July 6, 2014
If I Wrote a Book About You by Stephany Aulenback
I’ve been an admirer of Stephany Aulenback for at least a decade, since she was Maud Newton‘s Friday blogger and I would read her posts from my closet-sized apartment in Japan, loving the places her links pointed me to, dreaming of my faraway home back in Canada and the possibility that someday I might be a book blogger too. She started her own blog at Crooked House a few years later, which I always enjoyed, in particular her links about babies and motherhood, her thoughtfulness and curiosity about topics most other places on the internet (and elsewhere) reduce to consumerism and polarization. I love that for her, motherhood and literature have always been connected (or maybe it’s just that to read is to be alive, and mothering is something you can do concurrently).
Her second child was born a few weeks after my first, and I have appreciated her frank, funny and creative posts on living with children. Just off the top of my head, the list of wonderful things her blog has pointed me to include Sara O’Leary’s books, Christina Hardyment’s Dream Babies, and my first reading of Harriet the Spy (for which I named my firstborn—seriously, where would I be without Crooked House?). I have also appreciated her writing at places like McSweeneys, in particular, “Words That Would Make Nice Names for Babies, If It Weren’t For Their Unsuitable Meanings”. (I myself have always been partial to Tazer and Latrine.)
So of course, I have been looking forward to the publication of her first book, If I Wrote A Book About You, illustrated by Denise Holmes and published by the splendid Simply Read Books. When I saw an image of the book’s cover a few months ago, I suspected I would not be disappointed, and I wasn’t. Holmes’ illustrations are simply and stylish with a touch of the old-fashioned about them (blushing cheeks), complemented by the stripes and floral prints that offset them.
The book is a love letter from parent to child, a sweet and whimsical expression of affection. “If I wrote a book about you,” the story begins, “and how wonderful you are, I would write it everywhere.” Some of the expressions are more straightforward than others—”I would write that you are perfect in the sand on the beach,” the illustration showing her doing just that. Or “I would write that you are amazing with the telephone wires, and that you are fascinating with the yellow lines that run down the middle of the road,” this page featuring my favourite spread from the book, a homey streetscape (featuring a library!). She ends up writing with noodles, toys on the floor, raindrops on the window, and rays from the sun.
Aulenback’s playfulness with language is evident here, in that with beads on a bracelet, she writes, “charming”, and that her grammar bends in surprising ways that keep the ear attuned–“you are delicious with the noodles in your soup.” I also love the idea that one could write anything with cracker crumbs and toys on the floor, and if this were really the case, I’d be Karl Ove Knausgaard.
For me, the book is testament to the exuberance of love and the creative inspiration that parenthood can bring, though it’s a complicated inspiration. It’s significant, I think, that the book’s title is hypothetical after all. While motherhood might brings with it a whole new brilliant view upon the world, this doesn’t necessary entail sufficient energy or time with which that vision can be captured for all of eternity. (Or maybe it does? Karl Ove apparently has four children, though as yet, he hasn’t written a book about them.)
If I Wrote a Book About You is a book about the curious places in which we writing our stories on the world, about the power of words, a vocabulary lesson, an exercise in imagination, a record of lovely quotidian things, and the ridiculous extent of parental love. You can also take any of the adjectives that appear within the story–charming, beautiful, clever, precious and sweet—and, like magic, they seem to apply to the book that contains them.
July 3, 2014
Best Book of the Library Haul: Spectacles by Ellen Raskin
Ellen Raskin’s The Westing Game was on my foundational texts, one of the few books from my YA days that I still keep on my shelves. So it was a lovely surprise to discover her books in the picture book section once I started perusing the library with Harriet. Turns out that Raskin was a notable book designer and illustrator, in addition to being a writer. (She designed the first edition jacket for A Wrinkle in Time.) Her picture books are very visual, kind of psychedelic, whimsical and as tricky as The Westing Game. And this week we enjoyed reading Spectacles.
It is possibly true that we like Spectacles because it features a little girl called Iris. Who didn’t always have glasses, her poor eyesight having previously gotten her into a whole lot of trouble and causing misunderstandings.
For example, what she’d assumed to be a chestnut mare in the parlour (but of course!)…
…turns out to be her babysitter.
These visual tricks constitute most of the book, and does include a racist image of an Native American stereotype. Which is the point at which I point out to Harriet what racism and stereotypes are, and why I’m not comfortable with that page, so all is not lost, and we move on to chestnut mares.
At the end of the story, it all becomes clear, and Iris has a wide variety of frames to choose from on her visit to the opticians. “Would you like to look younger or older, sweeter or smarter, like a scholar or a movie star?”
It is unfortunate that Raskin’s picture books are out of print and that most of them are unavailable in our public library system (though they are kept in the archives of the Osborne Collection for Children’s Literature). Definitely books worth keeping an eye out for when cruising garage sales or second-hand bookshops.
*And by the way, I’m excited to welcome back the Best of the Library Haul feature, now that school is out and we once again have time for regular library visits. I’ve missed them. This is going to be fun.
July 2, 2014
Miriam Toews and Lisa Bird-Wilson
Things are busy around here with the usual summer things (swimming pools, barbecues, celebrating Canada Day at Queen’s Park, not sleeping at night, lazy days, beer and chicken wings with my husband on a rooftop patio) and with a top-secret project that is going to keep things quieter on the blog front this summer. Which is as it should be–you’re all out gallivanting anyway. But I did want to share two amazing things I’ve been up to lately in celebration of two really excellent books.
The first is All My Puny Sorrows by Miriam Toews, which I was lucky enough to review for Canadian Notes and Queries 90, their summer issue. It’s out now. The review was a pleasure to write, to be working with material that was just so good. The book is the most hilarious heartbreak I’ve ever experienced. A teaser of my review:
“While markedly different in style and tone, All My Puny Sorrows reads as an interesting companion to Sonali Deraniyagala’s memoir, Wave, another book about grief and trauma, in which Deraniyagala recounts the loss of her family in the 2006 Boxing Day tsunami. Both books are haunted by narrators whose voices are measured and understated, existing to evoke the dead and the past rather than to illuminate the present, partly because the narrator in the present is a hollow shell of grief. And that grief itself remains a quiet presence in the text, until it doesn’t, bursting onto the page with a torrent of rage. Interestingly, both narrators enact their rage by making obnoxious phone calls, describing themselves as “haunting” the calls’ recipients on whom they (inappropriately, but who can blame them for that?) lay blame for their tragedies.
Unlike Wave, however, and just like everything Toews has ever written, All My Puny Sorrows is also terrifically funny. The young version of Elf is a wonderful character, with her dramatic flares and karate-chop gestures. The most hilarious scene in the book takes place at a funeral (of course) when a young child steps up and begins to eat the ashes of the deceased. Elf and Yolandi’s mother emerges as the real hero of this story, a woman of unlimited faith and optimism (and who, in shock after her daughter’s death, answers every utterance with, “Ain’t that the truth”). And this is Yolandi’s revelation as well, that all this grief has not been put upon her alone, and that her mother, in her obsession with Scrabble games and detective novels, is trying to decode the mystery of things and put words together so they mean something, just as Yolandi herself is.”
I am also very pleased with my interview with Saskatchewan Metis writer Lisa Bird-Wilson about her short story collection, Just Pretending. I read the book in early May and found it incredibly affecting. Bird-Wilson’s answers to my questions were thoughtful, challenging, provocative and profound–just as her book is. And a taste of that?
“Also, don’t you think there’s something a bit unfair about criticism that turns on the fact that stories made the critic feel bad? It’s unfortunate, but I’ve really noticed that audiences want you to read things that are funny—boy, they love that kind of thing. I find myself sometimes trying to excise funny bits from my stories and use them for readings—shame on me for bowing to the pressure but we all want to be liked, don’t we? I guess it’s human nature—we want to be able to laugh together—but in order to laugh together we also have to cry together sometimes. And sometimes we just laugh our way through the pain because there’s nothing else you can do.”
Reading the whole thing here.
June 29, 2014
Mating for Life by Marissa Stapley
The cover doesn’t lie—Marissa Stapley’s Mating for Life is the perfect novel for dockside, for reading on the beach. By which I mean it adheres to a certain formula. The ends all tie up into perfect solutions, tragedies averted. By which I also mean that it’s a pleasure to read, this novel about Helen Sear, a woman who is part Joni Mitchell, part Gloria Steinem, a former folk singer whose relationships with men throughout her life had been like the relationships fish have with bicycles, except with a lot more contact. Contact enough for her to have had three daughters with three different men, these daughters now grown and trying to reconcile their complicated family legacy. They’ve each responded differently to their mother’s example, creating their own selves from those parts of her they’d embraced or rejected. Or at least had attempted to reject—it will turn out that they’re each more like their mother than they’d previously understood, and unlike her too in ways all their own.
The novel begins at Helen’s summer cottage north of Toronto, where Liane (the youngest) is spending a week alone trying to finish her dissertation and to sort out her feelings toward her fiancé. And it was here where I began to notice something beyond a formula at work, and to be delighted by the unabashed bookishness of the narrative–a perfect novel for dockside that features people who are reading on docks. And reading specifically too–Liane notices a man at a neighbouring cottage reading at the end of his dock, something with an orange spin. She swims close enough to see that it’s Junkie by William Burroughs and she’s disappointed, plus a but disturbed. Later, rifling through the cottage library, she turns up a copy of The Monsters of Templeton by Lauren Groff, and begins to read its wonderful first sentence…
Meanwhile, the oldest daughter, Fiona, is starting to lose it after more than a decade of trying to attain domestic perfection, trying to prove to the world that she’s nothing like her mother at all. When her husband reveals a secret from his past, the veneer of her life is cracked, and she’s not sure she can put the pieces back together. Living not far away is the middle sister, Ilsa, whose attempts to emulate her older sister’s are beginning to prove an abject failure. She’s got two small kids, a husband who ignores her, and her once-successful career as a painter is as stalled as her marriage. She starts to wonder if the spark she’s missing might be found in an affair with a former teacher, and she’s far too aware of what she’s doing when things finally cross the line.
Unbeknownst to her daughters, Helen has also embarked upon a complicated domestic arrangement. She has fallen in love with a good man who wants to marry her, which might sound uncomplicated to most women, but most women haven’t spent decades solidifying a public reputation for independent womanhood. She’s not sure whether her new feelings mark an evolution or compromise of her principles.
The chapters alternate between the points of view of Helen and her daughters, as well as those of other women–the estranged wife of the man Liane watches reading on his dock, their eldest daughter, the woman whose just the latest to shack up with the owner of the local marina, a man whose virility is legend (which she hopes might give her barren womb the boost it needs to finally make the baby she’s been longing for). Each chapter is preceded by a short paragraph on the mating habits of various wild animals, the habits reflected in the behaviour of the characters who will appear. These allusions serve to further the questions posed by the narrative about human relationships and whether their patterns are learned by nature or nurture. But they also bring the animals themselves into the story in a really interesting way that calls to mind Alissa York’s Fauna, both in the rural cottage landscape and in the city settings too.
As one would expect from a novel about a folk singer, Mating for Life is as full of musical references as it is literary ones. And speaking of the literary references, this is the only book I’ve ever read in which a major plot point hinges on a copy of the literary magazine The Malahat Review. It terms of its allusions and also its sense of place, the novel seems compellingly charged with the world in a way that is a pleasure to encounter.
The book is not without its problems—dialogue can be stilted and expository, I could have done without the thoughts in italics that underlined what Stapley’s impressive prose was already making quite clear. Sometimes the adherence to formula broke a spell, and maybe I am being nitpicky, but I spent a lot of time figuring out how the marina owner, who had grown children, could have only read one book in his life “for school” and had that book be Alistair MacLeod’s No Great Mischief, which was published in 1999. Maybe he’d gone back and got his high school equivalency, I wondered? (A possibility!). But do you know what’s so wonderful? The reference to No Great Mischief wasn’t casually made, thrown down for solid literary cred, but for its brilliant last line which I won’t reveal here for spoiler reasons, but which ties in so perfectly to everything that Mating for Life is all about. Formulaic or not, Stapley’s narrative was constructed with such care.
There are also truly splendid bits of prose. A standout line for me was, “The lake was like a garage-sale mirror, smooth but mottled.” It’s an image that has lingered in my mind.
Mating for Life is the type of summer book that I’d pass on to my mother and my sister, the way we did with Judy Blume’s Summer Sisters years ago. It’s the kind of summer book I don’t encounter so much anymore, me with my head jammed far up my literary ass and therefore unable to soak of summer books for summer books’ sake the way I once could. Because summer book or not, I need my books to be good. I need lines of prose to stick in my head and characters with three dimensions, and for the most part, Stapley delivers, showing the messy, complicated, infinite, wonderful and never-boring threads of women’s lives.
June 26, 2014
Peach Girl by Raymond Nakamura & Rebecca Bender
I had the pleasure of reviewing Peach Girl by Raymond Nakamura and Rebecca Bender for Quill & Quire. It’s a story about a feisty girl that depicts the gorgeous countryside of Japan, a country that was once my home. I definitely recommend it.
“In his engaging debut, author Raymond Nakamura puts a feminist bent on the Japanese folk tale Momotaro (Peach Boy).
In Nakamura’s version, a young girl emerges from a giant peach discovered on the doorstep of an elderly couple (who are, notably, a farmer and her husband). Momoko, which translates as “Peach Girl,” is a feisty creature determined to make the world a better place, a mission that involves ridding it of a child-eating ogre. Gently shrugging off her adoptive parents’ concerns for her safety, Momoko embarks on her quest with peach-pit armour for protection, plus a bundle of peach dumplings to eat on the way.”
You can read the whole review here.
June 26, 2014
Status Update by Sarah Yi-Mei Tsiang
With Status Update (which was nominated for the 2014 Pat Lowther Award), Sarah Yi-Mei Tsiang employs a clever device both for the purposes of her own literary inspiration and to provide her reader with a gateway to the collection. Tsiang used status updates by her Facebook friends as writing prompts for each poem, sometimes adhering to the narrative implied in the update, other times using the words or ideas therein as imaginative points of departure, Tsiang embodying the voice of the status updater in some poems and using the material of her own life in others, every time showing that social media conversation is worthy of literary concern, that Facebook statuses are just another example of the art which can be located in the corners of ordinary life.
I found this conceit really useful. A challenge I’ve encountered in reading poetry is how to grasp a collection without a theme or overarching narrative, and while the poems in Status Update are wildly disparate in approach and tone, their connections are implicit and results in compelling readability. The original status updates, which are included with each poem, also offer points of familiarity and access–many of these are memes I’ve encountered on my own Facebook feed, I recognize the names of the updaters too, who range from prominent Canadian literary figures to a boy I was in a play with in grade 8. (Tsiang and I grew up in the same town, and probably have a few Facebook friends in common. Further disclosure: she was also one of the writers in The M Word, and her essays refers to this collection, to the complicated considerations she must make in writing about and being inspired by her daughter.)
The poems themselves? They’re rarely what you would expect from the figments that inspired them. The final poem stems from a question about whether the world of Facebook can possibly be as sunny and wondrous as status updates and vacation photos would suggest, and Tsiang concludes her resulting poem with the disturbing and wonderful, “Unfold the picnic basket, / and set out the watermelon. / The adults are planning murder-suicide/ and the children are drowning in the lake.” Some poems are glosas, such as one inspired by an update by Carolyn Smart, “thinking of Bronwen Wallace and the 21 years gone by.” which is followed by four lines from Wallace’s “Coming Through”, and Tsiang’s resulting piece, which concludes with, “Lessons you have taught me by example:/ there are some people/ you could have trusted your life to/ and their death displaces you.” What a marvellous knot of literary homage–I love this.
I’m moving through the collection backwards (and note: there is an index at the end of authors of the updates that inspired each poem–I love this too) and picking out my favourites from this book which I read in order at the time. “Dave Hickey wonders if his tv misses him”, which is written in the voice of the television, each stanza imploring, “Look.” Particularly striking: “Look: the sun will kill you. So will/ fish, plastics and cell phones. I will tell you/ the cause of SIDS at five o’clock. Don’t/ put your baby down before that.”
And incredible poem is “Break Into Blossom”, which is inspired by a line from the poem “Blessing” by James Wright, in which Tsiang’s narrator contemplates the enormity of the love and loss implied by being a parent: “When she was born, the colours shifted in her eyes:/ dust to earth, as if she were becoming more solid/ within my gaze. How carelessly I held her,/ like the earth shouldering the skies./ Suddenly I realize/ all the thousands of ways I will lose/ her, and I am overcome, as by a death/ with her still sitting there, singing quietly/ to her stuffed monkey. The world is astonishing/ in this small room….”
There is lots of humour too, as well as poignance. One update inspires Tsiang to write a rejection letter to herself: “Dear Sarah, While we read your manuscript with interest, it doesn’t fit with our publishing mandate. Maybe if it had more tomatoes, ripening on the vine…” Or another poem (perhaps not funny, depending on your point of view), which begins, “The dog knows when you lie…”
Sarah Yi-Mei Tsiang is a writer doing remarkable things. She’s author of some wonderful picture books (including A Flock of Shoes), non-fiction kids’ books, YA books, and editor of an anthology of Susans. (I also loved her previous collection, Sweet Devilry.) With Status Update, she shows that she’s got even more tricks in her back pocket, but also such a talent for turning words into vivid moments, and a refreshing viewpoint on the world.
June 25, 2014
Better Homes and Gardens
It’s all fine and good to want to give your kids a ’70s summer, but I’m most excited about a date I’ve got scheduled tomorrow that’s more 1950s’ housewife—a martini madness afternoon to celebrate school’s out at the home of the incomparable Nathalie Foy. (“Is this a drop-off party?” asked Harriet, who has anxiety about such things. “No,” I told her. “It’s a grown-ups party. But the kids are allowed to stay.”) Seemed like a good occasion to finally use my 1960 Better Homes and Gardens Dessert Cook Book (which I found on on a curb on Major Street). It’s the most incredible cook book, and with the kind of recipes that alienated 1950s’ housewives from their labour, but provided her with ample time to smoke in and conjure Betty Friedan. These are the recipes the grocery store baked, and there is something to it. I had a busy day today, and wouldn’t have had time to make anything that took more than 10 minutes. I selected the ABC Dessert Salad (they actually called it a salad!) whose ingredients are displayed above. It’s extraordinary! I thought I’d fouled the whole thing up when the whip cream melted all over the rainbow mini marshmallows (because the just-made jello was still hot) but I think it was part of the process. The jello has since set (and before you point it out, it’s FRESH pineapple that won’t set in jello. Canned seems to do just fine) and I had a taste of my salad, and it tasted just like something a Great Aunt would have made. Harriet thinks it sounds delicious.
So we’re being eased into the end of school. Harriet’s playschool finished yesterday, and she’s in morning kindergarten until the end of the week. We had our playschool picnic today, which brought back memories of last year’s, Iris just 3 weeks old and the effort it took for me to sit on the ground. This year, she crawled through dirt and became more filthy than she’s ever been, so the children had a bath as soon as they got home. I think they’re going to be getting up to a lot of that this summer.
On the other end of the food spectrum, we hit the Farmer’s Market this evening. I do so love Harriet at age 5, who is so pleasant to go places with, and Iris is still too little to be completely annoying. And so we go to the market and Harriet says, “Oh, oh, Mommy! The wine seller is here!” and she’s happy because she knows I’m happy (and I’m even happier because this week’s wine seller has a delicious bottle of white wine for $13). And then we get cheese from Monforte Dairy, and strawberries, and raspberries, and garlic scapes, and fresh mint, and turkey sausage, and spinach, and golden beets. The market is beginning to explode with delicious things, and it’s so exciting, the season’s bounty marking its trajectory on our dinner plates. The idea of being home with 2 kids all summer is mildly terrifying, but when I think of it all in terms of tomatoes, corn, and peaches to come, I start to salivate. We will probably be okay.
There will be day camps here and there, and lots of TV. There will be ROM visits, shady trees in the playground, trips to the art gallery, filling up the pool in the backyard, scooter-riding, ice cream drips, library visits, lazy mornings, and lots of freezies. Iris’s naps make our days less wide-open than is ideal, but it also means we all get to siesta, and think that’s a fine thing. (It’s also going to be how I manage to combine my work with childcare. Fingers crossed for this.) There will be the hours of 3:30 to 5:30 to pass, which have been scientifically proven to be the longest 120 minutes in the universe (and I had spent them this spring in the park hanging out with my co-workers. I am going to miss this.) But I am going to enjoy the privilege of a summer with my kids.
We are going to get new freckles. We are going to have fun
June 24, 2014
A Good Day
Look what I got! Happy Birthday to me, indeed. I also received a new string of bunting, which means we may have reached Peak Bunting in our apartment. An ideal state, as far as I’m concerned.
June 23, 2014
One Kind Word: Women Share Their Abortion Stories
“I had an abortion.” This is not a confession, but instead is the phrase with which my essay, “Doubleness Clarifies” (which was published in The M Word and online this spring) has been received by readers, more than any other, or at least it seems as such from my point of view. And these readers are not confessing either, but rather are stating a fact of their lives, a fact they seem eager to share. Like me, I suppose they’ve spent a long time feeling as though abortion stories were not to be shared, and they were grateful finally to have an excuse to talk about this fact of their lives, a fact which has been perhaps sad, complicated, maybe neither, but undeniably important.
It’s not shame that keeps women from talking about their abortions, but rather fear of seeming impolite. It’s funny that in a society in which 1/3 of adult women have had abortions and most people understand the procedure to be a necessary part of women’s health, that we kowtow to the sensibility of a minority whose vocal stance allows them to set the tone on the issue. That abortion is unseemly, dead babies, something that marks us, something which we have to hide at all costs.
All costs? The huge cost of hiding our abortion stories, of course, is that the vocal minority gets to tell us everything we know about abortions, much of which is wrong. (Increased breast cancer risks, post traumatic symptoms and regret, photos of aforementioned dead babies.) They get to influence the people who make the legislation, because the rest of us are too polite to speak up. They get to tell us everything we know about the women who have abortions too, which is that there is a type of woman this happens to and that her experiences are uniform.
With the new book, One Kind Word: Women Share Their Abortion Stories, edited by Kathryn Palmateer and Martha Solomon, with a foreword by Judy Rebick, we learn that everything they told us about abortions, and the women who have them, is wrong. In striking portraits—photographs accompanied by short first-person essays—we learn that women who have had abortions are women of all ages, backgrounds, and experiences. We learn than many of them are mothers. Others never wanted to be mothers, and it’s that certainty that made the decision to have an abortion quite an easy one to make. Some women look back on their abortions with mixed emotions, or sadness, grief or relief. And most of them look back and are grateful that the choice was theirs to make.
As I wrote in my essay in The M Word, reproductive freedom remains a revolutionary thing for a woman to get away with. Not because we don’t get away with it, but because when we do, we don’t talk about it. Which leaves a woman contemplating abortion or who’s had an abortion feeling that she’s so alone, that no one has ever been where she’s going and come out fine on the other side. And so that’s why a book like One Kind Word is so hugely important, representative of the real experiences of so many women. Experience as depicted by those who’ve lived it rather than those for whom abortion is an abstract moral issue—this is so significant. The book is also important because it creates a space where women who’ve had abortions can see themselves reflected, and the book provides an occasion for women to speak up and say, “This is my story too.”
One Kind Word was an online portrait gallery before it was a book, the project gaining huge momentum and inspiring so many women to be a part of it. (It also has a precedent with Jennifer Baumgardner’s Abortion and Life.) Many participants note that they felt as though they had an obligation to speak up in order to counter the abortion rhetoric which has been hijacked by patriarchal interests, to speak up for those countless other women who did not yet have the courage to represent.
This was not a book that told me anything I didn’t know already, instead confirming the fact that I exist. Which is not meant to be an honourable purpose for a book, literarily speaking, though anyone who’s ever told you this has probably been a man who sees his existence confirmed in his reflection in most everything he ever encounters.
The book’s editors write of their intention to have a copy of One Kind Word in every clinic waiting room across the country, and while this is a very good idea, I’d like to have it gracing coffee tables too. First, because it’s a book of beautiful images, good for flipping through, but also because it places our abortion stories right where they belong—firmly ensconced in the domestic ordinary of our various and remarkable lives.
One Kind Word launches tomorrow night (June 24) at Another Story Bookshop in Toronto.
