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Pickle Me This

March 4, 2010

Why I love the Toronto Public Library/ How the internet gets books read

I am an avid buyer, mostly because I can’t quit, but also because any person who loves books really should be. If I bought every book I wanted, however, I’d have to move to a warehouse and I’d be totally broke, so I am pleased to have the best public library system in the world at my disposal so I can eat its book-buying dust. In a good way.

Waiting for me at the library today was The Sixties by Jenny Diski (of the LRB blog, and many elsewheres), When You Reach Me by Rebecca Stead (which I read about on the The Guardian Books Blog), and Picking Bones from Ash by Marie Matsuki Mockett (because Maud Newton said so).

March 3, 2010

Dogs and Waynes: My literary prejudices

As a reader, I must say that item seven of Lynn Coady’s fiction writing tips was spot on: “Actually, never write about dogs.” Or at least don’t, if you ever want me to read your book. I’ve written before about some of my literary prejudices (many of which lie behind my refusal to ever read The Secret River), and dogs are another. Books I’ve never read because of canine content include Where the Red Fern Grows, that book that came out last year called Apologize, Apologize!, Cujo, Don’t Let’s Go to the Dogs Tonight, anything by Jack London (because my prejudice extends to wolves), and many more I’m not even aware I’ve missed. (Oddly enough, I was able to handle The Curious Incident of the Dog in the Nighttime, but that was probably only because the dog was dead.)

I’m not crazy about dogs in real life, but I don’t think that’s the reason I shy from them in fiction. The prejudice probably finds its root in the fact that dogs on book covers screamed BOY’S BOOK whenI was a young reader. Because the dog always dies, and then I end up feeling like I’ve been toyed with. And also because I hate when a female dog is fake-casually referred to as “the bitch”, as though this expression has no other connotations. And then the bitch is always grossly birthing puppies, and one of those always dies too…

And speaking of literary prejudices, I must mention another, which is that I refuse to read anything written by anyone called Wayne. Really, this is completely irrational, but it’s deep seated, because I don’t know if there’s a more unliterary name out there (as opposed to, say, Judith, which pretty much guarantees you’ll write a book at some point). Wayne Booth notwithstanding, by the way, only because the notion of a literary theorist called Wayne is so absurd to me that it scarcely registers as being true.

March 1, 2010

Freedom to Read Week: Outside Over There by Maurice Sendak

I wasn’t planning to observe Freedom To Read Week, but my Toronto Public Library local branch (big ups the Spadina Road massive!) made it particularly easy, with a display table sent up prominently by the check-out. I grabbed Outside Over There by Maurice Sendak, because I knew I’d have time to get through it, and also because I’d never heard of it before.

Now, here’s my confession: I’m not crazy about Where the Wild Things Are. It’s kind of cute, the boy in the wolf-suit, but overwhelmingly benign. (I have not read the Dave Eggers novel, but I’m going to. I have heard many good things about it, and perhaps it might open my mind to the Wild Things‘ depths?). Perhaps part of it is the playfulness of Sendak’s illustrations, as compared to Outside Over There whose pictures are positively sinister.

Apparently Sendak saw Outside Over There as the conclusion to a trilogy with Where the Wild Things Are and The Night Kitchen. (I don’t remember The Night Kitchen. I suspect this should be remedied). These three books, said Sendak, “‘are all variations on the same theme: how children master various feelings – danger, boredom, fear, frustration, jealousy – and manage to come to grips with the realities of their lives.”

So I read Outside Over There, and my immediate reaction was, “Ban the thing! Think of the children! The children!” Or at least I could see how one might jump to that response, because the book is utterly mystifying. The pictures are really frightening, the text is weird and jumbled, the story doesn’t make a whole lot of sense, and the whole book is troubling, in the way that so much about it is just not quite right, but exactly why remains elusive. I could not imagine wanting to read this book to a child, I could not imagine wanting this book to be read to me as a child (because truth be told, I always steered pretty clear of anything about goblins).

But on the other hand, if I could have got past the goblins, I could see how these would be pictures to get lost in. The baby is also a terrifically-drawn baby, who is screaming on one page and looks exactly like my daughter. Ida, the girl in the story, is the only illustrated little girl I’ve ever seen who looks like Virginia Woolf. And in the background of the pictures, strange scenes are set that aren’t explained and we’re left to wonder. To wonder too about the story, about Ida who is left to look after her sister while her father is at sea and her mother is (we assume) depressive. “Ida played her wonder horn to rock the baby still– but never watched.” So that the baby is kidnapped by goblins, Ida has to rescue her but makes “a serious mistake” that is never explained. She finds the goblins, all of whom have been transformed into fat babies. Ida only frees her sister by playing a song on her horn that turns the goblin-babies into a dancing stream but left her sister, “cozy in an eggshell, crooning and clapping as a baby should.” She returns home and makes a promise to always watch her sister and her mother, for her father, who “will be home one day.”

Weird weird weird. And how amazing is a picture book that pulls its readers so deep inside it but leaves them only mystified? A story that can’t be tied up neatly, or even properly understood, and must be returned to and considered, and flipped through again and again. Which isn’t to say that the book is necessarily good, or remotely satisfying, but there is something to it, surely. If I could only just begin to put my finger on what it is…

This 1981 NY Times Review of Outside Over There suggests the book has depths I’ve not begun to plumb– complex themes, sexual connotations, that “Mr. Sendak’s illustrations are evocative in so many different ways that for a self-conscious adult mind to enter the world of Outside Over There is to risk becoming paralyzed by the book’s allusiveness.”

According to this resource on challenged books, Outside Over There has been challenged, surprisingly, not for being maddeningly weird, but for references to “nudity, religion and witchcraft.” None of which I’d picked up on– is it possible my mind isn’t sick enough for this sort of thing? I think only the babies are nude, but are not babies often nude? (And now that I’ve started reading objections to banned books, I can’t quite quit. The Lorax “for criminalizing the forestry industry.” Murmel Murmel Murmel for “depict[ing] human reproduction”. And it would be so funny, if it weren’t actually true.

I am so glad that there exist children’s books that are so puzzling and complex and you’re never finished reading them. How much credit does that accord children’s minds, I think, and it’s brilliant. Even if the book troubles me in its vague, weird way– that kind of a reaction from pictures and a couple hundred words of text is really quite remarkable. And I’m even glad that someone wanted to ban this one, because otherwise, I might not ever have read it.

February 24, 2010

Enough shameful author appearances for one lifetime

This one author appearance was so remarkable for being shame-free that we had to take a picture

Prologue: Once upon a simpler time, the authors came to you. And though there was probably still queuing, you hardly noticed, because everything was about queuring then. This was elementary school, where the queues were usually single file, and you had to use bring your indoor shoes, and your indoor voices too. Your class would line up in the hall to make the trip down to the library where the author would be waiting. The most wonderful authors– Phoebe Gilman, Robert Munsch, Dennis Lee. There was nothing better than this, except perhaps Book Fairs, and Scholastic orders.

And because you were the bookish kid (it was written in ink, big block letters on your forehead), you were often chosen to stand up in front of the room to be the opening act, to make the author’s introduction. Reading from a mimeographed sheet in your helium-high pitched, impedimented speech, you lisped something about him coming all this way to see you, to read you all some of his stories. How wonderful! Stories with pictures, stories that were guaranteed to be funny because this was author an with an audience to impress, a task was usually accomplished with a joke about burping. And no literary event has ever been less pretentious, more joyful, and so absolutely for the love of story ever since.

Chapter 1 (in a series of shameful author appearances, which are enough for one lifetime): You are seventeen and you are going to meet Margaret Atwood. She is appearing at the Peterborough Public Library as part of an author’s festival, and you want her to sign your copy of The Robber Bride. Unfortunately, this event is taking place on a Saturday and you work on Saturdays. Fortunately, the library is close enough that you can pop over on your break. And so you do. Waiting in the obligatory lineup to have Margaret Atwood sign your book, and you slip her a note in your idiotic handwriting in which you’ve told her that you want to be her when you grow up, because you presume she cares. (And she does enough to mail you a postcard in response not long after, wishing you luck with your writing– points for Margaret Atwood!) . What is shameful about all of this is that at the time, you’re wearing a fuschia McDonalds uniform. Maybe you thought that it would be okay because of how Margaret Atwood once worked at Swiss Chalet and this was solidarity, but as the years go by, you start to think that it probably wasn’t…

Chapter 2: You are twenty three, and Douglas Coupland will be appearing at your local Waterstones reading from Hey Nostradamus. Because you are Canadian and he is too, you look upon this as an old friend coming to visit, and you feel much more familiar with Coupland than you would have otherwise. You count your blessings that you’re not wearing a fast food uniform as you line up for the book signing after his reading (but it must be noted that you’ve moved past McJobs and are now contemplating a vague career under the umbrella of “admin”, which will only be interrupted by a spell abroad teaching ESL in the obligatory fashion). Douglas Coupland is yet another writer who is terribly gracious, or at least well masks his scorn, as you let him know that indeed, you are Canadian, just like he is. Douglas Coupland pretends that this is remarkable, and inscribes the title page with, “To a fellow traveller”, and you feel like a person of substance for being a fellow anything.

Chapter 3: You are lining up to meet Ann-Marie MacDonald at the Lakefield Literary Festival. Though you’ve never managed to get past page 4 of Fall on Your Knees, you found her second novel The Way the Crow Flies absolutely mesmerizing. And you’re dressed properly, no longer suffering from expatriate longings, you think you’re pretty much set for a shame-free author appearance. Until you hand Ann-Marie MacDonald your copy of The Way the Crow Flies, she opens it and you remember that stamped in red in on the inside cover is the message, “THIS BOOK WAS SLIGHTLY DAMAGED IN TRANSIT AND IS NOW BEING SOLD AT A SPECIAL BARGAIN PRICE.”

Chapter 4: Now you’re at Harbourfront, lining up meet the wondrous Zadie Smith, who as given a wonderful reading and just metaphorically sucker-punched some idiots in the Q&A that followed. Funny how all this time waiting in queues for author signings should theoretically give one time to prepare, but it never really does, and you’re always struck dumb when you come face-to-face. Zadie Smith opens up your copy of White Teeth (which, thankfully, wasn’t damaged or sold at a bargain price special or otherwise),  reads your name in the top left corner, and tells you she likes it. Zadie Smith likes your name. Unfortunately, the cleverest thing you can think of to say in response is that you like her name too, which is true, but does nothing to push your conversation forward. In fact, it ends just about there.

Chapter 5: You should have learned your lesson, but you haven’t. You’re back at Harbourfront and you’re lining up to get your copy of Joan Didion’s Slouching Towards Bethlehem signed by its author who is currently promoting The Year of Magical Thinking. Once again, all that time waiting does not make you remotely ready when you finally get to the head of the line. You approach Joan Didion who somehow manages to be the smallest person you have ever encountered, the most terrified looking person you’ve ever seen, and the most intimidating. She stares at you without expression. You stare back, probably with an expression, and it’s probably a regrettable one. Neither of you say anything. You hand her your book, and she signs it with a scrawl. You muster the courage to tell her how much you enjoy her work, and she responds with a new expression that can only be described as pained.

Chapter 6: You’ve kept your distance from authors ever since then. Though from afar, you’ve witnessed the most horrifying experiences of all, at literary festivals when authors are seated at the signing tables, patiently waiting and pen in hand, stack of books beside them. And there is no queue. Authors trying to look casual about the whole thing, like they’re not anticipating anything, really. They’re just hanging out, welcoming the break. And you’re almost tempted to jump in line and stop the agony, but you know better now. No amount of authorial suffering will drive you to it, for you’ve had enough shameful author appearances for one lifetime.

(Point of view has been changed from first to second person in order to protect the idiotic).

February 18, 2010

Books

February 14, 2010

Valentines Day Recommendation: A different kind of love story

Old Friends, Rare Books is doubly a love story. About first, an incredible lifelong relationship. One which, the authors note, has been inferred to be sexual, but they say otherwise. That there had been men in their lives, and plenty of other friends, but in no one else did these women begin to find the sense of being so perfectly matched that they’d encountered in each other. Truly– as their joint autobiography attests to– Madeleine Stern and Leona Rostenberg speak in the very same voice, and mostly they’ve been talking about books since their meeting in New York at the beginning of the 1930s. And in recounting their adventures ever since then, the peculiarities of their relationship actually become quite unremarkable, or perhaps only as unremarkable as any extraordinary, enduring absolute partnership could be.

Stern’s work as a biographer brought much acclaim throughout her career– in particularly, her groundbreaking work on Louisa May Alcott. (And with a book on bookish connections, it’s worth noting that I only read Old Books, Rare Friends after seeing it referenced in Harriet Reisman’s new Alcott biography, which I only read because I’d read Little Women in the Fall, and I only did that because I’d found a battered copy in a curbside box two years ago and it had been sitting on my shelf forlorn ever since then). Rostenberg had completed a PhD dissertation on early printers and publishing, but it was unfairly rejected– a wrong that thirty years ago was  righted with the granting her degree in 1972. In the meantime, she’d opened up her own business as a rare book dealer, Stern joining her a few years later, and their book recounts their adventures exploring bookshops throughout the world in search of precious volumes, which did have a knack of turning up rather serendipitously. Their sleuthing/detection skills were also put to use in their discovery of Louisa May Alcott’s vast body of salacious short fiction, published in 19th century periodicals under a pseudonym. This find would cast Alcott’s reputation as a kindly writer of children’s fiction into a new light.

All of which are part of this book’s other compelling love story– Stern and Rostenberg’s lifelong affair with books. An enthusiasm made contagious through such vivid and engaging prose. Truthfully, sixteenth century ephemera isn’t my cuppa tea, but I started to wish it was. Their adventures in literary sleuthing were like Possession but in real life! Their extraordinary lives were such a grand adventure, the stuff of a book lover’s dream.

I am so grateful for the literary luck that put me in touch with this marvelous volume. Love love love.

Happy Valentines Day.

February 10, 2010

As long as it's not dangerous

“The Cambridge History of English Literature was my constant companion, and it became infused with my cigarette smoke as I plodded through the pages. Almost all my women friends were smokers, some using cigarettes to affect a social ease and grace; others, more dependent upon them, becoming chain smokers. I myself was convinced that without a cigarette in my mouth I could neither study nor exercise any creativity. All unconscious of future revelations about nicotine, my mother would say to me, ‘Why not– as long as it’s not dangerous.’ And so I smoked my way through the Cambridge History of English Literature.” –from Old Books, Rare Friends: Two Literary Sleuths and Their Shared Passion by Leona Rostenberg and Madeleine Stern (which is wonderful)

February 8, 2010

Furnishing a room

Our house is currently in a state of upheaval as we begin the process of moving the baby into her own room. We’ve got a faint hope that it might help her sleep better, and after eight months of enjoying having her close, we want our room back. And no doubt she’ll be joining us there most nights anyway (and yay for reluctant co-sleeping, which is much better than being awake).

Baby will be moving into the spare-room/ office/ library, however, so the books have had to migrate living-room-ward. Which at first I was sad about, that the books would be losing a room of their own, but now having them out in the world again, I realize that I’ve missed them. How little I visited our library, unless I had a reason to, and how nice the spines are just to stare at, and the journeys they could take me on from my seat here in the gliding chair.

And I realize that books have been missing from this room all along. It’s so nice to be back among them. The aesthetic effect of their various colours and heights. How the walls were empty before, and the floor just too wide, and how the built-in shelf beside the fireplace was wasted before now. It’s true, they do– they furnish a room! And joyfully, because televisions don’t, we’re getting rid of ours, so just excuse the focal point in the photo in the meantime.

February 2, 2010

Embracing the Ego? A reevaluation

I changed my mind, sort of. After thinking a lot about why we should read, and deciding (along with Fran Lebowitz and Diana Athill) that we should read in order to escape ourselves, I realize that reading is not so simple. That here I sit spouting nonsense about what reading is for from a position of enormous privilege (read: literacy, internet access, enough of my immediate needs met that I have time to sit here spouting nonsense) about what reading is for, but I’m missing most of the story.

It is annoying, I think, when people who spend most of their time gazing into mirrors anyway choose to see literature also as a reflective surface. This, of course, is what Fran Lebowitz called “a philistine idea… beyond vulgar.” But I’m starting to realize that we’re only talking about a fraction of the population when we generalize in this way. There are people with real problems (and I’m sorry quarter-life-crisis-ers, but I’m not talking about you!) for whom literature would be a most productive therapy, and also for whom this kind of personal engagement might be their gateway into books (which is splendid!). For anyone to devalue this kind of reading is incredibly patronizing, and stupid. (And perhaps to devalue any kind of reading is patronizing and stupid too).

I am learning more about the work done by Literature For Life, about their Book Circles whose participants have often never read an entire book before . The first book their groups read is The Coldest Winter Ever by Sister Souljah, selected for being plot-driven and for the way in which the story might relate to readers’ lives. Confidence grows from just one book, and so does interest, so that someone who has only read one book before might go and pick up another. So that, yes, a reader is born, but also these readers can begin to address their own problems with the advantage of some distance, that they gain access to a new way of examining and understanding their own experience. Language becomes a tool for self-expression. Subsequent books read become more challenging, but all of them connect back to the readers’ experience somehow, and I see now how much is right with that.

Perhaps what I find most fascinating about the Lit. for Life Book Circles (whose participants are pregnant and parenting teenage mothers) is that these communities of readers approach literature from a wholly different angle than what I’m used to. We all like to go on and on about the use-value of literature, which for most of us is theoretical, but these readers put those theories in motion. These girls whose lives are changed by the power of one book– they are a testament to what literature can do. Those of us who take books for granted can certainly learn something from that.

Anyway, there will be more learning to come. I’m going to be doing some work with Literature for Life over the coming months, and I look forward to sharing those experiences here.

February 1, 2010

Meet the Smiths

I’ve got a family of Smiths on my bookshelf. Probably you do too. Mine are diverse but an excellently harmonious bunch. There’s Ali, of course, of The Accidental and Girl Meets Boy. And then Alison, of the poetry collection Six Mats and One Year. Next is Betty, who wrote A Tree Grows in Brooklyn. Beside her is Ray, then Russell, and Zadie, who have brought to the library Century, Muriella Pent and White Teeth/On Beauty, respectively.

This is the largest clan in my library, save for the Mitfords who don’t actually count because they’re really sisters. And I’m not sure if this bunch is alike or unhappy in their own way, but I like how their jackets rub together anyway.

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