Category Archives: Reviews

Satchel: The Life and Times of an American Legend, by Larry Tye

Satchel: The Life and Times of an American Legend, by Larry Tye

In one of the sports literature arenas that already boasts many seminal works of great storytelling and rhapsodic prose, Satchel: The Life and Times of an American Legend, by Larry Tye is a distinguished, inviting and elucidating addition. The book captures a pivotal time in the evolution of baseball and of North American society. As if there isn’t already a motherlode of stories and milestones to make that a captivating read, this book is rendered even livelier because it focuses on arguably the sport’s greatest practitioner and groundbreaker on numerous levels: athlete, entertainer, ambassador, philosopher clown prince and African American icon Leroy Robert “Satchel” Paige.

Close to the turn of the last century, Satchel Paige was born in Mobile, Alabama into the brimming, struggling but loving family of gardener Robert and domestic worker Lula Page – “close” because Satchel’s birthdate was long in dispute and frequently subject to scrutiny and confusion, some of it generated by Paige himself. And yes, even the spelling of Paige’s name changed as he embarked on a storied career as a virtually unstoppable baseball pitcher with raw talents evident at an early age that were honed starting with a teenaged stint in reform school.

Paige’s professional journey took him through the Negro leagues, an evolving amalgam of amateur, semi-professional and professional teams and leagues comprised chiefly of African Americans and some Latin Americans. The Negro leagues started in the late 1800s and lasted until the early 1950s, overlapping with Major League baseball for a few years after black players started to be integrated in that white-dominated sporting domain. Paige himself weighed in to the debate about who should have been the very first black player to break the baseball colour line, a role that fell famously to Jackie Robinson. Paige was still one of the first to cross that often treacherous barrier with signature aplomb, and certainly the one to leave the most indelible marks. Those marks were made and cemented before he departed after his last professional game in 1966, just shy of his 60th birthday (assuming we could, by then, trust his purported birth certificate).

If the range and longevity of Paige’s professional accomplishments against a backdrop of racial tension and societal change isn’t riveting enough, there’s also the diverting portrait of a singular man: charmer, trickster, and bon vivant (whether, at any given time, he could afford the cars, clothes, food, drink, companions, appurtenances et al that filled his lively and peripatetic life to overflowing). He was a life force exuding an ebullience that probably intentionally glossed over the pain he contended with maintaining a seemingly effortless physical prowess that was in play, quite literally, year round – from league play to barnstorming and other games and exhibitions across the United States, Canada, Mexico and the Caribbean. That pain surely extended to the emotional challenges of being separated from loved ones, not to mention being socially separated, even when that was supposedly a thing of the past. Paige’s almost unstoppable and at times inexplicable joie de vivre only seemed to fray around the edges in his final years, when he was out of the game and probably felt freer to give vent to some of the injustices with which he’d contended and had seemed to dance over, around and through at the time.

Author Larry Tye’s skills at distilling a complex story with layers of themes, towering mountains of data and gaping valleys of omissions in the data (for a sport deeply fascinated with and rich in statistics, recordkeeping in the early days and outside of the then exclusively white major leagues was sketchy at best) are breathtakingly impressive. That the themes and data are digestibly interwoven with infectious storytelling – true or tinted delightfully rose-coloured, all told with gusto – is more impressive still. That this daunting assignment was further complicated by a central figure who contributed as much to his own mystique as he did to his rightful legend makes the whole package, with astutely marshalled sources and research, extraordinary.

Some knowledge of baseball is useful to follow the terminology and have some frame of reference for the excellence of the accomplishments of Paige, his contemporaries and those who came after. Still, the reader will not be intimidated by an overly technical examination of the game. Tye frames well and accessibly where Paige stood in the context of the sport and its evolution, along with where he stood in the context of social changes external to but internalized by and affecting the sports world in which he operated and often but didn’t always thrive. Finally, Tye paints a vivid but also clear, honest picture of Paige, where there are wide and vibrant swaths of impressionistic versions of Paige out there (with some brushstrokes by Paige himself), but bringing the man into the sharpest focus possible to date, and possibly ever.

Satchel: The Life and Times of an American Legend is, by the way, a great read aloud book – that’s how my husband and I read this entire book. That’s tribute to Tye’s crisp, pleasant style which matches Paige’s argot in note perfect tandem … and of course, to the treasure trove of witticisms and repartee either on the record or legendarily associated with Paige and his contemporaries. (Yes, you can easily and abundantly google them.)

#thursdayreviews to help with your #fridayreads

We all know about the storied and powerful #fridayreads hashtag and tradition, whereby folks tweet what they’re reading on Friday. It’s a way to shout out and celebrate reading, good books and hard working writers, publishers and booksellers.

The Dead Are More Visible, by Steven Heighton

While touting the virtues of one of writer Angie Abdou’s great book reviews today (The Dead Are More Visible, by Steven Heighton), a fellow book tweep (@davideburga) declared that the review had inspired him to make the book his #fridayreads selection. Ah, the instantaneous, twinkling magic of Twitter!

So, OK then … What if we pointed folks to great reviews before Friday, so that they can make some good and informed reading decisions for Friday and the weekend?

Thus is born #thursdayreviews … let’s see how it goes:

  • For #thursdayreviews, on a Thursday, tweet a link to a good review of a book that you think someone should make his/her #fridayreads.

  • The #thursdayreviews link can be to your own review, or a review that you like and/or that inspired you to pick up a specific book.

  • In the spirit of the week that was (start here), #thursdayreviews can also be a negative review of something that shouldn’t be one’s #fridayreads. Ahem. Be nice, or at least be constructive, OK?

Are you in?

See also:

#thursdayreviews contributors on Twitter

2012 reading list (so far)

Selected 2012 reading so far

Here are the books I’ve read so far in 2012, with links where they exist to books that I’ve reviewed (either here on this blog or briefly on Goodreads). As I’ve remarked before, it’s a competition with no one but myself, but it is always interesting to reflect halfway through the year where one is at with one’s reading, both quantitatively and qualitatively. This has been another good year. How is your reading going so far in 2012?

    canlit

  1. The Game
    by Ken Dryden (reread)

  2. The Money Tree
    by Sarah Stewart and David Small

  3. canlit

  4. The Antagonist
    by Lynn Coady (reread)

  5. The Marriage Plot
    by Jeffrey Eugenides

  6. canlit

  7. Something Fierce – Memoirs of a Revolutionary Daughter
    by Carmen Aguirre

  8. canlit

  9. Expressway
    by Sina Queyras

  10. canlit

  11. Algoma
    by Dani Couture

  12. canlit

  13. Autobiography of Childhood
    by Sina Queyras

  14. canlit

  15. I’m Starved For You
    by Margaret Atwood

  16. Inside of a Dog – What Dogs See, Smell and Know
    by Alexandra Horowitz

  17. canlit

  18. On a Cold Road
    by Dave Bidini (reread)

  19. canlit

  20. Believing Cedric
    by Mark Lavorato

  21. Audio Obscura
    by Lavinia Greenlaw, photographs by Julian Abrams

  22. canlit

  23. Why Men Lie
    by Linden MacIntyre

  24. canlit

  25. Methodist Hatchet
    by Ken Babstock

  26. canlit

  27. The Love Monster
    by Missy Marston

  28. Detroit Disassembled
    by Andrew Moore, essay by Philip Levine

  29. canlit

  30. The Sisters Brothers
    by Patrick DeWitt
    (guest review by Barbara McVeigh)

  31. canlit

  32. Night Street
    by Kristel Thornell

  33. canlit

  34. The Juliet Stories
    by Carrie Snyder

  35. canlit

  36. Killdeer
    Phil Hall

Currently in progress:

  • The Blue Book, by A.L. Kennedy
  • The Collected Short Stories of Lydia Davis
  • Satchel: The Life and Times of an American Legend, by Larry Tye

The Sisters Brothers, by Patrick DeWitt

I’m delighted to introduce Bookgaga blog visitors to another splendid guest book reviewer. Barbara McVeigh is a dedicated and enthusiastic teacher-librarian working in Southwestern Ontario. She’s a writer and avid, omnivorous reader who combines her own interests, such as cycling, with particular emphasis in her reading and book curating on the area of sport literature. Barbara is active on Goodreads, and you’re guaranteed a lively discussion when you converse with her via Twitter – @barbaramcveigh.

The Sisters Brothers: A Defense

The Sisters Brothers, by Patrick DeWitt

I was reluctant to read The Sisters Brothers for a long time. It was getting mixed reviews and being nominated for so many damn awards. Not a good sign. However, I bought (and read) the book because I was attending the Stephen Leacock Medal presentation, which The Sisters Brothers had won.

The book has been criticized as not having a story, for having too much senseless violence, and for its weird, anachronistic language and characters. Because of all these reasons, I loved the book.

In terms of plot, The Sisters Brothers moves along in short chapters. Each chapter left me breathless and wondering where the characters were going to next. We do not expect what happens to happen. For example, after being treated for a tooth infection and then robbing the dentist of his novocaine, the narrator defies a witch’s curse in order to save a horse he doesn’t want from a grizzly bear. These short chapters allow the brothers to quickly move from place to place and interact with the best the Wild West has to offer.

The novel also delivers emotional sucker-punches and subverts the expectations of the Western genre. In a typical Western, you’d have two cowboys in white hats who come to save the day. Instead, we have the brothers Charlie and Eli Sisters whose job it is to mercilessly kill Hermann Kermit Warm, and dispose of anybody who gets in their way. When hatching a plot, Charlie says: “Morals come later. I asked if [the plan] would make sense” (DeWitt 222). As they head towards their mission and move from misadventure to misadventure, we cheer them on.

The strength of the subversion lies in the empathy the reader feels for Eli Sisters. I read this book out loud to a student and was immediately struck by the strength of the voice: gravelly, rolling and soaked with whiskey. Now Eli isn’t just your run-of-the-mill heartless killer. He’s looking for true love and personal improvement. He is also loyal to his bloodthirsty brother. Yet, Charlie (whom is often described as a psychopath in reviews) doesn’t always come across as the baddest of the bad, either. At one point Charlie tells Eli the story of how Eli got his freckles. The story demonstrates their brotherly bond, as well as revealing Charlie’s protective spirit.

Still, these aren’t men in white hats. When the brothers are in situations where they could behave as if they were good guys, they defy our expectations. On their way to California to find Warm, Eli and Charlie come across a 15-year-old boy alone in the wild. They give him food and listen to his life story. Apparently, everyone who meets this boy hits him on the head. In the usual Western script, the reader would expect that the two heroes would adopt the boy and care for him. But Charlie and Eli can’t: They’re assassins. They hit the boy on the head to disarm him and then abandon him (not once, but twice) on their journey.

The reality of scenes like this would be horrible if played straight. Patrick DeWitt at the Stephen Leacock presentations spoke about using comedy as a weapon. The humour deflects the bite of reality. This is the Wild West “where life ha[s] no value” (Fisher). The boy evokes every sense of pathos: no mother, a missing father, unrequited love, and a naive optimism that the brothers will take him under their wing. Their interaction is touching and funny, and then the boy disappears from the book. Like all the minor characters in the novel, whether it be the intermissions girl, the dirt coffee prospector, or the weeping man, these characters appear “for no real reason” (Edwards). In an interview, DeWitt says that these characters have no symbolic value; they are just “semi-humorous vaudevillian prop[s] wandering into someone else’s scene” (Edwards). What these characters do provide is the quirkiness and atmosphere for this great rollicking story.

The action quickly continues to California and comes to an unexpected conclusion. There’s a moment when the elastic seems to snap backwards and fortunes are reversed, much like Martin Amis’s Time’s Arrow.

Initially, I felt the ending wasn’t satisfactory. There’s a reversal of position for Eli and Charlie, but I wanted them to get some sort of reward. A few readers (and definitely some characters) might say that, in the end, Charlie and Eli got their “just desserts”. Still, I felt that since we’ve grown to like these two anti-heroes, something good should’ve happened to them. But then I found, on second thought, that something good does happen; it’s just not in terms of a monetary prize.

Comedy as a weapon not only deflects the harshness of reality. If the humour is sharp, it also reveals a message or truth. And what does the humour of The Sisters Brothers reveal? That despite “the difficulties of family [and] how crazy and crooked the stories of a bloodline can be” (DeWitt 11), it is only family you can trust. In a world that changes in the blink of an eye and where life has no value, it is only with family you can find safety and home.

So should you read The Sisters Brothers, especially since there’s a danger you may hate it rather than love it? Here’s the warning I like best: “If the characters and briskly paced events don’t appeal to [you] early, it is unlikely it will get better” (Trembley). If you can preview the book, do. I strongly recommend that you saddle up and go on a wild ride with Eli and Charlie Sisters.

Works Cited

DeWitt, Patrick. The Sisters Brothers. Toronto: House of Anansi Press, 2011. Print.

Edwards, Art. “An Interview with The Sisters Brothers Author Patrick deWitt.” The Nervous Breakdown. 13 July 2011. Web. 13 June 2012.

Fisher, Austin. “Chapter II: A Fistful of Lire.” Dissertation. Sergio Leone and the Western Myth: Reading the Ritual. 50Webs.com. 2000-2001. Web. 15 June 2012.

Trembley, Dave. Comment on Goodreads. 25 January 2012. Web. 13 June 2012.

Believing Cedric, by Mark Lavorato

Believing Cedric, by Mark Lavorato

Writer Mark Lavorato sets several daunting challenges for himself with the ambitious Being Cedric. His title character Cedric Johnson, middle-aged insurance broker, variously estranged from family, friends and former associates, isn’t particularly sympathetic – which is fine and true to life and all, but then perhaps something else might be needed to draw readers in. There are other characters with which one can establish some interest or understanding, but none of those characters are involved and sustained throughout the story.

Then there’s the matter of Cedric’s rather unique problem: the readers is to believe he is having physical flashbacks to key moments in his past, going back as far as childhood. He can’t change the outcome of those events, but he can view and assess them in the moment with full knowledge of their impact and the presumed wisdom of age. Can this problem come to attain some symbolic heft, transcend gimmickry to achieve something more profound? Early on this strange journey, the reader might be piqued but not entirely certain.

So, Lavorato’s writerly dilemmas in turn create some considerable challenges for his readers. Those challenges freight the book with vaguely discordant notes well into the first several segments, each consisting of a few stanzas of poetry and two prose pieces set in different time frames. However, readers who persevere with this somewhat cumbersome structure and at times thorny novel/linked short stories hybrid will be rewarded with the book’s surprising emotional payoff.

Is it a spoiler of sorts to suggest that with each successive chapter or segment, it becomes increasingly likely that while he’s the title character, Cedric isn’t the protagonist? It’s an interpretation that does help to remove the distraction of Cedric and his predicament and get to the heart of some more interesting character studies, such as his third-grade teacher, a former landlady, a disgruntled ex-business partner, an emergency room physician and most poignantly, his estranged daughter. Those character studies, while uneven, offer some absorbing and satisfying moments in this book.

While they’re meant to be part of the connective tissue of the book, the poetry sequences in each chapter suffer from unwieldy structure and phrasing in places, not really deepening our understanding of the related prose sections. Interestingly, the most stirring poetry in the book isn’t in these sequences, but in a discussion about human connection and poetry towards the end of the book, which includes this soaring evocation:

“Poetry is being deaf to the extravagant choir that is behind you, below you, above you. But singing anyway. It is the collective and soundless cacophony of our solitary melodies, which is humming, even now, ringing in our ears with its almost perfect silence.”

Perhaps that’s the clue. Whether intentional or not, the awkward poetry sequences end up being a lovely illustration of what a spiritual panacea writing poetry can be. Writing poetry seems to have been comforting and clarifying for at least one of the characters brushed by Cedric in his earthly and unearthly travels. By the same token, whether intentional or not, the at best glancing connections from chapter to chapter are a form of mourning for connections lost or never really made. It makes it worth forging to the end of this uneven but intriguing and at times touching book.

Thank you to Brindle & Glass and the author for providing a review copy of Believing Cedric, by Mark Lavorato.

Inside of a Dog, by Alexandra Horowitz

Inside of a Dog, by Alexandra Horowitz

In learning to slow down to better appreciate my dogs’ perception of our shared world, Alexandra Horowitz has also taught me to slow down for my own benefit. It’s no longer too cold, I’m no longer too tired, I’m no longer in a roaring hurry to get home to watch the “At Issue” panel (and probably raise my blood pressure anyhow), if my dogs need to take measure of the world through their own gauges, via some good, long, ruminative sniffs.

In its absorbing and entertaining examination of the unique human-canine bond, Horowitz’s Inside of a Dog charmingly balances the scholarly and scientific with the personal and whimsical. This is one of my favourite explorations of how dogs and people can so effectively, happily and affectionately co-exist.

Human and animal cognition expert Horowitz spells out in down to earth fashion a practical and enlightening approach to optimally and respectfully sharing our lives with another species. Her science/technical examination of differences between wild and domesticated species and their perceptions of their lives and the lives of those with whom they share their existence is accessible without feeling oversimplified or condescending. She couples it with a sweet, wistful personal recounting of the dogs in her life, which serves to illustrate and underpin the scientific themes without ever feeling forced or cloying.

Horowitz tackles concepts that are certainly thought provoking for dog owners and lovers, but I’m guessing (because I can’t be other than a dog lover) are also instructive to other animal lovers or others just interested in our relationship to the species with whom our paths cross. Most elucidating is the discussion about umwelt as distinct from the dangers of anthromorphizing, where we attribute human characteristics and reactions to animal behaviour, and allow that interpretation to inform how we train, interact with and attempt to understand our pets. Umwelt, on the other hand, accounts for different creatures with different physiology, sensibilities, experiences and more processing and reacting to the same environment in very divergent ways.

Umwelt is an important concept in The Tiger, the acclaimed non-fiction bestseller by John Vaillant. Vaillant uses the concept to pointedly avoid characterizing the behaviours of the tiger in the story as having human motivations, such as the urge for revenge, and weaves that appreciation of different interpretations of the same world and circumstances into a compelling tale and environmental paean.

Horowitz dials down the application of umwelt to the small, the domestic, the practical, but still with a profundity surprisingly comparable to Vaillant’s.

The parcel of scientific facts we have collected allows us to take an informed imaginative leap inside of a dog – to see what it is like to be a dog; what the world is like from a dog’s point of view.

We have already seen that it is smelly; that it is well peopled with people. On further consideration, we can add: it is close to the ground; it is lickable. It either fits in the mouth or it doesn’t. It is in the moment. It is full of details, fleeting, and fast. It is written all over their faces. It is probably nothing like what it is like to be us.

Horowitz literally illustrates how warmly approachable Inside of a Dog is. While making notes of scientific observations of dog behaviour, she was often inclined to doodle and the results depicted her subjects. She incorporates many of those whimsical line drawings throughout the book, forging a heartwarming connection with every reader and fellow dog lover.

Inside of a Dog, by Alexandra Horowitz

See also:

Dr. Brinkley’s Tower, by Robert Hough

Dr. Brinkley's Tower, by Robert Hough

In recent months, I’ve had the opportunity to approach some of my reading from an intriguingly different angle. I’ve been asked to prepare discussion questions for some House of Anansi Press titles, questions incorporated in readers’ guides that could be used for book clubs or study groups. Anansi has made readers’ guides available for download from their web site for numbers of their popular titles, and they’re also working to have questions printed and bound in some book editions. Whether the questions are used to spark group discussion and debate or are quietly employed for individual consideration, I think they’re a great way to deepen one’s reading experience and probe further into what you’ve just read.

I’ve discovered that formulating these questions – even, reading a book for the first time knowing you will be preparing questions – is also a great way to more fully appreciate a work, even a work you might not necessarily expect to like. You go in as a book’s advocate when you know you’re compiling questions, because you assume from the outset that people have been motivated to obtain the book, read it and discuss it with others, so there must be some respect for the book and positive perspectives on its value, out of respect for those readers. It’s a different kind of respect than discovering a book disappoints you, and you want to be able to articulate that constructively but perhaps firmly, to dissuade people from reading it at the expense of what you feel are worthier books, or to perhaps give a writer genuine, albeit critical feedback.

It doesn’t mean, either, that you’re acting as a suspiciously nice or damning-with-faint-praise Marilyn Hagerty-ish apologist for books that wouldn’t hold up to the scrutiny of a more straight-up review or qualitative analysis. If anything, I’d contend that developing questions for others to ponder might force you, the question-concocter, to pay attention and fathom the writer’s craft and intentions more concertedly than if you were reading for pleasure.

The following are the reader’s guide questions that I developed for Dr. Brinkley’s Tower by Robert Hough. (These are the questions I submitted to Anansi. An edited version of the questions are provided to accompany the book.) If you’ve read the book, are these questions useful for exploring the book further? If you haven’t read the book, do the questions perhaps spark your interest in the book? Either way, do you use and contemplate the questions posed by reader’s guides when they’re provided?

  1. Señora Azula Mampajo, the town curandera or healer, is viewed more with fear or repulsion by the citizens of Corazon de la Fuente than with reverence or respect. Do those attitudes change by the end of the story? If so, why? If not, why not?

  2. Dr. Brinkley’s Tower is told from a variety of points of view. Does this give a better sense of the different perspectives on the benefits and challenges of the changes that come to Corazon de la Fuente, or does it make the story more cacophonous and confusing? If the story was only told from one character’s point of view (which, of course, might mean that certain parts of the story might not be told at all), which character would you choose?

  3. The colour green has almost consistently positive connotations and symbolic significance across cultures. Green conveys hope, fertility, abundance, birth and rebirth, freshness and purity, and is clearly associated with the natural world. How is the colour green used, with increasing intensity and pervasiveness, in Dr. Brinkley’s Tower?

  4. Dr. Brinkley’s Tower is a sensory cornucopia, spilling over with sights, sounds, smells, tastes and sensations from the sensuous to the repugnant and horrific. Give appealing and not-so-appealing examples of vivid descriptions that pique each of a reader’s senses.

  5. What is more insidious: the physical effects of the transmission of Radio XER, or the mental and spiritual?

  6. From revolution and oppressions, to a post-revolution shell-shocked torpor, to the bewildering but perhaps promising early days of the construction of Dr. Brinkley’s tower, to the promise of prosperity and all that ensues … is there ever a time when Corazon de la Fuente is not in upheaval in one form or another? If there is a time, however brief, when in the story would you pinpoint it?

  7. Name three seemingly unlikely pairings of characters – in romance, business, crime and so on – in Dr. Brinkley’s Tower. Which pair is your favourite and why?

  8. Who is the most foolish or gullible character in Dr. Brinkley’s Tower, and who is the most savvy and resourceful? Who is toughest, perhaps the most hard-hearted? Who is most tender and compassionate? Which character surprised you the most, for good or for bad?

  9. Where do the satirical barbs of Dr. Brinkley’s Tower best hit their marks? Is it with individual human pride, hubris and folly; collective human pride, hubris, folly and duplicity in conflict or commerce; the differences and conflicts between men and women … or something else entirely?

  10. Compare and contrast the business acumen and managerial styles of Dr. Brinkley and Madam Félix.

  11. Who tells the most damaging lie in Dr. Brinkley’s Tower?

  12. When Ramon and his intimidating cronies come to Corazon de la Fuente, ostensibly hired to protect Madam Félix and her Marias in the House of Gentlemanly Pleasures, the town is quickly subjected to a new regimen of rules and social “justice”: “And so Ramón invented a code of conduct for the people of Corazón de la Fuente to disobey. Ironically, many of these bore a moralistic hue, which is always the case when laws are created by the despicable … There was no shortage of offenders — Ramón’s rules were so complicated and nonsensical that Ramón himself barely understood them.” In the mayhem that ensues, what is the book perhaps saying about contemporary approaches to crime and punishment?

  13. Will Francisco and Violeta live happily ever after? What will strengthen their bond and what might challenge it?

  14. Is Dr. Brinkley more a figure of premeditated evil or tragic folly? Does knowing that he is based on a real-life figure change your perception of him?

  15. “If there was one thing the molinero had learned in his long, long life it was that men will always find something to fight about, the rationale not mattering nearly so much as the fighting itself. This was just one of the reasons he so preferred women …” Does Dr. Brinkley’s Tower dwell too much on male and female stereotypes, or can you provide examples to the contrary?

  16. Ultimately, does the experience with Dr. Brinkley bring out more of the best or the worst of humanity? Pick only one and support that choice.

  17. Will Corazon de la Fuente rebuild, or is its future as Nuevo Laredo?

Thank you to House of Anansi Press for the opportunity to read an advance version of Dr Brinkley’s Tower by Robert Hough.

See also:

Book Review: Dr. Brinkley’s Tower, by Robert Hough
by Michael Hingston, National Post
February 24, 2012

I’ve also prepared reader guide questions for:

 

 

Monoceros, by Suzette Mayr

I’m thrilled to welcome another guest book reviewer to the Bookgaga blog. Braydon Beaulieu is a graduate student in English (Creative Writing) at the University of Windsor in Windsor, Ontario. He’s not just a keen observer and examiner of the potential of creative writing in all its forms, but he’s an engaged and talented wordsmith himself. Follow his lively Twitter feed @BraydonBeaulieu to see where words will take him next.

Monoceros, by Suzette Mayr

I finished Suzette Mayr’s Monoceros and immediately thought to myself, “How in the world am I going to review this novel without simply gushing uncontrollably?”

Monoceros is magical. Amazing. Any number of happy, shiny adjectives I could think up. It gallops out of the gates from first line, “Because u r a fag is scrawled in black Jiffy marker across his locker,” and doesn’t slow down until the last. This is a novel about ripples spreading through a fictionalised Calgary after the suicide of Patrick Furey, a gay teenager at a Catholic school. It is furious, it is in shock, it is in tears, it doesn’t care – won’t care – about Patrick Furey and his empty desk in English class. “So he killed himself,” thinks Petra, the girlfriend of Patrick’s secret boyfriend, Ginger. “So sad. Too bad. Now he’ll stop molesting her boyfriend. So glad. All she did was say she was going to rip his dick off.”

For a novel whose subject matter predisposes melodrama and didacticism, Monoceros remains unsentimental. The first chapter, “The End,” details the becauses of Patrick’s suicide, culminating in his death. For the rest of the novel, he’s gone. This is not a novel about teen suicide, not really. This is a novel about the people who live on. Maureen Mochinski (née Rule)’s inability to pry her mind from her divorce, to remember the dead student’s name. Faraday Michaels’s regret over having not struck up a conversation over iced cappuccinos and her wish that her parents would stop “fornicating all over the house.” Ginger lying in bed as he “noses his fingers for just one ghost of Furey’s perfume.” Walter, the school guidance counsellor, and Max, the principal who’s also Walter’s secret lover. Patrick’s parents. Classmates. These characters who constitute the novel – they are Mayr’s focus, rather than plot. Monoceros is about people colliding and breaking against each other in the wake of tragedy, and learning about themselves as they glue the pieces together.

The novel successfully navigates the way Patrick’s suicide washes over the school. Walter, for example, knows he could have done something to help, could have given the boy an attentive ear: “Walter snared by another circle, layers and layers of concentric circles, till they touch each harsh point on the curve. He didn’t do his job. He failed that dead boy.” Walter’s reaction to Patrick’s suicide speaks to his feelings about his own sexuality. The tension of the novel hinges on the secrecy in which people who identify as homosexual are forced to live and love in a poisonously Catholic environment (not that each and every Catholic environment is poisonous; I’m speaking specifically of the one in this novel). The relationship between Max and Walter mirrors that of Patrick and Ginger: they have kept it secret for seventeen years, terrified of losing their jobs because of their sexuality. This theme, of course, questions the demonising of non-heterosexuality. Ginger unable to come out publicly, his head guidance counsellor and principal obligated to hide their relationship for nearly two decades. Secrecy is what tears at their skin, clamps down on their lungs. Secrecy forced by an environment that views them as sinners for a choice that isn’t a choice. Patrick’s suicide shoves those around him into confrontation with their secrets. The multiple characters that Monoceros follows demonstrate how people inscribe others’ deaths onto their own lives. Walter, regretful. Max, thankful it didn’t happen on school property. Petra wants her sweater back, the one she gave Ginger and then Ginger gave Patrick. Faraday, hopeful, believing unicorns can unleash happiness for the people who surround her, heal the hurt with their alicorns. But for the whole novel, she waits for their arrival in vain. Monoceros does not give its characters a way out; life is about moving up and in, or laying on the couch smoking pot and watching Sector Six, like Patrick’s parents end up.

The detail with which Mayr explores her characters is astounding. Her use of language is poetic and affecting, and it cuts to visceral details. One particularly effective stylistic maneuver is the obituary column – Mayr establishes the familiar form of the newspaper obituary as a method of detailing characters’ opinions of Patrick and each other. By the end of the novel this gets resignified because the form of the obit is applied to regular narrative; Mayr recasts her characters’ narratives as post-mortem flashbacks. This resignification works well because it serves as a reminder, through blending previously distinct forms, that death is inevitable (sorry for the cliché phrase), and narrative continues after death. Words live on. This continuation resonates with the characters of Monoceros, who continue to live out their stories after the suicide of Patrick Furey, in the best way they know how. Some of them stumble. Some of them gallop free. But all of them will stay with you long after you’ve tucked away the book.

Something Fierce: Memoirs of a Revolutionary Daughter, by Carmen Aguirre

Something Fierce, by Carmen Aguirre

It wasn’t until close to the end of Something Fierce, Memoirs of a Revolutionary Daughter, that Carmen Aguirre’s youthful account of navigating war torn and dictatorship-ravaged South America in the 1980s began to capture my heart.

It was futile to wait for my spirit to join my body again. I realized as I stood in that Patagonian phone company that maybe it never would. This was the biggest sacrifice I’d have to make. The body cannot take chronic terror; it must defend itself by refusing to harbour the spirit that wants to soar through it and experience life to the fullest. And so it was that, as we stepped outside into the glaring light, got on the first bus we saw and zigzagged our day away, my spirit was left back in the phone company along with the mirrored windows and the echo of voices connecting to far-off homes.

At that point, Aguirre seemed to finally and tellingly encapsulate the profound trauma that the life forced on her by her Chilean revolutionary parents had wrought on her bodily, emotionally, psychologically and spiritually. To that point, Something Fierce had intermittently captured my interest with its understandably uneven account of a girl growing to young womanhood living the double and triple life of a political refugee in Canada and undercover resistance operative in Peru, Bolivia, Argentina and Chile. The story veers from a firsthand account of the upheaval, injustice and at times mortal danger of the brutal Pinochet regime – in essence, the disturbing and enraging facts and figures of Naomi Klein’s The Shock Doctrine brought to life – to the fancies, dreams, desires, fashion and pop culture whimsies, moods and petulance of a typical teenager perhaps anywhere in the world.

At times, the juxtaposition of a child’s or young woman’s quotidian aspirations with life threatening situations put each world in stark relief. In other instances, it struck dissonant notes, making none of it seem real or resonant. Overriding that was this reader’s discomfort with the decisions of the child’s parents which might have been well meaning, dedicated, passionate, but were also idealistic, naive and heedless, putting this girl and her siblings in extraordinary and almost continuously inhumane circumstances. I admired Aguirre’s precocious and preternatural resilience, but couldn’t get past her use as something just mere shades away from a child soldier, however worthy the cause.

As one of the Canada Reads 2012 finalists, is Something Fierce the book that all Canadians should read? If this book is supposed to say something essential about Canada and being Canadian to all Canadians, I’m not sure. Canada’s role in Aguirre’s story is as something of a stopping or resting point between revolutionary forays. As such, Canada could be viewed as a sanctuary, but it’s seems to be a convenient stopover (in contrast to fellow Canada Reads contender Prisoner of Tehran, where Canada is viewed as a peaceful, protective haven and a truly desired new home). Certainly, Aguirre’s continued life and career is testament that Canada became a home, but this isn’t part of the story or a significant part of the epilogue of Something Fierce. Inspiring to all Canadians, though, is a profile of a young and determined individual to be faithful to family, home and convictions.

See also:

 

My reviews of other Canada Reads 2012 finalists:

The Game, by Ken Dryden

The Game, by Ken Dryden

“A time capsule buried at Maple Leaf Gardens in 1931 and revealed on Thursday (January 26, 2012) contains an NHL rule book, a municipal code, financial information on the team and a tiny carved ivory elephant of mysterious origin.”(1)

Hockey in all its forms, in all its lore, never fails to captivate many Canadians. But do we listen carefully to those voices from the distant (1931 NHL rule book …) and more recent past?

The Game by Ken Dryden, first published in 1983, offers enduring contributions to sport literature, non-fiction and Canadian literature. Considering it comes straight from one of the most accomplished players of the sport (written by him, not mediated through an interviewer or ghost writer), the book intrigues and challenges because it’s not entirely a celebration of the sport of hockey, but a reverential and at times very troubled examination of it. The Game is neither a light nor quick read, but it’s an absorbing and thoughtful reflection on the game of hockey and the experience of being part of a team. The book will fascinate fans and students of the sport as well as those interested in the history, psychology and national resonances and significance of this particular sport.

This reader’s patently unscientific observation is that some of the best sports commentators that played sports themselves are those that have a full, clear and at times undisturbed view of the expanse of the playing field for most of the game – players such as catchers in baseball and goalies in hockey. That premise is perhaps debatable, because hockey lore and culture will also attest to goalies often being singular, separate by choice from the rest of their teams and even eccentric. At any rate, I’ll use the positive aspects of that premise to suggest that makes Ken Dryden an especially thoughtful and clear-eyed analyst – as close as you can get to objective – of Canada’s national sport.

Dryden approaches the game from many different angles, from the professional and technical, to the cultural, the personal and the philosophical. Some of the most engaging sequences in The Game capture the experience of working as part of a team, from the often rollicking accounts of travel and locker room camaraderie, to the continuum from grueling physical commitment to the collective euphoria when teammates come together as one and strive for victory. Most intriguing are Dryden’s incisive reflections on the individual experience of and effects of being part of a team:

The great satisfaction of playing goal comes form the challenge it presents. Simply stated, it is to give the team what it needs, when it needs it, not when I feel well-rested, injury-free, warmed-up, psyched-up, healthy, happy, and able to give it, but when the team needs it.

The Game is one of five contenders for the 2012 rendition of Canada Reads, which seeks – through longlist and shortlist popular votes followed by a final round of debates with celebrity book advocates – to find the memoir, biography or work of literary non-fiction that would be meaningful for the entire country to read. Part of the lead-up to the debates in early February has included online chats on the CBC web site with the authors of the contending books. Dryden eloquently stick handled reader questions during his turn(2), and I was pleased to be able to pose this to him:

Q. Throughout The Game but especially towards the end of the book, I found your reflections on being an individual, being part of a team, and finding one’s individuality by being part of a team to be really resonant. Do you think that being part of a team in some form or another (sports, but also other activities, like music, etc.) should be a formative part of everyone’s upbringing?

A. It is always hard to find the mix that feels right about being an individual and being part of a group. Sometimes a group forces the best out in you; sometimes a group takes away what you most fundamentally and forces you into a role that isn’t you. But we will all live our lives in both circumstances, and we’d better find a way of learning how to be good at both. So, yes, I think it’s crucial to have those group and solitary experiences. And almost nothing now that is truly important gets achieved now by just an individual.

As I was rereading The Game in advance of the Canada Reads debates, it just so happens I was also rereading The Antagonist by Lynn Coady (yes, it’s that good – a discussion for a future review, I hope). The story of a troubled former hockey enforcer, Coady’s protagonist actually finds solace in the purity of the physical pleasure of the game and being part of a team. This line from The Antagonist certainly echoed what I was reading at the same time in The Game:

“team in the purest sense – when you’re as individual as you’ve ever been knowing you’re completely unalone. Completely with.”(3)

While its reflections on the essence of team and teamwork were most appealing to this reader, there are many other interesting layers and threads to The Game. Dryden’s childhood reminiscences are lively and charming, particularly of the uniquely configured backyard that made his home the destination for all the sports-loving neighbourhood children. The Game also purveys a hefty slice of sports history: a fabled sports franchise at a storied pinnacle, featuring and going behind the scenes with some of the sport’s greatest players and coaches. If you’re a fan and familiar with that era, the names and talents and signature moves will leap from the page. Even if you’re not familiar with them, Dryden creates a balance of veneration and down-to-earth insights around those superstars that will draw you in. As well, Dryden gives equal and respectful consideration to the sports journeymen and to others supporting the game behind the scenes that gives a well-rounded picture of how the sport is served up to its avid spectators.

Dryden’s pointed observations about the NHL’s rationale for tolerating violence (remember, this was first published in1983) are, sadly, still relevant today. In that regard, The Game is most assuredly not a sealed time capsule, but still part of the ongoing debate. As he summed it up:

The NHL theory of violence goes something like this: Hockey is by its nature a violent game. Played in an area confined by boards and unbreakable glass, by players carrying sticks travelling at speeds approaching 30 miles per hour, collisions occur, and because they occur, the rules specifically permit them, with only some exceptions. But whether legal or illegal, accidental or not, such collisions can cause violent feelings, and violent feelings with a stick in your hands are dangerous, potentially lethal feelings. It is crucial, therefore, that these feelings be vented quickly before anger and frustration explode into savage overreaction, channelled towards, if not desirable, at least more tolerable, directions. In essence, this is Freud’s “drive-discharge” theory of human aggression.(4)

… and as he responds:

The NHL is wrong … if Freud was right, anthropologist Desmond Morris is also right. As Morris believes, anger released, though sometimes therapeutic, is sometimes inflammatory; that is, by fighting, two players may get violent feelings out of their systems, or, by fighting they may create new violent feelings to make further release (more fighting) necessary. If Freud was right, the NHL is also wrong believing as it does that fighting and stick-swinging represent the only channels by which violent feelings can be released. Anger and frustration can be released within the rules, by skating faster, by shooting harder, by doing relentless, dogged violence on an opponent’s mind, as Bjorn Borg, Pete Rose and Bob Gainey do. If Freud was right and anger released is anger spent, then a right hook given is a body-check missed, and by permitting fighting, the NHL discourages determined, inspired play as retaliation.(5)

Dryden’s observations again are balanced. He posits with the passion of someone who has been literally in the midst of the collisions and skirmishes and their aftermath, and with the level-headed analysis and supporting arguments of the lawyer and politician he became after he left the sport.

Again, I was pleased to follow up with him on these contentious aspects of the sport during the Canada Reads online chat:

Q. I learned a lot about the evolution of how the game of hockey is played – the strategic, tactical and physical changes – from The Game. I think that should be a primer for anyone aspiring to play, to manage, to own a team, to make policy associated with hockey at any level. Do you feel anyone in the hockey world – amateur or professional – has a sense of that evolution and heeds today what you highlighted back in the 1980s?

A. I think all of us tend to forget our own histories. And history is particularly important now when we see all the head injuries and yet any suggestions as to changes is met with the answer – you can’t do that. That would be changing the nature of the game. If we knew that history, we would know that this game is always changing – once hockey was played 7-against-7 with no substitutions and until the 1920s without the forward pass. These things transformed how hockey is played and it is a much better game because of it. We are at a moment where we need to know we can change again, and again make hockey a better game.

By turns thoughtfully, almost coolly erudite (although maybe Don Cherry has also spoken about Freud’s “drive-discharge” theory of human aggression, and I just missed it because I mute Coach’s Corner) … and warmly heartfelt, The Game is a cornerstone Canadian work. It’s not a hermetically sealed and concealed time capsule, intriguing but frozen in time. It’s still current and relevant today.

Notes:

1. Maple Leaf Gardens time capsule offers peek at 1931
Conn Smythe’s son has theory of mysterious ivory elephant’s origin
CBC News (January 26, 2012)

2. Transcript of CBC Books live chat with Ken Dryden (January 5, 2012)

3. The Antagonist, by Lynn Coady (2011, House of Anansi Press), p. 118

4. The Game, by Ken Dryden (1984 edition, Totem Books) p. 189

5. The Game, by Ken Dryden (1984 edition, Totem Books) p. 190

See also:

Ken Dryden on how he writes

My reviews of other Canada Reads 2012 finalists: