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0735239215
| 9780735239210
| 0735239215
| 3.96
| 597
| unknown
| Aug 29, 2023
|
it was amazing
| “I c-curse—I c-curse them greedy bastards,” he grits out. “I—I—” and with the curse still on his lips he slumps, his head rolling onto Roan’s shou “I c-curse—I c-curse them greedy bastards,” he grits out. “I—I—” and with the curse still on his lips he slumps, his head rolling onto Roan’s shoulder. A horrid sound wrenches from Mose and a terrible pain fists itself from Roan’s belly up through his chest. He catches himself on a sob and is startled like a child who’s known only the pain of the flesh. He drops his forehead against that wildly thatched brow and his mouth trembles. I’ve read and delighted in Donna Morrissey before, but still, I was happily surprised by how entranced I was by Rage the Night. Set a century ago across the Northern breadth of Newfoundland, and blending domestic drama and real-life historic tragedy, Morrissey delivers a heart-pounding, riveting tale of identity, survival, and finding one’s tribe. Centred on a decent young man who leaves behind everything’s he’s known — travelling through frigid snows by dog sled, decrepit sealing ship, and finally, by frozen foot — I couldn’t help but become incredibly invested in this one character’s survival (which was a neat literary trick to make me care about the [mostly faceless] scores of men involved in the historical event.) If I had a complaint: This character’s domestic mystery (the impetus for his journey) is pretty convoluted and drawn out and I was often unsure what was happening or if I had missed something along the way. Taking off half a star for that, but happily rounding up to five. (Note: I read an ARC and passages quoted may not be in their final forms.) He is struck with the desire to beat the remaining snow from this cold grave, to shovel down through the earth until he reaches Frances Elizabeth and the little nest of bones upon her skeletal breast. Then all would be still, the spirits pummelled back into their graves and he restored to what he was before the old nurse spun out her confession. Roan — raised in an orphanage on Newfoundland’s Northern Peninsula, but as a favourite of the local doctor, educated at a fine Boston boarding school — has learned, at twenty years old, details of his birth that send him immediately in search of some rumoured family in the colony’s faraway capital of St. John’s. Roan is an intelligent, damaged, big-hearted character, and as he makes his way through the long snowy stretches by dogsled, the people that he meets and helps along the way prove that he would make a good minister or doctor with further education, as his mentor back home had hoped. When he finally arrives in St John’s, Roan sees the men he’s searching for scrambling to make their berths on the sealing ship The Newfoundland, and although he has not done this work before, he’s able to secure his own berth and follows along, standing out awkwardly from his shipmates with his polished speech and well-made clothing. As Roan slowly becomes accepted by the men below-decks (a camaraderie he never knew as a backwoods orphan outcast at boarding school), and as he forces a few awkward conversations with the man he believes to hold the key to his origins, the real-life tragedy of The Newfoundland plays out: a heart-pounding tale of survival and brotherhood in the face of greedy Captains and cold-hearted nature. Between the relatable characters and the evocative nature writing, Morrissey has crafted a compelling story that critiques social imbalances that hold true today. Uncle Jack sings, his voice starting to hoarsen, sounding rougher than an anchor dragging the ocean floor. “Abiiide with meee, ooooh, abiiiide with me.” The men sing with him: they sing to keep themselves going, they sing to banish the cries of the dying, they sing to banish their own fear of dying, they sing to banish the night and banish thoughts of their weakening legs and frozen fingers and hungry bellies, and their songs are their tears and their voices are as one and it is louder than the winds. The best part of Rage the Night is witnessing the decent, yearning Roan find his tribe among the motley sealing crew (so many wonderful scenes with the distinctive, humorous Newfoundland accent and patter), and when the crew finds themselves in a harrowing survival situation, watching as they fight for one another; closer than any family. As I wrote above, the unravelling mystery of Roan’s origins was a bit too convoluted for my tastes, but I do appreciate how Morrissey used this as the catalyst, backstory, and plot propellor: it certainly did humanise the historic tragedy to follow along with this outsider as he learned the economic pressures that would send poor men to sea in such a dangerous industry. This book has so much heart — and simply incredible nature writing — and is exactly to my tastes. ...more |
Notes are private!
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1
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Aug 2023
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Aug 03, 2023
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Jul 31, 2023
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Paperback
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0385685459
| 9780385685450
| B0BR4YR8LP
| 3.84
| 1,897
| Sep 26, 2023
| Sep 26, 2023
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really liked it
| “God alone ordains the state of things,” he said. “God alone ordains the state of things,” he said. Set in the same timeframe (late eighteenth-century) and along the same stretch of Newfoundland’s northern coast as The Innocents (the Best siblings from that novel are referenced a few times here), The Adversary trains its focus onto those few who knew wealth and power in the isolated fishing port of Mockbeggar (to wit: we immediately meet the Mr. Strapp to whom the Best orphans were indebted). With a struggle for dominance at play between two rival operations — and with gender, class, and race imposing their own pressures — this gritty historical fiction is really the story of how the whims, egotism, and greed of those at the top translates into helpless misery for the working class. Plus ça change. Once again, Michael Crummey has brought breathing life into his characters and setting — with the sensibilities of a poet, his word choices are always evocative without being florid — and while his powerseekers are thoroughly unlikeable, it’s the little people caught in the crossfire that give the reader someone to root for. I was absolutely captivated by the storytelling here — from the sentences to the overall story arc — and I loved the whole thing. (Note: I read an ARC through NetGalley and passages quoted may not be in their final forms.) In the days after the killing, several men took young Solemn Lambe aside to advise him against doing anything rash to avenge Dallen’s death. Abe Strapp was best left to God’s judgement, they said. Solemn was not quite twelve and the notion of God’s judgement was too hypothetical to offer comfort. You won’t be helping anyone if you winds up dead like your father, people insisted. As if they wanted to make the boy complicit in their own infuriating helplessness. “Infuriating helplessness” is the abiding atmosphere in Mockbeggar: Left to the whims of climate, disease, unreliable cod stocks, and marauding privateers, those trying to eke out a living on this fogbound stretch of rock can hardly keep their families fed at the best of times. Layer on the companies who hold everyone in debt — with the power of the Church and State backing their interests — and it’s a wonder anyone survived this life at all. But it’s in the small moments of resistance — the love between youngsters and newfound friends, the Quakers who refuse to meet violence with violence, the outsiders unafraid to stand up to petty tyranny — that grace may be found. Even so: the innocents may find themselves but pawns in the inscrutable games of their local gods. She lifted her head to look away from that feeling and caught sight of the mirror above the fireplace, the shattered glass reflecting her back in slivers that almost adhered, the figure there riven and distorted and still undeniably herself. It made her think her instincts had been right all along — the world agitated against coherence, against concord, and the truest portrait a person could manage was fragmentary, incomplete. I’ve tried to avoid spoilers with the overall plot (which was compelling and surprising), but I have to say that it was in the details that Crummey most engaged me: the disinterment of the Pilgrim, the horrific game of “mumble the sparrow”, the impenetrable slang of the ark ruffians; rough scenes told in the voice of a poet go down smoothly. And I want to end by noting that I was delighted to make the connection between The Adversary and The Innocents and would happily read anything else Crummey wants to set in this world. ...more |
Notes are private!
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1
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Jun 19, 2023
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Jun 23, 2023
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Jun 19, 2023
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ebook
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1039001661
| 9781039001664
| 1039001661
| 3.93
| 558
| Sep 20, 2022
| Sep 20, 2022
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it was amazing
| I was seven that November when we were tossed from our apartment in St. John’s. I had lived in twenty houses by then. I don’t remember a lot of the I was seven that November when we were tossed from our apartment in St. John’s. I had lived in twenty houses by then. I don’t remember a lot of them, but most of them were scattered along a couple of roads in a place called the Goulds, about an hour away from town. It wasn’t much of a place, not even a village, but it was where Jennie was born and where her parents, Lucy and Ned, still lived, on Petty Harbour Road. You might think that a memoir covering a span of six months as a seven year old would be of scant general interest or entertainment value but the story within Jennie’s Boy: A Newfoundland Childhood is surprising, engaging, and full of heart. Reading like narrative nonfiction, Wayne Johnston’s account of having been a sickly child with a chaotic home life is told with warmth and humour, and has a satisfying narrative arc. And for anyone who has read a pile of Johnston’s novels, as I have, there’s something very intriguing about seeing the influences behind his later writing; between this and The Mystery of Right and Wrong, I feel like I’ve gotten to really know the author this year and the experience has been a delight. (Note: I read an ARC through NetGalley and passages quoted may not be in their final form.) Repairing me seemed to be impossible because no one seemed to know why I was sick. A doctor I could not remember having been to see had once said I had a nervous cough. Jennie seemed to think I had a nervous cough because I was nervous all the time. She said she had heard of other people who had nervous coughs, but she never named them. Calling it a nervous cough made it sound like I was constantly trying to clear my throat, but that wasn’t the case. The cough was so deep, so loud and so relentless that each of my three brothers had tried to kill me to shut me up. Born the third of four sons (with more siblings to follow), Wayne’s barking cough was so disruptive that not only was he forced from his brothers’ bedroom at sleep time (aided in hauling his rollaway “bedmobile” into the living room at night, where his insomnia kept him awake), but he was banished from school and usually removed from Mass in the clutch of a coughing fit. After his father drank away the rent money, again, the family relocates to a substandard house across the street from Wayne’s maternal grandparents, and when his parents take the bus into town to work, and his brothers go to class, Wayne spends the days with his grandmother, Lucy: a loving, deeply religious woman who is still mourning the untimely death of her own young son so many years before and who knows that iced chocolate Quik, taken three sips at a time, is the only thing that Wayne is able to consistently hold down. There is a health scare and trips to specialists, but this is mostly about the Johnston family dynamics: Wayne’s mother, Jennie, “ripping into” his father, Art, for secretly drinking away the poor family’s meagre means — until Art starts to berate himself and the whole family needs to gather around and tell him what a great man he is. Wayne’s brothers enjoy digging into him — making the case that everything would be better if he wasn’t so sick, putting so much pressure on their parents — until Wayne starts to cry and the brothers hug and reassure him. This is the story of a family, and especially seven year old Wayne, under tremendous strain, but it’s not bleak: this is a story with a tremendous amount of heart and warmth. I didn’t want to be led to the living room by Jennie and have to kneel with her while she held my hand to keep me from losing my balance and tipping over sideways like a statue. I didn’t want to walk among the same grown-ups I had walked among the day Lucy had her false alarm, Jennie’s boy dressed to the nines as if nice clothes could disguise the fact that I looked as though I would be the next to go. Because this reads a bit like a novel, I don’t want to give away any spoilers, but I do want to make the point that you don’t need to have read Johnston’s novels to be moved and entertained by this memoir (there are medical mishaps! brawls! car chases!). Turns out, six months in the life of this seven year old makes for a very satisfying tale. ...more |
Notes are private!
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1
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Jul 06, 2022
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Jul 07, 2022
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Jul 06, 2022
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Hardcover
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1487001193
| 9781487001193
| 1487001193
| 3.79
| 635
| May 03, 2022
| Aug 16, 2022
|
really liked it
| By way of parable she told the story of her own family, of her stepmother. Because if I were to marry Joe, I’d be a stepmother too. It was a story By way of parable she told the story of her own family, of her stepmother. Because if I were to marry Joe, I’d be a stepmother too. It was a story she recounted often, with only minor variations in fact and tone, but the take-away? What she was actually telling me? This is how we love. I have long loved the writing of Lisa Moore — from how she captures truth on a large scale (the captivating day-to-day reality of living in St. John’s, Newfoundland) to truth on the personal scale (the absolute reality of the human heart in all its familiar variety) — and This Is How We Love did not disappoint. The story begins with devastation — Jules and her husband Joe were in Mexico when they learned that their son had been viciously attacked at a party back home — and in chapters that rotate through various characters’ perspectives (always from Jules’ first person POV and third person when focussing on another), Moore skillfully relates stories from across the generations that explain who these people are, what forces made them, and how they got to now. Exploring a wide range of family types, Moore asks just what makes a family, what do we owe to one another, and can we ever step off the path childhood circumstances laid down for us. The overall plot is compelling, the writing is technically masterful as the timeline jumps around, threads dangle and get tied up, and small moments frequently dazzle with their clarity and relatability; I loved everything about this. (Note: I read an ARC through NetGalley and passages quoted may not be in their final forms.) He didn’t see the knife. The knife came when he was being kicked in the head. He saw the boot coming and confused the sensation of the knife with the kick to his skull. There was a synaptic misfire and he felt the knife slide through his skull. But it had punctured his jeans and skin and maybe organs and wasn’t anywhere near his head. It went deep. He could hardly believe it happened twice but at the same time he believed it. Twenty-one-year old Xavier — “Xay”, “the antic anti-hero”, “the one with the big HaHa” — was raised by loving, stable parents but took that fact for granted until he found himself beaten, stabbed, and left to bleed out on a snowbank in the middle of the night. Maybe it was the thrice-knock of fate, a “wall of doom”, a long ago curse from the Woman with a Yellow Hat, but as he waits for an ambulance that’s a long time coming, Xavier has an opportunity to wonder at the strength of childhood ties that he thought had been thrown off. Meanwhile, Jules learns of the attack hours later, and with the Storm of the Century, a veritable Snowmageddon, heading for St. John’s, she will get on the last flight to Newfoundland before the snow hits (husband Joe will be trapped in Montreal waiting for flights to resume), and alone at her son’s hospital bedside, hoping for his eyes to open, Jules will have long hours to remember the stories about love and family and friendship that brought them here. She meant I should pay attention if I wanted something and I’d have to act and that it wouldn’t be easy. Of course, she was right. Because this is a story about my son and how he was stabbed at a party and beaten by a handful of monsters and how nobody chooses yearning, it chooses you. There are many types of motherhood described here — teenage single mothers and foster mothers, same sex and stepmothers — and despite love and intention, it’s a crapshoot how the kids will turn out; few mothers get the chance to actually stand between their children and the knives that are thrust towards them. And on the other hand, what chance in life has the little girl — neglected by her Mom and put into care — who learns early to close her heart to yearning? And what chance has the drug-dealing son of a gun-toting drug dealer who has never been shown love? What chance does Xavier have to survive injury and infection, even as his mother breaks a stay-at-home order to trudge a path through roof-high snowdrifts and make her way to a locked-down hospital? These are the questions that keep us reading. I felt it was me. I was generating the storm, making it happen with my rage. The rage was as big as the storm, just as malevolent, tearing out of my chest. Or the storm had entered me. It was inside me, freezing everything, starting with my womb, which was frozen, breaking up like an iceberg, pieces sliding off. It was my womb or my heart, or the balancing fluid in my inner ear. I’d lost any sense of balance. The cold crept through me. I love Lisa Moore, and again, this did not disappoint in narrative, insightfulness, or craftsmanship. ...more |
Notes are private!
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1
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Jan 27, 2022
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Jan 30, 2022
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Jan 27, 2022
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Hardcover
| |||||||||||||||
0735281637
| 9780735281639
| 0735281637
| 3.94
| 505
| unknown
| Sep 21, 2021
|
really liked it
| In any case, they soon come back. The flickering along the wrack continues until morning comes. The sirens, now that night is done, must go back to In any case, they soon come back. The flickering along the wrack continues until morning comes. The sirens, now that night is done, must go back to the sea and hide — they lost their voices when they died. They cannot sing their secret song, “The Mystery of Right and Wrong”; they know the words but no one who would sing them truthfully to you. In the publisher’s blurb, it states that in The Mystery of Right and Wrong, critically acclaimed and beloved Canadian author Wayne Johnston “reveals haunting family secrets he's kept for more than 30 years”. With a main character named “Wade Jackson” — an aspiring young novelist from a Newfoundland outport — it is immediately reinforced that Johnston will be cutting close to the bone with this book. What follows is rather harrowing: this is a story of domestic abuse, systemic abuse (from the Nazi occupation of Holland to South African apartheid), intergenerational trauma, and mental illness. It is also a love story, a coming of age story, and an inquiry into whether, in the aftermath of abuse, either evil or free will can exist; the titular “mystery” of right and wrong. In a lengthy afterword, Johnston explains which parts are true (and how they played out in real life), and that part gobsmacked me; I can totally see how a masterclass on Johnston’s work can now be taught, with this novel serving as the key that unlocks it all. This book is courageous and important and compelling, and to be fair, it was also a bit too long, and although Johnston explains the reasons for the segments in verse, I found them, as they went on, exasperating. I am grateful to have received an advanced reading copy of this book five months before publication and I am daunted by the idea of being the first to review and “rate” it, but here goes: based on its importance and artistry, five stars; based on my personal “enjoyment” of the reading experience, I’m knocking it back to four. (Note: I read an ARC through NetGalley and passages quoted may not be in their final forms. Note especially, there was no particular formatting for the segments in verse and I reckon that could change.) I wasn’t sure if the book was making me worse or if it was all that was holding me together. My supposedly secret illness. But it somehow reassured me to think about the ways my sisters coped. Carmen had her drugs. Gloria had her hypersexuality, though not many people called it that at the time. Bethany had her anorexia. I had my diary and Het Achterhuis, which I kept reading even after I knew it by heart. The thought that we were all freaks made me feel less like one. Wade Jackson — a recent university graduate, working as a newspaper reporter while he plans his first novel — meets a young woman in the university library, which they both frequent as a quiet place to work. Wade will be so struck with this Rachel van Hout — beautiful and quirky, born in South Africa and brought along with her family to St. John’s as a teenager when her professor father took a job there — that despite some alarming proclivities, Wade will immediately throw his lot in with her. No matter how odd, damaging, or dangerous Rachel and her three sisters’ self-harming behaviours become, Wade commits to the long haul. There is a real heaviness and dread to the plot — what will the sisters do next and how did they get this way? — as POV skips through time and rotates between Wade, Rachel, the encoded diary she keeps, and long snippets from the epic verse Rachel’s father wrote and forced the girls to memorise as children, The Ballad of the Clan van Hout: Girls, get used to contradictions, truthful lies and false non-fictions. What isn’t there is everywhere; the things which are, are not, you see, however much they seem to be — and what is not is what will be as long as you and I agree. In the moment I could understand why these sections are set apart in verse — and in the afterword Johnston further, intriguingly, explains the impetus behind his use of poetry — but as I began with, and perhaps it comes down to the novel’s length, it eventually became just too much as a reading experience. However, the insight these sections allow into the mind of the girls’ father, Hans van Hout, are integral to the plot and allow us to take his self-mythologising with a grain of salt. (But honestly, less would be more for me.) As the action moves from Newfoundland to South Africa, and back home again through Amsterdam, Hans’ origin story will morph and change; but everywhere and in every time we are forced to consider what is and isn’t credible, defensible, or justifiable. It struck me that Rachel had been right when she said that history happened not in some nebulous, exceptional elsewhere, but in ordinary concrete places, to commonplace people. My world shrank to this pair of unexceptional streets, to Hans and his family, to Anne Frank and hers. History, the war, the fate of the Franks, were personal, local, terrifyingly actual and immediate. I imagined Hans as a teenager looking out of one of the windows of the house, his hands pressed to the glass as the Nazis marched past, their boots clumping on the cobblestones, row after row of bluff and bravado and menace without purpose, a lethal behemoth composed of men just like the ones who ran South Africa and those who supported them, greater only in number, driven to savagery by a group of men whose madness they need not have fallen for but did for reasons that flattered none of humankind. There is a lot of disturbing material in this book, reflecting the fact that there is a lot of disturbing material in life (certainly there has been enough in Johnston’s life that he claims to never be surprised by anything of which a person can be accused or to which they might confess). To make a novel out of this kind of material — a novel that employs that material to explore nuanced questions of right and wrong with artistry — is no small feat; to learn that the author is using this vehicle to expose and explore close-held secrets and pathologies is breathtaking. I have no doubt that The Mystery of Right and Wrong will make a big stir upon its release and I am looking forward to reading what others make of it. ...more |
Notes are private!
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1
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Apr 13, 2021
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Apr 18, 2021
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Apr 13, 2021
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Hardcover
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1487001711
| 9781487001711
| 1487001711
| 3.59
| 4,191
| Feb 12, 2019
| Sep 22, 2020
|
really liked it
| This is not infatuation. This is not infatuation. As a sort of trigger warning, author Megan Gail Coles prefaces Small Game Hunting at the Local Coward Gun Club with a page stating in full: This might hurt a little. Be brave. (And this after a dedication page which says, “I wrote this for myself. And the beautiful vicious island that makes and unmakes us.”) At the Giller Prize ceremony (for which this title had been shortlisted), Coles called this book “an act of resistance”, and taken all together, it's fair warning that Coles has a lot of opinions to share and she doesn't care who she offends with them. The story itself paints a bleak picture of life in modern day Newfoundland – not only the weather on a blustery, sleety Valentine's Day, but the current social conditions in this have-again/have-not-again province – and with off-putting details (so much vomit, phlegm, and semen) and persistent power struggles (sexism, classism, racism), there is, indeed, something challenging on nearly every page. People are poor and struggling, fragile hearts are broken, the undeserving (read: men; read: white men) get away with their wickedness. Add to this the literary devices used – omniscient narration jumping from character to character without warning or context, no quotation marks for dialogue, confusing chunks that require a reread for understanding – and Coles is demanding a lot from her audience. Despite experiencing as more dense than truly necessary, I did find this read to be ultimately rewarding; Coles can definitely write and the world she reveals here is one that those from away ought to see. Despite its large cast of characters, this is essentially the story of two young women from a rural outpost in Newfoundland's Great Northern Peninsula, now trying to survive in St. John's. Olive – half-Native and raised mostly in bad foster care situations – is spending the snowy day away from her apartment in order to avoid her landlord and his demands for overdue rent: Olive: whose gentlemen callers are never gentle or men but dregs of former humans driving red pickups full of smoke. Their pumping cherries recalling every murder program ever aired to warn, no, educate, no, remind, no, inform single women of the danger lurking just outside their double-locked doors, checked and rechecked and checked again for certainty. And Iris: a painter who went to art school in Toronto but who now hostesses at the chic restaurant “The Hazel” in St. John's, and who is sleeping with its handsome, but married, chef: Iris was meant to want nothing, demand less, not more. Her father's absence laying well the groundwork for the first one and then the next one and then John. He had told her in an honest afterglow that they were not even half a thing. Not even half a thing, ringing on repeat in her head. One foot in front of the other through the slush on the downgrade toward The Hazel. Not even half of something. She has learned to abuse herself in a misguided attempt to thwart expectation. You don't deserve any better. But very deep inside her body a tiny voice whispers into soft cupped hands... Olive is hanging around The Hazel to keep warm out of the weather, and although Iris only showed up to pick up her paycheque, she is convinced to work a double shift in the dining room as a storm threatens outside and staff call in to say they can't get through the snow. Her fragile heart well and truly broken by John the chef, Iris is finally willing to consider her best friend Jo's estimate of him: Jo would say he is a predator. The worst kind of man. A faux-minist. A liar. He made Iris believe in a falsehood. Fooled her. Groomed her. Identified the want in her and pretend-extended this back, though slightly out of reach of Iris's grasping hands. He kept her reaching and now she has been stretched beyond herself. No longer knowing her own mind. To add to Iris's near-resolve to finally end this “not even half a thing” with John, his wife, George – the money behind the restaurant and the wallet John refuses to leave – decides to help out in the dining room, and as the storm builds outside and a variety of customers make their way through the restaurant, it becomes clear that the plot is working towards an explosive climax. Most every character gets a complex backstory, and while this makes for some nice moments and proves that Coles really knows these people she has created, it also made the book feel longer than necessary. (I loved the vignette with little Iris in a sled with her cousins and her Nan – her Pop pulling the sled through the snow with a Skidoo while their ersatz sled-dogs run joyfully alongside – and I was glad it was in here, but did it really belong in here?) I see that Cole's last release was a book of short stories and that makes so much sense: these short but complex backstories seem more suited to the short story form, and maybe that's why this novel has the feel of a nonlinear mashup. These meanderings into non-main characters' histories also allow Coles to get more broadly political. The mayor of St. John's (snarkily referred to as “Major” David) has lunch in The Hazel, and not only does he overtly present as the worst example of privileged, old white male (gets away with abusing the wait staff, mentally explains why he refuses to tip), but cut jumps to other scenes with him justify our dislike of him: You know, Joanna, that I did not invent the Keurig, right? Though I wish I had. And off she went pontificating about the coffin-maker not committing the crime. Major David chewed down slowly while peering over her shoulder for an exit. Had there not been a number of junior staffers in the kitchenette that day, he would have just walked away from her. Just stop listening was a tactic he regularly employed. He left conversations with his wife and daughters all the time. It was a vagina-proof strategy. There's a waiter, Damian, whose extraneous scenes do shine a light on an important through story, but the narrative of how he ruined his relationship with his partner was less integral, and the story of how Damien's mother became involved in gambling and embezzlement from work was even less related to the main story – but it did allow Coles to make this strange commentary on newspaper paywalls: The people in charge, having allowed most, many, okay, more than before, the privilege of literacy, had now deemed having an educated citizenship a right hassle so were marking it up in a hurry, man. If motivation could overcome the hesitation and apathy long enough to scale that wall, people still would know that Dot was scared and full of remorse. For the most part, the men in this story are pretty awful (except for Damien [probably because he's gay] and Omi [probably because he's an immigrant]), and while there is some understanding shown towards men who are under the constant pressure of having their livelihoods taken away as industry after industry collapses in Newfoundland, there's plenty of blame apportioned to the women who love to make excuses for their men; women who are quick to besmirch the reputation of any woman who cries rape (“Is it possible to rape a slut? Is it possible to rape a whore? Do you remember what little Jimmy looked like in his First Communion photo?”) and women who are quick to socially freeze out any abandoned mother who would dare to demand child support from their cash-strapped son or brother; on the rock, blood ties run much deeper than any notion of universal sisterhood. To comment on the political, sometimes Coles gets snarky (but does the tone serve the message?): Rape is a powerful word well-despised by rapists the world over, because they rightfully don't like being called out for what they are or what they do as it will for sure impact their ability to continue doing so. Not full on prevent them from continuing to rape, but it is a kind of inconvenience in life moving forward. At the Gillers, Coles pointed to Olive and Iris as the heart of her book, and I'd agree that it is their challenging stories that give this narrative poignancy. I see other reviewers commenting on this book's cover (it really is gorgeous) and wanted to end on the quote that inspired it: Olive offers, I saw a pink caribou once. Maybe not perfectly assembled, but there is much to love in the parts of this book ...more |
Notes are private!
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1
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Dec 05, 2019
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Dec 09, 2019
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Dec 05, 2019
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Paperback
| |||||||||||||||
1487006888
| 9781487006884
| 1487006888
| 3.61
| 1,222
| Oct 01, 2019
| Oct 01, 2019
|
really liked it
| For lack of a daughter, then – a proper daughter, a daughter who called more than once every couple of months, a daughter who visited more than onc For lack of a daughter, then – a proper daughter, a daughter who called more than once every couple of months, a daughter who visited more than once a year, a daughter willing to shoulder her way past the slammed-shut door of “Fine” every time she asked her mother, “How are things?”– Irene had managed to recruit herself a son. Watching You Without Me is a psychologically astute family drama, and I'd almost go so far as to call it a domestic noir/thriller except that it never goes over the top into psycho-nanny/baby-snatcher/evil-ex territory. Instead, author Lynn Coady tells us a story about recognisably human characters doing their best in difficult times – even the character who adds menace to the narrative is acting true to his own nature and doesn't feel gratuitous or overblown. I enjoyed every bit of this. (Note: I read an ARC and passages quoted may not be in their final forms. Slight spoilers in plot overview.) I was so grateful in that moment. When I tell this story now and people ask what I was thinking, it's this feeling of incongruous peace that I remember. It exists in my memory as the quick, satisfying sound of a zipper being hoisted. I never mention it, though – not that it seems so irrelevant compared to the details that come later, the juicy stuff that makes people cringe and cover their eyes. It's just that this is the moment of which I'm most ashamed. Ziiiipppppp! My pathetic gratitude. The wide-open door of it. When she was a know-it-all twenty-year-old, Karen told her mother that it was time she put Kelli – Karen's developmentally delayed older sister whose care consumed all of her widowed mother's time and energy – into a group home and get on with her life. Irene explained that this was her life and the ensuing fight saw Karen leave their Nova Scotia home for Toronto – where she went to school, got married, and divorced – and an unbridgeable chasm was thus opened between mother and daughter. When Irene eventually died of cancer, Karen returned home to arrange for Kelli's placement in group care, but over the weeks they spent together, Karen began to remember how special her sister had always been; began to wonder if she might actually be able to care for her sister as her mother had; and besides, what did she have back in Toronto to return to? Karen has help from the team of community support workers that her mother had hired, and one in particular – a forceful man named Trevor who has a close and teasing relationship with Kelli – appears to have been indispensable to Irene, and Karen is so grateful for his help that she allows him to become indispensable to her, as well. By the time Karen realises that Trevor is bullying and gaslighting her – and realises that he must have been doing the same to her mother – he is too entrenched in their lives to easily dislodge. It's the characters who really bring this story to life. Kelli is totally real without being played for pathos or absurdity – her tics and stubbornness, her shy smiles and screaming; Coady does a wonderful job of showing how equally sweet and frustrating she would be to care for while always maintaining her dignity of character. Trevor might be a bully and a narcissist, but you can identify with the motivations that make him want to cling to this family. And it was interesting that Karen had lost her father when she was young – having been raised in a “girl-world”, Karen felt unprepared to deal with men, whether her erstwhile husband or the forceful Trevor. Whenever I'd be thinking, “Why don't you just throw him out?”, I'd then need to remind myself that that's what someone in a book might do, maybe not someone who just lost her estranged mother and who was now overwhelmed with the care of her sister and who had never really learned to talk to men. The way everything and everyone gels together just feels like real life. I know that it's perverse, the pleasure I get from this whole process. That's why I've told this story as many times as I have, to so many different people. It's one of those pleasurable if not quite healthy compulsions, like picking obsessively at your cuticles. I also liked the format of having Karen address the reader periodically, as though personally and intimately unspooling her best yarn. The foreshadowing this allowed for was expertly and engagingly done and it helped to build a sympathetic relationship with the narrator (and especially when Karen points out what various listeners to her tale had interjected about what she could have done differently along the way, answering my own concerns and making her seem even more human; and especially since she could laugh about all this is the future). Everything about this was interesting and relatable – and in particular what it has to say about family relationships and what responsibilities we have to each other – and I liked the whole thing. ...more |
Notes are private!
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1
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Oct 13, 2019
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Oct 16, 2019
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Oct 13, 2019
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Paperback
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0385685416
| 9780385685412
| 0385685416
| 3.78
| 9,134
| Aug 27, 2019
| Jan 01, 2019
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really liked it
| They were left together in the cove then with its dirt-floored stud tilt, with its garden of root vegetables and its scatter of outbuildings, with They were left together in the cove then with its dirt-floored stud tilt, with its garden of root vegetables and its scatter of outbuildings, with its looming circle of hills and rattling brook and its view of the ocean's grey expanse beyond the harbour skerries. The cove was the heart and sum of all creation in their eyes and they were alone there with the little knowledge of the world passed on haphazard and gleaned by chance. I love when an ARC opens with a note from the book's editor, giving some insider bit of info, and The Innocents begins with, “Years ago, in the archives, Michael Crummey found mention of a late eighteenth-century clergyman who had happened upon an adolescent brother and sister living all alone in an isolated cove off the northern coast of Newfoundland. When the clergyman approached the siblings to inquire into their circumstances, into how they were managing to survive, he was driven off the cove by the boy at gunpoint. The implications of that encounter would stay with Michael and eventually inspire The Innocents. In March of 2018, there were 1,500 words; by July, there were 90,000. I can't help but think the intensity of the novel's creation is reflected in the thing itself.” I quote Martha Kanya-Forstner at length here because that's all a prospective reader really needs to know: From the merest suggestion of a plot situation, Michael Crummey has dreamed up two fully-formed characters, bound by blood and the desperate quest for survival for which their parents never dreamed they'd so soon need to be fully prepared, and by richly describing their daily labour, and throwing in intermittent visits from outsiders that expand the siblings' understanding of the wider world, Crummey does right by history, literature, and the exploration of humanity. It's all here and it's all good. (Note: As I did read an ARC, passages quoted may not be in their final forms.) Evered and Ada Best were approaching twelve and eleven, as near as it can be reckoned, when some illness carried off their parents one winter. (The parents are present for just enough at the beginning of the story to show what kind of world these children were raised in and to underline just what they lost.) All the two know of their circumstances is that every spring their father would row out to a schooner that anchors at the mouth of their cove to pick up provisions, and then row out again every fall to deliver the season's catch of cod, picking up their winter stores at that time. When The Hope appears as expected, Evered rows out and learns the truth of their situation: The yearly catch never quite covers the cost of the flour, peas, and molasses that their father would bring home, and being thus in debt to some faraway Mr. Strapp, his agent, “the Beadle”, must decide whether the youngster before him would be capable of bringing in a sufficient haul of cod, or whether he should send the two into service somewhere until they might clear their family's ledger of debt. Evered convinces the man to give them a season to prove themselves – likely because no one else would want to take over their “enterprise” with its remote, inhospitable curve of the rock and its sand-floored, drafty hut – and the siblings begin the back-breaking work of hand-fishing, preparing salt cod, hard-scrabble gardening, and the hundred other tasks of survival. Their catch is just decent enough to satisfy the Beadle when he returns again in the fall, but it's not nearly enough to touch the debt; and so the seasons and the years go by. Crummey, being a noted poet as well as a novelist, is a master at selecting just the right words to describe the landscape and the atmosphere and the human heart (and I am always delighted by his obscure Newfoundlandisms; “a dwy of snow” and “my little blowsabella” sound like something out of The Jabberwocky to my ear). The work and the worries are so well captured, but we never forget that these are children; these are innocents: I smiled as they played games (and especially their invented “There's Your Answer”) and it broke my heart that a snatch of a drinking song that Evered overheard on board The Hope became the only song the siblings knew (small blessings, I guess, that they even found the one to fill a dark winter's evening). (view spoiler)[Even more heartbreaking to learn that their inlet becomes known as Orphan Cove in the greater world: Everyone knows the siblings' situation and location and no one offers help? (hide spoiler)] And naturally, as time goes by and these children grow to adolescence, forces will see them growing closer and growing apart again: It was a torment and a respite to be away from his sister, to escape the confines of time spent with someone he would have died for and could hardly manage to speak to anymore. All the days of his life he had been inclined to her orbit and he canted toward her still though she seemed as distant as the moon. Even when they were together in the tilt she sat somewhere out of reach. Where Ada was concerned he felt he was the blinder in their childhood game, reeving around sightless with his useless hands before his face. Between the setting's remoteness from civilisation and the richly selected language, The Innocents had a real Cormac McCarthyesque vibe that I savoured: The sun had long set and the only light in the room was from the fire and Evered watched his sister in that darkling. Just able to make out her features though he could have touched her without moving from his seat. Her ebony ponytail only visible in motion, when she turned her head or tipped her face back to drain her mug. And he thought it was a genuine picture of Ada, that it was as true a sight as a person could hope to take of another in this life. That anything more was gossip and fairy tale, umbrage, wishful thinking. And, of course, “the innocents” conjures the Garden of Eden, and the infrequent visitors tempt a Fall with their Books of Knowledge, and how long should the pair stubbornly cling to their Paradise after being shown how inconsequential their spit of dirt is in the scheme of the whole wide world? Interior journeys are just as fraught as taking a leaky dory out onto the open ocean and challenges to one's innocence and ignorance are just as taxing as the hard labour of keeping a body going; and to think: It all started with that small nugget of inspiration and I believed every word of what Crummey has breathed into being. ...more |
Notes are private!
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1
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Jul 10, 2019
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Jul 12, 2019
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Jul 10, 2019
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Hardcover
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150112448X
| 9781501124488
| 150112448X
| 4.01
| 2,570
| Jun 07, 2018
| Aug 14, 2018
|
really liked it
| There was a mermaid, said Finn. There was a mermaid, said Finn. I was in just the right mood for Our Homesick Songs – it's an atmospheric and quirky tale, yet like the iceberg on the cover of my edition, there's plenty lurking under the surface, too – and as much as I enjoyed reading it in the moment, I don't know if it will stay with me for long. Even so, there's a time for just this type of read and I'm pleased that Emma Hooper's Giller Prize longlisting led me to pick this one up just now. All songs are homesick songs, Finn. The story is split into two timelines: The “present” of 1992/93 and the past of the 1970s. In the present we meet Cora, fourteen, and her younger brother, Finn, who is eleven. They are being raised in a tiny fishing community on a small island off Newfoundland, and despite the generations-long stability that the fishing industry has afforded to Big Running, the cod stocks have suddenly collapsed, the province of Newfoundland has declared a Cod Moratorium, and folks are being offered resettlement packages to move to more viable towns. As the neighbours dwindle to just a handful, even Cora and Finn's parents are forced to go away to work, each of them flying out to Fort Mac for a month at a time while the other stays home with the kids. Art and music and storytelling help Cora and Finn to stay connected to the community that they see disappearing around them, and their favourite story of all is that of how their parents met: a magical fairytale full of singing mermaids, an ocean shining with silver fishes, and words of love woven into fishing nets (this love story being the storyline from the past). The writing is a bit fey and simplistic, but for the most part, I could roll with that: whether we're following Aidan and Martha in the past or Finn and Cora in the present, we're seeing the world through the points-of-view of adolescents; a time when a single kiss can change your life; a time when there's homey comfort in icy salt-spray and boot-sucking bog. And as I have mentioned before, I am a fan of long and repetitious paragraph-length sentences: First the lightning, then the thunder, then the wind and the waves, the waves and the wind and the night-white water, all of which were the same, all one, pushing and reaching and pulling and pressing in on them, on every side, wind, waves, water, everything wet and loud and black and white, deep night, then light, and everyone was awake now, Aidan's mouth moving like talking but just the sound of the wind and the waves and the water, just a moving mouth, only visible when the light hit, then gone again, his arms up and grabbing things, something, a snake, a rope, just a rope, Martha stepping out, towards him, black white, the wind grabbing her hair, punching her back, deep, heavy against her gut, and something, something else, on her arm, pulling her back, a hand in unison with the wind, pulling her, sudden, and she fell back, away from Aidan and back inside and the hatch banged shut. No, said Molly's mouth, in lightning flashes, full of the sound of the wind. No. Maybe not to everyone's taste, but it works for me. Here's my small complaint: Emma Hooper isn't actually from Newfoundland (“born and raised in Alberta” sounds about as far from “son of a fisherman” as possible), and although she seems to get the colour right – there are cèilidhs with bodhráns, decaying drying flakes, and gifts of jarred seal meat – and although all of us might know a homesick song for a lost place, there's something very particular about Newfoundland writing that wasn't quite present here. (In an otherwise positive review, The Toronto Star says this book “is like a come-from-away version of the island, celebrating its charm but not necessarily steeped in the salty brine of island culture”.) Even so, I was thoroughly enchanted by the characters here – and particularly by Finn's innocence and efforts to lure the cod back so his family could be together again – and the story ended beautifully, so I don't feel like being harsh today. Four stars is a rounding up. ...more |
Notes are private!
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1
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Nov 11, 2018
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Nov 12, 2018
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Nov 11, 2018
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Hardcover
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0385682484
| 9780385682480
| 0385682484
| 3.27
| 153
| unknown
| Apr 10, 2018
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really liked it
| “I have been guilty all my life,” Mary Cyr said. “But I am no longer guilty – I will not be guilty anymore. You see, I saw more and much deeper tha “I have been guilty all my life,” Mary Cyr said. “But I am no longer guilty – I will not be guilty anymore. You see, I saw more and much deeper than other people, so I was often accused of their crimes, but now I will be free.” I have to start by saying that I am a longtime David Adams Richards fan – I've read plenty more of his books than my Goodreads account would show – and with Mary Cyr he once again proves himself to be a writer of maturity, gravity, and unrivalled (for a Canadian public figure) iconoclasm. This wasn't a book to read quickly, and once again, Richards uses frequent coincidence to prove that we are fated towards tragedy, so I can understand its weakish reception here on Goodreads. As for me, I savoured this read, beginning to breathtaking end. It was all very strange how it happened, but in this world, nothing in fact was more natural. It seemed all very devious, but in this world, nothing was devious. It seemed very unbecoming, but in this world what was unbecoming? One knows that in this world, from the Peloponnesian Wars on, no deviousness was left unused. Mary Cyr opens with the title character sitting in a Mexican prison, apparently charged with the murder of a young boy. When the local authorities realised that Mary was a member of the billionaire Canadian family that was part owner of the town's coal mine that recently collapsed, they felt the need to charge her with something, and even though it would seem that no one really believes that she killed this Victor, everyone from the local criminal element to the politically ambitious find it expeditious to pin the crime on her. Mary's old friend (and main character from Richards' last novel, Principles to Live By), retired police detective John Delano, is sent down to Mexico by her family to secure her release, and between their conversations and Delano's private ruminations, Mary's sad life is laid bare. The format of Mary Cyr can be challenging: Divided into fourteen parts, the first makes reference to events and people from Mary's life without much explanation. But as the novel goes along, these events and people are revisited and explained in greater detail, and every time you think you understand how something was for her, some new detail is layered on in a later part that shifts that understanding. Too, as the narrative proceeds, greater insight is given into the motivations of the local Mexican people, and it becomes obvious that events have been set in motion that will be nigh impossible to stop. As for the character of Mary: it was strange that this unloved orphan cousin from the unimportant branch of one of the Maritimes' richest families was described by her aunt as not quite normal after a childhood blow to the head, and yet both Delano and the omniscient narrator refer to her as insightful and brilliant – all while Mary herself speaks with strange verbal tics, makes impulsive and self-destructive decisions, and rarely has acted in her own self interest. I liked the strangeness of her character – and not least of all because being from a super-rich family (which made its money the old-fashioned – but now denigrated – ways; through forestry, oil, and mines), every personal tragedy in Mary's life has been open to public, mean-spirited criticism; culminating in a global newspaper/internet schadenfreude over her current situation. What hope for Mary? As in previous novels, Richards makes many literary references here (incorporating Calvino, Dostoevsky, Shakespeare), and he once again makes many references to the Canadian literati: taking a swipe at Michael Ondaatje, apparently referencing Alistair MacLeod as “a Percy rock of a man who bagpipes his way along the crags of Cape Breton”, and denigrating himself as “the Miramichi writer who she liked but who she could never read ”(on a more positive note, Mary does refer to Jack Hodgins – whose Broken Ground I have read and reviewed – as a great, grand person). Richards keeps to the Canadiana by referencing pipeline squabbles, former prime ministers, Lord Beaverbrook, and the CBC; and he keeps this story related to his own world with appearances by John Delano, Markus Paul, and the River of the Broken-Hearted. This is a writer of maturity and confidence, and as for the iconoclasm, it's sure to provoke the progressives in Ottawa: • Those who yelled loudest against her when they had the chance did not now utter a word to ask forgiveness for themselves. They were very quiet now. The Cyr pipeline that had been damaged by those who drove to the pipeline in cars that used oil, and slept in houses that needed it, and wore clothes that contained it, now issued not one statement about her. The university profs as well who spoke of progress – and said that the Cyr empire was one of failure and disaster, sitting in buildings some of which were donated by Cyr money – did not now come back to reinvestigate themselves. I am pleased that since his last novel, David Adams Richards has been appointed to the Canadian Senate; I like the idea of this contrary voice having its place in the Red Chamber. I am also not surprised that, for likely this very reason, such a fine novel was overlooked for the Giller Prize this year. This challenging read certainly pays off in the end. ...more |
Notes are private!
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1
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Sep 15, 2018
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Sep 19, 2018
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Sep 15, 2018
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Hardcover
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1487001169
| 9781487001162
| 1487001169
| 3.57
| 332
| Sep 04, 2018
| Feb 04, 2020
|
really liked it
| What do you want? I ask him in the dining room. They all said about his mother, the Irish whiskey heiress, traipsing from bank to bank, raising the mo What do you want? I ask him in the dining room. They all said about his mother, the Irish whiskey heiress, traipsing from bank to bank, raising the money. They said her dresses and her red hair. (Marconi) I've stated before that Lisa Moore simply speaks my language – from her intriguing turns of phrase to her kaleidoscopic storytelling – so I was ecstatic to pick up her new book of short stories; probably ended up reading them too fast. Like her other collections, Something for Everyone has frequent moments of brilliance and emotional punch, and like with my other reviews, I find it near impossible to excerpt bits that demonstrate what I mean by that (rereading my reviews of her other collections, I can see what my quotes were meant to capture, but they fall a bit flat out of context). I expect this review to also fail to describe what I love about Moore's writing, but here I go again. The first story, A Beautiful Flare, was probably my favourite (and was first published in The Walrus as “The Shoe Emporium”, were anyone inclined to read it for themselves), and it mashes together the stories of three coworkers at a shoe store. Every line was intriguing to me, each character equally fascinating, and as Moore slices and splices so seamlessly between the three, I knew that no excerpt could possibly give a flavour of the whole. Here's my attempt: The hole in her nylons that Marty has torn has a creep, it creeps, widening in an oval big as the palm of her hand, peeling back or unravelling, a gazillion filaments, small and laddering down the leg, invisibly giving, breaking, no, not breaking exactly, more evaporating and it is her desire, a spreading, licking, a hole in the nylons because even though she comes to work put together because what are these stockings but a petroleum product made as thin as a lick of light, tickling, so that her skin pudges through, like dough rising or anything that rises, and then the keystone shoebox is knocked maybe half an inch with each – let’s take a moment to acknowledge the paradox – very gentle, controlled but forceful, holy thrust/bang, tinged with maybe a little love for her, however ephemeral, so that the tightly jammed shoebox, maybe twelve shoeboxes above her head, juts itself out of the tightly packed wall of shoeboxes that rises from floor to ceiling all the way down the very narrow storage closet, and keeps jutting farther and farther with each lovemaking rock of Marty’s hips and buttock contraction and the tilt of his head, bent as if in prayer, but also, pouf, blowing a mouthful of her hair away from his lips because, he stops just for a sec, because a hair, one of her hairs, seems to have gotten into his mouth and they’re both caught up in the micro-work of what is it? A hair? Phwah-phwah, he’s trying to get it off his tongue, and there he has it, have you got it? Pinched between finger and thumb and saliva shine, he rubs it away, and the engorging freckled dong deep inside, now, slow at first but deliberately slow, sea cucumber slow, in the deep cold is what they have down there, holes in the bottom of the ocean where everything is eyeless, groping but sentient, and phosphorescent and just as if they were not in the mall, as if the blow-out sale were not in progress, as if you couldn’t buy one, get the second pair half-price, as if Steve would not be in here any second to get a load of shoes, slowly and at the same time, warp speed, she is kissing his white eyelids. As that demonstrates, many of the stories are about relationships, and while Moore can be graphic (but somehow not lewd) about sex, she can also be very funny: What he'd said when he met Trisha's girlfriend: I'm available when you gals want to take it to the next level. He'd made fists low, near his waist, and wrenched them back and forth while jutting his hips, twice to the left, twice to the right, mock-wincing with each, you know it, anus pulse, and repeating, Oh yeah, oh yeah. And then a few lines of Loverboy's “Turn Me Loose”. (The Fjord of Eternity) (I don't know why Moore had to describe that as an “anus pulse”, but it made me snort; it takes the boor down a peg.) Another favourite story was The Viper's Revenge, and it perfectly demonstrates how Moore can come at a subject sideways; the gut punch you don't see coming. It begins as the story of a librarian from St. John's who travels to Orlando for a conference, and once she notices the Caretaker cleaning her hotel's pool, we get a look inside his head as well as he thinks about his wife and children and the happy – if impoverished – life they've led. As the librarian hooks up with a local musician, we see the Caretaker's family life; consider that although both parents work, they still rely on the wife's brother to pay half their two room apartment's rent to sleep on the couch while getting his PhD; but the laughs and love and tight relationships make the close quarters look enviable. Before we realise that this is actually a story about the mass killings at the Pulse nightclub, we see the Caretaker and his wife talking to a surgeon about a vasectomy (which, although impossible for me to describe why, feels like the essence of the story; maybe because it's the only interaction we witness between the privileged and the underclass of the happiest place on earth?): Back during the pre-op consultation the doctor had slouched in his chair, not even unslouching while he sketched on a pad and then sent the pad spinning over the desk to the Caretaker. The doctor's head cranked to the side on his shoulder, his jaw jacked up by a blue-veined fist, his elbow resting on the plastic arm of the office chair, his legs yanking the swivel chair side to side with a two-toned squeak, until the square jaw nudged off the knuckles and the doctor was lifted from the haze of his lassitude, blinking as if to assert his presence back in the room, the Caretaker lost in the ballpoint illustration, the testicles and the tubes going to the testicles and where the cut happens, a slash dug into the paper with such force it punctured the surface of the pad with a tiny hole, which, the doctor swore it was a foolproof procedure. Moore always captures these fine details about folks – and if it doesn't read as fascinating, I'll accept the fault as mine for excerpting out of context. In this collection she writes about average people in Newfoundland, and also Marconi's famous attempt to send the first transatlantic radio message from St. John's Signal Hill (told, intriguingly, from the POV of a hotel waitress), and a story from Santa Claus on Christmas Eve (incidentally explaining the quantum mechanics behind his work). Frequent repetitions – ATVs, Gyproc, and BIC pens; sex workers, separation, and syringes; St. John's, Fort Mac, and Iceland – throughout the stories tell us the kind of things on Moore's mind, and always, she has something interesting and important to say about how people live. This is what I like and I'll happily await whatever Moore comes out with next. ...more |
Notes are private!
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1
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Sep 05, 2018
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Sep 06, 2018
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Sep 05, 2018
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Paperback
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0735272565
| 9780735272569
| 0735272565
| 3.81
| 1,121
| Sep 05, 2017
| Sep 05, 2017
|
liked it
| As Nan Finn said of people who went missing in the woods at twilight, they had been led astray, not by fairies but by snow when there should have b As Nan Finn said of people who went missing in the woods at twilight, they had been led astray, not by fairies but by snow when there should have been no snow, a rogue blizzard when winter was a month away, led astray by the pale, bewitching light of late November, the lulling light of sunset in the fall. First Snow, Last Light is the third volume in Wayne Johnston's Newfoundland Trilogy, and having now read all three, I get the feeling that this series wasn't pre-planned as such from the beginning; that Johnston simply decided to revisit an old idea (and his most striking character, Sheilagh Fielding) two more times over the years. Because I've read the first two books in this series, it would be hard for me to say if this one stands alone as a compelling read, but taken as a whole, it's a satisfying, if uneven, trilogy. Note: I read an Advanced Reading Copy, so excerpted quotes may not be in their final forms. The Vanishing Vatchers. I was left with nothing but the setting of their lives, the stage, the props and costumes, the performance that only I had fallen for and which had moved on to somewhere else. That its run was done, everyone but I believed. First Snow, Last Light begins with a short second-person introduction: “You” arrive home from school to a locked and unaccountably empty house – your recluse mother has always been there to greet you before – and even after you go get your coach, Father Duggan, from school to come and wait with you, your parents never return. The narrative then begins properly, from the point-of-view of Ned Vatcher, the boy whose devoted parents mysteriously vanished one November afternoon in 1936 when he was fourteen. Told in a straight timeline from 1936 to 1961 (with some of Ned's childhood memories woven in at the beginning and moving a bit beyond at the very end), the perspective jumps from Ned to Sheilagh Fielding (and a couple other characters, including whoever intermittently comments on Ned's sections, calling him “you”), and we watch as Ned grows up an orphan; eventually earning a Track & Field scholarship to Boston College and returning to St. John's to become a millionaire by transplanting the American ideas he had learned while away. The nagging mystery of what happened to Edgar and Megan Vatcher was enough to keep me engaged, but the overall plot – the poor boy gets rich and devotes his life to finding his parents at the cost of his own happiness – felt a little thin. And while I had been looking forward to reading about Fielding again, there were fewer scenes of her verbal jousting to enjoy than the last time around, and then everything I have grown to love about the wry dipsomaniacal giantess is upended by this: I spent the balance of the war setting down an alternative version of my life, which I called The Custodian of Paradise and which I fancy I might someday publish. Such was the measure of my despair that I devised a fictional existence that was far stranger, far more fantastic than my real one. Whaaaat? The interesting parts of Fielding's history – the self-exile, the Provider and his delegate, the reason behind the fallout between her parents – is all “fictional”? It just makes her dissolute life seem even more pathetic, and I wish Johnston hadn't reduced her so. I appreciate that we get to see how Fielding's life turns out (even if I can't quite believe the number of marriage proposals she receives over the years), but I didn't like how it turns out. And in the end, I didn't much care for how Ned's storyline pans out either. Still, it's pointless to complain about an author not writing the story I wanted to read. I turned round and rested again, facing west now, up the Bonavista as the section men said, toward the continent of Newfoundland, the intersection of the main line and the branch, the never-glimpsed wilderness from which the question we had failed to answer had been borne to us, the country that would never be discovered or forgotten, the colony of unrequited dreams that would never be acknowledged as a nation except by those of us who made it one. Here's my overall takeaway: I think that The Colony of Unrequited Dreams was a work of genius; a five star literary interpretation of Newfoundland's history. The Custodian of Paradise was an interesting reworking of the first book, filling in the perspective of Sheilagh Fielding; probably Johnston's most compelling character. The timeline of First Snow, Last Light begins just before the end of the first two volumes, and through the story of the enterprising Ned Vatcher, references how Newfoundland modernised itself – transforming from British colony to Canadian province – but this book doesn't really add much to the understanding of Newfoundland; it lacks the big picture historical events of the first book and the community-level strictures of the second. Other than to tie up Fielding's story – and she felt pretty peripheral to its plot – I don't know what the overall point of this book was. Even so, I was looking forward to reading this book and am glad I did. I recommend it to other completionists. ...more |
Notes are private!
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1
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Aug 21, 2017
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Aug 23, 2017
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Aug 21, 2017
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Hardcover
| |||||||||||||||
0393064913
| 9780393064919
| 0393064913
| 3.82
| 1,284
| 2006
| Apr 17, 2007
|
liked it
| And that's how it started, Miss Fielding, the very serious but entertaining game of inventing synonyms for God and imagining what it was like after And that's how it started, Miss Fielding, the very serious but entertaining game of inventing synonyms for God and imagining what it was like after he cast out his fraternal twins and paradise was deserted but for him. The “hermit of paradise” we called him. “The recluse of paradise.” Even “the charlatan of paradise,” because we could not shake the notion that the fall was “fixed”. My favourite was “the custodian of paradise.” “We are all three of us, you and I and Miss Fielding, custodians,” I said, “withdrawn from the world to preserve, to keep inviolate, something that would otherwise be lost.” It seems obligatory to mention that I had fallen for Sheilagh Fielding while reading The Colony of Unrequited Dreams: with her wit and fire, this fictional newspaper columnist made the perfect foil for the actual first premier of Newfoundland, Joey Smallwood; the pair together used brilliantly by author Wayne Johnston to give Canada's youngest province (but the site of North America's oldest European settlement) a proper origin story. Had I known that The Custodian of Paradise was a retelling (and expansion) of that first book – from Fielding's point-of-view this time – I would have picked it up sooner: what reader wouldn't want to know more of the inscrutable Fielding? Something about this book's lukewarm reception must have made an impression on me when it was first published, something must have kept it off my radar, and now that I've finished it, I feel...lukewarm. Perhaps some things are meant to remain a mystery; perhaps I just didn't want to know Fielding's sorry history after all; to behold her (mismatched) feet of clay. I wrote those words when I was half Sarah's age. A girl. Seventeen and soon to meet the man I fear has followed me to Loreburn. Fear it, yet fear even more that I have hidden too well for him to find me. As Custodian opens, Fielding makes her way to a deserted island off the coast of Newfoundland; a place that had once been settled (precluding the need to build a house there by herself) but now abandoned save for feral dogs and a small herd of horses. She brings with her journals and letters (written by herself and others) in order to review and record the story of her own life; and she also brings a large quantity of Scotch, despite having been sober for years, just in case she can't handle confronting her own truths. The format, therefore, jumps from quoting old letters and journal entries, filling in the missing parts of her history, and commenting on everything while narrating what is happening in the present. The narrative mirrors what was mostly told from Smallwood's point-of-view in Colony (with a significantly felt change in perspective; and especially as regards their “romance”), and introduces some maddeningly drawn out mysteries: Just who are the “Provider” and his “delegate” who have followed and protected Fielding for her entire life? And could either of them really have trailed her out to godforsaken Loneburn? Some day, Miss Fielding, I will ask your forgiveness for three transgressions, two of which have yet to be committed. I was truly intrigued by all the mysteries that the Provider represented – what did he know of Fielding's history and what are these two eventual future transgressions going to be – so even when the narrative seemed to drag, I was always led forward by the promised resolutions. Yet when the answers came, they really didn't satisfy me; and coming as they did near the end, they left me feeling overall unsatisfied. Which is too bad because of all that I had enjoyed along the way: the perfectly captured time and place; an exploration of religious hypocrisy and the iron fist of imposed community morality; and especially, Fielding's “use of an irony so close to absolute that I would seem to the tone-deaf majority to be saying the very opposite of what I meant” – I was constantly delighted by the clever turns of phrase that Johnston put into Fielding's tongue and pen. It was just too bad that Fielding's story was so sad: her quips don't come from a place of power, but of inferiority, and in the end, this outsized, brash and intelligent, ahead-of-her-times woman, seemed merely pitiful. So, what do the experts say? Colony was not loved by The New York Times: Now and again, Sheilagh’s wit saves a scene. (“You reduce everything to comedy,” her father says. “Elevate,” she retorts.) Occasionally, Johnston’s prose shifts skillfully into the present tense, as if dropping into a lower gear for power. But by the time Sheilagh limps from a sanitarium, her right leg withered by tuberculosis, even he seems to have lost patience with his twice-told story. Without a strong countervailing voice to balance hers, Sheilagh Fielding, so alive at the beginning of the novel, becomes merely a collection of forced and unlikely eccentricities, and the characters around her little more than silhouettes. While The Walrus finds genius in this book in the context of Johnston's body of work: In choosing to dig up his own site, to unearth settlements and gardens lodged within the archaeo-logical record, Johnston is going about the business of the major novelist in mid-career: custodianship of his own properties. Asserting that a spit of rock in the Atlantic Ocean is a snowbound Eden is not so strange if your spadework has revealed the layers underneath. Chip away at connections, sift through stories and metaphors, especially of the sort you have been digging away at for years, and conclusions become inevitable, as do perfect truths and perfect paradoxes. And Quill & Quire, after a wishy-washy review, concludes: By the book’s end, many mysteries have been laid to rest, only to be replaced with new ones. This raises the happy possibility that Johnston intends to return to the scene again. And although it has taken many years for that “happy possibility” to come to fruition, I am currently in possession of the third volume of this ostensible trilogy and am delighted to see that it also features Sheilagh Fielding. Custodian may not have blown my socks off, but I'm in danger of tripping over them as they dangle; I am always willing to dip into Johnston's world. ...more |
Notes are private!
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1
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Aug 15, 2017
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Aug 18, 2017
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Aug 15, 2017
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Hardcover
| |||||||||||||||
1443410365
| 9781443410366
| 1443410365
| 3.31
| 734
| Apr 18, 2017
| Apr 18, 2017
|
it was ok
| She read out from a book, “Still a child, she cries for the moon, but the moon, it seems, won't have her.” That's how she'd spent her life, she sa She read out from a book, “Still a child, she cries for the moon, but the moon, it seems, won't have her.” That's how she'd spent her life, she said: uselessly crying for the moon. In various interviews, Mary Walsh explains that as a lifelong devourer of books, she had always dreamed of writing a novel herself. So when her other projects slowed down recently, the icon of Canadian comedy decided to turn a several hundred page treatment – interestingly, it was her private backstory for Warrior Princess, Marg Delahunty – into a full-length novel. Walsh is talented and accomplished at so many things, but she's not really a novelist. The plot of Crying for the Moon is both dull and trite, and the writing is just not...good. Plenty of shocking things happen to unrelatable characters – overlaid with a hackneyed whodunnit – and it simply doesn't hold together as an enjoyable, professional, piece of writing. An example of the amateurish: That first Sunday and almost every Sunday after, Bo took Maureen out to his parents', out to Paradise, for dinner. Not real Paradise – they weren't dead, just living up in Conception Bay South, in the town of Paradise, which was not the least bit paradisal. An example of the frequent and meandering telling-not-showing spiels: She was drowning in misery, choking with unhappiness. She was only eighteen – what was wrong with her? Why didn't she leave Bo? She was no good – that had been proven to her finally and irrevocably. She was just no use; totally use-less, “a total waste of skin”, as the Sarge used to call her when she was little. She didn't like to think about that sort of stuff, because she didn't want to emotionally cash in on that whole “my mother was so mean to me blah blah blah” thing. She had no time for those dreary sob sisters. She was getting on with her life, not sobbing and complaining all the time about what her mom did to her. She was moving forward – well, when she wasn't staying in bed twenty-four hours a day, or picking herself up off the bottom of the staircase, or too beat up to do much of anything. And there are so many weird writing choices: I appreciate trying to capture that great Newfie dialect, but there is no pronunciation difference that I can parse between “sure” and “shure” (no difference, certainly, that would warrant the distraction); there's nothing clever or ironic in having a criminal outfit refer to themselves as DAFT; and there's one character who, studying the great mid-century noir novels and films, talks in a nonsensically Chandleresque pastiche: I don't know what you're so hinky about. You're putting the Chinese angle on me, and all I'm doing is trying to come into my own joint. No need to throw another ing-bing. Even so, Walsh captures some nice bits about coming of age in the St John's of the late Sixties. She and my mother are about the same age, and I'd imagine that if my Charlottetown-born mother wrote a novel, it would also dwell on taking swipes at the hard-edged nuns who schooled her; at the hypocrisies and stranglehold of the local parish. (And as I have many relatives who sprinkle their dialogue with “jumpins”, I'm sure that would make it in, too.) Some nice colour doesn't redeem the whole, however; this feels like a vanity project that no one had the moxie to nix. ...more |
Notes are private!
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1
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Jul 12, 2017
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Jul 13, 2017
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Jul 12, 2017
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Hardcover
| |||||||||||||||
1443447838
| 9781443447836
| 1443447838
| 3.68
| 635
| Apr 04, 2017
| Apr 04, 2017
|
really liked it
| Mumble mumble down there. Some sorta big talk to his wife or his girlfriend. An oath, a curse. Talkin about Johnny, gotta be. Big talk, nothin he'd Mumble mumble down there. Some sorta big talk to his wife or his girlfriend. An oath, a curse. Talkin about Johnny, gotta be. Big talk, nothin he'd say to Johnny's face. Role-playing. Shag this. Johnny's down the stairs and out the front hall to the door. He dont even bother to put on the sneakers cause he's not gonna be using his feet. You gotta be able to dance, dance, dance whenever the mood takes you. That's the rule, that's the law. Johnny gives the knuckles a good scrape across the panelling in the porch before he opens the door. Sting and burn, bleed, come on bleed. Clench and release, clench and release. Buddy started it, didnt he? Good night, he says. Johnny's night. Good. Johnny raps on buddy's door. It's a new door with a big patterned window to let the light in. Must be nice, letting all that light in. Must be nice to have it all lined up, new doors, taking the garbage out. We'll All Be Burnt in Our Beds Some Night started off as one of my favourite kinds of book – grittily intriguing with a sociopathic character whose present situation needs to be puzzled out (I mean, Johnny wants to have a little chat with buddy just for saying good night to him, even though Johnny isn't technically supposed to be leaving his apartment after ten p.m.) – and from there it whizzes along, moving Johnny forward through the present while he mentally revisits the events in his past that led him to where he is; how he is. This is a formula that worked so well for me in books like Trainspotting or The Glorious Heresies – that satisfying mental evolution I experienced from initially regarding the characters as trash to recognising their humanity – but in this book it all felt a bit...formulaic. Early conversations that Johnny has with others (and himself) dangle the clues – What do you know about car fires, Johnny? How did that brand new John Deere cap get up in the branches of the black spruce? Just when will we get back to the jeezly hens? – and it becomes obvious that the point is: No matter how bad you think Johnny is, his childhood was worse. Author Joel Thomas Hynes is a bit too obvious in his plotting and pacing here for my taste, but I do love a Newfie tale and enjoyed the voice of his sentences. We're all looking for a change of scenery, at the very least. We're all lookin for our ticket. Who's not lookin to claw their way out from under what they're tangled up in? Who's not, underneath it all, desperate to let go of what they're hangin on to? And what's really worth hanging on to anymore? Mild spoilers as I summarise the plot: We soon learn that Johnny is awaiting trial for the assault of his girlfriend, Madonna. We eventually see that she was the love of his life – the only person he ever settled down with; happy whether they were shoplifting, or cooking breakfast, or getting sober, or falling off the wagon – so why did Madonna have to ruin everything by smashing her face into the teapot Johnny was holding and then calling the cops? Because Madonna doesn't appear at the trial, Johnny is set free, and events send him on a cross-Canada road trip; running from the cops and a St. John's crime boss; hitchhiking west in increasingly filthy clothes and a deteriorating body. Although Johnny does share some of his history with the people he hitches rides from, most of the narrative occurs in his own head (where his thoughts return again and again to the same seminal moments until they're fully revealed), and by the end, we're supposed to realise that this broken, violent misanthrope couldn't have turned out any other way. Helpfully, this is spelled out a couple of times: What do any of us ever know? That we used to be children but now we're not. That what we are now is just a collection of our blunders and our missteps, a mashed and battered accumulation of all our wrongs. Sick as our secrets. And now we mainly gotta lean into our years and hope too much of it dont splatter back into our fucken faces. And speaking of what splatters back into our faces...no, you'd have to read that part to fully get it. The “road trip” might be a stock plotline, but I can't remember reading another one set in Canada. So as someone who has made this drive many times, I enjoyed the stops in Truro and Edmundston; could picture running into the woods to evade the Sûreté du Québec; winced when Johnny, heading to the west coast, left a car travelling to Timmins to make his side-trip to Kingston. On the other hand, and by coincidence, my husband and brother-in-law were talking the other night about some of their own youthful hitchhiking adventures and bemoaning the fact that those days are gone; no one in their right mind would pick up a solitary young man on the side of the road anymore. And here's Johnny: his face both sunburnt and swollen from ant bites from sleeping in the forest, wearing a stinking, filthy poncho to disguise the disintegrating suit he ran away in, limping from decaying boots, unable to do much more than grunt and scowl at people, and getting enough rides to move himself (and the plot) along. That made me wonder what time period this is actually supposed to be and that's confusing: Johnny mentions having had a DVD player with Madonna, but no one – not even his drug dealer pal, Shiner – seems to have a cell phone, and while a cop is able to run a (stolen) driver's license through his in-car computer, the law doesn't seem interested in tracking down the van he eventually steals. And another quibble: Diane Schoemperlen, in This Is Not My Life, made it sound a bit more complicated to visit an inmate, even in minimum security. I wish I couldn't see the man behind the curtain of this book – Hynes doesn't quite pull off art here – but that's not to say I didn't like it quite a bit. I'm waffling on a rating, so will feel like it's generous to round up to four stars. ...more |
Notes are private!
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1
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Jun 17, 2017
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Jun 19, 2017
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Jun 17, 2017
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Paperback
| |||||||||||||||
0307399893
| 9780307399892
| 0307399893
| 3.50
| 901
| Aug 09, 2011
| Aug 09, 2011
|
liked it
| “The motto of Vanderland is 'There is a world elsewhere.' It's taken from Shakespeare's Coriolanus.” “The motto of Vanderland is 'There is a world elsewhere.' It's taken from Shakespeare's Coriolanus.” I love me some Newfie storytellers and Wayne Johnston is among the best of the lot. A World Elsewhere opens at the turn of the twentieth century with us meeting Landish Druken living in a drafty two room garret apartment, late of not quite graduating Princeton, disinherited by his sealing skipper father (in whose boots Landish refused to follow); a young man determined to listen to his own heart and become an author. I will write a book that will put in their places everyone who has ever lived. It may take me as long as a month, but I will not falter. After five years of daily writing – and daily destroying – his magnum opus, Landish lives a life of squalor and dissipation; the only laudable thing he has ever achieved being the adoption of the infant son of a man whose death his own father caused. When Landish's poverty threatens the health of young Deacon – and when it seems that the authorities might swoop in to take the boy away at any moment – Landish writes to his old friend from school – Padgett (Van) Vanderluyden; youngest son of the wealthiest man in America – asking for employment at Van's palatial home in the mountains of North Carolina (yes, modelled on the Vanderbilts and the sensational Biltmore; erected as the largest private residence in America by a lesser heir of the family). I was enjoying everything about the story to this point – the hills and snowstorms and busybodies of St. John's – but once Landon and Deacon moved to Vanderland, the book became something else, no longer quite a Newfie story, and I'm left divided in my opinion of it. Van sought out Landish's friendship at Princeton because he admired the Newfie's punning wit and wicked turns of phrase. While the pair had formerly both been friendless outsiders, once they rented a house together and began to hold weekly salons – with meals that outdid the famous Princeton dinner clubs – other students began to flock to them; wanting Landish to give them a clever nickname; hoping to hear one of Van's famous bon mots (which had been scripted beforehand for him by Landish). It became Van's dream that Landish would join him at the home – Vanderland – that he was planning to build as soon as he gained his inheritance upon graduation. The punning here is very clever and pretty much relentless, but in the context of college kids stretching their imaginations, it raises more smiles than cringes. In the present of the cold and meager attic, there is something charming and roguish about the way that Landish uses wordplay to explain the ways of the world to the growing Deacon. Landish told him that on this ship, the men in charge of engines had what were known as “engine ears”, which meant that they were deaf from the noise the engines made. Also, there were pursers who made sure that no one’s purse was stolen. There were men called stewards who were in charge of serving stew. And other men called porters who were in charge of serving port. “I’ll give you my stew if you give me your port,” Landish said, but Deacon shook his head. And in that context, I still found the wordplay charming. But when they get to Vanderland and Landish is still speaking in puns, and getting drunk daily, and threatening the stability of his employment there, I found him a lot less sympathetic; when will Landish grow up, at least for Deacon's sake? When Van takes a shining to the boy and expresses an interest in adopting him, despite the fact that the zillionaire is a bit of a sociopath, and also despite knowing that Deacon is totally bonded to the man who keeps failing him, I had to wonder (just a little) if the sickly and undersized boy wouldn't be better off a rich man's son. It made me think back to the squalor of the attic room and Landish getting drunk on the rent money, needing to bring the boy along as he picked up work shovelling snow, living off Church charity and food vouchers, and just why would I have been worried that the authorities might come in and take Deacon away? In a foreword, Johnston explains that he was inspired to write A World Elsewhere after a series of extended visits to the actual Biltmore, and it might have been an interesting fish-out-of-water story to send a wide-eyed Newfie there (à la A Connecticut Yankee in King Arthur's Court), but Landish isn't exactly awestruck by what he sees (he didn't grow up poor and he quite easily walked away from his own inheritance), and after having been betrayed by Van in the past, Landish feels morally superior in his presence; he nearly feels sorry for Van's life in opulent self-imposed exile. Johnston also explains that he derived the name “Vanderluyden” from characters in Edith Wharton's The Age of Innocence, and as both Wharton and Henry James were known to have visited Biltmore, Johnston inserts their presence into this book; arranging a meeting between the celebrated writers and the wannabe. After the briefest of introductions, James declares that Landish will never be a successful author because 1) He gave up his inheritance, and 2) Encumbered himself with the boy; thereby denigrating the only two morally commendable choices that Landish had ever made. I really didn't like or see the importance of this scene. Much is made of fatherhood in this book – who wears the cuckhold's hat, who has disappointed their father, the deeper meanings of inheritance – and it irked me that Landish never referred to himself as Deacon's father (the boy called him Landish). Even when he was very young and Landish explained to the boy the “hoods” in life that he would go through (from childhood to oldhood), when Deacon asked him what stage Landish was then in, he considered answering “fatherhood” but decided on “manhood”. Although there is so much obvious love between Landish and Deacon, I never got a handle on their relationship. Was the boy an encumbrance to Landish's writing? If he really cared about supporting Deacon, why did Landish think his only two options were to stay in St. John's (where his father apparently had the power to block full time employment in the one field – teaching – that Landish would consider) or putting himself in Van's hands (who had the power and reach to destroy Landish's prospects anywhere in the world)? I was waiting for Landish to grow up and begin to act like the father in his relationship with Deacon, and meanwhile Van is having some Daddy issues of his own, and the whole thing comes to an unsatisfying, incredible, and pat climax. I really enjoyed the parts set in Newfoundland, but it all fell apart for me when Landish and Deacon left for Vanderland. Landish spends most of his time in the mansion observing instead of reacting, so he didn't necessarily come off as a Newfoundlander anymore; he could have been from anywhere. I probably wouldn't even have questioned the suitability of Landish acting as Deacon's guardian if they had stayed in the attic – they were only barely more poor than their neighbours on home turf. Meh. Johnston is still one of my favourite Newfie storytellers, this just isn't one of my favourite stories. ...more |
Notes are private!
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1
|
Apr 06, 2017
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Apr 07, 2017
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Apr 06, 2017
|
Hardcover
| |||||||||||||||
0864923457
| 9780864923455
| 0864923457
| 3.54
| 35
| Sep 30, 2003
| Sep 30, 2003
|
really liked it
| “Last time the old man was home I seed some oranges in a store window, but he wouldn't get me one because if he buys stuff in stores he can't go on “Last time the old man was home I seed some oranges in a store window, but he wouldn't get me one because if he buys stuff in stores he can't go on being a seaman. To be a seaman you got to wash out your insides with rum every day and rum costs lots of money. Anyhow, store oranges ain't real.” As my parents (and, I suppose, my brothers and me) are Maritimers, I always found an orange in the toe of my stocking on Christmas morning, even if they aren't so hard to come by anymore. So naturally, the image of the curling orange peel on the cover of this book – as well as the subtitle “Christmas Stories from the Maritimes and Newfoundland” – made a sentimental pull at me to pick up An Orange from Portugal and squeeze in some reading on this busy week leading up to Christmas. Inside, I discovered fictional stories, personal essays, poems and old letters, and repeatedly, they made me nostalgic for a time and place that was never really mine. This book features plenty of authors who are familiar to me – David Adams Richards is hilarious in The Tale of a Tree and Lisa Moore is unsurprisingly outstanding with The Chalice – and I discovered new authors that I'll want to spend more time with. In particular, Ernest Buckler had me choking up over a child's view of an old-timey Yuletide in The Still of Christmas: The room was snug with the bunching of the furniture and the little splendour of eating there on a weekday. And when Martha held the match to the lamp wick, all at once the yellow lamplight soft-shadowed their faces (with the blood running warm in them after being out in the cold) like a flood and gathered the room all in from outside the windows. It touched the tree and the hemlock and the great red ball with the flaw no one could ever notice, like a soft breath added to the room's heart: went out and came back with a kind of smile. The smell of the tree grew suddenly and the memory of the smell of the oranges and the feel of the nuts. In that instant suddenly, ecstatically, bustingly, buoyantly, enclosingly, sharply, safely, stingingly, watchfully, batedly, mountingly, softly, ever so softly, it was Christmas Eve. That story isn't maudlin, but I was consistently touched by the little moments of truth in it. On the other hand, I loved the voice of the very adult narrator who encounters a dangerous cat while walking in the woods in search of a Christmas tree in Cougar: I have no real job and no irons in the fire and no cash on the barrelhead and there are no mills hiring and no king salmon run past our window. No one in Bedford Falls brings me baskets of money, and the only job I can wrangle is burying pigs for the university lady, but I am back in the world, and I am going to have some good steaming chowder and after that a good beer, and maybe a crossword puzzle in ink, as I am careful and reckless. And maybe some screaming Buffalo wings – suicide wings we used to call them – and maybe clams in a metal bucket and another beer and maybe a bath with some salt for my multiple slashes from the cat, and her big soft bed with the creaking filigree headboard rattling Morse code to the wall. Plenty of children get oranges in their stockings in these stories, I learned why one should never go spying on the cattle to learn if they really do speak human language on Christmas Eve, and I was spooked by a story of a mysterious mummer (and, honestly, I've been spooked every time a Newfie author writes of their mummer tradition; at least there was no nail-toothed Horse Chops to be found here). This was the perfect collection to get me in the Christmas spirit – even if the details would have been more familiar to my grandparents than to me – and I'll need to remember to look for some real oranges from Portugal for the stockings of my own family. ...more |
Notes are private!
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1
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Dec 19, 2016
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Dec 21, 2016
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Dec 19, 2016
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Paperback
| |||||||||||||||
0670066060
| 9780670066063
| 0670066060
| 3.71
| 809
| Sep 06, 2016
| Sep 06, 2016
|
really liked it
| You remember what I says. You're the fortunate one. You still gets to be with us for a bit longer. The other one – well, he's watching on, somewher You remember what I says. You're the fortunate one. You still gets to be with us for a bit longer. The other one – well, he's watching on, somewhere. But we gets to live the riddle a bit longer. Hey, b'y? That's good, isn't it? Someone asked me the other day what I was reading and I answered that I was immersed in some great Newfie fiction. She looked at me bemusedly and said, “Are you saying that you think 'Newfie fiction' is a genre of its own?” Well, duh. Newfoundland is so removed from the rest of Canada – by geography, psychology, history; even their time zone is a curious half hour ahead of the rest of the Maritimes – that they have a unique perspective on the world, and a unique vocabulary for writing about it. I have long loved Newfie fiction, so it's odd that I've never before read Donna Morrisey; and what's saddest about that fact is that I hadn't realised that The Fortunate Brother is the third book in a series, and although it 100% stands on its own, I can't help the feeling that this reading experience would have been even richer had I already read the first two volumes. I can say: after finishing this book, and despite knowing how the whole saga ends, I am looking forward to going back and reading Morrissey's previous work. She gave a dismissive shrug. But she was choking with words, he could tell. Just like Sylvie. Choking with words. Wanting to talk about things. Things about Chris and the accident. Things about him, Kyle. Things about themselves. And he never knew what things they wanted to tell him and have him tell them and he bloody didn’t care about them things. Just leave it alone, leave it the bloody hell alone. Christ, he was working on getting things out of his head, not shoving more in. As The Fortunate Brother is the third in the series, it opens with a family being driven apart by previously disclosed grief: The father, Sylvanus, shakes and weeps and drinks to forget his losses; the daughter, Sylvie, has flown to the other side of the world to get herself back together; the son, Kyle, frequently runs into the woods crying, tries to take care of his father, shield his mother, and refuses to acknowledge his own pain; and the mother, Addy, reaches out to the others, only forcing them to flee in panic. Even without having read the first two books, the family dynamics are immediately made clear, and the grief and pain touched me from the start. Nearly immediately two new tragedies are introduced to the family: Addy is forced to reveal that she has breast cancer on the eve of her mastectomy; and the town bully (previously seen antagonising the family, his girlfriend, his devoted dog, and everyone else in this remote coastal community of a handful of homes) is found dead, floating in the cove off the family's wharf. Because both Sylvanus and Kyle had been blackout drunk the night of Clar's murder, the community concocts alibis for them, and after each of them recite the lies to the investigating police officers, they are forced to commit to the untruths even as the stories become ever more unlikely and increasingly self-incriminating in the face of new evidence. So, what begins as a character study of a family in pain becomes a murder mystery, and the two formats mesh together seamlessly. Everybody and their dog had moved on from those days of hand-fishing and hauling nets but his father mourned as he would a fresh dead mother. There's them who can't change with the times and those who won't, his mother told him. And your father's both kinds. As for the writing, Morrissey not only captured the grief perfectly (I kept crying at the truth of it), but she also had me laughing every time a group of young men would get together at the local bar and tease and snipe at each other with that caustic Newfie wit I love so much. And like with all great Newfie fiction, Morrissey conveys her love of the harsh landscape with a unique sense of language: Across the river, massive wooded hills of the northern peninsula sighed through the fog. A long flagging reached downriver and the water buckled against the northern cliff wall, pooling itself into dead black depths before elbowing out of sight through a thicket of still leafless alders and drowning itself into the sea just beyond. Here's my only complaint: at the same time as the mystery was unravelling, extraneous characters were introduced (an aunt and uncle, the daughter's boyfriend, harsh and unloving fathers from generations past), and although they didn't really have anything to do with the current plot, I got the sense that they were brought in just to tie up loose ends from the overall trilogy. This muddled things for me – I'd rather a murder mystery pick up steam and charge to a conclusion once it starts rolling – and I can't tell if this would have been a more satisfying experience for people who read the books in the right order ((view spoiler)[and for that matter, I can't tell if the solution was earned from the entire trilogy; it didn't really satisfy me based on this book alone (hide spoiler)]). Of course Newfie fiction is its own genre, and The Fortunate Brother is a worthy entry to the canon. I'd recommend this book as broadly appealing, and although it certainly does stand alone, I'll say again that I can't help but think that it would be most satisfying if one read these books in order. ...more |
Notes are private!
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1
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Nov 03, 2016
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Nov 06, 2016
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Nov 03, 2016
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Paperback
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1554980763
| 9781554980765
| 1554980763
| 3.66
| 689
| May 10, 2016
| May 01, 2016
|
really liked it
| I can just hear the automated phone call now. A child in your household named FLANNERY was absent from fifth period and she walked home all by hers I can just hear the automated phone call now. A child in your household named FLANNERY was absent from fifth period and she walked home all by herself, snuffling and bawling, and it was a very long, lonely, miserable walk. I think I've read everything by Lisa Moore – I love her – so when I recently checked to see if she had anything coming out, and discovered that she had, indeed, recently released a YA novel entitled Flannery, I had to really think about that: YA is not my favourite genre (I prefer real books, thank you very much), so would this be worth my time? In the end I took a chance, and was I disappointed? Short answer: no. Longer answer: hell no. Long answer: I should never have doubted Moore's talents as a storycrafter; she is an artist in words, and while this book might be classified as YA because of the age of the protagonist and the particular situations she finds herself in, Moore certainly created a real book here. Repeatedly capturing honest human moments (forcing me to repeatedly wipe the tears from my eyes so I could continue reading), Moore didn't write a simpler novel because of her intended audience, and repeatedly, I was aware of the respect she had for this audience. This is a fine and true book about being a teenage girl; both specific to our particular moment and universal in its truths. Loved it. Flannery Malone is the sixteen-year-old daughter of a feminist/environmentalist/artist/single mother (there is also a younger brother from a different father; neither man is even aware of these children, let alone providing support), and as the book begins, things are going pretty well for her: Flannery is starting grade twelve, her best friend Amber is in most of her classes, and her childhood friend/crush (Tyrone, who moved away but returned to the same high school, and would be totally out of Flannery's league if they hadn't been raised together) has been assigned as her partner to develop a sellable product for their Entrepreneurship class. Tyrone suggests they sell love potions (as a “gag” product, like pet rocks), and a storyline begins that made me worry, “Uh oh, is there gonna be some kind of predictable, accidental magic subplot here?” But, I should have known I could trust Lisa Moore. 'Nuff said about that. Amber is a successful competitive swimmer, and this is Flannery describing the girls in a swimming race: They are silver arrows they are eels they are licorice they are Lycra they are muscle they are will and will not and want to be and winning, for the first few seconds they are all winning and winning and winning and they are can't and must and will never and don't. Now, that kind of stream-of-consciousness, listy writing makes me swoon, so I will allow that sometimes this book might be appealing primarily to my own idiosyncratic tastes (but don't worry, it's not all like that). While Flannery is unsuccessfully trying to get Tyrone to participate more in their project, Amber is falling in love with her own partner for the project, Gary: a basketball-playing, band-fronting, drug-using hoodlum who quickly takes over Amber's life – causing her to skip swim practises, lie to her parents, and drop her lifelong bestie. Moore is so specific in the details of Flannery's memories of this waning friendship that it felt perfectly universal; this is what all teenage girls feel for their best friends: If you want to forget about that summer Miranda took us to Northern Bay Sands and we stayed in the ocean until our lips were blue and our teeth chattered and afterward we had a bonfire and jumped up and down on the bed until we broke the bed frame, and we had to sleep with the bed on a tilt and we kept rolling onto the floor, that's fine with me. Meanwhile, Flannery's mother Miranda (a perfectly wonderful character who can live a life based on progressive ideals without it feeling either flakey or preachy to the reader) doesn't always have the money to pay the heating bills, or understand the point of boundaries, or even act like the adult in the family most of the time, but when one of her kids is hurting or in danger, Miranda's love is unquestioned and fierce. So in that moment, yeah – I understand the extent of Miranda's fear, though she tries with all her might to keep it hidden. Miranda is afraid of whether or not there will be enough nutrition in our diets, and she's afraid she's going to accidentally kill Spiky and/or Smooth and that I'll never speak to her again, and she's afraid that her art isn't any damn good at all, because she really believes in that stuff, and it means a lot to her, and she's sacrificing a lot to keep making art, but she's thinking maybe she doesn't have the right to sacrifice so much when she's a mother with two kids to feed. So basically, Flannery is a coming of age story about a loving and loveable main character who has extraordinary challenges in her love life (if she can't convince Tyrone to do his share of the homework, how will she get him to notice her like that?), and in her social circle (is Amber staying away because she knows Flannery doesn't like Gary, or is it because Gary doesn't like Flannery?), and in her home life (it's hard to be poor and relied upon so heavily). That's what makes this a YA book, but what elevates it is the writing: there's a wonderful chapter where Flannery is remembering the day she knew she was in love with Tyrone. They were nine and at the wedding of Miranda's ex-boyfriend, and Flannery intersperses memories of all of Miranda's boyfriends (leading up to the details of the wedding itself) with a story about Tyrone water-skiing behind his stepfather's boat, and the back and forth between the mundane of the one and the menace of the other (resulting in Flannery acknowledging that until that point her mother had successfully shielded her from the existence of true evil) was simply a masterpiece of writing: this chapter could stand alone as a short story, and yet this particular device was never used again. There's another scene where Flannery is upset, and as Miranda is rocking her, she asks to hear the story of her father one more time. And as first Miranda and then Flannery add the details of the mythical one night stand, they correct each other (usually with Miranda attempting to deromanticise the whole thing), and the back and forth felt so right: yes, it would happen just like that. I loved the image of Flannery getting into bed with her little brother after a dangerous event, curling her body against his back, and then having Miranda enter later and curl herself against the both of them; an embrace and an absolution. I loved the honesty of the snarky things Flannery sometimes couldn't stop herself from saying. I loved that Lisa Moore is never afraid to embrace the Canadianness of her settings: using the proper names for buildings and streets in St. John's without attempting to map it all out for the unfamiliar; not afraid to namedrop Zellers and Tim Hortons and Measha Brueggergosman. And the book is set in our own times in a way that I often complain is absent in books: when a kid gets arrested, it's all over Instagram; boys huddle around their cell phones to evaluate someone's girlfriend's naked pics; there's blogging and texting and Facebook: why don't all authors write about these things we all see every day? Flannery is a real book in every way, and I'm so glad I got over myself and picked it up. There's a glass case full of chrysalises. Tiny, papery-looking sacs, each carefully pinned to a wooden slat. One papery sac has a hole punched in the bottom. I watch a wing unfold. It's black and white with a strip of fluorescent pink. It unfolds in the way all unfolding things unfold: pup-tents, origami cranes, inflatable rubber dinghies, the rest of your life. Popping out, unbuckling, flinging itself into being, already knowing what it will become. Unable to stop itself and not knowing but thoughtful about each unfolding pucker and undinted, undented, smooth and trembling wing, and yes, yes. This is it....more |
Notes are private!
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1
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Aug 23, 2016
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Aug 24, 2016
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Aug 23, 2016
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Hardcover
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0743288785
| 9780743288781
| 0743288785
| 3.83
| 19,443
| Jun 14, 2016
| Jun 14, 2016
|
liked it
| The Sel barkskins saw the poll ax give way to the double-bitted ax, the double-bitted ax give way to the crosscut saw, the old up-and-down gangsaws The Sel barkskins saw the poll ax give way to the double-bitted ax, the double-bitted ax give way to the crosscut saw, the old up-and-down gangsaws give way to circular saws and double circulars, to immensely long steel band saws that could cut the moon in half if they loaded it on a conveyor. This is what you should know about me: I am a huge Annie Proulx fan (having loved everything she's written, from The Shipping News to her wonderful short story collections); I was so excited to finally get a copy of Barkskins (a book that Proulx was apparently working on for fourteen years); my own grandfather was half Mi'kmaq (like the Sel family) and spent his career as a forest ranger at Kejimkujik (the National Park mentioned in the book [although Proulx refers to it as a Provincial Park]); my parents retired to the woods of Nova Scotia where the saw mill is still the nearby village's biggest employer; my Dad has taken me out on the water to show me where the logs used to be floated down: all this to say that I am the most interested and sympathetic of readers of both Annie Proulx and this specific material, and I found the whole thing a little dull. In excess of seven hundred pages took me a week to read because I was never excited to pick this book up again, and by following two families for over three hundred years, seven hundred pages felt both too long (couldn't Proulx have tightened her focus?) and too short (with so many characters, settings, and time periods, the reader never gets to know any of them very well). Because of my particular interests, I feel grateful for what Proulx has preserved with this book, but as an overall reading experience, I'm left a bit disappointed. Nothing in the natural world, no forest, no river, no insect nor leaf has any intrinsic value to men. All is worthless, utterly dispensable unless we discover some benefit to ourselves in it – even the most ardent forest lover thinks this way. Men behave as overlords. They decide what will flourish and what will die. I believe that humankind is evolving into a terrible new species and I am sorry that I am one of them. As Barkskins opens, two young French men are led into the wilds of New France, where they are to work for three years for the local seigneur who had paid their passage from the old world. Finding conditions more primitive and the work more punishing than he could have imagined, Charles Duquet soon runs off, and after many years of learning the ways and limitless opportunities of the unowned continent, Duquet (eventually Duke) founds a logging empire that will slash and burn and clearcut its way across the virgin forests of the world. By contrast, the other young man, René Sel, will fulfill his commitment to the seigneur, and by consenting to marry “the old Indian woman” (that he's not given much choice about), Sel founds a dynasty of his own: a line of Mi'kmaq woodsmen (or barkskins) who will in time only vaguely remember that there's a Frenchman in the family tree. Through the Sels, the decline and near elimination of the Mi'kmaq and their ancestral homelands is recounted, and there is irony in the ways that the two families' paths will unknowingly cross throughout the centuries. It's apparent that Proulx did extensive research for this book, but little facts and stories she uncovered felt inorganically crammed into the narrative, and with many generations of two families to follow, it seemed that every time I was getting to know someone, the character would suddenly take a club to the head or drop dead of a heart attack; I found all of this jarring. With a book of this length, I also didn't really understand why Proulx felt the need to have members of each family make the years-long voyage to New Zealand (or China, or the Netherlands, or Brazil...). I didn't mark many passages of great writing in this book, but Proulx has always had a way of capturing characters with a brief description: The governor was a haughty snob, un bêcheur with a cleft chin and a bulge of throat fat. He gave off an air of having hung in a silk bag in the adjoining room until it was time for him to emerge and perform the duties of his position. Proulx definitely has a point-of-view in Barkskins; this is not an impartial history. Despite the rapacious greed of the Duke family, there is always one person in every generation who worries about conservation (yet Capitalist self-interest always seems to win out). There are also gay characters throughout the generations of the two families (which is fitting coming from the author of Brokeback Mountain, but occurred so often as to feel like a political statement). I'm no defender of the former Residential School system here in Canada, but can't quite go along with, “Few parents knew of the atrocities practiced on their boys and girls by genocidal nuns and priests”: genocide has a very specific definition and using it in this sense is also political. Of the ending, Ron Charles in The Washington Post says, “If the novel’s contemporary finale decays into preachy pulp, well, that hardly stains the previous 700 pages, which constitute a vast woods you’ll want to get lost in “. So, yeah, if a five star glowing review labels the ending “preachy pulp”, one can imagine my own reaction. The bottom line is that I really wanted to like Barkskins, but I found it dull and bloated; both interminable and superficial with some heavy-handed overtones: Proulx not so much reported history here as attempted to shape it. And yet, as a descendant of the Mi'kmaq, I'm really glad this book exists. Go figure. ...more |
Notes are private!
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1
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Jun 23, 2016
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Jun 30, 2016
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Jun 23, 2016
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Hardcover
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my rating |
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3.96
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it was amazing
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Aug 03, 2023
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Jul 31, 2023
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3.84
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really liked it
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Jun 23, 2023
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Jun 19, 2023
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3.93
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it was amazing
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Jul 07, 2022
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Jul 06, 2022
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3.79
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really liked it
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Jan 30, 2022
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Jan 27, 2022
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3.94
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really liked it
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Apr 18, 2021
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Apr 13, 2021
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3.59
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really liked it
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Dec 09, 2019
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Dec 05, 2019
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3.61
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really liked it
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Oct 16, 2019
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Oct 13, 2019
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3.78
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really liked it
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Jul 12, 2019
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Jul 10, 2019
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4.01
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really liked it
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Nov 12, 2018
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Nov 11, 2018
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3.27
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really liked it
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Sep 19, 2018
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Sep 15, 2018
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3.57
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really liked it
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Sep 06, 2018
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Sep 05, 2018
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3.81
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liked it
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Aug 23, 2017
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Aug 21, 2017
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3.82
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liked it
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Aug 18, 2017
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Aug 15, 2017
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3.31
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it was ok
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Jul 13, 2017
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Jul 12, 2017
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3.68
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really liked it
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Jun 19, 2017
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Jun 17, 2017
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3.50
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liked it
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Apr 07, 2017
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Apr 06, 2017
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3.54
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really liked it
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Dec 21, 2016
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Dec 19, 2016
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3.71
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really liked it
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Nov 06, 2016
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Nov 03, 2016
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3.66
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really liked it
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Aug 24, 2016
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Aug 23, 2016
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3.83
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liked it
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Jun 30, 2016
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Jun 23, 2016
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