August 13, 2012
The Beautiful Mystery by Louise Penny
Louise Penny’s latest Chief Inspector Gamache novel The Beautiful Mystery was a present I gave myself, the nicest way to come down after returning home from a perfect holiday. My second Louise Penny, after A Trick of the Light, but this time far removed from Quebec’s Eastern Townships. When a murder occurs at the remote Saint-Gilbert-Entre-les-Loups monastery, the cloistered monks are forced to break their vow of silence and open their doors to outsiders, because the murder has been committed by one of their own.
The entire novel takes place over just two days, during which Armand Gamache and Jean-Guy Beauvoir have been stolen away from their domestic arrangements in Montreal to take the case on. The separation is particularly significant for Jean-Guy who has just made solid his relationship with Gamache’s daughter Annie, though they’ve not yet told the world of their plans. Unable to access the internet or get a phone signal at the monastery, Annie and Jean-Guy send missives of love via Blackberry messenger.
It’s a challenge Penny has set for herself, to situate a detective story in such a closed community in such a short period of time. All suspects present and accounted for, all identically clad and, until recently, silent. The challenge is heightened for Gamache and Beauvoir as well–the monks know their own world better than anyone, rarely betray themselves with errant words, and are adept interpreters of the police officers’ own gestures and facial expressions, skills learned from years of silent community. They’re a tough lot to crack.
The Beautiful Mystery of which the book’s title speaks is the effect of the monks’ Gregorian chanting, recordings of which had made their way into the world and made the reclusive order world-famous. In different ways, Gamache and Beauvoir fall under the spell of the chanting as they conduct their investigation. The chants themselves also take on significance as it’s the choir director who has been murdered. Could the chants themselves be key to understanding what stirred one of the monks to murder? And what of the mysterious music notation the choir director had been clutching in his hands when he died?
The investigation is further complicated by the unexpected arrival of Gamache’s superior, who’s determined to cause trouble in Gamache’s relationship with Beauvoir. What are his motives? Will the still vulnerable Beauvoir remain loyal to his boss? Are Gamache’s own motivations as innocent as they seem? In the other-worldly Saint-Gilbert-Entre-les-Loups, it’s hard to tell who is friend or foe.
Penny’s distinctly stilted prose can be’ difficult to warm to, though it flows easily once the reader gets a sense of her rhythm. The novel is peppered with Gamache’s literary allusions and with pop culture references also, which add extra texture to her already substantial story. Its characteristically strong sense of place and connections to current events drive this point home even further, so that yes, as it begs to be said, Louise Penny has crafted another “beautiful mystery” of her own.
August 12, 2012
Long Weekend
No post tonight as Pickle Me This is extending the weekend. We had just a little too much fun at the wedding of Rebecca Rosenblum and Mark Sampson, and three cups of tea and a late afternoon nap have done nothing to ease the post-party burden. So we will take to the bath with a copy of Emily Schultz’ The Blondes, which is so wonderful. And in the meantime, check out the wedding cake– with books on top! A most fitting cake for this literary duo, and my goodness, did they ever throw a party. It was a fantastic event, and only the beginning of a really delightful, inspiring, happy tale they’ll make together. So happy to be a supporting character. So happy for them both. xo
August 9, 2012
On Inger Ash Wolfe and my career failure as literary sleuth
I thought I’d solved a literary mystery a few weeks back, completely by accident too. It was a Saturday morning and I was sitting at home in my pajamas putting up a new week’s main page at 49thShelf. A new book was out called A Door in the River by the pseudonymous Inger Ash Wolf, and the title seemed familiar to me. I could have sworn it was a song by Crowded House, which was intriguing. (Apparently if you want at least one reader and you want her to be me, you should name your next book Weather With You.) So I googled the title to discover that the Crowded House song I was thinking of was “Hole in the River”, but that was no longer the point once I’d stumbled on this page, a biography of Canadian writer Don Coles on the site “Canadian Poetry Online”.
Inger Ash Wolfe, until more recently than the Saturday morning I’ve been referring to, was the pseudonym of a well-known Canadian literary author, and Door in the River was his/her third Hazel Micallef detective novel. And, as I discovered from the Don Coles biography, “A Door in the River” was also the title of a chapter from an unpublished novel by Don Coles, a chapter that was published in The Tamarack Review in 1964.
A strange coincidence, I figured. What are the odds? Further, Coles and Inger Ash Wolfe share a publisher, which published Coles’ literary novel Doctor Bloom’s Story in 2004. Inger Ash Wolf’s name has its Scandinavian edge, while Coles has spent time living in Denmark and Sweden. And no one else had ever guessed! It was amazing. So obvious, staring us all in the face (as long as we were looking at the Canadian Poetry Online website). I realized that Don Coles was hardly the biggest name in Canadian literary authors, but then all the more reason for the mysterious alter-ego, no? Perhaps Coles had forgotten about the Tamarack Review publication, nearly 50 years ago, when he’d resurrected his long-unpublished novel as a contemporary mystery, and kept the old title. Or maybe it was a clue, that he wanted us to find it. That Don Coles wanted to be found.
Perhaps it was Don Coles himself who’d set me loose that Saturday morning. I got dressed and my family consented to have me leave them, because I was off to solve a literary mystery after all. I am fortunate to have the University of Toronto’s Robarts Library at the end of my street, fortunate to have its opening hours include Saturday mornings in the summer. I was even permitted to enter the stacks, because my part-time instructor status comes with a library card. And so up I went to the 13th floor, which was dark and empty save for two students checking Facebook. When I came to the shelf where The Tamarack Review was stored, the lights switched on above me, almost as though the library knew I was there.
It was even on the shelf, albeit dusty, the issue I needed, from Summer 1964. Don Coles had published as “D.L. Coles”, alongside such notables as Margaret Laurence and George Jonas (and just in case you wondered when I was going to bring all this around to gender, there were two women contributors to eight male). Such a triumph, the book in my hands bringing me one step closer to the mystery’s solution. I was high on the smell of the stacks, bookish redolence I don’t get to experience so much now that I’m out of school. I was imagining that I was Maud Bailey. I wondered if I’d become a little bit famous.
The story itself though didn’t fit so well into the scheme. It was curious that Wolfe’s story of a small down Ontario female police detective had originated with this story of a failed architect in Florence in 1960. Coles’ story was mysterious, surely, full of gaps, but it wasn’t a mystery. I wondered… The key, I decided, would be the door in the river image. In Coles’ story the door is as literal as it is symbolic, a drowned door in a river in Florence, half-submerged, and “around it were squares of masonry and odd chunks of chimney, all that was left of the quartiere vecchio that the tidily retreating Germans had blown into the river with the bridges sixteen years before…”
So you can imagine that I was gutted two weeks ago when Michael Redhill outed himself as Inger Ash Wolfe, completely thwarting my dreams of professional literary sleuthdom. It was doubly frustrating because it was so predictable; Redhill had been suspected of Inger Ash Wolfing for ages. Whereas no one had ever suspected Don Coles, and the 1960s’ Tamarack Review connection. But alas, the answer that would make the best story (written by me, of course) can’t always be the right one.
August 9, 2012
On cracking the code of Canadian literary criticism
When I started paying attention to Canada’s literary conversations about five or six years ago, it was quickly evident that I had a whole lot to learn. Until that point, my reading tastes had been determined by prize lists, by what was front and centre at the bookstore, and what the Globe & Mail saw fit to review. I didn’t know that it wasn’t all right to love In the Skin of a Lion or that The Stone Diaries didn’t set every reader swooning. I had no idea of the vast richness of books being published by Canadian small presses like Goose Lane, Anvil and Biblioasis. I still connected House of Anansi to Yorkville hippies. In short, I didn’t have a clue.
So I started taking notes, trying to pin the whole thing down. There was a code, I was beginning to understand, and if only I could get it right. Books with rural settings were bad, and prairie fiction was a crime, I was starting to see. We wanted our books urban. We especially wanted them to be about young men in their twenties. But then it got confusing because it turned out that the prairies were okay as long as they were written by Robert Kroetsch, and even small town fiction about women’s lives were fine as long as it was written by Alice Munro. It got confusing too because it turned out that urban fiction was bad after all, particularly Toronto’s which wasn’t authentically Canadian.
Whether David Adams Richards was okay depended on your point of view, because while he was ticking all the right boxes, he wasn’t ticking them correctly. Bonnie Burnard’s A Good House was a shorthand for all that was wrong with the world. And it turned out that while small press books were really great, small press books were also terrible, and while it was really wonderful that Gaspereau book had won the Giller, did it have to be that Gaspereau book? And who fucking cares about the Giller anyway? You will disdain the Giller. Until your book ends up on its longlist (and not even by popular vote).
Eventually, it became clear that there was no code after all, and that instead we had a whole lot of critics shouting at each other, discussing work in theory, but with no one actually talking about books. That there are as many points of view regarding Canadian Literature and literature in general as there are books themselves, and that is okay. I disagree, however, that all this shouting/debate has made for a healthier literature, mainly because nobody ever listens in a debate, being too busy planning their rebuttal, and the arguments were rarely about reading after all.
It’s such a narrow way to approach literature, to think of it first in terms of themes and tropes. And it’s even narrower when you don’t bother to read the books in question, dismissing them outright based a sentence or two from a publisher’s catalogue. Or because they happen to be set in the past, or on a prairie, or in Toronto, or in a lighthouse, or because people like them, or because women like them (which is usually the worst crime of all for a book to commit).
It may always be 1955 in CanLit, as some say, but I can’t say our sorry excuse for criticism is much more progressive.
August 7, 2012
Above All Things by Tanis Rideout
Ever since I started thinking about these things, the question has occurred to me: what is this literary reflex triggered by books so far away from here and now that convince us that said books are great? Even though some of our best writers write books with titles like Small Ceremonies and or depict parents picking nits from each others’ heads, why are Canadian readers (and awards juries) so swept away by sweeping, by largeness, by grandeur?
And it doesn’t come any bigger than the the Mount Everest in Tanis Rideout’s first novel Above All Things. The second-biggest topic she tackles is the British Empire and its crumbling. There is a mention of Toronto in the novel, guaranteed to get us all a little giddy, but then George Mallory really doesn’t think much of the place: “Cold. Even after Everest. And grey and dark. The cold there pinned up down.”
That Rideout’s book and its inevitable acclaim will serve as fodder for brand new versions of the “Is Canadian writing un-Canadian?” argument, however, should not undermine the fact that the novel is actually quite extraordinary, really wonderful. Smartly designed with an arts and crafts font, a cover image meant for mass-appeal, marketed as “The Paris Wife meets Into Thin Air“, but yet there is a singularity to this novel. As I read it, I kept thinking, “If every book was as good as this, maybe publishing wouldn’t be in trouble after all.” It’s an ambitious task she takes on, what with empires and mountains, but Tanis Rideout pulls it off, takes the summit. I’ve been disappointed by so many novels lately whose mechanics have been evident beneath their surfaces, whose writer’s stretching has been all too clear, but Above All Things is so perfectly formed, not only a novel to get lost in but one whose literary-ness will surely take you higher.
Above All Things comprises the parallel stories of Ruth Mallory, and her husband George, the latter the mountaineer whose infamous ill-fated Everest attempt makes the novel’s outcome clear from the start. There are several links to Virginia Woolf– the novel’s opening chapter is titled “The Voyage Out”; Woolf herself appears as a character in the book, a contemporary of the Mallorys, well-known thanks to George’s Bloomsbury connections; and Ruth’s own story is told in a Mrs. Dalloway fashion, the hours in the day of a woman with a party to plan, who will buy the flowers herself.
Though it’s not a party she wants to have, necessarily, but she’s having it anyway to put a brave face to the world, to attempt to distract herself from her husband’s absence. It’s his second Everest attempt, though he’d promised he wouldn’t try it again. There is also the time he spent on tour in America, and the years he spent away at war, and so Ruth is accustomed to his absence, but it doesn’t make it easier. It doesn’t make her less resentful either, or less angry, as she meditates on all he’s chosen over her again and again, what it is to come second to a mountain.
Meanwhile George’s own story is told in alternating chapters, taking place over months where Ruth’s is in a single day. His pace furious, the stakes high, and he’s able to avoid meditation for the most part. Rideout goes into considerable detail about the practicalities of an Everest climb in 1924, the minutiae necessary to complete the task, and we begin to see that the boundaries between domestic and wild, between men’s stories and women’s, are not as solid as they seem. George’s single-mindedness means another point of view is required to complete his sections, and Rideout uses that of Sandy Irvine, a young climber only too eager to follow in George Mallory’s footsteps.
Above All Things is a love story, and also a puzzle– is it Mallory’s love for Everest or the love of his marriage that the title refers to? What is a love story whose trajectory is two people moving further and further apart? Rideout writes of her inspiration from the real life letters that George and Ruth wrote to one another, and of how she used the letters as a jumping-off point to change these historical characters to fictional people. She subverts notions of marriage to show it as a many-textured thing, rife with compromise and betrayals upon which love itself doesn’t necessarily hinge. The story also has contemporary resonance in our time in which men are still being urged towards a “duty” that involves dying for their country, in which we’re still learning how to be in a world whose corners are nearly all explored.
So what does it mean then, that I’ve been swept away again? Impressed that this Canadian writer has imagined her way into these historical lives, imagined her way to the top of the world? I’m getting savvier though, and I can tell you this: sometimes the same old arguments have nothing to do with the matter, and I also know a really good book when I see it.
August 6, 2012
The water was warm & the reading was good.
When I tell you that my vacation was wonderful, what I really mean is that I got a lot of reading done. Five novels, kind of six. I started with Gone Girl by Gillian Flynn, which was gripping and fun, the perfect beach read for a woman with a brain. The story of a man whose wife has disappeared but then we begin to see that he might have unabashedly been the one who disappeared her. It wasn’t a perfect crime novel– there were so many twists that I felt like I was chasing my tail– but I enjoyed it thoroughly. Next up was Bilgewater by Jane Gardam, which was a wonderful novel. I’d only read Gardam’s Old Filth before, and I’d found it weird, but now within the context of another of her books, I see that it was actually Gardam-esque. Bilgewater is the coming-0f-age story of a girl who has grown up without a mother, living with her eccentric father at a boy’s school, and must navigate her place in the world outside of that context. It would appeal to those who loved Jo Walton’s Among Others, minus the fantasy. Gardham absolutely trusts her reader and her text to light the way through the story, with no interference on the author’s part. She also so vividly illuminates such odd corners of Englishness, ones you never even imagined existed.
I remained Anglo-centric with a rereading of Barbara Pym’s No Fond Return of Love, which is my favourite Pym and my first Pym reread since I finished the lot of them last year. I’m entranced by the novel’s meta-narrative, that Pym herself makes an appearence in a hotel dining room and one of her books is referenced as being on a character’s shelf (Some Tame Gazelle). There is much comparison to how life and fiction measure up, a statement that some people could walk onto the pages of a book and you’d never believe they were true. I also know more about Pym’s biography than I did first read, and see this book in connection to her own obsessive, usually unrequited love experiences, which were pretty much the story of my own (love) life for a substantial period. These aren’t stories that are put down in books so often, stalker-ish tendencies well-shy of bunny boiling. Pym is Austenish, certainly, but the solutions to the romantic problems she poses are less conventional than you’d think. She is a strange kind of mathematics that you’ve got to get a feel for to appreciate.
Next up was Tanis Rideout’s Above All Things, a Canadian novel but just as Anglo as the other two in subject matter. It’s very good and though it was a vacation book rather than a book for review, I’ve got much to say about it and will be posting a review this week. Felt just right to be reading it though as last year at the cottage, I read a biography of Gertrude Bell.
We made our annual trek to Bob Burns’ Books in Fenelon Falls on Monday while it rained, and I was so thrilled to find Barbara Pym’s unfinished novel Civil to Strangers. It’s almost impossible to find Barbara Pym books secondhand, so this was a find. I’m saving it for the future so I can continue to have unread Pym before me. I also was happy to find the book Fairy Tale by Alice Thomas Ellis, whose novel The 27th Kingdom blew my mind last year. I didn’t love this one as much, though the more I think about it, the more it gets under my skin. It’s a fairy tale quite literally, but also an English novel of manners. A young woman escapes to the Welsh countryside in search of a simpler life, and finds her general boredom relieved when she comes into possession of a changeling, tragic and rather hilarious results ensuing. Would appeal to anyone who admires Hilary Mantel’s supernatural stuff.
The sixth book was The Hunger Games, whose trilogy had kept Stuart as glued to the page all week as I am to books in general. I was happy to have a chance to read it as when we are at home, I have so many books to read that I don’t have the space for books like it. Predictably and disappointingly, however, I wasn’t very interested in it, and mainly skimmed the last two thirds. I kept comparing it to Bilgewater, which is a book about a similarly aged character and so much more interesting in terms of how it’s written. I found The Hunger Games so predictable, with a protagonist who we’re always meant to be on board with, who is obviously always going to win, and I was frustrated by how everything in the book required so much explanation, by how Katniss Everdeen is writing down to us. It’s sort of patronizing. I also don’t understand the YA preoccupation with post-apocalyptic worlds, how discussion of these books with young people is always meant to be issues based rather than about the book itself. It’s so prescribed. So there you go. I didn’t like the book so much, though I know I was approaching it wrong, I am not its intended audience, and I think I’d been spoiled by having read books all week long which were so brilliant.
Anyway, it was a fantastic week. We swam every day, played on the beach, I sat down so much it made my tailbone ache, loved hanging out with Stuart on the porch and playing games every evening, the weather was glorious, and Harriet was thrilled by not having to wear shoes for a week and running wild with a huge pack of kids to play with. It was perfect. We are lucky. And now we are also happy to be home.
July 26, 2012
Gone Fishing
Well, not really. Fishing is kind of barbaric actually, but plans for the week do include lots of reading with a lakeview. And I’ve got great books packed. In fact, books are all I’ve got packed. So I need to get my act together, but yes. It’s going to be an excellent holiday.
July 25, 2012
Afternoon Tea: A Timeless Tradition by Muriel Moffat
No surprise, really, that I’d find this little book appealing, Afternoon Tea: A Timeless Tradition by Muriel Moffat. I am the kind of person who has a tea books shelf in her kitchen (just above the tea things shelf, if you’re wondering). Moffat’s book is an ode to afternoon tea in general, and to tea at Victoria’s Fairmont Empress Hotel in the specific. She writes of her own connections to teatime, of the importance of English grandmothers in passing along such traditions. Her prose is light and punctuated mainly by exclamation marks. She addresses the history of tea and tea ceremonies, a guide to tea-taking (from how to warm the pot to what to wear), and then a chapter on tea at the Empress Hotel, the experience and its history. The rest of the book comprises recipes for scones, cookies, tiny sandwiches and other things (and now I see, I have to get myself a crumpet ring).
As tea books go, Afternoon Tea is hardly groundbreaking, but it’s a pretty little object and a perfect keepsake. Originally self-published with 30,000 copies sold at the Empress Hotel gift shop in five years, it’s now been gorgeously re-packaged by Douglas&McIntyre, and is about to find a wider readership among afternoon tea devotees.
July 25, 2012
Our shoebox dollhouse
Stuart has taken up running, which is exciting, and means that he bought a new pair of shoes. Also that Harriet was crabby on Saturday while Stuart was out for his run and I was making dinner, and so I distracted her by proposing that we build a shoebox dollhouse. And naturally, the first step was to consult the internet. We found these instructions, and got to work, painting the walls, selecting the wallpaper (which was origami paper). As with every physical object I’ve ever created (except for Harriet), the result is a little bit sloppy. I think the creator of the prototype was a perfectionist, while I am a half-ass-est, and they also didn’t use old kitchen rags for flooring. I don’t think I’m going to be sewing tiny throw cushions either or a bedskirt, but I’m still quite thrilled with the result and Harriet is forbidden to colour on it or put stickers on it. (I am absolutely no fun). I did knit a tiny bedspread (and incidentally, we’ve taken to referring to bedspreads as counterpanes ever since we learned what a counterpane was). We still want to make a few more things– a bookshelf, a clock. Note the lace curtains, and the cool posters in the bedroom. Anyway, Harriet has enjoyed playing with it, even while restricted from sticker putting-onning. And I’m just a little bit in love with the dollhouse too.
