May 21, 2019

Gleanings

• That’s what theoretical and ideal thinking abstracted from lived experience does, and it does it on purpose. Which…is why the anecdote has the capacity to do radical knowledge work.
• I wrote the first line of each chapter first, to get an idea of what it could be about or what might happen. It was like a poem because at that point, the novel was so distilled.
• Rage works. It takes time and numbers and a willingness to express it, but it is among the most reliable catalysts of social and political change.
• She made being human into an art.
• When I planted the clematis, I wasn’t thinking about the future.
• The placement of the park benches aren’t accidental. 
• No one wants to stress out over waffles – even the Liège kind. 
•  I knew nothing about blogging and didn’t know how to start but I did want to write honestly about our ordinary days here at home that, in the context of the times, were surprisingly enriching and satisfying.
• Each small thing offered, in this world in my mind, is actually a really big thing.
• When people are close to us through their stories – around the dinner table, over Netflix or through blogs – it becomes impossible to put people into groups out of fear and hate, despite the horrors others may be trying to push into our ears.
• Her dual loyalties, she says, have led to an interest in translation. 
• When I look at certain photographs I am immediately transported back to where it was taken. 
• And this, really, in a nutshell, is why I blog.

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May 17, 2019

A Little House in a Big Place, by Alison Acheson and Valériane Leblond

We are in love with A Little House in a Big Place, by Alison Acheson and Valériane Leblond, a picture that manages to combine an old-fashioned sensibility with a storyline that’s utterly surprising. It’s the story of a young girl who lives in a house on the edge of a small prairie town, and every day she stands at her window and wave that the train engineer who goes past. “…[A]nd she wondered. About where he came from and where he went. And if she might go away too, someday.”

And we hear the story too from the point of view of the engineer, who waves to the girl everyday. The prairie landscape informing the narrative’s perspective: “His train came over the horizon every morning. One moment there was only sky, and the next moment there would be a dot/ that got bigger/ and bigger/ and bigger [the text getting larger with each line] and the dot would become the train.” And the train rushes away until it becomes a dot again. “But his wave and her wave together made a home in [the girl’s] heart.”

The girl wonders about the engineer, as he no doubt wonders about the girl in the window of the small house on the prairie, and they’re connected to each other, though neither knows the other at all. The girl has no idea that one day will be the train engineer’s last day on the job—but then he throws something from his window that she runs through the fields to find. And he will never know it, but the girl will carry it with her through her life.

I have a theory that this book is a secret ode to Joni Mitchell, because the end of the story finds that small girl who grew up in a prairie town living in a place far eastward, strumming her guitar in a coffee shop. But there is a universality about the story too, about the anonymous people who touch our lives, and about the places where we come from, which set us on the road towards where we’re meant to be.

May 16, 2019

Little Darlings, by Melanie Golding

If domestic noir is still your thing, but you’re finding the genre a little tired (and then some), then pick up Melanie Golding’s debut novel, Little Darlings, which blends the imperilled housewife trope with literary chops and allusions, and hearkens toward the supernatural in the most delicious way.

I read the novel in a single day over Mother’s Day weekend, which seemed entirely appropriate, this book that begins in the delirious aftermath of birth. The birth of twins, no less, and Lauren is shattered, troubled, her husband sent home and she’s left to care for her babies alone, which leaves to a terrifying nocturnal encounter—but is the whole thing just in Lauren’s mind? (And the question I always get stuck on when determining when a woman’s trouble postpartum is in her mind or otherwise—why does the difference even matter, unless you think her mind doesn’t count.)

There’s nothing like the destabilization of new motherhood, how it can reduce one to a vessel, how it realigns marriages and relationships and one’s own sense of self. Golding captures that instability incredibly in this novel as Lauren grows more and more unstable, isolated, and divorced from reality. Or is she? Could it be that Lauren is more perceptive than anyone else around her to the threat she and her sons her facing, a threat that even comes to pass. Or perhaps it does—it’s all unclear. And afterwards, Lauren is convinced that her children are not her own, that they’ve been switched with those belonging to the terrifying “river woman” who is connected to a now flooded village and lore about changelings from centuries ago.

Has Lauren lost her mind? Are the children okay? Is their mother the most real threat they’re facing? And Golding weaves these questions into another storyline involving a police detective who can’t quite let the case go after hearing a recording of Lauren’s emergency call from that night in the hospital. A detective who reminded me of Rachel Bailey from the amazing TV series Scott and Bailey, what with the dysfunctional personal life and disregard for rules and the opinions of her superiors. Turns out this Detective, Jo Harper, gave up her own child born decades before when she was a teenager, and once again the question is whether Harper’s personal experiences are guiding her intuition or whether they’re distracting her from the reality of Lauren’s case. I think we all know what the answer is…

But we don’t entirely, which I appreciate, the way that Golding complicates her story in a way that might prove frustrating to some readers who are hoping for straightforward resolutions, but the author is giving us more than that. She’s giving us problems to think on, sexist biases to consider, and also a dark and creepy story designed to unsettle.

May 16, 2019

The Arm of the Starfish and Dragons in the Water

I think it’s been about ten minutes since I last wrote an ecstatic blog post about how my decision to read Madeleine L’Engle’s Austins series was completely the best thing I’ve done in 2019; so we’re due, right? I finished up the Austin books with Troubling a Star about a month ago, and then decided to embark upon the Polly O’Keefe books, which sort of bridge the Austin and Wrinkle in Time Series. I’d tried to read An Acceptable Time as part of the Wrinkle series when I was a child, but I don’t think I finished it, and I can understand now why it might not have appealed to me, because maybe all these books are best understood in the wider context of L’Engle’s fictional universe(s).

Which is the most amazing mind-bending, time-bending universe. When I picked up Arm of the Starfish, I was actually travelling back in time myself from 1994 (when Troubling a Star was published) to 1964, when she published Arm… (I still can’t believe that this book, which includes a grown-up Meg Murry, now a rather innocuous “Mrs. O’Keefe, was written before A Swiftly Tilting Planet. The way that L’Engle wrote her books so far from the chronological order in which they can be understood to be connected to each other…) Which means that while it was remarkable to reading a novel set just before the summer depicted in A Ring of Endless Night, I was also reading a book by a less sophisticated and practiced novelist. The Arm of the Starfish was also the novel with which L’Engle followed up the smash hit A Wrinkle in Time, which no doubt was some kind of pressure.

The book was okay—it was plot driven and interesting and had all the same kinds of thematic concerns of L’Engle’s work (the nature of good and evil and how they’re connected), but it was lacking in depth and was a bit too action packed. I also found Adam Eddington a less compelling narrator than Vicky Austin, and indeed Meg Murry has not grown into a very interesting woman and my goodness, she is has more children than the Old Woman Who Lived in a Shoe. But also, we’re seeing her through Adam Eddington’s eyes and teenage boys are perhaps not the greatest at seeing the marvellousness of a middle aged woman, especially when she is dripping with children. Interesting how Poly swimming with dolphins portends what happens with Vicky Austin not long after—and also I enjoy contemplating what might happen if Poly and Vicky ever met—would the universe explode?

So I wasn’t especially geared up for Dragons in the Water, published in 1976, about a boy called Simon who is on a nautical voyage to Venezuela and meets Poly (who has not yet become “Polly”) and Charles (who is Charles Wallace redux) on board, and together they have to solve a murder and also there are smugglers and art thieves. But I loved it! Simon was a great character (but then again, name a fictional orphan who isn’t) who has been raised to revere an ancestor whose story turns out to be more complicated and troubling than Simon knew. We also get a glimpse of “Mrs. O’Keefe” near the beginning of this book, and she’s a more interesting character than in the previous book.

It was also exciting to meet Mr. Theo who is travelling to hear a concert by Emily, and I met both of these characters first in The Young Unicorns (published in 1969), along with Canon Tallis, who was also in Arm of the Starfish. I love that if we tried to map out a timeline of all these books and universes and how it all fits together, my brain would turn into silly string.

As with the Austin series, the novel is informed by the time it was written in: “I know a lot of politicians nowadays, and even presidents, don’t take promises seriously and even lie under oath, but I was brought up to speak the truth,” says Simon, post-Watergate. I also read this book right after reading an article in The Guardian on a small town in Louisiana that’s one of the most toxic places to live in America because of contamination from a chemical plant, and this scenario is the same as in the novel, which is why Dr. O’Keefe has been called to Venezuela because fish are dying in a lake there where companies are drilling for oil. “Miss Leonis looked down at her feet where black sludge oozed heavily out of the lake. ‘It looks to me as though the oil industry is raping the lake….'”

And then the response: “One thing I have learned in three years at Port of Dragons is that there are no easy solutions.”

And isn’t that the truth.

May 14, 2019

We Should All be Activists

I am not an activist.

I remember the very first time I had to explain this to somebody. It was on Twitter, naturally, but way back in 2013 when Twitter really did properly qualify as an echo chamber. I thought we were all pretty much over racism, and that nobody in their right mind would flirt with authoritarianism just to own the libs, all of which is to say—2013 was a very long time ago. And midwives in Ontario were protesting wage discrimination and a gender gap, which meant they made significantly less money than (mostly male) doctors for bringing babies in the world. I tweeted about it, because I think the work that midwives do is sacred, and in late 2013 it had only been a handful of months since I’d recently had a baby. And it would turn out that support for midwifery is more controversial than you might expect, or at least than I would have expected in 2013, back when I was still mostly unaware that we live in a world absolutely steeped in misogyny. Someone accused me of being a midwife or paid by the midwifery lobby (Big Midwife?) to be tweeting in support of their side on the issue, and I was so confused by this. No, I was just a person with an opinion, who supposed that my perspective on an issue mattered. How cynical can you be not to imagine that such people actually exist?

I am not an activist. I’ve said this more than a couple of times over the years, but mostly because I don’t feel I have the proper cred for such a designation. I’ve never chained myself to a tree, or gone to jail, to stared down police in riot gear, and when faced with confrontation, my first impulse is to cry. Sometimes I sign online petitions, but I don’t think that really counts.

In 2016, Tabatha Southey published an excellent column in the Globe and Mail headlined “Might I demand that we stop agitating against activism?” It was in response to an ad campaign from the Ontario Medical Association about changes to health care in Ontario (which seems very quaint now, that they thought they had something to complain about then…) featuring a person who was supposed to be an “everywoman”—”I have never protested a day in my life,” she explains, as though somehow this makes her complaint more legitimate than a person who was campaigning for nuclear disarmament in the 1980s. Southey writes, “Since when did never having been so passionate about something that you felt the need to speak out about it become an express ticket to the moral high ground?”

I was thinking about all this the other weekend when I went to The Festival of Literary Diversity (the FOLD) in Brampton and attended the absolutely terrific “My Body is an Activist” panel with Imani Barbarin, Joshua M. Ferguson and Adam Pottle, moderated by Carrianne Leung. All three writers spoke about activism, identity, limits and labels. Pottle pointed out that what many people might call “activism” might actually just be people trying to live their best lives—and the way that “activism” as a label can serve to reduce that experience. He also noted how calling someone an activism (or something “activism”) also serves as a convenient way of getting rid a nuisance, how it’s something easy to push aside.

Which is where I began thinking about Southey’s article again, and the woman on Twitter way back in 2013. About the weaponization of the word “activist,” which is a way of rendering activism as meaningless, inconsequential (which, indirectly, was precisely what was happening in that 2016 OMA ad).

Which is why I have to say things like, “I am not an activist” quite often now in order to legitimize the ideas I am expressing, never mind that I literally have a collection of broomsticks and wooden dowels on my porch for securing to placards that read things like, “Fund Public Schools” or “Hands Off My Uterus, You Weird Religious Ding-Dong.” It’s been two years since I started carrying around a banner in my purse that says, “My Body, My Choice,” and I’ve had occasion to use it. I have become that weird mom in the school yard gathering signatures for her petition protesting cuts to school funding, and indeed have co-organized an Action Day for this Thursday, for which I am baking four sheet cakes and we will be distributing cards for our postcard campaign. But I am not an activist.

I am not an activist, because the only way for one’s ideas to be worthy of consideration is to stand for nothing and accept the status quo, which is just how the government in power likes it. (“The constant disparaging of activism – the casual acceptance of the idea that the more dedicated a person is to a subject, the less they are worth listening to on that subject – has been fashionable for a while now,” wrote Southey in early 2016. “The plethora of ‘Taxpayers for …’ and ‘Concerned Citizens Against …’ groups is a reaction to that trend. These people are ‘concerned,’ about an issue, you see, having apparently rejected ‘Peeved’ and ‘Indignant’ as descriptors. We are to understand that while, yes, these groups are campaigning to bring about political or societal change through vigorous action, the difference is they’re right.”)

There is the thinnest line for who is permitted to stand up for anything these days. I have found over the last five years speaking out about my experience with abortion and speaking up in favour of reproductive justice and increased access to abortion in Canada and abroad that having a uterus, children and lived experience of abortion doesn’t count for as much as you’d think in the minds of some people, and these matters really should be left in the hands of random guys on Twitter or 21-year-old virgins.

And while you’d thinking that speaking up for children’s right to well funded schools would be a less controversial topic, it’s proven not have been. On this topic too, there are men on Twitter who are quite sure I don’t have the right to hold opinions on this topic, that I’m a partisan shill. When I inform them that I’ve been speaking out about education funding models for two consecutive governments, they demand to know the exact date when I started, and why I wasn’t shouting about this a decade ago, because it’s not a new problem. So either I am not an activist, or I’ve not been activisting enough—and it’s almost as though forces are trying to make it impossible for people to express their ideas, to have dissent, for us to work together as communities to bring around any kind of change at all. (Unless we are concerned taxpayers, which apparently is fine.)

But of course, I am an activist—in spite of myself. In 2019, I don’t how anybody can’t be. Whether you’ve got wooden dowels on your porch, or you’re petitioning your friends and neighbours about climate change, or you want your children to have a future that isn’t hellfire, or you want the right to decide not to have children at all should you need to, or you care about endangered species, and affordable housing, and you want the police to cease stopping Black people when they’re walking down the street, or you understand now the way women are vilified when run for office and you want to do something about it, or you’re concerned that racists are so emboldened and flying Nazi flags is actually a thing, and you would really love some democratic reform in order for the stupidest people not to be elected into office over and over again.

We should all be activists. Short of that, we should all be aspiring to be activists. If I don’t see you while I’m collecting signatures on the playground, then I will see you in the streets.

May 13, 2019

Spring, by Ali Smith

I wasn’t so much addicted to the spectacle as to the ongoing certainty that the next click, the next link, would bring clarity. I felt like if I watched everything, if I read every last conspiracy theory and threaded tweet, the reward would be illumination. I would finally be able to understand not just what was happening but what it meant and what consequences it would have. But there was never a definitive conclusion. I’d taken up residence in a hothouse for paranoia, a factory manufacturing speculation and mistrust.

Olivia Laing, “I was hooked and my drug was Twitter”

I don’t always love Ali Smith’s work (How to be Both did not do it for me) but I cannot overstate what the books in her seasonal quartet have meant to me since the world descended into Worst Possible Timeline, which I date to June 16, 2016, the day that British MP Jo Cox was murdered outside her constituency office by a man who shouted, “Britain First.”

What is going on here, I remember asking myself in horror (except with more expletives) and then again a week later when the Brexit verdict was delivered, and six months after that when Hillary Clinton did not become the first woman President of the United States, and then basically about every ten minutes ever since then. Clinging to Twitter, as Olivia Laing describes in her essay, to make some kind of sense out of this real time nightmare—but then again if there was any sense to be made of it, Twitter would not deliver, because it’s in their interest to keep me refreshing my timeline, to have me yearning for clarity and illumination but never actually delivering.

But then in the Spring on 2017, Autumn arrived, the first book in Ali Smith quartet, set just six months before I was reading it, which is a remarkable turnaround in the world of publishing. And the books in this series are the closest I’ve ever come to the clarity and illumination that Laing is seeking in her essay, the clarity and illumination that I’ve been craving ever since I started to realize that the world is a vastly different place than I’d supposed it was. Even though it’s not so clear or altogether illuminating, but still—that Smith is fashioning art and story out of these times that we’re living in. I get comfort from that. A lazy kind of comfort, possibly, and her novel Winter—published in January 2018 (I walked through a blizzard to get it)—alludes to this. That turning these events into literature puts then at a distance that makes me feel better, and maybe I don’t deserve to. Look, here’s art. These things are cyclic. It will be fine.

It’s not fine, and I know it’s not fine, but I am still roused at Smith’s ability to articulate our situation in her novels. Spring came out this month and begins with four pages of run-on text that appears to be cribbed from Twitter. “We need the dark web algorithms social media. We need to say we’re doing it for free speech.” And then the story begins with a screenwriter who is mourning the death of an old friend who was briefly his lover and who was also his mentor. (What is going on here?) He’s on a train platform in the north of Scotland, and he’s mostly lost in nostalgia, and the train doesn’t come.

In the next section, more disturbing zeitgeist (“We want you to know how much your face means to us. We want your face and the faces of everyone you photograph and the faces of all your friends and the faces of the people they photograph recorded online for our fun data archive and research…”) and then a young woman called Brittany Hall who works as a guard in a detention facility for asylum seekers and/or illegal immigrants—but something strange is afoot. A young girl who managed to get through the barricades, past the guards, inside locked doors and into an office where she convinced the powers that be to have the facility professionally cleaned. Which is to say that it no longer smells like shit in this place where actual people live anymore, even though Brittany Hall has forgotten these are people, because you have to forget, or else how can you bear it. And Brittany Hall is going to end up with this girl on a train to the north of Scotland where they’re going to cross paths with the screenwriter, and like the other two books in the series, this is a novel about art, and the nature or art, and the purpose of art. About hope (springs eternal), because what is art but hope embodied after all.

May 13, 2019

Gleanings

• I wasn’t so much addicted to the spectacle as to the ongoing certainty that the next click, the next link, would bring clarity.
• She was not a brand. She was a warrior in a cardigan.
• But men themselves also need to think more carefully about how they behave in public spaces.
• But here’s what I notice more and more often… this focus on the ‘want’
• I marvel that we can swim up and down in harmony: overtaking, capitulating, motioning to pass with a silent frantic wave, smiling a nod of thanks between gasps and tumbles. 
• When I wake in the morning, I am no longer waking to darkness.
• This is my  neighbour’s plot. Rhubarb and raspberries so far. He will have tomatoes that should win a prize by August.
• I pulled my suit on the other morning at the pool, only to find the top band had entirely unattached from the rest of the suit. 
• The oak table became Mum’s worktop and her most valuable tool…

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May 10, 2019

Alice At Naptime, by Shea Proulx

Sometimes I think that the story of motherhood is too big to fit onto a page, or into a book. Because having a baby is this way, and it’s that way, and it’s never one way, ever changing, impossible to properly articulate. Heather Birrell writes about this in her essay “Truth, Dare, Double Dare” in The M Word: Conversations About Motherhood. She writes:

“The trend..is toward a certain gross-out honesty—a “come join me here in the trenches” mordancy (“I just let her chew on the stroller tire!”) which, although funny and often a welcome release, leaves out the deeper resonances and rewards of being a mother and co-parent. Why is this? Because it’s hard to put your finger on the glint of joy in the dirty dishwater of drudgery. It slips away, seems a trick of the light, impossible to photograph, let alone articulate.”

But maybe you can draw it?

I am under the spell of Alice at Naptime, by Shea Proulx, who wrote in a post for 49th Shelf:

Drawings not only make clear the path of the body, but also the path of the mind, as text does, but differently from text. The world “psychedelic” is most associated with mind-altering substances, but the word breaks down from the Greek to mean “the mind…made clear.” Works of art that show clearly the mental processes involved in thinking through a subject might also be described as psychedelic, especially when the subject is inexpressible in words…

Alice at Naptime is a series of illustrations that Proulx drew of her daughter when she was a baby. “I used to draw all the time..” the book begins, “but now just at naptime.” And when Alice is napping, she draws Alice, her sleeping face set into kaleidoscopic scenes, a wonderland of strangeness, symmetry and doubleness that grows to fill the entire spread: “a symphony of Alices.” A kind of dreamland. And fittingly, for a child named Alice with illustrations that are definitely trippy, there is wonder: “Alice is strapped down so often when she naps. It looks like we’re worried she might float away.” What does Alice dream about? Proulx asks the reader, “Am I boring you?” And I remember the fascination of my sleeping child’s face, the smallness of my world then—I remember the day my child discovered causality while kicking an arch on a baby gym, and both our minds were blown, but nobody else cared. “It’s just that I’m so in love,” Proulx writes, “lost in a sea of Alice.”

What I love about this book is how Proulx shows the way that motherhood can inspire art and thought and creativity, rather than be its antithesis. That there is such profound love in the minutiae of parenting. It is like a dream, like a storm, rolling waves—and she started thinking about Alice growing, wondering who this sleeping baby will grow to be. (“What would it be like to wake up in different places all the time?”—but motherhood is a little bit like that as the years go on. My daughter turns ten this year. She’s known about causality for awhile now. Every day, we’re somewhere new.)

“I take Alice with me everywhere, even when I leave her at home.”

“Love can seem like a trap,” writes Proulx, confined to the place her baby is napping, to her baby’s needs and whims, “but I have roots now.” And it becomes clear that this book about a baby growing into a person is fundamentally the story of a woman growing into a mother—and also how she acknowledges that these sleeping napping days with Alice were only just a blink of an eye. (A dream?)

In a gorgeous afterword, Proulx writes about how it’s been years since she made these drawings. “I’m not the person I was then. You don’t become a mother all at once. You have to grow into that new self. I recognize the fragility of the tenuous identity I was sorting out as I relaxed into a new rhythm… It isn’t without sacrifice that women become mothers, or men fathers. But the gains are heady and by their nature, indescribable, as are many natural desires. I only hope I’ve done the process some small justice. I owe that to a former self, that new mom, adrift in a wonderland, wondering who she would become.”

May 10, 2019

On Mother’s Day, I’m Grateful for My Abortion

I posted this two years ago, but I feel it even more profoundly now. While people who want to restrict abortion enrage me, I also manage to feel pity for the smallness and lack of complexity of their world view, to have the limitations of their understanding on display so flagrantly.

I also had the chance to answer some questions about the essay anthology The M Word: Conversations About Motherhood, five years on from publication. You can read it over here.

On Mother’s Day, I am grateful for my abortion. Which might sound intentionally provocative, but it isn’t. If you think very hard you might be able to fathom the banality of being grateful for this one thing upon which my adult life has hinged, from which everything since has come from, every single ordinary wonderful thing. Although I wasn’t always grateful—at the time such a thing as gratitude never occurred to me. To have the freedom to make a decision about my own body and my own destiny—that sounds kind of banal as well. It was 2002 and things were politically different, or at least I was isolated enough to think they were. At the time it wouldn’t have occurred to me that The Handmaid’s Tale was prescient.

But none of that is actually what I’m thinking about today, in 2017, amidst the conversations about cultural appropriation I’ve been listening to all for the last few days—except for yesterday when I took a blessed internet sabbatical. Instead, I am grateful for my abortion for another reason, for the ability my experiences of abortion and motherhood have given me to grasp nuance, hold uncertainty and hold two ideas in my head at once. “A single thing can have two realities.” My abortion enabled me to articulate this idea, to come to know the necessity of in-betweeness. It’s a point of view that many people a great deal smarter than I am have still not been able to grasp.

I was thinking about this this morning as I read [Redacted; a person not worth thinking about specifically]’s remarkable twitter timeline which must have originated in defence of her son who has been called out for supporting a “cultural appropriation prize” in defence of another editor who has (seemingly) been set-upon by the twitter mobs. I’ve never seen such an example of one misguided offensive thing spiralling into a whirlwind of absolutely abhorrent behaviour, the kind of behaviour that would embarrass a daycare room of toddlers, with apologies to toddlers. [Redacted] daring to make a terrible thing even worse by for some reason claiming that positive experiences of Indigenous people in Canadian residential schools had been censored from the official report, which [Redacted] hasn’t even read. (“Is there no subject matter you don’t know about that you feel qualified to opine on?” asks Maggie Wente on Twitter.)

It was all so preposterous that I did the thing that no one should ever do, which is click over to [Redacted]’s timeline where she was retweeting some guy who’d tweeted, ‘Nothing says “I love you, mom” like a child you didn’t abort.’ And here, I thought, was exactly the problem. A person who’d think that was the reality of abortion and motherhood would be the person limited enough not to understand how one could support free speech and respecting Indigenous cultures. Not to see that Black Lives Matter means that all lives matter. The kind of person who doesn’t seem to get that you can find female genital mutilation appalling and still not be a raging racist, or even be a feminist who supports the right of other women to do what they like with their bodies—adorn it with a headscarf, even. That women who have abortions might be the same women who’ve mourned miscarriages, or who celebrate life-saving techniques that make it possible for babies born as early as 23 weeks to go on to thrive. These are also, I must point out, the same people who REFUSE to understand that most late-term abortions are performed on babies that were desperately wanted but nonviable due to fetal abnormalities. People who don’t get that a person like me who was so grateful for her abortion at six weeks can understand that for many women “choice” can be the lesser of two tragedies.

I am grateful for my abortion, because my experience as a pro-choice woman has informed so much of my understanding of power structures and oppression . It’s why I’m not sure “debate” is the answer, because I’ve had to stand on the street corner “debating” my bodily autonomy with a twenty year old Catholic boy, and I’m not sure it really got me anywhere. It’s why I know that “Yes, but…” is usually a better answer, and that sometimes we have to acknowledge that people really are the experts on their own lives and experiences. That listening is usually the best course. That we all have a lot to learn from each other. That sometimes the things that make us uncomfortable are the real things, and that grey areas exist for a reason and we have a lot of discover where they do.

If not for my abortion, I might think that questions have easy answers, that the world has easy answers, that life is uncomplicated, tidy and straightforward. I might not even understand that this can be true: if not for my abortion, I wouldn’t have my children. So on Mother’s Day, I’m more grateful than ever.

May 9, 2019

The Countdown is On

I have had a busy week as we finished the website for my TOP SECRET BOOKISH PROJECT, which launches on June 3. (The countdown is on.) I also put up a brand new literary matchmaking quiz and am pleased that response has been as enthusiastic as it’s been to the first one. And I’ve been working on Blog School too, which is going to have a site of its own soon, but in the meantime, the info I’ve made so far has been expanded, and I am excited. And I am excited, which is my favourite way to be, always counting down to something. (Overthrowing the patriarchy is next up on my list.)