July 18, 2007
A Certain Definition
“The choreography of many people working in one kitchen is, by itself, a certain definition of family, after people have made their separate ways home to be together”. -Barbara Kingsolver, Animal Vegetable Miracle.
July 17, 2007
The best of what's around
Heather Mallick’s latest, in which she gets told off by Margaret Atwood (so you learn sans context). I learn that Margaret Drabble is reading Jules Verne this summer (thanks Leah). And that books win! (naturally– though I think there are even books written by people not named Jonathan and also people with xx chromosomes.) India Knight on why erasing history is a bad thing, and so let’s not censor Tintin. Oh! And on Shirley Hughes, who has written some of the books I’ve always loved– a wonderful piece, in which I find out that “Dogger” is real!
July 16, 2007
Workaday Worlds
A frequent complaint about about contemporary fiction, or at least stories which aspire to become contemporary fiction, is that characters don’t work. Whereas in the past, work might have dominated the narrative (Saturday Night and Sunday Morning comes to mind), modern characters’ lives take place after hours. Interesting to note that two exceptions I’ve just thought of are about doctors: Saturday and Bloodletting and Miraculous Cures. I don’t know what that means, however these doctors’ idle contemporaries tend to be artists, academics, or documentary filmmakers, and their work is usually peripheral. Or so it’s been said, but when I think back to the last nineteenth century novel I read (The Portrait of a Ladylast week, of course) nobody there did anything either, save for Henrietta Stackpole. And granted Henrietta’s vocation did give her character particular appeal, and I realize James perhaps is a class thing, and these are all just thoughts to think about. Woolf’s working characters were not usually at the forefront of her novels (or if they were, only subtly so ala Lily Briscoe, though of course she was an artist, which brings us back to the beginning). Many characters in books I read, particularly classics, seem to be bankers, but this tends to entail nothing beyond leaving the house in the morning and coming home in the eve.
I have two things to say about all these unformed thoughts, the first being that though none of this is new, what might be new is how positively unremarkable most modern jobs actually are. I cannot imagine what sort of narrative would grow up around the job I’m doing these days, or many I’ve had in the past. Prosaic is not even the word for many jobs around– mind numbing, soul destroying, base and boring. I am fortunate that such is NOT my experience at the moment, but think of how many people must work in call centres. Think of all the stories that will never be written about call centres. I am not terribly convinced this is a bad thing.
The second thing is that Lionel Shriver, like my very favourite Margaret Drabble, always keeps her characters occupied. An anthropologist in The Female of the Species; pro-tennis players in Double Fault; illustrater, think-tankian, snooker player, variously in The Post-Birthday World; travel guide writer and advertising location scout in We Need to Talk About Kevin. Their occupations make Shriver’s characters whole, their worlds rich, and give their stories legs to stand on. Her details are so fascinating, and I can’t think of how much learning it must have taken to acquire them.
July 16, 2007
Time time it was
Time it was. Friday night date, out for dinner and then to the ROM. I had no strong feelings about the new addition, except that I was startled by sunlight once we emerged from the wonderful Hiroshi Sugimoto exhibit “History of History”, as I had forgotten about the world. There is something to that. Saturday we got a new hi-fi, very exciting. We bought our old one in the days of impecuniousness, and it wasn’t very good– the CD player door had become awfully choosy about functioning. And so no more. Saturday night was dinner, theatre, and drinks drinks drinks until well in the morning with friends oldest and dearest, et. al. Somehow hangovers were avoided, and I spent today well in the relaxing way (though freshly baked scones were involved).
Devastating gardening event was that our two watermelons, whose development had been as thrilling to watch as a small baby’s, were ruined by some sort of creature with teeth. A sort of creature that doesn’t appreciate the treasure which is watermelon, as they disconnected them from the vine, gnawed on the green bits leaving gaping holes, and broke my heart a bit. Honestly honestly, I could have cried.
In sort of related news, now reading Animal Vegetable Miracle.
July 14, 2007
Glass Worlds
I was surprised to find that the highlight of my trip to the ROM yesterday was the Glass Worlds Exhibition. Intitially I’d scoffed at the idea of a collection of paperweights, but they turned out to be beautiful and mesmerizing. And bookish too, in their own way, as the exhibit explained to me. As literacy increased, desks became fixtures in many households, as did the paraphernalia which adorned them. And just think of your favourite books: how many of their manuscripts must have been saved from a breeze by the fact of a paperweight? (Though truthfully, actually, I’d suggest not that many. I have a suspicion that functionality was never the ultimate object here).
July 13, 2007
Our lettuce is bolting
Our lettuce is bolting. Since I was very young and new, I don’t think anything has taught me so much so quick about the world as has having a garden.
July 13, 2007
ReReading Kevin
I had a feeling that We Need to Talk About Kevin would be an important book to reread. First read two years ago after a whole lot of Orange Prize and political hoopla, I was doubtful I would like it. It had been cast as variously feminist and anti-feminist depending on who was talking, and employed as a polarizing weapon in the mommy wars. But when I started reading, I realized that easy issues of polarity weren’t what Lionel Shriver was on about, and that she wasn’t spouting rhetoric as much as asking questions. What I remember most about finishing this book the first time was an urgent need to find somebody else with whom to discuss it.
And so to approach it two years later would be interesting. First, that I’d know the big twist was coming– could this book be about more than its sensation? And also reading it in the context of Shriver’s other work, which I’ve become familiar with. Nearly halfway in, I am pleased to report that the work has been even more resonant the second time around. A certain poignancy is offered, reading in light of what has not yet been revealed. Eva’s character is easier understood, her tragedy more pointed. And I see also that while this is definitely Shriver’s most accomplished work to date, it is in no way a departure from her usual. In all her books, Shriver has a tremendous ability to make unattractive characters realistic, evocative and impossibly sympathetic, even as you want to punch them all the while. This time I also see that, as with Double Fault and The Post-Birthday World, Kevin is ultimately not about motherhood and murder as much as marriage.
July 12, 2007
Salt Rain by Sarah Armstrong
There are some truly lovely elements at work here in Salt Rain, Sarah Armstrong’s first novel. Her prose is strong without trying, and the premise is compelling. Place features largely in this narrative, Armstrong creating a powerful sense of atmosphere in her depiction of the Australian rain forest, with the rain, the heat, the endless cycle I quoted in the entry previous. When 14 year-old Allie’s mother Mae apparently drowns in Sydney Harbour, Allie is taken to live with her Aunt Julia, an eccentric tree planter who claims to be giving her land back to the forest. Vines come into the house through her windows, and the rain falls, the floods come. I got the sense of nature as adversary like I’d only read before in Canadian literature. Or rather that nature is not so much adversarial as gigantic so that human drama is minute in comparison. And Armstrong’s story does suffer when she tries to correct this imbalance, stretching her story as broadly as her backdrop. Reaching back decades, spanning geographies, and several personal histories. In such a short novel with multiple points of view alternating between chapters in a subjective third-person narration, we don’t get the chance to delve into one character adequately, let alone to explore the innumerable stories which branch out from each of their separate experiences. So much must be glossed over, details imparted for the sake of themselves, and the story skims its surfaces. There are suggestions that more is going on in the depths, but we’re too busy to be taken there. Insufficiently invested then, the big twist feels facile. Which is disappointing, really, because Armstrong’s writing left me with such a powerful sense of this book, I wished the story itself was better explored.
July 11, 2007
Links of late
Links of late: A Midwest Homecoming is the blog I keep reading aloud to who ever is in earshot, scribed by Ms. Leah with whom I shared a bunkbed in Nottingham for three months nearly five years ago. Absolute hilarity, and bookish goodness too, though I suspect she’ll be changing her title, seeing as she’s just decided to move to Korea.
Also, Oprah Schmoprah— book recommendations by some of the bloggers I like best.
Hands down, the best story in the paper all weekend was Elizabeth Renzetti’s “You’d be a numpty to mess about with the weegies”. She writes, “Before you attack a country, it’s probably best to scan their cultural history. Did the two men who drove a blazing Jeep into Glasgow airport last week know nothing about Scotland’s past? Had they never seen Braveheart? Had they never read Rob Roy? Didn’t they know that it is always a bad idea to mess with an angry Scot, especially one from Glasgow? Ye’ll get a wee skelp and nae doot aboot it.” And it only gets better.
An incredible profile of Chinua Achebe here.
Here for summer reading tips. (Stuart was flattered and surprised to see that his recent reading had qualified him as “The Universal Literary Smartarse”).
July 11, 2007
Wholly visible and reliable
What is it when pathetic fallacy functions in reading? Because at the moment I feel like I’m reading Salt Rain in just the right climate: “the raindrops making an endless circuit from earth to clouds, the same water falling again and again for decades.” 80% humidity is probably as close to the Australian rain forest as Toronto ever gets. It’s a funny thing.
So far Salt Rain is a pretty good story, but then you’ve got to feel sorry for any book that has to follow Henry James. Such an unfair pitting, but the narrative voice feels so slight in comparison. Which came to mind last night when I was reading James Wood’s review of Edward P. Jones’ Aunt Hagar’s Children in The London Review of Books. Writes Wood:
These days, God-like authorial omniscience is permitted only if God is a sweet ghost, the kind with whom the residents can peaceably coexist. This is especially true in most contemporary short stories, where the narrator may be wildly unreliable (first person) or reliably invisible (third person), but not wholly visible and reliable. Few younger contemporary writers risk the kind of biblical interference that Muriel Spark hazards, or that V.S. Naipaul practices in A House for Mr. Biswas, in which the narrative eschatologically leaps ahead to inform us of how the characters will end their lives or casually blinks away years at a time: ‘In all, Mr. Biswas lived six years at The Chase, years so squashed by their own boredom and futility that they could be comprehended in one glance.’ Comprehended by whom?
And now, post-James, I am craving omniscience. And have set myself a little challenge: the next story I begin will have a narrator who is not a sweet ghost at all.
(Update: Oh, yes, I looked it up. “eschatology [esk‐ă‐tol‐ŏji], the theological study or artistic representation of the end of the world.”)
