novels situated in discomfort, books that complicate instead of resolve, books that challenge their readers as they offer compelling reading experiences at once. Serious books that don’t wear their seriousness on their jackets/sleeves, and with women at their centres, so sometimes, to some readers, it’s almost like they never happened at all.

April 16, 2011

A stop on the Sarah Selecky virtual blog tour (with prizes!)

Sarah Selecky’s writing has been published in The Walrus, Geist Magazine, Prairie Fire, The New Quarterly, Event and The Journey Prize Anthology. Her short story collection, This Cake is for the Party, was shortlisted for the Giller Prize, shortlisted for the Commonwealth Book Prize, and longlisted for the Frank O’Connor Short Story Award.

Thanks to Sarah for making Pickle Me This a stop on her virtual blog tour. It has been truly lovely having her stop by.

I have taken a leave of absence from Toronto this winter. I’ve been lucky enough to hide myself away in one of my most favourite parts of Ontario: Prince Edward County. For two whole months, I have been house sitting in a beautiful home, all alone, with a big bathtub and a fireplace and a view of the river. There is nothing for me to do here except write.

My plan was to come out here and write every single day. I let all of my students know that I was on sabbatical and I put a hold on my editing and teaching work. I am working on something new – a book about writing – and I was sure that I would be productive and focused while on retreat. I thought that by the end of my time here, I’d have a good chunk of my first draft written.

The truth: I have not written very much while I’ve been on my writing retreat.

When the glittery carnival that was the Scotiabank Giller Prize happened last fall, it was a complete surprise. At first, I thought I could keep up with my regular life, that it wouldn’t be that big of a deal. But my days quickly became busy and strange. There wasn’t enough time for me to do Giller stuff and keep my regular life running smoothly. With all the interviews and phone calls that came each day, I could barely keep teaching, let alone do any writing. I started taking Gravol at night so I could sleep (thank you Susan Swan for that advice). Eventually, I succumbed to bi-weekly meltdowns (likely due to the aforementioned sleep deprivation) where I would cry my eyes out for about ten minutes and then get up, wash my face, brush my hair, and answer the phone or go to a cafe for an interview with whatever journalist I had an appointment with that day. I felt like the media could find me everywhere. A television crew spent twelve hours with me one day. My husband took that day off work so he could be in the footage, and then he ended up taking a few more personal days, just to make sure I remembered to eat and drink while I was doing other interviews. He also answered my phone for me and took messages. He made a little clipboard with my schedule on it for each day of the week.

Those autumn weeks were one hundred percent nutso. And amazing.

But I was just so – unprepared for it all. So by the time December came around, I felt depleted, exhausted, and completely out of touch with my family, my friends, and myself. I felt like a soggy orange rind that had been totally juiced – I was just the pulpy skin left over. Now, when I think back to last fall, many of my memories are blurry and unformed, like I wasn’t even there. It was official: I’d hit burnout.

So I packed up my suitcase, my laptop, and a box of books and I moved out to Prince Edward County for this writing retreat.

As I write this, I am watching a pair of swans float in the river just out the window. I realized today that I have only five more days left on retreat.

So, what have I done for the past two months?

I watched the entire Friday Night Lights series on DVD, knitted a purple hat and scarf, learned how to make sauerkraut by hand, finally read a book by Malcom Gladwell, attempted to write a song on the electric piano, wrote long handwritten letters to friends in faraway places, went cross-country skiing on the frozen river, checked my Twitter account, developed an addiction to raw cacao, learned the names of the three species of woodpecker that come to the bird feeder (Hairy, Downy and Pileated), listened to coyotes howling at the Supermoon, took long drives on country roads, stared into the eyes of cows, canoed in the river during the spring thaw, and drank shot glasses of locally-made maple syrup straight up.

Have I wasted my time out here, or what? I’m a writing teacher. Every day in my work, I try to help people develop a daily writing practice. I’m all about commitment to the craft: that’s my thing. I’m supposed to be writing about writing, for crying out loud! So, why didn’t I take my own advice? How can I tell people to write every day, when I don’t even do it myself?

Here’s the thing: I know I’m not going to have the energy to write another book unless I take some serious time off from writing. Not writing is important: it’s restorative. Taking a break from the work is also a part the work. Nobody really talks about that part of being a writer, and I know why they don’t. It’s scary. When I’m writing, I feel plugged in and energized and in sync. But when I’m not writing, I feel out of it. I have the very real fear that I’ll never be able to write anything ever again.  When you look at the stiff, dark branches of trees in the winter, isn’t it hard to imagine those same trees all lush and full of leaves?

But winter happens. Then spring comes.

Yesterday, I sat down and wrote a rough outline for my new book. Five days left to write, and I just sat down and did it. I’m not going to come close to finishing a first draft in five days, but that’s okay, because after taking half a year off, I finally feel like writing again.

Leave a comment, and you will be entered for a giveaway to win a free copy of This Cake Is for the Party. And one lucky person who visits all of the participating blog tour stops will win an e-reader.

April 4, 2011

Sarah Selecky is coming to visit

Hey! Sarah Selecky is coming to visit on April 16th as part of her This Cake is for the Party e-tour. Get involved in the discussion, and be entered for a chance to win an e-reader, or get involved anyway even if you’d rather not win an e-reader. Her other stops are:

Open Book Toronto – April 5
Book Fridge– April 8
Dana Deathe – April 9
Grace O’Connell – April 23 &
That Shakespearean Rag – April 30.

January 11, 2019

I think your bullet journal is stupid.

Slightly insulting confession: I think your bullet journal is stupid. I’ve always felt one could get her shit done way faster if she just does it rather than mapping out a plan to do so in especially decorative ways…but then I have really terrible handwriting and always lose my good pens, so I would think that, wouldn’t I. It’s also possible that I’m jealous of your bullet journal, because if I had one, if would probably look like my grade nine math book. And that I wanted to write a provocative headline to get you to read this post.

Which is unfair, kind of, and I also don’t really know what bullet journals are, except that people share images of theirs on Instagram (and I swear I once read a post where a person was complaining about how difficult to was juggle all seven of the bullet journals she maintains, which seems pretty obvious). I’ve also been very fortunate in that I’ve not really required lots of strategizing in order for professional opportunities to happen for me. This spring marks ten years since I quit my job to become a freelance writer, which is something I did without any of how to make it work. It seemed slightly scary at the time, but I was also caring for a new baby, which was ten times more terrifying, and my professional life really did seem to require less maintenance in comparison. So if you asked me now to recommend a route to making a living as a writer based on my own experience, my advice would be mainly: wait for people to email and ask you to do stuff. NOT HELPFUL. (Note though that nobody’s going to do that if you’re not chipping away at building your blog oeuvre, which would these days be considered “building your profile,” but I wasn’t thinking in those terms, which is probably why I was even enjoying what I was doing.)

Part of the reason I’m also resistant to bullet journals is because they seem to be part of the online entrepreneurial culture that I’ve been resisting with all my heart and soul. The kind of culture where you use hashtags like #GirlBoss and #SheHustles, and sell skincare products via a pyramid scheme, and it’s so entrenched in capitalism in the very worst way, and for most people is a dream that never comes true regardless of the hustling. I was once trapped on an airplane full of women arriving at a multi-level marketing conference, and as we were stuck on the platform, the woman beside turned and said, “So: what’s your Plan B?” And I wanted to die and there was no escape, and sometimes the internet in general feels a little bit like that.

And it’s the opposite of everything that, for me, is fundamental to blogs and online connection. It’s about human voices, not selling products. It’s about telling stories, being a human, not being a brand. My blogging courses have always been defiantly anti-marketing, anti-strategy. Don’t target your audience. Don’t outline your goals. Instead, make it up as you go along. Figure it out and grow in the process. Dare to get lost, and then report back from the place you ended up. My blogging advice was never for people who wanted to grow their audience, but instead for people who wanted to write a blog that could serve them and be sustainable. And while these days I feel like I know less about blogging than I ever did (not necessarily a bad thing— ‘It’s the best possible time to be alive, when almost everything you thought you knew is wrong.’ —Tom Stoppard, Arcadia), I still believe in all that. A blog, like all the best things, is a wild thing, and should refuse to be tamed with plans and bullets.

And yet. I know that while this is true, I also know that part of my resistance to being more strategic and entrepreneurial in approach to my career is that I am afraid any other approach might end in failure. When your aim is to get lost, it doesn’t really matter where you are, but when you’ve got a plan, a goal and a strategy, and well, if you fall flat on your face, people are going to know about it. But something else I’ve learned from blogging is that sometimes being afraid of something is the very best reason to go there.

But then I start to worry again—and of course I am overthinking this. To be a successful blogger is to have made a career out of overthinking things. But I also think that 75% of the nonsense people are peddling online in terms of empowerment and entrepreneurship is absolute nonsense. I probably wouldn’t even be writing this post right now if it weren’t for these sponsored posts I kept coming across on Instagram by this woman—who I hadn’t even followed because she was way too much of a shallow marketing shill—about how I can grow my business via Pinterest. Which at first I dismissed as meaningless to me and irrelevant to my interests…but then at a certain point I thought, “Gee, maybe I should sign up for her free webinar!” And there it is: I have brainwashed. The moment I consider engaging with anything called “webinar,” it’s all over. Next up, I’ll be hash tagging #bossbae. It’s like a cult, and I don’t want to join it.

But I also know that I could certainly use a little direction, professionally. How many more books could I sell, followers could I get, opportunities could I receive, readers I could find, if I set out with intentions of being more deliberate in these areas? If I gave any considerations to being deliberate at all, instead of wandering, exploring, making it up as I go along. I’ve got a lot to show for ten years of approaching things in that direction, but aimlessness comes with its own wasted energy. I’m not saying I want to hustle, but surely there is some way we can meet in the middle.

Today I listened to Amanda Laird’s Heavy Flow Podcast with Kelly Diels on “resisting the Female Lifestyle Empowerment Brand,” which articulated a lot of my discomfort on this topic. Sarah Selecky does much of the same in her novel, Radiant, Shimmering Light, which surprised me when I read the book because Selecky herself has been so successful with an online business, and yet she’s also able to critique it in a really pointed way. I still don’t remotely know what I think of anything of this yet, but I’ve decided to find out by setting three professional goals for this year relating to developing my career. Which is really scary, actually, but also exciting, and I’ll keep you posted—and if I get lost, at least I’ll have something to report back on.

October 29, 2018

More Fun Things

Last weekend, I had the great pleasure of returning to the Stratford Writers Festival, where I moderated a panel about women’s experiences with Sarah Selecky, Andrea Bain, and Emily Anglin, and it was wonderful. I still remember the first time I was asked to moderate anything, years ago, and how I accepted the job because I thought it was the kind of thing I’d really like to do, although I wasn’t sure I’d be very good at it—and I wasn’t. But over the years, I’ve become comfortable with public speaking and confident about my own skills as a reader, to the point where I’m a kickass moderator and I know it, and I love it. It was a real pleasure to be part of this event.

That same weekend, I had the joyful experience of my review of Iona Whishaw’s A Sorrowful Sanctuary appearing in The Toronto Star’s venerable books section. So nice too that Whishaw’s all too timely historical novel gave me an excuse to be calling our shady nationalist politicians and Nazis in the media. ‘“I suppose I’m simply naïve,” [Lane] explains. “I want all my Nazis parceled up and put on the shelf of history after all our hard work in the war. I didn’t expect to find them here.”’

And this weekend, I’m off to Sudbury for the Wordstock Sudbury Festival. On Saturday morning, I’ll be appearing on a book industry panel with Hazel Millar and Holly Kent, and later that afternoon representing Mitzi Bytes with Margaret Christakos and Diane Schoemperlen, and I’m really looking forward to it.

November 24, 2014

On Mentors

Recent news had me thinking about mentors, how we imagine that success comes from kneeling at the feet of wise professorial men, or at least job opportunities from a date with a charismatic celebrity. What about women mentors though, I wondered? I started asking other writers about their own women mentors, and it turned out that these kind of relationships are not very common. For a few reasons, I think.

First, that there are fewer women in positions of power to serve as mentors. Second, that women are often already stretched with other caring commitments. Third, that perhaps we all know that mentorships will never make or break a writer’s career—her work and talent matter, and probably best to focus on that. And finally, because of the realities of women’s lives (dearth of time, power, money, etc), mentorships have taken on less traditional structures, are often virtual, and perhaps aren’t always recognizable for what they are.

Certainly, I’ve never knelt at the feet of the women who’ve served as mentors to me, some of whom I’ve only met in person once or twice. I think of Sheree Fitch, who never ceases to champion other women writers’ work, a vocal supporter of my blog and my book for so many years; Michele Landsberg, whom I encountered in the comments of my blog and we bonded over mutual admiration for Joan Bodger, who has been so supportive of my work; Rona Maynard, who has been a huge influence as I’ve put the pieces of my career together over the last decade and tried to take it all more seriously; Marita Dachsel, who helped me navigate my early days as a mother/writer; Tabatha Southey, who rocks it every week in the Saturday Globe and exists to make us all aspire to be smarter (and funnier); and my friend, Anakana Schofield, who sends me emails that say (and I’m paraphrasing), “Stop talking about mentors already, and just write your fecking book.”

Oh, the women I have in my corner. They’re everything. Not least of all my friends, plus contacts in The Toronto Women Writers Salon, and CWILA. This is all turning into a protracted version of my Linked In profile, which is beside the point, which is to say that supportive women are everywhere. You only have to look, and also to celebrate, and be inspired too to serve a similar role for younger women whose work you admire.

*****

I asked some other women to tell me about their own mentors, and am pleased to be able to share their responses. 

**

In the mid-eighties, I set up a meeting with Karen Mulhallen, hoping to volunteer for Descant magazine. I knew nothing about anything. About an hour later, I left her house as managing editor.  Karen became a mentor, an ally and a dear friend, doling out challenges in a way that seemed offhand but was somehow impossible to refuse. Over the years she has continued to put me in the way of writing and editing opportunities I would never have tackled had it not been for her confidence in me—or her willingness to take a leap of faith. I suspect I’m not alone in saying this about Karen. She is a truly generous person, in both life and art.

Maria Meindl

**

When the phone rang at Berton House in Dawson City, Yukon four years ago, I never imagined it would be my Can-Hist hero – and a future mentor. But on the other end of the line, there was the crisp English accent of renowned biographer and historian Charlotte Gray, congratulating me on my successful Skype-in to the fundraising gala in Toronto. I had fan-girled her in my live interview, talking about how I had slid my book next to hers on the alumni bookshelf and was trying to soak in the genius left behind by her, Pierre Berton, and others. Since then, we have crossed paths in person only twice, but she has written me letters of recommendation, we have tweeted about her “academic ninja-ness” on Canada Reads, and she even made me her junior “running mate” in a literary award competition. Those votes of confidence have spurred me on through the inevitable crises of confidence and the exhaustion of juggling a small child and a writing career. I’m so glad I picked up that phone.

December 6, 2013

My Top 10 Books of 2013 has 22 books in it.

It’s been an amazing year for books. And this is the first time I’ve felt like this for a long time. This year, I’ve read books that broke my heart, books that changed my world, books that articulated everything I wonder about, books that changed my mind.  This was a year of highs and lows, a year in which I needed certain books more than ever, and these in particular are the books that spoke to me so clearly. It was such an amazing year for books, in fact, that my Top 10 Books of 2013 has 22 books in it. The abundance is the very point, and I have no desire to narrow it down.

Americanah by Chimamanda Ngozi Adichie: 

I love a book so textured that the answer to my criticisms are contained inside its very pages. I reached page 335 to find a tirade by Ifemelu’s boyfriend’s sister who is about to publish her first book, a memoir about growing up black in America. She explains, “My editor reads the manuscript and says, “I understand that race is important but we have to make sure the book transcends race…” And I’m thinking, But why do I have to transcend race? You know, like race is a brew best served mild, tempered with other liquids, otherwise white folk can’t swallow it.” Explaining an anecdote, she says, “So I put it in the book and my editor wants to change it because he says it’s not subtle. Like life is always fucking subtle.”

Life After Life by Kate Atkinson:

There is texture to a book like this, and the pleasure of seeing secondary characters from a wide variety of angles–Ursula’s mother in particular whose role in the novel’s conclusion was ingenious. Life After Life is a long book, as befitting a life lived over and over again, and I savoured its slowness, the returns to where I’d been before, places and people I was happy to revisit. I appreciated the specificity of its detail, the brilliance of its writing, its genre-blurring, its daringness in reframing the shape of a narrative, and yes, this is Kate Atkinson, so there is going to be that too.

Accusation by Catherine Bush:

Bush’s novels are always planted much more in concept than narrative and plot, and they are markedly unusual for this. They are also remarkable for their realism, details that plant the stories deep in the ground, on very specific sidewalks and streets, so that a book about a mother orbiting the Earth in Outer Space seems not so far from one’s own experience at all (as in her first novel Minus Time), and so too with this this novel about a journalist driven to explore a(n alleged) crime committed an ocean away amidst a community of street children turned circus acrobats. And this is just one way that this novel turns in on itself as we read it, for it is a story about how we project our own experiences upon those of others (and indeed, as Madeleine Thien read the novel through the lens of race, which never even occurred to me).

Roost by Ali Bryan:

What I love best about this novel is that nobody ever changes. There is no great revelation. Claudia’s brother is still the jerk he was when the novel began, there is no fix for her father’s heartache, and even Claudia begins to see that her ex is moving away into a life of his own. But all the same, it’s okay, or it’s going to be. This is not aHow the Failed Housewife Learned to Get Along With the Vacuum kind of tale, but instead it’s about how Claudia learns to draw on her reserves, that herself exactly as she is has the capacity to roll with the punches better than anyone else. When life is messy, bumpy and hard, it’s because that’s what life is, and not because you’re doing it wrong

The House on Sugarbush Road by Meira Cook:

There is no expressway into the Johannesburg of Méira Cook’s novel The House on Sugarbush Road. Instead, the roads are twisting and clogged with traffic, detritus, pedestrians on the roadside calling out in a language you don’t understand. This is a novel that is disorienting to encounter, hard to get one’s bearings in; the reader travels blindly along these foreign streets, trusting in the story and its teller. And as the story progresses, the trust builds. While The House on Sugarbush Road is Méira Cook’s first novel, she is widely published (and lauded) as a poet, she worked as a journalist in her native South Africa, and her prose gorgeously reflects the former while her novel’s approach shows the latter. The effect is brutal, surprising, and provokes an incredibly visceral reaction.

Wave by Sonali Deraniyagala:

The key to this book, I think, and its usefulness for us, lies in a particular word that occurs at least twice. First, when she returns to her family’s London home and comes upon their back garden in early morning, the sight of a snail making its way across the patio table: “They would be so stirred by this.” Later, she writes about her husband who’d grown up on a council estate in East London, and his first trip to the Natural History Museum when he was six years old. At the sight of a life-sized model of a blue whale: “this was the most stirred he’d ever been.”

To be stirred then, to have our quiet disturbed. Perhaps this is why we should read this, or any book. A gentler version of Kafka’s frozen sea, and I like that. Not fortifying, but instead (and not merely) our reason for being.

The Pure Gold Baby by Margaret Drabble:

It’s such a strange novel: we are taken through the decades of a group of mothers in London and learn which marriages ended, which children succeeded, which others went wayward (and how there was no telling of who would be who). This is a novel about friendship, and how we tell each other stories, about how we become characters in the stories of one another’s lives. It’s about mental health, public health, institutions. It’s a novel full of facts, pages of passages that read like non-fiction. It’s about progress, and the illusion of progress.

Pure Gold Drabble, is what it is. And so naturally, I loved it.

Wood by Jennica Harper:

Jennica Harper is the poet whose books I stay up reading late into the night. She has uncanny ability to zero in on my fascinations, articulate questions I’ve vaguely wondered about, to use the very things located in the world around me (songs, cultural lore, television characters, celebrity references) and spin their own mythology. In a recent conversation, she asked, “Is there such thing as a “gateway poet”? That’s what I’d like to be.” And she has certainly succeeded at this, most recently with her latest collection, the beautiful, quietly powerful Wood.

Oh My Darling by Shaena Lambert:

And I love that, that here is a collection where I can tell you about the book, its themes, its shape, rather than just telling you the plots of three or four of the stories I liked best.Oh, My Darling doesn’t actually reference Clementine, which wikipedia has revealed to me is actually a satire (because who would write a song about a drowned girl whose feet were so big she had to wear boxes instead of shoes?) But its preoccupations are just as morbid, and so darkly humorously so at times that I am sure that Lambert knew about the satire. That tireless refrain, powered by blustery, lust-ery, souls laid bare. So much feeling for something seemingly shallow. Sound going nowhere. Just imagine how it would echo in a cavern, in a canyon, excavating for a mile…

Cottonopolis by Rachel Lebowitz:

But most remarkably for this book that uses language to build a museum is that the language itself is easily and unabashedly the work’s most remarkable aspect. I love the stories here, the history, but I can’t help but catch my mind on a line like “The trill of the/ robin, the trickle of the rill.” Or my favourite poem in the collection, “Exhibit 33: Muslin Dress” which turns language inside out in order to sew the whole world up into a tidy purse: “Here are the railway lines and there are the shipping/ lines. Here’s the factory line. The line of children in the/ mines. The chimney lines. There is the line: from the/ cotton gin to the Indian.”

Bobcat by Rebecca Lee:

Rebecca Lee’s short stories share the same approach as Sarah Selecky’s, the same intimate first-person narration, close attention to detail  that sets these characters as very much of this world (lines like “Lizbet basically knew how to live a happy life, and this was revealed in her trifle–she put in what she loved and left out what she didn’t”)–as well as dinner-party settings and fork on the cover. But on the other side, Lee’s marvelous telescoping endings and ultimate broadness of perspective remind me of the stories in Jhumpa Lahiri’s The Interpreter of Maladies. (I think “Bobcat” may join Lahiri’s “The Fifth and Final Continent” as one of my favourite short stories ever.) These stories were written over two decades and accordingly the collection lacks a certain cohesion, except for (and this is significant) the solidity of Lee’s voice.

The Love Monster by Missy Marston:

We come along with Margaret on her trip to rock-bottom, though the omniscient narrator also embraces Margaret’s mother, her co-workers, even the evil ex, the alien, and invests them with a powerful sympathy, an investigation of the kernel of sadness which lives within us all. The lines, the straight-talk, the music that Margaret plugs into her ears, the disasters–this Canadian book is hilarious, and will never, ever win the Leacock Prize (which is some kind of endorsement). It’s funny, and quirky, but not cute, and it’s terribly profound. Really amazing writing.

 The Woman Upstairs by Claire Messud:

Messud’s novel is also structured as a fun-house, trap-doors and booby-traps springing up if the reader makes the mistake of taking Nora at her word. Which is a difficult mistake to avoid–Nora’s voice is so forceful, persuasive, she perpetually speaks in generalizations and second-person address designed to make us feel comfortable, familiar. “Don’t all women feel the same?” she asks, and you’d be hard-pressed not to respond with a nod, but then, no! There is no such thing as “all women” anyway, and besides, Nora Eldridge is clearly unhinged. On top of being an unreliable trickster of a narrator, she is also blatantly wrong, about so many things, but most notably in her insistence on regarding the world within the limits of gendered binary terms. In this way, the novel recalls Carol Shields’ Unless, another book in which an enraged female narrator stamps her ladylike foot at the systematic repression of womankind, institutionalized sexism which completely exists, but her singular focus upon this obscures a far more complicated reality. Which is not to say that Nora Eldrige’s or Reta Winter’s rage is misplaced, that either should cease their foot-stamping, but just that there is ever and will be ever more to the story.

Are You Ready to be Lucky? by Rosemary Nixon:

So let’s break the silence then, shall we? Rosemary Nixon’s collection of linked short stories is one of the funniest, most original books I’ve read this year. I started reading it on Friday, found it hard to put down, and had devoured it by Sunday afternoon. Are you ready to be lucky, indeed.

This is the Story of a Happy Marriage by Ann Patchett:

But Patchett does channel Didion in Fact Vs. Fiction when she writes, “We all turn our lives into stories. It is a defining characteristic of our species.” And this is the triumph of her book, how it turns the self-help trope inside out. Ann Patchett doesn’t have the answers, but what she has instead are stories and – like life itself – these can be more complicated and unfathomable than we’d ever believe of fiction.

How the Light Gets In by Louise Penny:

What is the attraction of Louise Penny’s novels, my reservations with her prose still being what they are? I think part of it is the intimacy she creates, between reader and place in her remarkably evoked village of Three Pines. And also the intimacy between the characters themselves, so much between them that doesn’t need to be explained, allowing the novels to progress in ways that are surprising. And finally, the intimacy of her narrative, her shifting points of view which enable us to understand her world from a wide range of perspectives. Which is not to say that her readers know everything. In fact, in this book in particular, the plot is operating on a whole other plane that readers are not even aware of until an incredible twist at the conclusion, and I promise that you never see it coming.

The Children of Air India by Renee Sarojini Saklikar:

This poetry collection is beautiful, devastating, difficult and important. Difficult in terms of subject matter, but yet the narrative was so compelling, N herself leading the reader through so many lives and stories, plot and intrigue. Throughout, I needed to take short pauses because it all was a little too much, but then I’d pick the book right up again, the poetry accessible and fascinating, rich with history and voices.

Where’d You Go, Bernadette? by Maria Semple:

Apparently Maria Semple’s novel Where’d You Go, Bernadette? was one of the biggest books of last year, but perhaps I wasn’t paying attention. Someone who was paying attention, however, was Stuart, who took note when I picked this book up in the store and casually remarked, “I’m kind of interested in this one,” and proceeded to buy me the book for Mother’s Day. I saved it for postpartum, because I had a feeling, and oh, what a good feeling it was. Two nights ago, Iris’s all night eating/fussy fits began, and I was so glad to have this book on hand. My mind is fuzzy and there is no way I could write a coherent review, but it’s an endorsement, I think, that on Saturday night when I was up from 12am until 5am feeding the baby, all I could really think of was, “Yes! I get to read more Bernadette!”

The Faraway Nearby by Rebecca Solnit:

And so it’s like this, a fantastic journey through a terrain with someone who sees deeper into the world than you’ve ever begun to imagined. Solnit is author of a book with the title A Field Guide to Getting Lost, and she makes digression into an art here, though it always winds back around eventually, the narrative accumulating. Winding, threading, Rapunzel and Penelope, spinning and spinsters. She makes connections between virtual threads and literal threads and fabric, and it all comes down to stories. It always does. “Moths drink the tears of sleeping birds.” What shape should a book be in a world where that is a fact?

The Goldfinch by Donna Tartt:

For nearly two weeks, I was reading The Goldfinch, carting it everywhere I went, having to pull out a bigger purse in order to accommodate its heft at 771 pages, my hand cramping as I read it while breastfeeding. I ripped the dust jacket when I tried to tear off a sticker, and then took the dust jacket off altogether when it started getting tatty from the travel. After that, I put the book down on the table on something green, and then the cover started to disintegrate when I wiped the stain off with a damp cloth. I don’t usually treat my books so poorly, butThe Goldfinch is so large and solid, a piece of furniture nearly. It has presence, is lived with, is experienced. And it is interesting to think about my wear-and-tear on the book when I consider how much of the book is about what time does to physical objects. The Goldfinch is about its thingness just as much as it is about its text.

Projection: Encounters With My Runaway Mother by Priscila Uppal:

It has become standard to refer to memoirists as “brave”, but I can’t help doing the same for Uppal, with the caveat that “brave” means something totally different here, something substantial. First, Uppal’s bravery in staring down this woman, her mother, who is clearly unhinged and exists in the alternate reality her love of movies provides. Uppal dares to confront her, but also dares to understand her, however unforgivingly. She is also brave to not forgive, or to have her story not adhere to standard narratives, to have a happy ending. She refuses to compromise, but also manages to see her story from all points of view. She is brave to take a story with so much pain and turn it into art that’s so extraordinary.

The Interestings by Meg Wolitzer:

The structure of The Interestings is fascinating, the novel weaving back and forth through time without great shifts, effortless for the reader to follow and seemingly effortless for the writer too, though I can’t imagine that this was really the case. And yes, it is so interesting, a book so terrific to be absorbed in and whose end (at page 468) arrives too soon.

July 15, 2013

Bobcat by Rebecca Lee

(My copy has a blue cover, which I found much more appealing than this one.)

I had only read the first story in Rebecca Lee’s short story collection Bobcat before I’d ordered a copy of her novel from the bookstore. Why, I wondered already, had this collection not been more hyped? Not until it was awarded the Danuta Gleed Award a few weeks back did it really come to my attention. But one story was all it took for me to realize that Lee is a writer approaching mastery of her craft. As significant, I think, as the fact that she received an MFA from the Iowa Writers’ Workshop is that she received it 21 years ago. That Lee has had time to grow and develop as a writer so she’s no ingenue, but instead her writing reveals a maturity that is most admirable. Her grasp of these stories was so firm, and her voice so strong that I knew I’d be wanting more of it. I look forward to reading her novel The City is a Rising Tide very soon.

Rebecca Lee’s short stories share the same approach as Sarah Selecky’s, the same intimate first-person narration, close attention to detail  that sets these characters as very much of this world (lines like “Lizbet basically knew how to live a happy life, and this was revealed in her trifle–she put in what she loved and left out what she didn’t”)–as well as dinner-party settings and fork on the cover. But on the other side, Lee’s marvelous telescoping endings and ultimate broadness of perspective remind me of the stories in Jhumpa Lahiri’s The Interpreter of Maladies. (I think “Bobcat” may join Lahiri’s “The Fifth and Final Continent” as one of my favourite short stories ever.) These stories were written over two decades and accordingly the collection lacks a certain cohesion, except for (and this is significant) the solidity of Lee’s voice.

“One of the things Strandbakken had been struggling to teach us was that a building ought to express two things simultaneously. The first was permanence, that is, security and well-being, a sense that the building will endure through all sorts of weather and calamity. But it also ought to express an understanding of its mortality, that is, a sense that it is an individual and, as such, vulnerable to its own passing away from this earth. Buildings that don’t manage this second quality cannot properly be called architecture, he insisted. Even the simplest buildings, he said, ought to be productions of the imagination that attempt to describe and define life on earth, which of course is an overwhelming mix of stability and desire, fulfillment and longing, time and eternity.” –from “Fialta”

Lacking a certain cohesion (which in a collection this good is less a criticism than a statement of fact), yes, but there are more than a few points in common. Three of these stories take place in academic settings. These are stories written with an awareness of history and not just a general contemporariness. They are filled with allusions and references to actual places, people, and things. Though “Bobcat” is like this least of all, the first story, about a dinner party and so tightly contained within four walls that the effect is claustrophobic until the story’s incredible ending in which the whole thing explodes. A hostess is acutely aware of the inner lives and workings of her dinner guests, so much so that she’s blind to her own destiny. The people in this story are so vivid and real, and the ending was both incredible and heartbreaking. “The Banks of the Vistula” is a 1980s’  Cold War story (“But this was 1987, the beginning of perestroika, of glasnost and views of Russia were changing. Television showed a country of rain and difficulty and great humility, and Gorbachev was always bowing to sign something or other, his head bearing a mysterious stain shaped like a continent one could almost but not quite identify” [and how I love that “almost but not quite…]) about a university student who plagiarizes a linguistics paper from 1950s’ Soviet propaganda.

“Slatland” is a peculiar story about a strange psychologist and his impact on a young patient who returns to him years later looking for him to translate letters her Romanian fiance is writing to a woman whom she suspects is her fiance’s wife. In “Min”, another Midwestern university student travels to still-British Hong Kong and is enlisted with the job of selecting him a wife, as her friend’s diplomat father is being faced with the morally ambiguous task of deporting Vietnamese refugees. In “World Party”, a female professor during the 1970s’ uses her relationship with her (perhaps autistic?) son to decide the future of a male colleague who has been accused of a sexually inappropriate relationship with a student. And the final story is “Fialta”, in which architecture becomes analogous to story-writing and a group of students enrolled in an elite mentorship program fall in and out of love with one another, learn, come of age and of self,  and are each uniquely bound to their teacher for better or worse.

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.

February 9, 2011

The Vicious Circle reads This Cake is for the Party

We headed out to the west end, somebody brought a chicken, and there was a baby (who never cried). There was also a heart-shaped chocolate cake doused in chocolate glaze, and it was for the party, and we would have it and eat it too, etc. etc. And so we sat down to talk about the book, which was Sarah Selecky’s This Cake is for the Party.

As usual, we were divided, but in a less dramatic way than we’d been with Jessica Grant’s book. Partly because Selecky’s book is a much more even collection, but too even, we decided. Our main criticism that the book was short on action, not as in car chases and explosions, but characters who showed some agency, stepped outside their inertia– and the stories we liked the very best were the stories where characters actually did such things.

The stories we liked the least were those at the beginning of the book, and we wondered if a story like “Paul Farenbacher’s Yard Sale” (which we loved, every one of us) had started the collection, would this book have been easier to embrace? The characters in the first story “Throwing Cotton to the Wind” didn’t seem fully formed to us, and who’s named Sanderson and Flip? Though this story did have a passionate defender among us, who’d read it five times in a row because she found it so moving. She found it hingeing on the moment when Anne and Flip have sex, and how the looseness of these characters allows the reader to slip into their places, this one powerful moment of connection between two unhappy people. Another of us noted how well Selecky writes about animals, and also the greatness of the line about a sound like falling potatoes.

Another criticism was that after the fact, the stories in the collection had blended together. The best exceptions were “Paul Farenbacher…” (and one of us loved the part where she leans back on the ice-cube dispenser, and the fridge starts ringing like a slot machine), and “Where Are You Coming From Sweetheart?” (and of this story, one of us remarked that Selecky had so absolutely nailed what it is to lose a mother, being in that house with the father who has no idea how to take care of you)– we loved the ending to “Where Are You Coming From…” in particular, a powerful image with so much weight to it. Though we wondered about time period– it seemed retro, but references were contemporary. But these stories, like all the good stories This Cake…,  have some weight to them, history, characters who act, and are not mere cardboard cutouts of people.

We noted the book’s strange preoccupations, with organic vegetarian food, and pyramid schemes. We loved the references to the library ball in “How Healthy Are You?”, particularly those of us who’d been to the library ball. We liked that these stories took place in Peterborough, and Sudbury. We thought there were interesting details about these characters’ work (candle making, creating organic household cleansers, etc.), but all these jobs put them at such a distance from the world– we would have loved to see someone driving a bus, or a story that took place in an office.We loved the book’s design, but questioned the blurbs– really Lisa Moore? “Ultra-lush”? And none of us found any of the stories “flat-out funny”.

Sometimes, we think, the hype of a first book raises expectations unfairly. We thought that This Cake is for the Party was a good book, a very good first book. That it’s a promising start to Selecky’s publishing career, a harbinger of greatness to come, and then we decided that was more than enough, and decided to break out the cake.