Tuesday, October 6, 2015

Mondays on the Margins: The Library at Mount Char by Scott Hawkins

The other day I visited the Ottawa Public Library's website, as I do every few days, to see what I needed to renew and return. I had to look at my list a couple of times to confirm that, for the first time ever, I only had ebooks out. Nothing to return. Just a bunch of stuff that would go *poof* when its due date arrived and vanish into the ether.

I've had a succession of books come available that I'd been waiting for eagerly. Well, sort of eagerly. They were all books that sounded really cool and different and exciting when I read about them. As we all know, there are two ways this can go (that's total bullshit, there are a veritable multitude of ways this can go, but I'm bad at math and my husband is in Korea and there aren't enough iterations of me to effectively drive everywhere and cook everything and walk everything that needs to be driven and cooked and walked right now so I'm choosing to call it two, DO YOU WANT TO MAKE SOMETHING OF IT???); either the book lives up to its hype and you are transported and transformed for a few days and it stands in beautiful book memory as a memorable period, or it doesn't and you feel deceived, betrayed, cruelly mocked and desperate to throat-punch, nipple-twist and hair-pull the reviewer who set you off on this fool's errand. Or maybe that's just me.

One of the books that came up in this queue was The Book of Strange New Things by Michel Faber: "It begins with Peter, a devoted man of faith, as he is called to the mission of a lifetime, one that takes him galaxies away from his wife, Bea. Peter becomes immersed in the mysteries of an astonishing new environment, overseen by an enigmatic corporation known only as USIC. His work introduces him to a seemingly friendly native population struggling with a dangerous illness and hungry for Peter’s teachings—his Bible is their “book of strange new things.” But Peter is rattled when Bea’s letters from home become increasingly desperate: typhoons and earthquakes are devastating whole countries, and governments are crumbling. Bea’s faith, once the guiding light of their lives, begins to falter." 

Aliens! Galaxies! An enigmatic corporation (those almost always turn out to be evil). Dangerous illness! Typhoons, earthquakes, crumbling governments! Sounds earth-moving, does it not?

And... it's not that it was bad. It wasn't bad. It just was very.... earth-standing-still. What I said in my review was that it was very realistic, and some people like that. I'm forever coming out of movie theatres and hearing people complain that what we just saw "wasn't believable". Believability isn't really a relevant criterion in my book - it's fine if that's your thing, but if it's original and imaginative and funny or frightening or so sad you want to sit down and weep until you lose consciousness, put it up there, I WILL BELIEVE IT. This was almost too believable. It read like a documentary of these events if they'd actually taken place, which would be all I could reasonably expect if they HAD actually taken place, but since this was fiction, I would have appreciated more of a creative spark. What I got was this happened, and this happened, and this happened, and the aliens are weird and inscrutable, which is not that surprising really, being as they're aliens, and more stuff happened, much of it depressing and unpleasant, the end. 

Then there was Dept. of Speculation by Jenny Offill, not to be confused with The Book of Speculation which was in the list at the same time and has just come available, and I have no idea what THAT's about, but THIS was about a marriage, an affair, a woman who reminded me uncomfortably of myself ("Was she a good wife?" "Well, no.") a child, and a lot of ordinary stuff involved in all of those - "common catastrophes", "the consuming, capacious experience of maternal love", etc. It's written in a listy, aphorismy, stripped-of-all-extraneous material kind of style, and while reading I wondered if it was maybe easier to write a book this way, just concentrating on the pithy, sharp points of dialogue and exposition without the tedious connecting bits like describing what people look like or getting them from the kitchen to the living room. I don't know if it is easier, but in this case it worked brilliantly for me - I had to restrain myself from highlighting the entire thing. It was like she was admitting that things can get absolutely horribly bad in a marriage and a life, but if you keep your mind open to the strangeness and comedy and humanity of it all, it's - well, it's still horribly bad but you get a great book out of it. 

Which brings me to The Library at Mount Char. But now it's Tuesday, and I still can't find my keys, and my husband is still in Korea, and I haven't blogged for two weeks, and I almost got into the wrong car in a parking lot earlier, and I have to go cook something or order something or something. So hey, look, another book post where I don't actually review the book. That makes me charmingly quirky, right? I'll do it tomorrow. I promise. ("Was she a reliable blogger?" "Well, no.") 

Monday, September 21, 2015

Mondays on the Margins: Reading: It's Possible I've Been Doing it Wrong

Not for my whole life, of course. I learned how to make the letters form words, make the words form sentences, and I was off to the races. I read everything I could get my hands on, which wasn't a great big amount back then, but most of it was fucking magical and blew the doors of my mind wide open. The Faraway Tree. Narnia. The Cricket in Times Square. I would go to the library alone and the librarian would make me call my father to come and get me and approve my book choices (because I had blown through the kids' section and was on to adult reading). If I couldn't get it at the library, I would beg my parents to buy it for me.

There was no reason to read anything that didn't get me marks or give me pleasure. In high school, I was reading a science fiction anthology in homeroom and a girl asked me which class I was reading it for. Her expression when I said I wasn't reading it for a class was uncomprehending.

I did a B.A. and and M.A. in Comparative Literature. I had to read some fiction that I wouldn't have read otherwise. Some of it I thought was great, and with some of it it seemed like the entire Western world agreed that it was great except for me. I had to read a lot of critical theory, some of which was intriguing and fun and some of which was dry and pedantic and entirely too impressed with itself. And then I would read something fun - once I stayed up all night reading The Animal Hour by Andrew Klavan even though my parents were coming to visit the next day, early. I regretted nothing.

Then I got a job in audio publishing. Then I worked in a bookstore. There were always things I 'should' be reading, and things I wanted to be reading, with some overlap between the two.

Then I had kids and stopped working at a formal, official, 'job'-type thing. Other than some usually pretty light course reading, I am now the captain of my own reading destiny.

I have recently come to realize that I am kind of a shitty captain and that it's possible I should be keel-hauled, or mutinied, or some other negative ship-related term.

I've talked before about my broccoli books. I like mysteries and science fiction and fantasy and horror, and I do think that the best of the books in these genres are valuable as more than escapism - they have things to say about being in the world, about longing for things and searching for things and loving people and losing the love and the people, and empathy and hope and redemption. But I also try to read non-fiction and literary fiction, stuff that takes a little more work, and even if it takes me a while I almost always find it rewarding.

But I have this thing I do with books that I'm almost sure I will love - because I know and love the author, because it's the next in a series, because I've read them before and I'm due to reread. I stockpile them. I build them into walls and towers around my room, and I defer them endlessly. Sometimes I buy a book in hardcover because I really, really want to read it, and by the time I actually let myself it's already out in paperback.

It would be one thing if there was a really good reason for this. If there were things I needed to read first, for some reason, or I just got busy. But I've suddenly realized that that's not really it. Partly it's that I feel the need to keep Really Great Books in reserve for some theoretical day when I might really need one. This is stupid. There is no possible way I can keep up with and surpass the literary output of all the really great writers that make my reading brain sing. There is absolutely no need for me to browse the library ebooks and fill up my ipad with them and finish even the mediocre ones against some day when I might run out of things to read.

The other part? The Super Dumb-ass with Extra Stupid part? I think I'm not letting myself read all the Really Great Books right away because I don't feel like I deserve to. It's like I can't let myself read one until after I've done something really difficult or unpleasant. Because I don't have a job that I hate that takes up all my time. Because I haven't published anything. Because my life is too easy.

I've decided this is bullshit. Life is too short to read mediocre books on purpose, and I've punished myself for just being who I am enough for several lifetimes. I've spent the last couple of weeks rereading the first two books in the Magicians Trilogy by Lev Grossman, and it's been delicious. After that I'm going to read the second book in the Colours of Madeleine series by Jaclyn Moriarty, and then something else by Christopher Moore. I might stick a broccoli book in there, but I will NOT pick up anything else just to endlessly defer reading something I really, really want to. It feels simultaneously like a momentous decision and an effortless no-brainer.

These are strange, exhilarating times.

Tuesday, September 15, 2015

The Sky is So Very Blue

Just before Labour Day Week-end, I started on a nice little hyper-manic upward slope. Even if I didn't HAVE to be early, I popped out of bed first thing in the morning with no brain fog, I got some organizing done that I've been putting off for months, I walked the dog four times a day and never felt too tired to do one more thing in the day if it occurred to me. 

Along with this, as usual, came some less awesome stuff: a sort of hardened mental glaze over my mind, obsessive thoughts that wouldn't clear for more than a few seconds at a time, and that uncomfortable sense that the air around me is crowded with screaming or crying. 

Honestly, it's not the worst trade-off in the world. Going to bed every night knowing that the morning is going to be either a battle-slog out of a pit of quicksand or another dismal failure is really demoralizing. A bit of mental glitchiness isn't too high a price to pay for some time above water. 

Yesterday, I suddenly felt a strange puncturing and it was like a balloon inside my head had popped. Obsessive thoughts - gone. Vague feeling of doom - gone. It was sort of like my mind had been slightly short-winded, and suddenly it could take a deep, lovely breath.

Okay, I thought. It was nice (ish) while it lasted. I fully expected to be back to business as usual today - stabbing the snooze button and dreaming about getting up five times before actually managing it.

Woke up fine, early, no brain fog. Had dinner for a friend in the crock pot by nine. Coursework, gardening, dog walked by eleven. I had lunch at regular lunch time. I'm going to have to go clean out a closet or something because the kids aren't home yet and suddenly there's more DAY in my day. I went outside and sat in the swinging chair in my weedy back yard and looked up at the sky and laughed because, holy shit, this might be one day's grace, and it might not last, but for the moment I'm so purely grateful I could weep. 

Monday, September 14, 2015

Newbery Medal Series: Holes by Louis Sachar

Synopsis from Goodreads: Stanley Yelnats is under a curse. A curse that began with his no-good-dirty-rotten-pig-stealing-great-great-grandfather and has since followed generations of Yelnatses. Now Stanley has been unjustly sent to a boys’ detention center, Camp Green Lake, where the boys build character by spending all day, every day digging holes exactly five feet wide and five feet deep. There is no lake at Camp Green Lake. But there are an awful lot of holes.

It doesn’t take long for Stanley to realize there’s more than character improvement going on at Camp Green Lake. The boys are digging holes because the warden is looking for something. But what could be buried under a dried-up lake? Stanley tries to dig up the truth in this inventive and darkly humorous tale of crime and punishment—and redemption.

This book has been on my radar for quite a while, both because I have the impression that I like Louis Sachar as an author without actually being able to name any Louis Sachar books that I have read, and because I had the vague impression that the Dulé Hill, who I adore, was in the movie, which I've never seen. 

Clear enough?

So I had to take my mother to the hospital for an eye test last week and I grabbed this for the waiting room. It's one of those books that I really wish I had read as a child, because reading it as an adult trying to imagine it from the perspective of a child is disorienting. It's quite harsh, but then so was Annie, and 101 Dalmatians was terrifying, and  The Rescuers - poor Penny being lowered down the well to search for the diamond... hey waitaminnit, Holes totally rips off The Rescuers! 

So, yes. It was harsh. The camp environment made my stomach hurt. The injustice and cruelty were so upsetting, and then the descriptions of the past in Latvia where the threads of destiny begin to weave this story are sort of charming, and then the story of Kate Barlow and Sam the Onion Man is so wonderful but so desperately sad, and then wham it all comes together at the end and overall I liked it, but I had a slight impression that some of the parts didn't quite match the others in tone. 

What do we think about stories where young people are powerless in the grip of self-interested adults without conscience? Is it cathartic for them (since usually the children triumph, through a mixture of ingenuity, pluck and some kind of intangible force for good in the universe, over the bad guys?) or does it just heighten their feelings of powerlessness? It always fills me with a kind of impotent rage, knowing that as cartoonish as a lot of the situations are, there are real-life situations that are dishearteningly similar. But I do enjoy the redemption.

And speaking of impotent rage, remind me to tell you about being stuck in a tiny traffic jam with my mother, who was convinced we were going to be late for her appointment even though we'd left an hour earlier than necessary and were already halfway there. The world does not understand my pain. 

Thursday, September 10, 2015

Well here we are

I'm restless. The kids are back in school. Eve has calmed down, although her stories of her homeroom group wandering the halls looking for their next class, complicated by incorrect timetables and sections that are closed for construction are quite entertaining. Angus has somehow ended up as the only grade ten student in an eleventh-grade fitness class - no one is quite sure how this happened.

I don't know quite what to do with myself. I don't feel like working on my course. I don't feel like writing. I barely feel like reading. So right now I'm just walking. I get the kids to school, and I get Lucy leashed up, and I wander all over Barrhaven. Sometimes I stop in somewhere. Sometimes I don't. My feet hurt. My hips hurt. My back hurts. But my dog is really happy.

I guess for now I'll just keep walking until I get somewhere.

Tuesday, September 1, 2015

Mondays on the Margins (or whatever, it's still summer, shut up): Sacré Bleu by Christopher Moore

I bought this book quite a while ago because I had read and loved (and reviewed, to a thundering silence, geez man) Lamb, and I found the synopsis intriguing, and ultramarine blue is one of my very favourite colours and has always seemed a little mysterious to me. . Then I put it in my stack and promptly forgot about it or passed it over for library books that were about to expire. Over the summer, I packed it every time we were going somewhere where I'd want an actual book to read - in the sun, on the beach, anywhere it wouldn't be convenient to read on my ipad. It took me all summer to finish, and it is now extensively foxed and sandy and water-swollen, and I savoured every line of it and never once wished that I had brought another book (yes, another summer has passed wherein I read no Trollope). It was magnificent.

I accidentally just glanced at the praise page and now my head is crowded with the phrases of others that describe the book perfectly: "Art history is playfully - and perilously - rewritten" (Publishers Weekly); "exultant joie de vivre" (Kirkus Reviews); "surprisingly complex novel full of love, death, art, and mystery" (Library Journal); "consistently delightful journey into the sweetly demented mind of novelist Christopher Moore" (Philadelphia Inquirer).

More than anything, it just seemed like Moore had a hell of a good time writing this - immersing himself in the art and history of the Impressionists and then swirling it all into a mad reimagined palette of riotous colour. And like in Lamb, the humour, the debauchery, the cutting wit, even the suffering and death (frequently by syphilis), is rendered with such a light and loving hand - it is for this reason that I'm contemplating reading nothing but Moore's entire oeuvre for the next while. That or inventing a time machine so I can go back to 1890 and hang out in bars and whorehouses with Toulouse-Lautrec. This, along with Jaclyn Moriarty's A Corner of White, busted me right out of my "oh my god, I'm so jaded, every book seems like an echo of a bunch of other books, nothing feels fresh, nothing feels new, nothing feels transporting and fantastic and galvanizing" rut. It also gave me the same possibly spurious but still warm feeling that I got from the Vincent Van Gogh episode of Dr. Who - not that Van Gogh needed to be rehabilitated, but that he has been gathered in tenderly by history and imagination more than he ever would have imagined. 

It's very much not for everyone - I'm sure it would seem heretical, or glib, or silly to some. I love reading about people who are passionate about something, I love witty banter, I love fantastical elements like stopping time and time pockets, and the word 'penis', coupled with the phrase 'Accident. Couldn't be helped.' made me giggle helplessly almost every single time. So loved it. I really, really loved it. 

Memorable Quotes (A very narrow selection - I felt like highlighting most of the book):

-"'Yes, painter,' said the blond. 'But you make your living as a baker, right?' 'I sold two paintings just last month,' said Lucien. 'I sucked off two bankers just last night,' said the whore. 'I'm a stockbroker now, no?'"

-"She smacked young Lucien in the head with a baguette. The crunchy yet tender crust wrapped around his head, bending but not breaking, showing that the oven had been precisely the right temperature, there had been exactly enough moisture, and in fact, by the ancient Lessard test method, it was perfect.. Lucien thought this was the way of all French boulangers, and he would be a young man before anyone explained to him that other bakers did not have a test boy who was smacked in the head with a loaf of bread every morning."

-"Monet had trained himself to be a machine for the harvest of color. With brush in hand, he was no longer a man, a father, or a husband, but a device of singular purpose; he was, as he had always introduced himself, the painter Monet."

-"The Colorman is like that carp, Lucien. In all of our paintings, Pissarro's, Renoir's, Sisley's, Morisot's - even poor Bazille, before he was shot in the war - even back then, from the first days when we all met in Paris, he is there, in all our art, just below the surface."

-"'Yes, but when you did the poster for the Moulin Rouge you didn't do a clown fucking a windmill.' 'Sadly, no, they rejected my first drawings. And I'm good friends with one of the clowns there, Cha-U-Kao. She would have modeled for me. She's both a clown and a lesbian. At the same time! Art weeps for the missed opportunity."

-"Toulouse-Lautrec unfolded the map until he had revealed the seventh level below the city, then looked to Lucien. 'It follows the streets as if on the surface.' 'Yes, but with fewer cafés, more corpses, and it's dark, of course.' 'Oh, well then, we'll just pretend we're visiting London.'"

Monday, August 17, 2015

Last night

It was late, and Matt and I were in bed after a whirlwind of preparations for his trip to Asia early this morning - mining the piles of camping laundry for clothes for him to pack, getting the garbage day details straight since he wouldn't be here to do it (THEN WHY DID I MARRY YOU, I usually say), figuring out what baseball events I would have to drive Angus to, and a few other things (but this is not that kind of blog - usually). Matt was asleep and I was reading on my ipad in the dark. Eve was asleep down the hall and everything was dark. Then there were quiet footsteps on the stairs and through the crack in our slightly-open door I saw the bathroom light go on. I realized that I had assumed Angus was already in bed, but now here I was, lying in bed listening to the hum-and-rattle of water, the soft click of toothbrush and soap dish. It was a complete reversal of being small, tucked up and listening to the sounds of my parents getting ready for bed, which was always such a lovely, comforting feeling, and that last light going off was the signal that everyone was in safely for the night. As it was now, and everyone was still in safely, but the signal was sort of reversed.

It didn't make me sad. It was nice. It was just... different.