June 9, 2010

Dear Carrie Bradshaw

My post “Dear Carrie Bradshaw” is up on the BlogHer site today. Head over and take a look if you haven’t read it yet.

June 8, 2010

On magazines

Charlotte’s post about magazines has inspired me to copy her (and has also introduced me to the The Devil’s Artisan, which has very much piqued my interest). I too love magazines, and though the stack of those to-be-read has never recovered from Harriet’s early months, and I fear I will be months behind until the end of my days, I continue to renew my subscriptions and look forward t0 each day that I find one waiting in my mailbox.

Magazines I subscribe to:

The New Quarterly:

I’ll admit it– if you publish my stories, I’ll be loyal to you, but that’s not half the reason why I’m partial to TNQ. As I posted recently, “TNQ is fiction, poetry, features, art, profiles, creative non-fiction and more. TNQ is never the same, but always gorgeously produced, the work is always thoughtful and interesting, containing stories that have absolutely blown my mind. I read Alison Pick for the first time there, and Carrie Snyder, and Terry Griggs, and Amy Jones, and Zsuszi Gartner. I love the “Magazine as Muse” section. The Editor’s letters are always a pleasure to read, and full of treasures themselves. In short, four times a year, TNQ comes into my world and makes it a better place.”

Room:

Room (formerly A Room of  One’s Own, which I still think was a fine name and I kind of wish they hadn’t changed it) does a fantastic job with supporting and promoting new writers, and publishing them alongside amazing work by established ones, and for the most part, this balance works well. They’re a feminist magazine run by a volunteer collective whose diversity is reflected in the magazine’s content. Each issue is linked by a theme, however loosely, and I also appreciate range of forms they publish– short stories, poetry, interviews, reviews, and profiles of readers. It makes for a good read, and, like TNQ, they have good editors’ letters as well.

Canadian Notes and Queries:

Oh, the learning at your fingertips in an issue of CNQ. I’ll be honest– the content is a bit hit-and-miss in terms of appealing to me, and I didn’t really read the last issue,but I’ve loved pretty much every other issue of CNQ that’s come to me over the past three years. I enjoy the ongoing MacSkimming series of interviews on the history of Canadian publishing, their focus on the bookselling climate, their issue on translation was incredible, the best articles are challenging and interesting even when I disagree with the point of view. It’s also a really beautifully designed magazine.

ROM Magazine:

We get this one automatically as part of our museum membership, and I don’t read it cover-to-cover, but I still love it. The recent redesign has been absolutely beautiful, I like Mark Kingwell’s columns, and thanks to this magazine I know all kinds of bizarre facts about ladybugs, bats and the dead sea scrolls.

London Review of Books:

I started subscribing to this one through a twofer subscription deal my friend had. A genius idea, because this periodical is a bit addicting, and of course, once I started, I really couldn’t stop. I used to try to read everything, but now only pick out articles that will hold my interest, which means I don’t read as much about economics and Afghanistan as I once did, which is a shame because the articles are amazing. But they’re also loooooong and the print is every small, and if I read everything I wanted to in the LRB, there would be no time for books. There is always time for Andrew O’Hagan, Alan Bennett, Jenny Diski and Anne Enright, however. And scathing reviews that are brilliant rather than bitter.

Chatelaine:

What happened? One minute, I was too cool for Chatelaine, and now I’m way too much of a Mum. The new issue wasn’t even worthy of being a coaster on my coffee table. Tonight I ate a dip that was from that issue, however, and it was good, but I’m still not convinced. I miss Katrina Onstad (who yes, was the best thing they had going), and the recipes (which have become my staples. What will I cook without them?) were lacking, and there was nothing interesting in the entire issue. I’ve been a pretty happy subscriber for the past two years, but I think my Chatelaine days are done.

Magazines I don’t subscribe to:

Walrus: I waited and waited for them to start publishing women writers, not merely on principle, but because a general interest magazine written by only men is not generally interesting. I even sent a letter asking the editor why publishing women writers was not important to him, and I got zero reply, not even a form. I no longer subscribe, and though the contributers seem a but more mixed lately, I still don’t think I’m missing much.

Magazines I would subscibe to were my life a better place:

The New Yorker: If I subscribed to this magazine, my stack of unread issues would grow so high that I would have to jump off the top and kill myself. But I wish it didn’t have to be that way– if only there were more days in the week, and I had nothing else to do but read it. Because The New Yorker is fantastic, I admire the stamina of its subscribers.

The Believer: I love this magazine, and it’s lovely, but very expensive, and so are a lot of other things.

June 6, 2010

Does one seek escape in children's classics because one is miserable?

One year I received Swallows and Amazons for Christmas, and I was furious, because I’d wanted Goodbye, Stacey. Goodbye. I grew up reading Archie comics and The Sleepover Friends and This Can’t Be Happening at MacDonald Hall. Apart from an obligatory obsession with L.M. Montgomery and a passing fancy with Frances Hodgson Burnett, I didn’t read much in the line of classics. Or rather, though I did read classic books, they weren’t the ones that captured me. I think I was also too busy watching one sitcom after another during the hours after school.

When I read Joan Bodger’s wonderful book How the Heather Looks, I became conscious of how much I’d missed. I’ve only read A.A. Milne during the past year, Lewis Carroll has also come late to me, my Beatrix Potter was pretty rudimentary, I turned my nose up a Arthur Ransome, I only read Peter Pan as an adult, I preferred The Littles to The Borrowers, and I wouldn’t know The Wind in the Willows if it knocked me over. Part of this, of course, is that I’m not British, but I still couldn’t help but think I’d missed something. Reading about how real the worlds of these books were to Bodger’s children filled me with a kind of longing for a storybook childhood of my own, and then a compulsion to pass one onto my child instead to make up for all that I’d lacked.

I’ve since learned more about Joan Bodger’s children though, and the tragedy their family endured. I wonder how much of Ian’s encyclopedic knowledge of stories, and history, and imagined lands had to do with his own troubles, and the particular quirks of his brain that would so challenge him as he grew older. I read Bodger’s second memoir The Crack in the Teacup, and learned of the solace she found in children’s stories during lonely times in her own youth. About how she wanted friends to go play Swallows and Amazons with, but the other girls her age were obsessed with boys and lipstick. And of course all this made me want to reference the great Nick Hornby– does one seek escape into children’s classics because one is miserable, or is one miserable because one seeks escape in children’s classics?

What I’m really asking, of course, is that if I come home with a copy of The Wind in the Willows, will Harriet grow up to have no friends? Could my idiotic literary preoccupations in youth be symptomatic of my fairly happy childhood?

June 6, 2010

My mind is a toy basket

“A mother’s brain is an ort pile where the cultural guano of the ages of each of her children surives. A composted yellow slice on the bottom of Big Bird feathers and Barbie hair cut with Crayola scissors and old plastic market tubes and Tweety card decks, tiny little shoes, purses, belts, shimmery underwear and skates for Barbie, and the more politically correct stuff made of wood, the popsicle stick dolls and the blocks in every shape, painted, the wooden horses and the sets of foot-piercing dangerous jacks and red rubber balls and the miniature horses and the coveted big plastic horses and the Playmobil and Lego figures and math toys and sets of mazes and puzzles from about twelve dozen sets and the stuffed things– tigersnakelephantarantulapepigiraffeturleagle– and the marvelous tea sets that come in every china pattern and the little furniture and mirrors, the detritus of Vintage Star ponies and Wild Things and Seuss figurines and every McDonalds Happy Meal toy and then, well, all of this compacted together with old Halloween candy mortise into a solid-earthen basement floor of kid knowledge.

My mind is a toy basket filled with tiny, cheap, broken stuff.” –from Shadow Tag by Louise Erdrich

June 6, 2010

Literary Bananas

The most recent object of my fruit obsession was the wondrous pomegranate, and before that I was nuts about avocados. For the past six hours, however, I can’t stop thinking about bananas. It’s not the first time– when I was pregnant, I ate bananas all the time, and obsessive-compulsively baked with them. Yum, those trimesters were banana pancakes, banana bread, banana cake, banana SPLITS, and my daily snack of a banana stuffed with chocolate chips melted for thirty seconds in the microwave.

This latest banana fixation is a bit different. It all started a few weeks back when we visited the Royal Botanical Gardens, checked out their banana biodiversity display, and learned that there actually exist thousands of varieties of banana, that sometime in the middle of the last century the “Cavendish” was decided as the banana of choice for exporters, and these days it’s the only banana around. Which means that bananas in general are threatened, because biodiversity has been completely undermined and as the Cavendish is under threat by a menacing fungus, we may be on the fast track toward the banana version of Silent Spring.

And then today I ate a plantain for the first time in my life. I fried the pieces, using this recipe, and topping it with sheep’s milk feta from Monforte Dairy, and it was the most extraordinary treat I’ve had in ages. I was so busy marvelling at the flavour that I scarcely noticed my husband polishing off the whole plate of them, and he’s just lucky I like him a lot or I really might have considered divorcing him. Instead, we decided to go out and find another plantain, and so tonight’s after-dinner walk was devoted to seeking out banana biodiversity in The Annex neighbourhood.

Results were poor. We went to five grocery stores and found nothing but Cavendish varieties. Finally, at an Asian grocery store at Bloor and Palmerston, we found another plantain. (The first one had come from Augusta Fruit Market in Kensington. I wonder if we’d sought banana biodiversity in Kensington, perhaps we’d have better luck? But I doubt it). We both do remember seeing red bananas at our local grocery store once years ago, and we bought them, but either red bananas are terrible or we didn’t let them ripen, because neither of us remembers this experience positively.

Plantains though, oh wow. And bananas in general– like anyone with a baby, I bow down to these. We had a fun snack of black beans and bananas a few weeks back, that suggested to me that the lovey fruit is more versatile than I ever imagined.

Anyway, now I am going to read the book Banana: The Fate of the Fruit That Changed the World. (And you can bemoan these hyperbolic titles all you want– heaven knows that I have–, but it’s sort of nice that when one becomes obsessed with any object, one can rest assured that a recent book has been written devoted to it. These are not such terrible times in which we live, save for the banana biodiversity threat, but I digress).

Have been thinking about other literary bananas too– did you know that the term “banana republic” comes from an O Henry short story  (though I do, only thanks to Wikipedia)? The first one I could think of off-hand was the bananafish, from “A Perfect Day for…”, which (allegedly) had six bananas in its mouth, tragic being that it was. I think literary banana peels are quite ubiquitous, but I’m not sure they count. It’s the flesh that I’m talking about. And there’s Banana Yoshimoto, who is probably the most literary banana going. But I can’t help thinking there must be a whole bunch more out there (ha ha).

Um, this post is also certifiable proof that I lead a life much unencumbered.

June 2, 2010

No kids

I was never brave enough to read this book before, particularly not in the past year during which I could have written this book myself 300 times over, but now that I’m pretty sure I could think of reasons to counter each of Corinne Maier’s 40 reasons not to have children, I feel ready to take it on. Certainly, Maier knows what she’s talking about, being a mother herself, and it will be interesting to reflect upon whether or not her reasons are valid. And why, even with there being at least 40 reasons not to have children, people keep having them anyway.

Don’t worry, this was a library book. But I did stop into Ten Editions to buy We Have Always Lived in the Castle by Shirley Jackson, because The Vicious Circle is going to be reading it at some point. And then I also had to get Victoria Glendinning’s biography of Elizabeth Bowen, as I loved her The House in Paris when I read it last autumn (upon the recommendation of Susan Hill). I wasn’t planning on the second book, but there it was on display, and I just couldn’t help myself. Of course. And I actually saved money, when you consider all the books in the store I didn’t buy.

It was basically the same as a paycheque.

June 2, 2010

If I weren't the one who could nurse the kids

From the site, No Country For Young Women, writer Laurel Snyder on how being a woman has helped her career:

“So I’ll just offer this: I went to school, and got the right degree. I did summer conferences, and had a nice fellowship, spent some years adjuncting, and all that. But none of it really led me to a career. So then I got myself a day job working for a non-profit, because I needed health care. But then I got pregnant, and realized (to my horror) that I made less than a full-time babysitter. I could not afford to keep my job, and I couldn’t think of any way to make much more money, so I quit work to stay home with the baby and freelance on the side.

And it was then that I started thinking of my writing as a career—seriously sending out my children’s books to editors and pitching freelance stories to magazines. Because I made so little money and had a baby, it made sense for me to stay home, and that led to the time to take my work seriously, so that I could eventually make more money. I know it sounds a little crazy, but it feels very true. I don’t think it would have been likely to happen that way if I weren’t the one who could nurse the kids.”

June 1, 2010

Track and Trace by Zachariah Wells

The one problem with having defined tastes and a bookish reputation is that nobody ever gives you books (and when they do, you usually don’t like them). So it was a wonderful surprise to receive Zachariah Wells’ collection Track & Trace as a gift from my mother, since it’s a book I’ve had my eye on for quite awhile. Just to receive such a thing was a kind of gift, but then the book itself was also an incredible package– small and beautiful, its cover embossed with footprints, with the “decorations” by Seth (which are plain and wonderful landscapes, horizons as broad as Wells’ poetry).

Reading this collection was a series of such unpackings. The poems themselves in general are about man’s relationship to the natural environment, the marks he leaves upon it, but each poem is also very distinct in how it relates to these ideas. Within each poem, the words fit together in surprising ways, with subtle rhyme, rhythm and alliteration. Within each word, the syllables, the vowels and consonants on and around my tongue. I read these poems aloud, lying on the carpet while my daughter threw blocks in the mornings, and the poems were a pleasure to put my mouth around, the starts and stops and open spaces.

Of particular interest to me were the poems about fatherhood (read “Going Forward” and “There Is Something Intractable In Me”). “Slugs” is as vulgar and wonderful as slugs themselves. Nature is not idealized here– from “Heron, False Creek”, “Heron, stand there/ in my shadow, stare/ up at the seawall/ skronk, and awkwardly/ flop up into the air”. In “Cormorant”, the bird is shot repeatedly– “It puked mustard stuff, guano/ streamed from its anus. Bile rose/ in my throat, I choked– and I swallowed”. I think my favourite line in the whole book, for its sheer beauty, is “Finicky fuckin thing that old silver Ford…”

The unpacking wasn’t finished with just one read, however. There are layers to these poems, unexpected things beneath the surface. A present I’ll have the pleasure of opening time and time again.

May 31, 2010

The Lacuna by Barbara Kingsolver

It took me about 200 pages to get into Barbara Kingsolver’s latest novel The Lacuna. Usually, I would not persevere so much through a book that wasn’t satisfying, but this is Barbara Kingsolver, it’s been shortlisted for the Orange Prize, and I was intrigued by reviewers who’ve had such different reactions and assessments. I’m so glad I kept on though, because the last two-thirds of the novel totally gripped me, I’m now sure that it’s one of my favourite novels this year (or ever), and when it ended, I was absolutely heartbroken.

The Lacuna is the story of Harrison Shepherd, half-American and half-Mexican, a man who is a foreigner no matter where he goes. His lonely childhood spent in Mexico, in the shadow of his errant mother always on the hunt for a new man with some money. Against a backdrop of revolution, Harrison learns skills both in survival and the culinary arts. After a period of schooling back in America (during which he is witness to the Bonus Army riots), Harrison returns to Mexico and becomes a servant in the household of Diego Rivera and Frida Kahlo, mixing paints and making dinners. When Rivera’s friend Trotsky arrives in Mexico, Harrison becomes his secretary, and when Trotsky is murdered, Kahlo helps him get out of the country. Settling down in Asheville, North Carolina– and still traumatized by Trotsky’s death, and unable to leave his house– Harrison becomes a novelist, writing stories of Mexican history from the perspective of the common-man. In the era of McCarthyism, however, Harrison’s ties become suspect, and this tragic period in American history takes Harrison as its victim.

The book is composed of fragments, from Harrison’s diaries, letters and newspaper clippings, all compiled by a mysterious someone called Violet Brown. The fragmentation was what put me off at first, as well as copious description of Mexican landscapes, but as Harrison’s life began to be tied up with those of such interesting people as Kahlo and Trotsky, I got hooked on the plot. And then as the story went further, details of Harrison himself became clearer and I found him to be an incredibly sympathetic and compelling figure.

A lacuna is a hole, an empty place, and Harrison himself is quoted as saying that, “The most important part of a story is the piece of it you don’t know.” Plenty of reviewers have found that empty space to be Harrison himself, that the soul of this novel is hollow, but I thought otherwise. Of course, he is an elusive character, the “eye” much more so than the “I”, but his vision is so clear that we’re given to understand everything around him. That although we’re not treated to a view of Harrison himself, the Harrison-shaped space that’s left out is so well-defined at its edges that he’s real, multi-dimensional. The space ceases to be hollow at all.

What the lacuna is indeed, however, is this whole book itself. These fragments were what went untold from Harrison’s official story, what he– determined that he would not have to justify himself or answer to anyone– persuaded his secretary Violet Brown to burn one afternoon, but she didn’t. She’d gone against his wishes and kept all his papers: “If God speaks for the man who keeps quiet, then Violet Brown be His instrument.” Interestingly though, the book still contains numerous gaps, not least of which being those imposed by Brown herself, the “unimportant” pieces she offhandedly admits to omitting from the whole. A reader can’t help but wonder if she’s the lacuna here, that she might have shaped these records with her own kind of agenda and what particular spin has been the result of this.

Because the lesson of The Lacuna itself is that history is a series of accidents, that what becomes official record is just circumstance. Harrison writes to Kahlo, “The power of words is awful, Frida. Sometimes I want to bury my typewriter in a box of quilts. The radio makes everything worse, because of the knack for amplifying dull sounds. Any two words spoken in haste might become the law of the land. But you never know which two. You see why I won’t talk to the newsman.”

There are obvious parallels made between the paranoia of 1950s’ America, and the American political climate today, and also between the outraged responses to Harrison Shepherd’s work (usually by people who have never read it; “Why does a person spend money on a stamp, to spout bile at a stranger?”) and responses Kingsolver herself has received to her writing. Sometimes these parallels are too obvious, Kingsolver’s history taking on a determinedly teleological bent, but these instances are rare enough to be forgiven, particularly since these connections are the whole point– that we are tethered to history, like it or not.

Kingsolver has rendered history here with such richness and colour, resurrected real-life figures through the wonder of fiction, and with the the astounding power that is her reputation as a novelist, she has imagined her story into a world that is decidedly real.

May 30, 2010

Favourite literary babies

Thank you for the amazing response to my literary babies giveaway! My extra subscription to The New Quarterly has gone to Clare, whose name was that written on a scrap of paper plucked out of a yoghurt container by Harriet herself. Clare wrote, “…I think my favourite baby is Jem, Anne’s baby from Anne’s House of Dreams. It’s easily my favourite of the Anne books (maybe tied with Rilla of Ingleside) and Anne’s ecstasy over her little man is really sweet.”

If you’re really into babies in literature, I do urge you to check out the series of the same name at Crooked House.

Other entries were as follows, all fantastic: WitchBaby from Weetzie Bat, Rosemary’s Baby (and he was adorable), the baby from The Millstone by Margaret Drabble (which I now have to reread), the baby from Laisha Rosnau’s “Boy” from Lousy Explorers, the baby in Sara O’Leary’s Where You Came From as illustrated by Julie Morstad, Ede from F. Scott Fitzgerald “A Baby Party”, Pip from Swimming (yes yes yes!), Baby Nostradamus “from Sal Plascencia’s great, great novel, The People of Paper”, Sophie in novel Baby by Patricia MacLachlan, Baby Stink from The Lusty Man by Terry Griggs (which I haven’t read, but in my experience Griggs writes babies [and fetuses] better than anyone, ever), Egg from Hotel New Hampshire, James in The Cuckoo Boy by Grant Gillespie, Aurora from Latitudes of Melt by Joan Clark, Emily Michelle Thomas Brewer from The Babysitters Club (which was a stunning entry), The Duchess’s Baby from Alice in Wonderland who turns into a pig, Sunny Baudelaire from the Lemony Snicket series and Jordan from Sexing the Cherry.

Before my own literary baby, let me provide a few runners-up. First, I was thinking about Kevin from We Need to Talk About Kevin, who isn’t lovable so much as memorable. I went back and reread passages from the babyhood portion of the book (first time since I’ve had a baby myself) and it stunned me for two reasons– 1) Lionel Shriver has never had a baby, but she *gets* living with a newborn so incredibly right. 2) the nightmare that was Eva’s life with baby Kevin was not so entirely different from mine in the early days of Harriet, somewhat terrifyingly. I’ve come around and Harriet does not appear to be a psychopath, but this adds a whole new texture to Shriver’s book.

Then there is Rilla’s wee soup-tureen baby in Rilla of Ingleside, “an ugly midget with a red, distorted little face, rolled up in a piece of dingy old flannel.”

And Arlo from Novel About My Wife, “He was perfect with his long eyes sweeping to the edges of his little walnut fae, with his beautiful breathing body, the heart fiercely beating under that boxy rhombus of his ribs.”

But my very favourite baby in literature is Glenn Bott, from my Adrian Mole omnibus by Sue Townsend. “I just bumped into Sharon Bott in Woolworths in Leicester, where I was purchasing Christmas presents. She had a strange-looking moon-headed toddler with her. “Say hello to Adrian, Glenn,” she said. I bent over the buggy and the kid gave me a slobbery smile. Is Glenn the fruit of my loins? Did my seed give him life? I must know. The kid was sucking the head of a Ninja Turtle. He looked fed up.”