Here are the books I read in 2010, with links to reviews where I have them. This is an exhaustive, all of list, not a best of list … although there are some “best of” in there … you can guess! It feels like it was a year of lively reads indeed.

1. Sink Trap – A Georgiana Neverall Mystery
   by Christy Evans

2. Matter
   by Meredith Quartermain

3. Invisible
   by Paul Auster

4. This is Water – Some Thoughts, Delivered on a Significant Occasion, about Living a Compassionate Life
   by David Foster Wallace

5. Man Gone Down
   by Michael Thomas

6. The Museum of Innocence
   by Orhan Pamuk

7. Awake
   by Elizabeth Graver

8. The Ordeal of Oliver Airedale
   by D.T. Carlisle

9. The Bishop’s Man
   by Linden MacIntyre

10. Outliers
    by Malcolm Gladwell

11. The Children’s Book
    by A.S. Byatt

12. Solar
    by Ian McEwan

13. The Last Woman
    by John Bemrose

14. Nox
    by Anne Carson

15. Chronic City
    by Jonathan Lethem

16. So Much For That
    by Lionel Shriver

17. The Sweetness at the Bottom of the Pie
    by Alan Bradley

18. Coal and Roses
    by P.K. Page

19. Pigeon
    by Karen Solie

20. Useless Dog
    by Billy C. Clark

21. The Certainty Dream
    by Kate Hall

22. The Heart is an Involuntary Muscle
    by Monique Proulx
    (translated by David Homel & Fred A. Reed)

23. The Imperfectionists
    by Tom Rachman

24. Migration Songs
    by Anna Quon

25. Grain
    by John Glenday

26. The Sun-fish
    by Eilean Ni Chuilleanain

27. 2666
    by Roberto Bolano

28. A Single Man
    by Christopher Isherwood

29. Night Work: The Sawchuk Poems
    by Randall Maggs

30. Far To Go
    by Alison Pick

31. Gould’s Book of Fish
    by Richard Flanagan

32. Fauna
    by Alissa York

33. Freedom
    by Jonathan Franzen

34. Sandra Beck
    by John Lavery

35. Annabel
    by Kathleen Winter

36. The Death of Donna Whalen
    by Michael Winter

37. Room
    by Emma Donoghue

38. Ghost Pine
    by Jeff Miller

39. L (and things come apart)
    by Ian Orti

40. The Bone Cage
    by Angie Abdou

41. Windstorm
    by Joe Denham

42. An Object of Beauty
    by Steve Martin

43. Burley Cross Postbox Theft
    by Nicola Barker

I start 2011 with the following books started in 2010 and still in progress:

• Voltaire’s Bastards
  by John Ralston Saul

• Maggot: Poems
  by Paul Muldoon

• Patient Frame
  by Steven Heighton

• The Mill on the Floss
  by George Eliot

In 2009, I read 52 books, inspired a lot by great discussions and suggestions I found amongst the book blogging and reader community on Twitter. I didn’t match my 2009 total – not even close, really … but then, I have to ask again (as I did a year ago) are total numbers of books or pages really the point? What do you think?

Dangerously dedicating oneself, body and soul – two contrasting views of elite performance in Black Swan and The Bone Cage

‘Tis the season for awards buzz that sparks as one year wanes, and blazes into the new year. In the movie realm, Black Swan is igniting that Academy Award spark. The movie is a psychological thriller about a young ballerina sacrificing and striving for the pinnacle role of her profession. On another level, the story of actress Natalie Portman’s physical and mental dedication to making the role authentically her own has been intriguing and even inspiring. As reviewer Roger Ebert observed:

“The tragedy of Nina, and of many young performers and athletes, is that perfection in one area of life has led to sacrifices in many of the others. At a young age, everything becomes focused on pleasing someone (a parent, a coach, a partner), and somehow it gets wired in that the person can never be pleased. One becomes perfect in every area except for life itself.”(1)

‘Tis also the season for continued buzz in the Canadian literary realm – a buzz that revs up for the fall literary awards – and it’s fair to say that buzz is just as intoxicating for many as the Oscars. Really. Intriguingly, there are some striking parallels between Black Swan and one of the Canada Reads contenders.

The Bone Cage by Angie Abdou is about young and not-so-young elite athletes striving for their own pinnacle, a place on the Canadian Olympic team. The story is traced compellingly through the alternating and eventually intersecting trajectories of speed swimmer Sadie and wrestler Tom (Digger to family, friends and teammates). Abdou draws persuasively on her own competitive sports background (she swims at the Masters level, her brother was an Olympic wrestler) to build as convincing and approachable a story as Black Swan is fascinating but utterly rarified.

Black Swan unfolds against a stark black and white backdrop, splashed with highly symbolic pink and blood red, and keeps up that striking visual assault from beginning to end. The Bone Cage uses different and instantly more pervasive sensory cues, where the book’s pages seem almost redolent of sweat and chlorine from the outset. From the beginning, Abdou takes you under the skin of her singular characters and taps into how they’re feeling in every sense of the word, from the physical satisfactions and strains to the emotional exhilaration and tribulations. From the beginning, you take in the flesh of the dancers in Black Swan, both at its most beautiful and at its most damaged and grotesque, and you see their conflicts, but it’s all surface. While this is perhaps comparing apples and oranges, it could also be said this is a fair contrasting of the accessibility of the storytelling and believable forging of the characters in the two works, regardless of the medium. Black Swan is gorgeously, frostily played out at arm’s length, whereas The Bone Cage draws you in warmly.

Ebert’s observation about Black Swan points out that the elite performer strives to please, and notable in that comment is that the performer doesn’t seem to have the actual support, emotional or otherwise, of others. Nina literally and/or figuratively (really, it’s hard to tell – this is a psychological thriller and so I don’t think this is a spoiler) kills off everyone who could possibly offer her solace and support in her quest, not only making her victory her own in the end, but making it *exclusively* her own. In vivid contrast, The Bone Cage delves deeply and convincingly into the team dynamics, friendships and family relationships that do inspire the athletes to please, but even more, provide the athletes with invaluable safety nets on many levels. In Black Swan, perhaps Barbara Hershey’s tragically botoxed face elicits some sympathy as Nina’s well-intentioned if claustrophobically supportive mother, but she can’t hold a candle to the earthy, flesh-and-blood presence of Sadie’s stalwart grandmother and Digger’s slightly embarrassing but steadfast father.

It’s Sadie’s palpable connection to her grandmother that best captures the dichotomy of the body’s power and fragility, and serves as a harbinger of Sadie’s own unexpected confrontation with her physical, emotional and even spiritual limits. In Black Swan, bodily fragility or threats to bodily supremacy create downright horror, but the challenges Sadie, Digger and their respective teammates face are couched with depth, subtlety and resonances such that anyone, of whatever physical prowess, can feel some empathy.

Both Black Swan and The Bone Cage explore the relationship between elite performers and their “shelf life” and constrained time in the spotlight, and their consciousness of being part of a competitive continuum of those preceding and following. And again, Black Swan‘s assessment of that reality is tinged with horror, while The Bone Cage confronts it, admittedly, with a mix of disdain, anxiety and resentment, but presents everyone on that continuum (such as Sadie’s predecessor Lucinda and heir apparent Katie) with subtlety and understanding.

Both Black Swan and The Bone Cage make sorrowful classical references to the body as a type of prison to be transcended. The obvious foundation of Black Swan is the spell cast in Tchaikovsky’s Swan Lake – it’s integral to the story, it is the story. By contrast, one minor shortcoming of The Bone Cage (a multi-layered reference to battle armor in Beowulf) is that attempts to give the intersecting stories some additional heft with classical references feels uncomfortably tacked on rather than an organic part of an already impressive whole. The Browning, Yeats and even the Ethel Wilson references are all technically congruous with Sadie’s background, but they’re all rather superfluous and don’t really add to the richness of the story.

Nor does the fleeting reference to Tom Buchanan add – well, what was it supposed to add to the ending of The Bone Cage? But before you can accuse Abdou of taking it all too seriously, she ends on a note that is both earthy and whimsical. I wish the same could be said for the end of Black Swan.

Black Swan‘s Grand Guignol ending is chillingly drenched in perfection in every sense, and that perfection is explosive but also finite. You’ve been entertained, but you’re glad it’s over, and you feel no need to wonder about the obsessively dedicated ballerina you’ve observed with fascination, but have really not come to know. The Bone Cage‘s wistful ending is ambiguous, tinged with hope and various possibilities. You wonder what happens next for the young athletes. (Maybe Abdou will consider updating us at some point …?) Black Swan is a twisted confection, but The Bone Cage is the real deal.

I would recommend both the movie and the book, truth be told. As I remarked to a friend recently, though, “I would recommend Black Swan … I just don’t know who I would recommend it to …” No such problem with The Bone Cage. I would recommend it, too, and unreservedly to anyone who enjoys a good, engaging story with believable characters that either welcomes you with credibility and authenticity to a world you might know, or introduces you unthreateningly to a world you might not.

Notes:

1. Black Swan review by Roger Ebert
http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20101201/REVIEWS/101209994

L (and things come apart), by Ian Orti, is a haunting novella about a disintegrating marriage, a disintegrating mind, or maybe both. L (and things come apart) is an extended prose poem about a new relationship springing from the ashes of a lacerated and incinerated relationship. L (and things come apart) is all this and more.

Cafe owner Henry seems to acquiesce to being cuckolded and humiliated by his nameless wife, a museum director, who invites her lovers to interminable dinner parties in the home she shares with Henry. Henry seeks solace in longer hours at his cafe, where he enjoys the company of his quirky customers and rents an upstairs apartment to an attractive, enigmatic woman named L. L is quietly mercurial and troubled, and possibly being pursued. Henry is attracted to her and wants to help her, but perhaps cannot, as his world seems to be figuratively and literally crumbling.

Orti has constructed a dark, enticingly murky tale that might or might not be a romance. The book is deceptively rich and complex in form and imagery despite its comparative brevity. Matryoshka dolls of story fragments and images are repeated and reopened within other stories and images. New life and stories rise out of the ashes of previous lives and stories. Old rooms and houses renovate themselves magically overnight. Plants rapidly overgrow a burned-out cafe (is this real or imagined?), possibly out of season when the seasons seem to be out of sync to begin with … and on and on.

As Henry struggles to keep his modest business operating, and his modest and increasingly fragile psyche functioning, the city around him is tumbling into disarray. Is there a transit strike going on, or has the climate come irreparably unhinged and the citizenry is banding together and protesting? And what about the mammoths?

Enormous impossibilities marching towards them one large impossible step at a time: elaborately decorated, fully tusked, long-haired mammoths. How many he couldn’t tell, but they were in rows of two, surrounded on either side by the people of the city. Their bodies swayed with each imposing step. Henry searched people’s faces for some explanation or at least a sign of terror, but he found neither.”

Is Henry indeed coming apart – but gently so, hence the absence of terror over the improbable things happening around him – and in the process, are his images and memories of the key people in his life also shattering and fragmenting? In the end, perhaps his cruel, unfaithful wife is not what she seems. Are she and L and a mysterious other woman at the dinner parties all facets of the same person? Orti leaves enough shimmering clues and suggestions that each reader can draw his or her own conclusions.

As it culminates, L (and things come apart) reveals its circular structure, similar to the likes of Under the Volcano, with which it shares a hypnotic quality. This is a book that will be something new and fresh with each re-reading, which it deliciously invites.

Thank you to Invisible Publishing for providing a review copy of L (and things come apart), by Ian Orti.

A brief synopsis of The Death of Donna Whalen would seem simple on the surface, and would also seem to separate swiftly those who would read such a story from those who would not. Based on a true case, the story is about a spirited but troubled young woman who meets a premature and very violent end. Her troubles prior to her death included dealing in behaviours and with people who were truly or reputed to be dangerous. It would seem clear who was responsible for her death. End of a cautionary tale, grimly told …?

Not at all. Drawing on a daunting array of records from the real-life trial of the suspected murderer – court transcripts, police wiretaps, police and news reports, letters, diary excerpts and more – author Michael Winter has distilled them into a singular account of a murder case and its attendant tragedy that is not at all what it seems. Its transcendent approach to capturing this story should and will also draw in readers to the book who might normally eschew “true crime” fare.

Winter’s innovation is that he has created an unlikely Greek chorus out of the voices that emerge from the towering stack of material that apparently lived at the back of his closet for a number of the years during which he grappled with how to tell the story. Further, out of the cacophony of confused, fearful and duplicitous voices telling their versions of Donna Whalen’s story and fate, Winter forges a distinct voice of his own. The alchemy is that he takes first person accounts, compresses them, and sensitively and acutely converts them to the third person, while still retaining accents, inflections and resonances that create an unforgettable collective voice that haunted this reader in her dreams. The result is simultaneously intimate, distancing and authentic, making the story that much more compelling. The final effect also likely replicates the maddening conundrum that law enforcement, investigators and ultimately justice faced and struggled with in arriving at their flawed conclusions.

Many of the relationships between voices and figures in the story are not explained until the end of the book. While this creates some confusion, it also adds to the effect of there not seeming to be a single, reliable voice telling Donna’s story. The reader struggles with her own trust and skepticism – which can change in waves from character to character, and from moment to moment with given characters – that is almost visceral, and therefore that much more intensely engaging.

Winter himself, as well as reviewers, have cited Truman Capote’s In Cold Blood as a point of reference and comparison for The Death of Donna Whalen. While Donna is equally groundbreaking in form, the book is really closer in spirit, form and voice to Kenneth J. Harvey’s Inside. Donna‘s collective voice is as pervasive, haunting and mercurial as Inside‘s beleagured Myrden.

Winter as author and narrative voice is often charmingly, gregariously present in his previous books, such as This All Happened and The Architects Are Here. His presence in The Death of Donna Whalen is deceptively influential, but also respectfully circumspect. It will be interesting to see what Donna does or does not do with his voice in future works. Even if Donna stands alone in his oeuvre … well, it truly stands alone, in every good sense of the phrase.

See also

Michael Winter recently talked most revealingly about his new book “The Death of Donna Whalen” on CBC Radio’s The Next Chapter
http://www.cbc.ca/thenextchapter/2010/10/michael-winter.html

Are there names we hold sacred in the CanLit canon, that must always stand alone? With all genuine and due respect, would it be profane to, say, utter anyone’s name in the same breath as the name of Alice Munro … especially if that writer has “punk” and “zine” in his literary curriculum vitae? If it is, what follows is a profane review …

Ghost Pine: All Stories True offers up “all stories true” from the life of author Jeff Miller, covering 13 years from the 1990s to almost the present. The stories are compiled from the best of his long-running zine of the same name. The stories capture Miller’s youth in suburban Ottawa in the late 1990s, to his largely economy class travels across Canada and North America, to his current home in Montreal.

Miller’s bleak or just bland urban and suburban settings are gritty and seemingly hard-edged at first, but as the stories progress (and sometimes that progress is charted over mere words, sentences, perhaps a paragraph), most are redeemed by consideration, keen observation, kindness and often inexplicable optimism. What in the world could that possibly have in common with Alice Munro’s oeuvre, where rural and small town settings often belie heartbreak, malice and even menace under a picture postcard, pastoral surface? Both are subversive, in their way, for so clearly undermining what the carefully crafted surfaces – semi-rural southwestern Ontario in Munro’s case, downtown or suburban Toronto, Montreal, Ottawa, Winnipeg, Edmonton et al in Miller’s case – would seem to depict. Both imbue their settings and characters with quiet, almost mundane solidity, but, *because* they’re quiet, modest and mundane, are therefore profoundly authentic situations and people with which we can relate.

Miller’s bike couriers, security guards, struggling musicians and artists, mildly and sheepishly disaffected high school students, not to mention the person and persona of Miller himself (because all of his stories are true, remember) might seem depressed, unmotivated, ready to wreak havoc or to just give up. But they all keep going in one fashion or another and they all strive to learn and expand their horizons beyond their immediate circumstances and experiences, best illustrated by the centrepiece set of stories and fragments about “The Social Justice Club”, where a loosely assembled group of misfits strives to find a cause or purpose beyond their day-to-day high school routines. Just as it is charmingly surprising to see these teenagers struggling to understand the issues associated with East Timor or Burma, or the value of becoming a vegetarian, it is almost startling and simultaneously heartwarming to observe a young person ungrudgingly helping his wheelchair-bound grandfather to the bathroom, and then listening not only patiently but with fresh appreciation to an oft-told reminiscence.

“I laughed, not with the childish glee I did the first time I heard the story many years before. But today it was actually kind of funny.

My grandfather wiped a tear of joy from his eye.”

The all true Ghost Pine stories have the intimacy of a handwritten, manually cut and pasted, collated and assembled publication – as they should. That homemade aesthetic does not, however, suggest that there is any compromise in sophistication in the storytelling. That’s again where I think the Alice Munro comparison is sound. Miller’s Ghost Pine stories have the same finely honed care and craft as Munro’s plainspoken words of bottomless depth and possibility. Both speak simply and resonantly of familiar people, locales and experiences, even though they are widely divergent on the surface.

Thank you to Invisible Publishing for providing a review copy of Ghost Pine, by Jeff Miller.

Room by Emma Donoghue offers the not-faint-of-heart reader the hermetic and troubling conceit of living inside the head of a five-year-old boy who has only known captivity in an eleven-foot-square shed. That captivity is shared with his mother, who has been in what the child Jack calls Room for seven years. She resourcefully manages to make their confined world one of surprising vibrance and great affection. Their existence is periodically interrupted by visits from his Ma’s captor, but the child is largely shielded from those visits and interaction with that menacing visitor, as much as is possible in the constrained space of that tiny world.

It isn’t really a spoiler to reveal that the child and his mother eventually manage to escape Room. It’s perhaps more of a spoiler to give away how happy (or not) they are to escape and return to (in the mother’s case) and enter for the first time (in Jack’s case) the Outside world.

The greatest strength of this book is that it is imbued with the authentic voice of a child, spiked with idiosyncrasies both normal for the narrator’s age, and with those which could be reasonably and realistically attributed to his unusual upbringing, such as precocious vocabulary or other more developmentally stunted perceptions. The question of whether the book strains what is believable and unbelievable can simply be set next to recent headlines for such real-life stories as those of Elisabeth Fritzl and Jaycee Dugard. The question of whether the book strains what is and isn’t possible is answered step by step with logical explanations for how Ma and Jack are kept confined and isolated.

So then, the book is plausible and sound in terms of premise, structure and tone. So why does it so strain then with respect to emotional resonance … or at least strains so for this reader?

Quite simply, if Donoghue had said less, with fewer detailed and sometimes rambling specifics, the book would have had greater emotional depth and appeal. Jack’s various experiences of and observations of the Outside world, while clever, undoubtedly well researched and offering new perspectives on mundane day-to-day things that we all take for granted, quickly become overkill. It likely replicates the sensory overload that Jack also experiences, but it’s just tedious for the reader. By the time Jack stumbles across some TV commentators analyzing what he symbolizes, the profundity of what he and his mother have gone through has been hammered home too hard and verges into reality TV territory – which, sadly, the real-life versions of this story do, too. It doesn’t make these episodes any less appalling or heartwrenching, but it makes you want to shut them all off.

Yes, Room pushes all the right buttons, but that’s just it: I felt like my buttons were being pushed, and I resisted.

It’s perhaps hokey to say in a review that you really wanted to like a book or movie or whatever (and heaven knows I’ve said it before). I *did* want to like Room and maybe had expectations I would based on the wave of glowing reviews (blog/tweet/civilian as well as media/industry), literary award nominations and outrage at nominations some felt this book additionally deserved.  Many euphoric reviews led me to believe that I would be up all night reading this book in one gulp, regardless of how I felt, but that wasn’t my experience. I found myself labouring to finish it, even bored at times. I appreciate the obvious craft and thought and careful validation that went into this book, but a more impressionistic and less specific account would have left room for the reader – reader by reader, to each reader’s capacity and taste, to flesh it out in an emotionally authentic fashion. Perhaps Donoghue’s choice of narrator doesn’t make that possible however, as extraordinary young Jack is wired by his age and experience to report everything copiously and literally.

Even a brief summing up of the story of Annabel is by no means simple. A child is born in a remote Labrador village in the late 1960s. The child is born a hermaphrodite, bearing both male and female reproductive organs. Three people know how the child came into the world: the child’s parents and a woman who is a trusted family friend who attended at the birth. The three people have different perspectives then and throughout the child’s life as to how the child should be raised. However, a decision is taken early in the child’s life to raise him (well, that gives it away, doesn’t it?) one way, and to keep the other part of his identity a secret, even from him.

Not unexpectedly, the decision has repercussions: some immediate, some longer term, some clearly and directly affecting and making an impression on the child Wayne, and some having more effect or creating more strains or complications for the people around him/her. In many ways, Wayne’s childhood is one of growing and thriving in a curious, unique but generally emotionally and physically secure fashion, with the firm but divergent nurturing of the three loving people who know his complete story. He also flourishes with the friendship and affection of a singular female friend. That friend’s name is Wally, short for Wallis, which echoes a famous Wallis who, ironically, was also rumoured to be intersex … which, of course, only added to her mystique.

Author Kathleen Winter populates Wayne’s world with images and influences that fill out the fraught, magical world of his/her existence like so many swirling snowflakes, but also testify symbolically to the very particular beauty of his not fully realized duality. Stars and constellations, statistics and synchronized swimming are all literal interests of Waynes, but also manifestations of and analogies for the symmetries and mysteries of which he/she is comprised. They also hint at how those symmetries are not fully realized and balanced.

“You can’t be synchronized if you’re by yourself. Imagine synchronizing your watch to the right time if it is the only watch in the world.”

Wayne’s fascination with the idea of living on (rather than crossing) a bridge, and Wayne and Wally’s fanciful, fragile and temporary refuge, a fort built and poised delicately over a creek … Annabel brims with vivid images that capture memorably Wayne’s unwitting suspension between worlds, genders and selves.

Perhaps most potent of all the elements in Annabel are those of voices literally and figuratively suppressed and lost, then regained and found. Wayne/Annabel learns in very dramatic and specific fashion what he/she is comprised of, and then is tested most cruelly only as he/she is gaining a true sense of self and voice. Similarly, long lost and then found friend Wally fights to regain her voice in a long fought battle of a different kind. For both, their new voices …

“… came from a different person, a person who had learned how to build a voice from the ruins up, a person who had lost everything and had begun from having worse than nothing.”

The weekend I devoured Annabel, I was also reading an absorbing essay by the award-winning Canadian poet A.F. Moritz, entitled “What Man Has Made of Man / Can poetry reconnect the individual and society?” In many respects, Moritz’s essay is a reflection on the differences between solitude (a good and contemplative state), communion/community and isolation.

“The formative struggle of the modern individual’s life is to find a place in society …There’s no such division as the one usually made, between inward and private life on the one hand, political and economic life on the other. It’s a matter of life and death. Isolation is death. A society that isolates its individual members from itself, placing them in enforced solitude, or that gives them only a simulacrum of communion, is deathly, and it is deathly because what it believes in is death. Communion on the other hand is life and comes out of belief in life.”

While Wayne/Annabel’s future is not defined in the end, that future’s prospects are presented with hope nonetheless. Wayne/Annabel is moving steadily from isolation to communion and to a comfortable and rightful place in a world of his/her choosing.

Kathleen Winter has seamlessly woven compelling and organic layers of themes and symbols with, at its foundation, a heartfelt story of loving steadfastly and unconditionally, and striving to find one’s place and identity while retaining respect for others.

John Lavery’s Sandra Beck is entrancing, at times infuriating and ultimately unforgettable. This applies to both the mercurial, enigmatic titular character and the book of which she is the beating heart, the central obsession and the puzzling, then gaping, then heart wrenching absence.

What we do know fairly factually about Sandra Beck is that she is ravishingly beautiful, musically gifted, an indefatigable administrator for the Montreal Symphony and equally tireless about perambulating through the world on fiercely wielded crutches as the result of losing a foot to bone cancer. The impressionistic portrait of the spirit of Sandra Beck is painted by the two people who love her most, and perhaps know her least: her jittery, intense, word-besotted teenaged daughter Josee, and her passionately devoted but bewildered husband, Montreal police chief and television personality Paul-Francois (PF) Bastarache, who has known and been fascinated by Sandra since they were teenagers. Josee’s and PF’s collective composition of Sandra Beck is both compelling and contradictory.

Josee sees Sandra as her consummate and ultimate “happiness”, but one that radiates only cold and is often simply not there. Josee’s obsession with her mother overshadows everything, so much so that the girl’s troubling sexual initiation seems like a peculiar afterthought, something with medical consequences that she simply must recover from so that she can continue to strive to please her mother.

Misunderstandings between francophone and anglophone culture, obdurate silences between Catholic and Protestant faiths, and odd miscommunication and misreading between French and English (the misapprehended phrase “Visit Bill” stands out vividly) all seem to be precursors of the more profound disconnection between Sandra Beck and her husband PF. While PF struggles to understand Sandra and give her personal and psychic space, while still feeling consumed by her powerful presence and wanting to support her, particularly during her recovery from the surgery to remove her foot, he despairs: “Sometimes I wonder if I’m listening in the same language she’s talking in.”

The first quarter of the book, told from Josee’s point of view, is uneven, somewhat queasy and seemingly a little too captivated with its own wordplay, although that could be as much an accurate depiction of a bright, troubled teenager as it is lack of discipline on Lavery’s part. It’s worth pointing out, however, as that may be the point in the book where some readers might give up on the book. However, Sandra Beck swiftly gains momentum and gathers emotional resonance as soon as PF’s voice takes over.

PF traces tenderly the milestones of the life of the woman he has known “off and on” (an odd but increasingly poignant phrase) throughout his life. He starts to mingle those memories with equally striking reminiscences about his career in law enforcement. PF is haunted by the victims of and suspects in crimes he has assisted in investigating, and that becomes entwined with an almost overpowering sense of Sandra Beck’s presence in an empty car seat as PF drives and unspools stories and memories in an extended scene. PF’s revelatory memory of the real-life École Polytechnique massacre is devastating, and then that shock builds to a stunning, emotionally lacerating crescendo – yes, the perfect musical metaphor to link to the mysterious and beloved Sandra Beck.

Although it is juxtaposed with thoughts and memories of his wife, PF’s contemplations about his life in law enforcement unto themselves vividly capture the impact of violent crime on those who examine crime scenes and help seek justice for victims. In contrast to the numbing litany and inventory of death in Roberto Bolano’s 2666, which has its own kind of power in sheer numbers but is grindingly inhuman, PF’s insights are shockingly intimate, but humanizing in that very unsettling intimacy. As he observes: “Having spent the day tramping through the swamp of the vilest human conduct imaginable, he was in an over-extended state of brittle nervousness which neither gentility nor prayer had managed to appease.”

What Sandra Beck the book seems to conclude is that neither love nor desire nor compassion, nor even acute powers of vigilance and observation, are ever going to give you the complete picture of another person, or solve the mystery that is another human being. However, this strangely bewitching book manages to couch that in a way that is not pessimistic. Although we have not learned as much as we would like to about Sandra Beck, we have learned a great deal about passionate, unconditional love that does not need to know all to love all.

Thank you to House of Anansi Press for providing a review copy of Sandra Beck, by John Lavery.

Early in his own reading of Fauna, a panelist with the National Post Afterword Reading Society referred to the urban wild settings in the book as “a kind of subconscious of the city”.¹ I latched on to that observation about one-third of the way through my own reading of Alissa York’s fine novel. I found that characterization of Toronto’s Don river, valley and ravines as the subconscious, the undercurrent and the foundation of this haunting urban wildlife love story gorgeously informed my Fauna experience. “Characterization” is probably a particularly apt word, as the urban wild settings are almost a collective character unto themselves. York sensitively and unforgettably weaves the presence of this character throughout a tale of damaged souls struggling to survive in a large city and in the world in general.

Fauna’s characters, separate and with seemingly little in common initially, cross paths, converge and ultimately connect against a background that runs the gamut from the office towers of the city’s intimidating financial district, to the sweeping roadways and busy streets, to the lush, labrynthine, simultaneously welcoming and sinister forests, bushes, creeks and ravines. York deftly handles multiple voices and perspectives, including those of a federal wildlife officer on stress leave, an auto wrecking company owner and self-taught wildlife rescuer and sanctuary manager, a homeless teenager and her faithful dog, a veterinarian specializing in animal rehabilitation, a young military veteran and a controversial blogger who might or might not be on a deadly mission. Each character is troubled in one form or another in the present, but can also trace many current tribulations and challenges to dark chapters and influences in their respective pasts. They gravitate to each other through their love of and connection to nature and animals. In one case, where that love and connection do not exist, the character hostile to nature is tragically isolated.

York’s facility with balancing different voices and points of view extends beyond the human. The sections seen through the eyes of various urban wildlife are sufficiently convincing and germane to the story and its themes of personal and collective survival. This multi-layered approach is only occasionally an impediment to this otherwise engrossing novel when some of the switches are made a little too quickly, when you’d perhaps rather spend just a few more pages or even paragraphs with a specific character or situation.

Do I find this book resonates so much because the Toronto backdrop is literally so close to home? Perhaps, but I hope it would similarly strike a chord with any citizen sensitive to that same urban wild undercurrent in his or her own city.

Notes:

1. The Afterword Reading Society (National Post)

I’m really enjoying how Alissa York manages to incorporate the wilds of the Don Valley and Toronto’s ravines in this novel. To me those areas are a kind of subconscious of the city and it’s just more than appropriate that Fauna’s characters spend their time moving in and out of it.
Ron Nurwisah, National Post arts editor

2. The terror within (The Globe and Mail)
When humans respond with fear to a threat from a predator, they should remember who the most dangerous animal on the planet is
Essay by Alissa York

I think [American writer and naturalist] Barry Lopez was right: While a cautious approach to any wild animal is only sensible, a phobic response is less about the beast in the underbrush than it is about the beast within. When we refuse to look inward – when we fix our fear on the head of a coyote or any other fellow predator – we miss the opportunity to face up to our own demons.