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NO

T FO

R RE

SALE

HOOKED ON CANADIAN BOOKS

The Good, the Better, and the Best Canadian Novels since 1984

T. F. RIGELHOF

HookedOnCdn-PR7_HookedOnCdn-PR4 12/02/10 2:09 PM Page iii

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NO

T The Good, the Better,

NO

T The Good, the Better,

and the Best Canadian Novels since

NO

T and the Best Canadian Novels since

T. F. RIGELHOFNO

T

T. F. RIGELHOF

FOR

FOR HOOKED ON

FOR HOOKED ON

CANADIAN BOOKSFO

R CANADIAN BOOKS

The Good, the Better, FOR

The Good, the Better, RE

SALE

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LE

Copyright © 2010 T. F. RigelhofThis edition copyright © 2010 Cormorant Books Inc.

No part of this publication may be reproduced, stored in a retrieval system or transmitted, in any form or by any means, without the prior written consent of the publisher or

a licence from The Canadian Copyright Licensing Agency (Access Copyright). For an Access Copyright licence, visit www.accesscopyright.ca or call toll free 1.800.893.5777.

The publisher gratefully acknowledges the support of the Canada Council for the Arts and the Ontario Arts Council for its publishing program. We acknowledge the

financial support of the Government of Canada through the Book Publishing Industry DevelopmentProgram (BPIDP) for our publishing activities.

Printed and bound in Canada

library and archives canada cataloguing in publication

Rigelhof, T. F.

Hooked on Canadian books : the good, the better, and the best Canadian novels since 1984–2009 / T.F. Rigelhof.

Includes bibliographical references and index.

isbn 978-1-897151-75-4

1. Canadian fiction (English)—20th century—Book reviews. 2. Canadian fiction (English)—21st century—Book reviews. 3. Canadian fiction (English)—20th century—Bibliography.

4. Canadian fiction (English)—21st century—Bibliography. 5. Best books—Canada. i. Title.

ps8187.r44 2010 c813'.5409 c2009-906869-9

Cover art and design: Angel Guerra/ArchetypeInterior text design: Tannice Goddard/Soul Oasis Networking

Printer: Friesens

The text of this book is printed on 100% post-consumer waste recycled paper.

cormorant books inc.215 spadina avenue, studio 230, toronto, on canada m5t 2c7

www.cormorantbooks.com

SW-COC-001271

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. Canadian fiction (English)—

PREV

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. Canadian fiction (English)—. Canadian fiction (English)—

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. Canadian fiction (English)—. Canadian fiction (English)—

PREV

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. Canadian fiction (English)—21

PREV

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21

ps8187.r44 2010 c813'.5409 c2009-906869-9

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ps8187.r44 2010 c813'.5409 c2009-906869-9

Cover art and design: Angel Guerra/Archetype

PREV

IEW

Cover art and design: Angel Guerra/ArchetypeInterior text design: Tannice Goddard/Soul Oasis Networking

PREV

IEW

Interior text design: Tannice Goddard/Soul Oasis Networking

The text of this book is printed on

PREV

IEW

The text of this book is printed on

NO

T Printed and bound in Canada

NO

T Printed and bound in Canada

library and archives canada cataloguing in publication

NO

T library and archives canada cataloguing in publication

Rigelhof, T. F.

NO

T Rigelhof, T. F.

Hooked on Canadian books : the good, the better, and the best

NO

T Hooked on Canadian books : the good, the better, and the best Canadian novels since

NO

T

Canadian novels since 1984–2009

NO

T

1984–2009

Includes bibliographical references and index.

NO

T

Includes bibliographical references and index.

isbn 978-1-897151-75-4 NO

T

isbn 978-1-897151-75-4

. Canadian fiction (English)—NO

T

. Canadian fiction (English)—. Canadian fiction (English)—N

OT

. Canadian fiction (English)—

FOR

For an Access Copyright licence, visit www.accesscopyright.ca or call toll free

FOR

For an Access Copyright licence, visit www.accesscopyright.ca or call toll free

FOR

The publisher gratefully acknowledges the support of the Canada Council for the Arts

FOR

The publisher gratefully acknowledges the support of the Canada Council for the Arts and the Ontario Arts Council for its publishing program. We acknowledge the FO

R and the Ontario Arts Council for its publishing program. We acknowledge the

financial support of the Government of Canada through the Book Publishing Industry DevelopmentFOR

financial support of the Government of Canada through the Book Publishing Industry DevelopmentProgram (BPIDP) for our publishing activities.FO

R Program (BPIDP) for our publishing activities.

Printed and bound in CanadaFOR

Printed and bound in CanadaFOR

RESA

LE

RESA

LE

Cormorant Books Inc.

RESA

LE

Cormorant Books Inc.

No part of this publication may be reproduced, stored in a retrieval system or transmitted, RESA

LE

No part of this publication may be reproduced, stored in a retrieval system or transmitted, in any form or by any means, without the prior written consent of the publisher or RE

SALE

in any form or by any means, without the prior written consent of the publisher or a licence from The Canadian Copyright Licensing Agency (Access Copyright). RE

SALE

a licence from The Canadian Copyright Licensing Agency (Access Copyright). 1RE

SALE

1 800RESA

LE

800RESA

LE

For Judith Mappin, her co-owners,

and the staff of The Double Hook Bookstore;

and in memory of Norah Bryant,

Westmount Public Library's Chief Librarian,

1962–1982.

And, as always, for Ann, my constant companion.

HookedOnCdn-PR7_HookedOnCdn-PR4 12/02/10 2:09 PM Page v

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NO

T And, as always, for Ann, my constant companion.

NO

T And, as always, for Ann, my constant companion.FO

R FO

R For Judith Mappin, her co-owners,

FOR For Judith Mappin, her co-owners,

and the staff of The Double Hook Bookstore; FO

R and the staff of The Double Hook Bookstore;

and in memory of Norah Bryant, FO

R and in memory of Norah Bryant,

Westmount Public Library's Chief Librarian,

FOR

Westmount Public Library's Chief Librarian,

1962–1982.FOR

1962–1982.

And, as always, for Ann, my constant companion.FOR

And, as always, for Ann, my constant companion.RE

SALE

RESA

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CONTENTS

Introduction 1

Getting Hooked on Canadian Books 13

READING BY ASSOCIATION: Kompatibilität and Novels of Friendship 21

ANNALS OF OURLIT I: Shelving Books: Alberto Manguel’s 23

The Library at Night (2006)

Zoe Whittall, Bottle Rocket Hearts (2007) 29

Heather O’Neill, Lullabies for Little Criminals (2006) 30

and Christine Pountney, Last Chance Texaco (2000)Miriam Toews, A Complicated Kindness (2004) 33

Gale Zoë Garnett, Visible Amazement (1999) 34

Trevor Ferguson, Onyx John (1985) 35

Terry Griggs, Thought You Were Dead (2009) 38

Elizabeth Ruth, Smoke (2005) 40

Joan Barfoot, Exit Lines (2008), Luck (2005), Critical Injuries (2001) 42

Michael Ignatieff, Scar Tissue (1993) 48

Hugh Hood, Near Water (2000) 49

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Bottle Rocket Hearts

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Bottle Rocket Hearts

Heather O’Neill,

PREV

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Heather O’Neill, Lullabies for Little Criminals

PREV

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Lullabies for Little Criminals

and Christine Pountney,

PREV

IEW

and Christine Pountney, Miriam Toews,

PREV

IEW

Miriam Toews, A Complicated Kindness

PREV

IEW

A Complicated Kindness

Gale Zoë Garnett,

PREV

IEW

Gale Zoë Garnett, Trevor Ferguson,

PREV

IEW

Trevor Ferguson, Terry Griggs,

PREV

IEW

Terry Griggs, Elizabeth Ruth,

PREV

IEW

Elizabeth Ruth, Joan Barfoot,

PREV

IEW

Joan Barfoot, Michael Ignatieff,

PREV

IEW

Michael Ignatieff, Hugh Hood,

PREV

IEW

Hugh Hood,

NO

T N

OT Getting Hooked on Canadian Books

NO

T Getting Hooked on Canadian Books

Kompatibilität

NO

T

KompatibilitätShelving Books: Alberto Manguel’s

NO

T

Shelving Books: Alberto Manguel’sThe Library at Night N

OT

The Library at Night (2006)NO

T

(2006)

Bottle Rocket HeartsNO

T

Bottle Rocket Hearts

FOR

FOR

RESA

LE

Howard Engel, Memory Book (2005) 51

Brad Smith, Big Man Coming Down the Road (2007), 52

One-Eyed Jacks (2000) M. T. Kelly, Save Me, Joe Louis (1998), A Dream Like Mine (1987) 55

John Harris, Small Rain (1989) 57

Paul Quarrington, Galveston (2004) 59

Wayne Tefs, Red Rock (1998) 61

Carol Shields, Swann (1987) 63

George Elliott Clarke, George & Rue (2005) 64

ANNALS OF OURLIT II: Matt Cohen and After 67

Douglas Coupland, Duet: Microserfs (1995) & JPod (2006) 73

Russell Smith, The Princess and the Whiskheads (2002) 76

C. S. Richardson, The End of the Alphabet (2007) 79

Timothy Taylor, Stanley Park (2001) 81

Michael Helm, The Projectionist (1997) 82

Michael Winter, Duet: This All Happened (2000) & 83

The Big Why (2004); The Architects Are Here (2007)Lisa Moore, Alligator (2005) 86

Trevor Cole, Norman Bray in the Performance of His Life (2004) 88

Ray Robertson, Moody Food (2002), Gently Down the Stream (2005) 91

Bruce MacDonald, Coureurs De Bois (2007) 94

Ian McGillis, A Tourist’s Guide to Glengarry (2002) 95

ANNALS OF OURLIT III: Stephen Marche, “CanLit hates youth, 98

says young author”

READING AND COMING TO TERMS WITH THE PAST: 103

Vergangenheitsbewältigung and Novels of KnowledgeANNALS OF OURLIT IV: La Kermesse: Daniel Poliquin’s A Secret 107

Between Us (2007)Joseph Boyden, Three Day Road (2005) 110

Jane Urquhart, The Stone Carvers (2001) 112

Wayne Johnston, Duet: The Colony of Unrequited Dreams (1998) & 114

The Custodian of Paradise (2006); The Navigator of New York (2002)

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Stephen Marche, “CanLit hates youth,

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Stephen Marche, “CanLit hates youth,says young author”

PREV

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says young author”

READING AND COMING TO TERMS W

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READING AND COMING TO TERMS WVergangenheitsbewältigung

PREV

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VergangenheitsbewältigungANNALS OF OURLIT IV:

PREV

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ANNALS OF OURLIT IV:Between Us

PREV

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Between Us

Joseph Boyden,

PREV

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Joseph Boyden, Jane Urquhart,

PREV

IEW

Jane Urquhart, Wayne Johnston, Duet:

PREV

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Wayne Johnston, Duet:

NO

T This All Happened

NO

T This All Happened

The Architects Are Here

NO

T The Architects Are Here

Norman Bray in the Performance of His Life

NO

T

Norman Bray in the Performance of His Life

Moody Food

NO

T

Moody Food (

NO

T

(2002

NO

T

2002),

NO

T

), Coureurs De BoisN

OT

Coureurs De Bois

A Tourist’s Guide to GlengarryNO

T

A Tourist’s Guide to Glengarry

Stephen Marche, “CanLit hates youth,NO

T

Stephen Marche, “CanLit hates youth,

FOR JPod

FOR JPod (

FOR (2006

FOR 2006)

FOR ) The Princess and the Whiskheads

FOR The Princess and the Whiskheads (

FOR (2002

FOR 2002)

FOR )

The End of the Alphabet

FOR

The End of the Alphabet (

FOR

(2007

FOR

2007)

FOR

)

RESA

LE

RESA

LE51

RESA

LE51

52

RESA

LE

52

1987

RESA

LE

1987)

RESA

LE

) 55

RESA

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55

David Adams Richards, The Friends of Meager Fortune (2006), 118

River of the Brokenhearted (2003); Trilogy: Nights Below

Station Street (1988), Evening Snow Will Bring Such Peace (1990), & For Those Who Hunt the Wounded Down (1993)

Terrence Heath, Casualties (2005) 123

Josef Skvorecky, The Engineer of Human Souls (1984) 125

Mordecai Richler, Barney’s Version (1997), Solomon Gursky Was 128

Here (1989)Emma Richler, Feed My Dear Dogs (2005) 132

Rick Salutin, The Womanizer (2002) 135

Keath Fraser, Popular Anatomy (1995) 136

Darren Greer, Still Life with June (2003) 139

ANNALS OF OURLIT V: Darren Greer’s Strange Ghosts (2006) 140

Colin McAdam, Some Great Thing (2004) 142

André Alexis, Asylum (2008) 143

Austin Clarke: The Polished Hoe (2002), More (2008) 146

Tomson Highway, Kiss of the Fur Queen (1998) 149

Thomas King, Green Grass, Running Water (1993) 150

Brian Moore, Black Robe (1985) 151

Fred Stenson, Lightning (2003) 153

Guy Vanderhaeghe, The Last Crossing (2002), The Englishman’s 154

Boy (1996)ANNALS OF OURLIT VI: Two Atlases — Noah Richler’s Quest: This Is My 163

Country, What’s Yours? (2006)Don Akenson, At Face Value (1990), An Irish History of 168

Civilization (2005)Alice Munro, The View from Castle Rock (2006) 174

READING SOME OF “THE TALENTED WOMEN WHO WRITE TODAY”: Novels of 179

Comfort and Love?ANNALS OF OURLIT VII: A Night at Quincy’s; Midnight at Banff 181

Hot SpringsCarole Corbeil, Voice-Over (1992), In the Wings (1997) 185

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ANNALS OF OURLIT VI:

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ANNALS OF OURLIT VI: Two Atlases — Noah Richler’s Quest:

PREV

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Two Atlases — Noah Richler’s Quest: Country, What’s Yours?

PREV

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Country, What’s Yours?Don Akenson,

PREV

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Don Akenson, At Face Value

PREV

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At Face Value

Civilization

PREV

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Civilization (

PREV

IEW

(2005

PREV

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2005

Alice Munro,

PREV

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Alice Munro, The View from Castle Rock

PREV

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The View from Castle Rock

READING SOME OF “THE TALENTED WOMEN WHO WRITE TODAY”:

PREV

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READING SOME OF “THE TALENTED WOMEN WHO WRITE TODAY”:Comfort and Love?

PREV

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Comfort and Love?ANNALS OF OURLIT VII:

PREV

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ANNALS OF OURLIT VII:

Carole Corbeil,

PREV

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Carole Corbeil,

NO

T The Polished Hoe

NO

T The Polished Hoe (

NO

T (2002

NO

T 2002

Kiss of the Fur Queen

NO

T Kiss of the Fur Queen

Green Grass, Running Water

NO

T Green Grass, Running Water

Black Robe

NO

T

Black Robe (

NO

T

(1985

NO

T

1985)

NO

T

) Lightning

NO

T

Lightning (

NO

T

(2003

NO

T

2003)

NO

T

)Guy Vanderhaeghe, N

OT

Guy Vanderhaeghe, The Last CrossingNO

T

The Last Crossing

FOR

Strange Ghosts

FOR

Strange Ghosts (

FOR

(2006

FOR

2006

( FOR

(2004FOR

2004)FOR

)

MoreFOR

MoreRE

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LE118

RESA

LE118

1990

RESA

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1990),

RESA

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),

Solomon Gursky Was

RESA

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Solomon Gursky Was

Catherine Bush, Minus Time (1993), Claire’s Head (2004/6) 190

Eden Robinson, Monkey Beach (2000), Blood Sports (2006) 197

Caroline Adderson, Sitting Practice (2003) 200

Lynn Coady, Mean Boy (2006) 202

Marina Endicott, Good to a Fault (2008), Open Arms (2001) 204

Donna Morrissey, Downhill Chance (2002), and Duet: Sylvanus 206

Now (2005) & What They Wanted (2008)Mary Lawson, Crow Lake (2002) 209

Frances Itani, Deafening (2003) 212

Susan Swan, The Wives of Bath (1993) 214

Janice Kulyk Keefer, Thieves (2004), The Ladies’ Lending 216

Library (2006)Jean McNeil, Private View (2002) 220

Diane Schoemperlen, In the Language of Love (1994) 221

Gail Scott, Heroine (1987) 223

Larissa Lai, Salt Fish Girl (2002) 224

Karen McLaughlin, From This Distance (2009) 226

ANNALS OF OURLIT VIII: Henry James and the Half-Life of Too Many Novels 227

Barbara Gowdy, Helpless (2007), The Romantic (2003), The White 231

Bone (1998), Mister Sandman (1995)Margaret Atwood, Cat’s Eye (1988), Alias Grace (1996), The 241

Penelopiad (2005); Duet: Oryx and Crake (2003) & The Year

of the Flood (2009)ANNALS OF OURLIT IX: Brian Fawcett’s Gender Wars (1994) 249

ANNALS OF OURLIT X: Cross-Dressing the Bible: Nino Ricci’s, 252

Testament (2002) & Timothy Findley’s, Not Wanted on the Voyage (1984)

Timothy Findley, Not Wanted on the Voyage 257

Nino Ricci, Lives of the Saints (1990) 257

Keith Maillard, Gloria (1999) 258

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2009

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2009)

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)ANNALS OF OURLIT IX:

PREV

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ANNALS OF OURLIT IX: Brian Fawcett’s

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Brian Fawcett’s ANNALS OF OURLIT X:

PREV

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ANNALS OF OURLIT X: Cross-Dressing the Bible: Nino Ricci’s,

PREV

IEW

Cross-Dressing the Bible: Nino Ricci’s, Testament

PREV

IEW

Testament (2002)

PREV

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(2002)

Voyage

PREV

IEW

Voyage (1984)

PREV

IEW

(1984)

Timothy Findley,

PREV

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Timothy Findley, Nino Ricci,

PREV

IEW

Nino Ricci, Lives of the Saints

PREV

IEW

Lives of the Saints

Keith Maillard,

PREV

IEW

Keith Maillard,

NO

T From This Distance

NO

T From This Distance (

NO

T (2009

NO

T 2009

Henry James and the Half-Life of Too Many Novels

NO

T Henry James and the Half-Life of Too Many Novels2007

NO

T

2007),

NO

T

), The Romantic

NO

T

The Romantic

Mister Sandman

NO

T

Mister Sandman (

NO

T

(1995

NO

T

1995

Cat’s EyeNO

T

Cat’s Eye (NO

T

(1988NO

T

1988

); Duet: NO

T

); Duet: Oryx and CrakeNO

T

Oryx and Crake

FOR The Ladies’ Lending

FOR The Ladies’ Lending

In the Language of LoveFOR

In the Language of Love (FOR

(1994FOR

1994

RESA

LE

RESA

LE

RESA

LE190

RESA

LE190

197

RESA

LE

197

200

RESA

LE

200

202

RESA

LE

202

204

RESA

LE

204

Sylvanus

RESA

LE

Sylvanus

“MIDNIGHT AT THE OASIS”: Reading Novels of Joy and Redemption 261

ANNALS OF OURLIT XI: Pico Iyer, Alberto Manguel, Neil Bissoondath, 263

and Three Global Villages on Two LegsMichael Ondaatje, In the Skin of a Lion (1987) 268

Neil Bissoondath, The Soul of All Great Designs (2008) 269

Alberto Manguel, News from a Foreign Country Came (1991) 271

Liam Durcan, García’s Heart (2007) 273

Dennis Bock, The Ash Garden (2001) 274

Kevin Patterson, Consumption (2006) 276

Yann Martel, Life of Pi (2001), The Facts Behind the Helsinki 279

Roccamatios (1993)Nancy Huston, Plainsong (1993) 280

ANNALS OF OURLIT XII: What is Canadian in Our Literature and Who 282

Qualifies as a Canadian Author?ANNALS OF OURLIT XIII: Travellers and Fellow Travellers 291

Peter Oliva, The City of Yes (1999), Drowning in Darkness (1993) 293

Steven Heighton, The Shadow Boxer (2000), Afterlands (2005) 295

Wayson Choy, Duet: The Jade Peony (1996) & All That 298

Matters (2004)Darcy Tamayose, Odori (2007) 300

Lawrence Hill, The Book of Negroes (2007), Any Known Blood 301

(1999), Some Great Thing (1992)Ann Charney, Rousseau’s Garden (2001), Distantly Related to 304

Freud (2008)Kate Taylor, Mme. Proust and the Kosher Kitchen (2003) 307

Priscila Uppal, To Whom It May Concern (2008) 310

Anita Rau Badami, The Hero’s Walk (2000), Can You Hear

the Nightbird Call? (2006) 311

Shani Mootoo, Cereus Blooms at Night (1996) 313

Shauna Singh Baldwin, The Tiger Claw (2004) 314

Madeleine Thien, Certainty (2006) 316

M. G. Vassanji, No New Land (1991) 319

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Ann Charney,

PREV

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Ann Charney, Rousseau’s Garden

PREV

IEW

Rousseau’s Garden

2008

PREV

IEW

2008)

PREV

IEW

)Kate Taylor,

PREV

IEW

Kate Taylor, Mme. Proust and the Kosher Kitchen

PREV

IEW

Mme. Proust and the Kosher Kitchen

Priscila Uppal,

PREV

IEW

Priscila Uppal, To Whom It May Concern

PREV

IEW

To Whom It May Concern

Anita Rau Badami,

PREV

IEW

Anita Rau Badami, the Nightbird Call?

PREV

IEW

the Nightbird Call?

Shani Mootoo,

PREV

IEW

Shani Mootoo, Shauna Singh Baldwin,

PREV

IEW

Shauna Singh Baldwin, Madeleine Thien,

PREV

IEW

Madeleine Thien, M. G. Vassanji,

PREV

IEW

M. G. Vassanji,

NO

T 1999

NO

T 1999),

NO

T ), Drowning in Darkness

NO

T Drowning in Darkness

The Shadow Boxer

NO

T The Shadow Boxer (

NO

T (2000

NO

T 2000

The Jade Peony

NO

T The Jade Peony

Odori

NO

T

Odori (

NO

T

(2007

NO

T

2007)

NO

T

)The Book of NegroesN

OT

The Book of Negroes

Some Great ThingNO

T

Some Great Thing

FOR The Facts Behind the Helsinki

FOR The Facts Behind the Helsinki

What is Canadian in Our Literature and Who

FOR

What is Canadian in Our Literature and Who

Travellers and Fellow TravellersFOR

Travellers and Fellow TravellersDrowning in DarknessFO

R Drowning in Darkness

RESA

LE

RESA

LE

RESA

LE261

RESA

LE261

263

RESA

LE

263

1991

RESA

LE

1991)

RESA

LE

)

Rohinton Mistry, A Fine Balance (1995) 320

Rabindranath Maharaj, Homer in Flight (1997) 321

Rawi Hage, Cockroach (2008), DeNiro’s Game (2006) 322

CHÈRE KARINE: A Letter to a Québécoise Friend in Search of the 329

Canada She Knows She Doesn’t Know

Acknowledgements 339

Bibliography 341

Index 347

HookedOnCdn-PR7_HookedOnCdn-PR4 12/02/10 2:09 PM Page xii

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NO

T FO

R RE

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RESA

LE

RESA

LE320

RESA

LE320

321

RESA

LE

321

322

RESA

LE

322

This book is written from one reader to another — to as many others as possible — in the hope that enough copies will be bought and circulated so that you who read privately and you who participate in reading clubs will findreader-friendly approaches to recent Canadian novels in English that expand thenarratives of your own lives — yielding diversion, solace, perspective, comfort,counsel, and insight along your meanders from first paragraphs to last.

Although I’ve been a college teacher of humanities throughout my workinglife (specializing in ancient writings from various religious traditions), havereviewed many books of several kinds for a number of newspapers and magazines(notably as a Contributing Reviewer to The Globe and Mail ’s “Books” over thepast decade), and written both fiction and non-fiction with “critical success,” Iam first, last, and always a reader of contemporary fiction — especially Canadiannovels.

In their end-of-the-twentieth-century introduction to The Modern Library:

The 200 Best Novels in English since 1950 (which includes a dozen by Canadians),Carmen Callil and Colm Tóibín assert that the books they chose are “sources ofentertainment and enjoyment as satisfying as any Hollywood movie, footballmatch, computer game or rock video.” My modest claim is that there isn’t a

INTRODUCTION

1

HookedOnCdn-PR7_HookedOnCdn-PR4 12/02/10 2:09 PM Page 1

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PREV

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life (specializing in ancient writings from various religious traditions), have

PREV

IEW

life (specializing in ancient writings from various religious traditions), havereviewed many books of several kinds for a number of newspapers and magazines

PREV

IEW

reviewed many books of several kinds for a number of newspapers and magazines(notably as a Contributing Reviewer to

PREV

IEW

(notably as a Contributing Reviewer to past decade), and written both fiction and non-fiction with “critical success,” I

PREV

IEW

past decade), and written both fiction and non-fiction with “critical success,” Iam first, last, and always a reader of contemporary fiction — especially Canadian

PREV

IEW

am first, last, and always a reader of contemporary fiction — especially Canadiannovels.

PREV

IEW

novels.In their end-of-the-twentieth-century introduction to

PREV

IEW

In their end-of-the-twentieth-century introduction to The

PREV

IEW

The 200

PREV

IEW

200 Best Novels in English since

PREV

IEW

Best Novels in English since

Carmen Callil and Colm Tóibín assert that the books they chose are “sources of

PREV

IEW

Carmen Callil and Colm Tóibín assert that the books they chose are “sources ofentertainment and enjoyment as satisfying as any Hollywood movie, football

PREV

IEW

entertainment and enjoyment as satisfying as any Hollywood movie, footballmatch, computer game or rock video.” My modest claim is that there isn’t a

PREV

IEW

match, computer game or rock video.” My modest claim is that there isn’t a

NO

T This book is written from one reader to another — to as many others as

NO

T This book is written from one reader to another — to as many others as possible — in the hope that enough copies will be bought and circulated so

NO

T possible — in the hope that enough copies will be bought and circulated so that you who read privately and you who participate in reading clubs will find

NO

T that you who read privately and you who participate in reading clubs will findreader-friendly approaches to recent Canadian novels in English that expand the

NO

T reader-friendly approaches to recent Canadian novels in English that expand thenarratives of your own lives — yielding diversion, solace, perspective, comfort,

NO

T

narratives of your own lives — yielding diversion, solace, perspective, comfort,counsel, and insight along your meanders from first paragraphs to last.N

OT

counsel, and insight along your meanders from first paragraphs to last.Although I’ve been a college teacher of humanities throughout my workingN

OT

Although I’ve been a college teacher of humanities throughout my workinglife (specializing in ancient writings from various religious traditions), haveN

OT

life (specializing in ancient writings from various religious traditions), have

FOR

FOR

This book is written from one reader to another — to as many others as FOR

This book is written from one reader to another — to as many others as FOR INTRODUCTION

FOR INTRODUCTION

RESA

LE

HOOKED ON CANADIAN BOOKS

2

novel singled out for inclusion in my book that I wouldn’t buy — full price —to add to the pleasures of days spent occasionally at cinemas or more often in front of the television watching news, hockey, soccer, documentaries, Master-

piece Theater, and forever listening to jazz, the classics, opera, the McGarrigles(with and without the Wainwrights), Steve Earle, Tom Waits, and eating generally fresh, generally home-cooked food in a well-loved home. For mostcontemporary readers much of the time, the reading of fiction includes andencompasses the rest of life’s realities but rarely obliterates them for more thana couple of uninterrupted hours at a time — even though reading a book, neurological researchers at the University of Groningen claim, can be as thrilling

as a real-life event.Pleasures and thrills are not the only considerations — we read novels to

open our eyes to possible experiences beyond our own situations in time andplace and judge them, and in judging, judge ourselves and our times. For threecenturies, quiet reading of books dominated leisure hours of the literate untilinexpensive sheet music and modest pianos, motion pictures, and Edison’sphonograph, radio, LP records, network television, and ultimately the contem-porary flood of digitalized electronica proved more impulsive and compelling.But, as American novelist and essayist Cynthia Ozick notes in The Din in the

Head (2006), “the encyclopedic triumphs of communications technology — isan act equal in practicality to a wooden leg; it will support your standing in theworld, but there is no blood in it.”

There is blood in this book — gusto, passion, zest, good humour, and fellowfeeling are the forces driving it. Hooked on Canadian Books is a celebration ofnovels written in English by Canadian writers that made a difference in thisreader’s life and have the power to do the same for you. These authors areengaged and engaging: they employ whatever abilities at their command to maketheir works readable and they want to be read seriously even when they’re attheir funniest. Who doesn’t? If you think every author writes in the expectationof being bought and read by people serious enough about their lives to pay retail prices for books as readily as they open wallets for fine wines, fresh organicproduce, superior restaurant meals, full screen movies, and cds more sonicallyalive than mp3 downloads, you’re mistaken. Some writers write to be studied

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There is blood in this book — gusto, passion, zest, good humour, and fellow

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There is blood in this book — gusto, passion, zest, good humour, and fellowfeeling are the forces driving it.

PREV

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feeling are the forces driving it. novels written in English by Canadian writers that made a difference in this

PREV

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novels written in English by Canadian writers that made a difference in thisreader’s life and have the power to do the same for you. These authors are

PREV

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reader’s life and have the power to do the same for you. These authors areengaged and engaging: they employ whatever abilities at their command to make

PREV

IEW

engaged and engaging: they employ whatever abilities at their command to maketheir works

PREV

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their works readable

PREV

IEW

readable

their funniest. Who doesn’t? If you think every author writes in the expectation

PREV

IEW

their funniest. Who doesn’t? If you think every author writes in the expectationof being bought and read by people serious enough about their lives to pay

PREV

IEW

of being bought and read by people serious enough about their lives to pay retail prices for books as readily as they open wallets for fine wines, fresh organic

PREV

IEW

retail prices for books as readily as they open wallets for fine wines, fresh organicproduce, superior restaurant meals, full screen movies, and

PREV

IEW

produce, superior restaurant meals, full screen movies, and alive than

PREV

IEW

alive than

NO

T inexpensive sheet music and modest pianos, motion pictures,

NO

T inexpensive sheet music and modest pianos, motion pictures, phonograph, radio, LP records, network television, and ultimately

NO

T phonograph, radio, LP records, network television, and ultimatelyporary flood of digitalized electronica proved more impulsive and compelling.

NO

T porary flood of digitalized electronica proved more impulsive and compelling.But, as American novelist and essayist Cynthia Ozick notes in

NO

T

But, as American novelist and essayist Cynthia Ozick notes in ), “the encyclopedic triumphs of communications technology — is

NO

T

), “the encyclopedic triumphs of communications technology — isan act equal in practicality to a wooden leg; it will support your standing in theN

OT

an act equal in practicality to a wooden leg; it will support your standing in theworld, but there is no blood in it.”N

OT

world, but there is no blood in it.”There is blood in this book — gusto, passion, zest, good humour, and fellowN

OT

There is blood in this book — gusto, passion, zest, good humour, and fellow

FOR

a couple of uninterrupted hours at a time — even though reading a book,

FOR

a couple of uninterrupted hours at a time — even though reading a book, neurological researchers at the University of Groningen claim, can be as

FOR neurological researchers at the University of Groningen claim, can be as

Pleasures and thrills are not the only considerations — we read novels toFO

R Pleasures and thrills are not the only considerations — we read novels toopen our eyes to possible experiences beyond our own situations in time and

FOR

open our eyes to possible experiences beyond our own situations in time andplace and judge them, and in judging, judge ourselves and our times. For threeFO

R place and judge them, and in judging, judge ourselves and our times. For threecenturies, quiet reading of books dominated leisure hours of the literate untilFO

R centuries, quiet reading of books dominated leisure hours of the literate untilinexpensive sheet music and modest pianos, motion pictures, FO

R inexpensive sheet music and modest pianos, motion pictures,

RESA

LE

RESA

LE

RESA

LEnovel singled out for inclusion in my book that I wouldn’t buy — full price —

RESA

LEnovel singled out for inclusion in my book that I wouldn’t buy — full price —to add to the pleasures of days spent occasionally at cinemas or more often

RESA

LEto add to the pleasures of days spent occasionally at cinemas or more often in front of the television watching news, hockey, soccer, documentaries,

RESA

LE

in front of the television watching news, hockey, soccer, documentaries, Master-

RESA

LE

Master-

, and forever listening to jazz, the classics, opera, the McGarrigles

RESA

LE

, and forever listening to jazz, the classics, opera, the McGarrigles(with and without the Wainwrights), Steve Earle, Tom Waits, and eating

RESA

LE

(with and without the Wainwrights), Steve Earle, Tom Waits, and eating generally fresh, generally home-cooked food in a well-loved home. For most

RESA

LE

generally fresh, generally home-cooked food in a well-loved home. For mostcontemporary readers much of the time, the reading of fiction includes and

RESA

LE

contemporary readers much of the time, the reading of fiction includes andencompasses the rest of life’s realities but rarely obliterates them for more thanRE

SALE

encompasses the rest of life’s realities but rarely obliterates them for more thana couple of uninterrupted hours at a time — even though reading a book, RE

SALE

a couple of uninterrupted hours at a time — even though reading a book,

INTRODUCTION

3

rather than read, taught rather than enjoyed, and count success not in sales andreaders but in tenure-track points for themselves and friends within academia.

On my desk, there’s a yellowing, much-creased Xerox of a column clippedfrom Vanity Fair of February 1986 titled “Tilting at Fame: How to be a well-known unread author” in which James Atlas, Saul Bellow’s biographer, lays outthe steps necessary to becoming a Famous American Writer everyone has heardof and nobody bothers to read. Stripped of name-dropping, barbed asides, andbriefly put, Atlas says that once you’ve proclaimed yourself to be a writer andchosen your own life — growing up in Brooklyn or the South or on a farm,falling in love, falling out of love, falling in and out of love again and again asyou progress through school, college and graduate school, marriage, divorce,remarriage — as your primary subject matter, you must always insist that yourwriting is metaphorical not autobiographical; you enrol in a creative writingprogram and write short stories until an editor asks you for the novel and thenyou write one the size of your life; you collect blurbs from your instructors andfrom fellow students who got published before you did; you spend a lot of timechoosing your picture for the dust jacket and writing the accompanying bio; youuse your “best” reviews to get a job teaching creative writing; you assiduouslyapply for grants, attend writers’ colonies, conferences, book launches, and giveinterviews on any literary topic that has “buzz”; you always insist on how diffi-cult it is to write well and how dedicated you are to doing just that; you becomea public character based on your preferred sexual and substance addictions; youform a claque with a half dozen other writers and review one another’s books;you travel abroad at other people’s expense; you remember to write anotherbook every few years; you become a supporter of imprisoned writers everywhereand a mentor to young writers at home; and then, you’re a Famous AmericanWriter. I keep Atlas’s satirical shrug on my desk as a warning against taking anywriter’s academy-approved reputation too seriously. Nobody’s reputation (norsales figures) got their book or books into my book nor kept them out. Nor did my friendships with authors — noted where necessary: this is a book forreaders of books not their makers and marketers. I did, however, regretfullyomit a wry social commentary masked as a mystery — Buried on Sunday (1987)by E. O. Phillips — a current bestseller about a woman who becomes

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form a claque with a half dozen other writers and review one another’s books;

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form a claque with a half dozen other writers and review one another’s books;you travel abroad at other people’s expense; you remember to write another

PREV

IEW

you travel abroad at other people’s expense; you remember to write anotherbook every few years; you become a supporter of imprisoned writers everywhere

PREV

IEW

book every few years; you become a supporter of imprisoned writers everywhereand a mentor to young writers at home; and then, you’re a Famous American

PREV

IEW

and a mentor to young writers at home; and then, you’re a Famous AmericanWriter. I keep Atlas’s satirical shrug on my desk as a warning against taking any

PREV

IEW

Writer. I keep Atlas’s satirical shrug on my desk as a warning against taking anywriter’s academy-approved reputation too seriously. Nobody’s reputation (nor

PREV

IEW

writer’s academy-approved reputation too seriously. Nobody’s reputation (norsales figures) got their book or books into my book nor kept them out. Nor

PREV

IEW

sales figures) got their book or books into my book nor kept them out. Nor did my friendships with authors — noted where necessary: this is a book for

PREV

IEW

did my friendships with authors — noted where necessary: this is a book forreaders of books not their makers and marketers. I did, however, regretfully

PREV

IEW

readers of books not their makers and marketers. I did, however, regretfullyomit a wry social commentary masked as a mystery —

PREV

IEW

omit a wry social commentary masked as a mystery — by E. O. Phillips — a current bestseller about a woman who becomes

PREV

IEW

by E. O. Phillips — a current bestseller about a woman who becomes

NO

T from fellow students who got published before you did; you spend a lot of time

NO

T from fellow students who got published before you did; you spend a lot of timechoosing your picture for the dust jacket and writing the accompanying bio; you

NO

T choosing your picture for the dust jacket and writing the accompanying bio; youuse your “best” reviews to get a job teaching creative writing; you assiduously

NO

T use your “best” reviews to get a job teaching creative writing; you assiduouslyapply for grants, attend writers’ colonies, conferences, book launches, and give

NO

T

apply for grants, attend writers’ colonies, conferences, book launches, and giveinterviews on any literary topic that has “buzz”; you always insist on how diffi-

NO

T

interviews on any literary topic that has “buzz”; you always insist on how diffi-cult it is to write well and how dedicated you are to doing just that; you becomeN

OT

cult it is to write well and how dedicated you are to doing just that; you becomea public character based on your preferred sexual and substance addictions; youN

OT

a public character based on your preferred sexual and substance addictions; youform a claque with a half dozen other writers and review one another’s books;N

OT

form a claque with a half dozen other writers and review one another’s books;

FOR

chosen your own life — growing up in Brooklyn or the South or on a farm,

FOR

chosen your own life — growing up in Brooklyn or the South or on a farm,falling in love, falling out of love, falling in and out of love again and again as

FOR falling in love, falling out of love, falling in and out of love again and again as

you progress through school, college and graduate school, marriage, divorce,FO

R you progress through school, college and graduate school, marriage, divorce,remarriage — as your primary subject matter, you must always insist that your

FOR remarriage — as your primary subject matter, you must always insist that your

writing is metaphorical not autobiographical; you enrol in a creative writing

FOR

writing is metaphorical not autobiographical; you enrol in a creative writingprogram and write short stories until an editor asks you for the novel and thenFO

R program and write short stories until an editor asks you for the novel and thenyou write one the size of your life; you collect blurbs from your instructors andFO

R you write one the size of your life; you collect blurbs from your instructors andfrom fellow students who got published before you did; you spend a lot of timeFO

R from fellow students who got published before you did; you spend a lot of time

RESA

LE

RESA

LE

RESA

LErather than read, taught rather than enjoyed, and count success not in sales and

RESA

LErather than read, taught rather than enjoyed, and count success not in sales andreaders but in tenure-track points for themselves and friends within academia.

RESA

LEreaders but in tenure-track points for themselves and friends within academia.On my desk, there’s a yellowing, much-creased Xerox of a column clipped

RESA

LE

On my desk, there’s a yellowing, much-creased Xerox of a column clippedtitled “Tilting at Fame: How to be a well-

RESA

LE

titled “Tilting at Fame: How to be a well-known unread author” in which James Atlas, Saul Bellow’s biographer, lays out

RESA

LE

known unread author” in which James Atlas, Saul Bellow’s biographer, lays outthe steps necessary to becoming a Famous American Writer everyone has heard

RESA

LE

the steps necessary to becoming a Famous American Writer everyone has heardof and nobody bothers to read. Stripped of name-dropping, barbed asides, and

RESA

LE

of and nobody bothers to read. Stripped of name-dropping, barbed asides, andbriefly put, Atlas says that once you’ve proclaimed yourself to be a writer andRE

SALE

briefly put, Atlas says that once you’ve proclaimed yourself to be a writer andchosen your own life — growing up in Brooklyn or the South or on a farm,RE

SALE

chosen your own life — growing up in Brooklyn or the South or on a farm,

HOOKED ON CANADIAN BOOKS

4

Montreal’s first female doctor — The Heart Specialist (2009) by Claire HoldenRothman — and William Weintraub’s droll account of coming-of-age in thedying days of the age of burlesque — Crazy About Lili (2006) — because theirauthors have been such near neighbours for so many years that their fictions aretoo inextricably entwined with who we are when we’re not writing for me to be able to strike the balanced viewpoints I hope I’ve achieved elsewhere. There are winter days when I wake up to such a high, blue sky this neighbourhoodfeels closer to Saskatchewan than to Peel and Ste-Catherine and Robert Currie of Moose Jaw seems more like the man next door than the man next door. Bob Currie, whose achievements are many, is a distinguished lifetime poet who occasionally writes fictions, including the novel Teaching Mr. Cutler (2002):Brad Cutler risks everything to become a teacher and all, really, that this retiredteacher has to say about Bob’s absolutely authentic account of life in the classroom is that every teacher reading this book really ought to read his novelwhenever they start to forget what they’re doing and why they’re doing it.

In the mid-eighties, the Canadian literary world was headed in the samedirection as the American, but we did things somewhat differently than JamesAtlas “prescribes”:

The standard pattern is easily constructed. A Canadian writer, well-known or not so well-known, is awarded a generous grant to write a particular book; when it is finished, a publisher is provided with asubvention to assist with the costs of printing and distribution — andas often as not the writer in question is then awarded an additionalgrant for a cross-country tour to help publicize it. And we may add toall this the patent fact that a significant percentage of the eventual readerswill be part of the university community, itself largely government-supported.

So wrote W. J. Keith, Professor Emeritus of English at University College,University of Toronto, in his “Polemical Conclusion” to the revised 2006

edition of his Canadian Literature in English (originally published in 1985). ForProfessor Keith, this “basic pattern has changed little” in the ensuing decades. I

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subvention to assist with the costs of printing and distribution — and

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subvention to assist with the costs of printing and distribution — andas often as not the writer in question is then awarded an additional

PREV

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as often as not the writer in question is then awarded an additionalgrant for a cross-country tour to help publicize it. And we may add to

PREV

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grant for a cross-country tour to help publicize it. And we may add toall this the patent fact that a significant percentage of the eventual readers

PREV

IEW

all this the patent fact that a significant percentage of the eventual readerswill be part of the university community, itself largely government-

PREV

IEW

will be part of the university community, itself largely government-supported.

PREV

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supported.

So wrote W. J. Keith, Professor Emeritus of English at University College,

PREV

IEW

So wrote W. J. Keith, Professor Emeritus of English at University College,University of Toronto, in his “Polemical Conclusion” to the revised

PREV

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University of Toronto, in his “Polemical Conclusion” to the revised edition of his

PREV

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edition of his Professor Keith, this “basic pattern has changed little” in the ensuing decades. I

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Professor Keith, this “basic pattern has changed little” in the ensuing decades. I

NO

T In the mid-eighties, the Canadian literary world was headed in the same

NO

T In the mid-eighties, the Canadian literary world was headed in the same

direction as the American, but we did things somewhat differently than James

NO

T direction as the American, but we did things somewhat differently than James

The standard pattern is easily constructed. A Canadian writer, well-

NO

T

The standard pattern is easily constructed. A Canadian writer, well-known or not so well-known, is awarded a generous grant to write N

OT

known or not so well-known, is awarded a generous grant to write a particular book; when it is finished, a publisher is provided with aN

OT

a particular book; when it is finished, a publisher is provided with asubvention to assist with the costs of printing and distribution — andN

OT

subvention to assist with the costs of printing and distribution — and

FOR

of Moose Jaw seems more like the man next door than the man next door.

FOR

of Moose Jaw seems more like the man next door than the man next door. Bob Currie, whose achievements are many, is a distinguished lifetime poet

FOR Bob Currie, whose achievements are many, is a distinguished lifetime poet

who occasionally writes fictions, including the novel FO

R who occasionally writes fictions, including the novel Teaching Mr. CutlerFO

R Teaching Mr. Cutler

Brad Cutler risks everything to become a teacher and all, really, that this retiredFO

R Brad Cutler risks everything to become a teacher and all, really, that this retiredteacher has to say about Bob’s absolutely authentic account of life in the

FOR

teacher has to say about Bob’s absolutely authentic account of life in the classroom is that every teacher reading this book really ought to read his novelFO

R classroom is that every teacher reading this book really ought to read his novelwhenever they start to forget what they’re doing and why they’re doing it. FO

R whenever they start to forget what they’re doing and why they’re doing it.

In the mid-eighties, the Canadian literary world was headed in the sameFOR

In the mid-eighties, the Canadian literary world was headed in the sameRE

SALE

RESA

LE

RESA

LE) by Claire Holden

RESA

LE) by Claire HoldenRothman — and William Weintraub’s droll account of coming-of-age in the

RESA

LERothman — and William Weintraub’s droll account of coming-of-age in the) — because their

RESA

LE

) — because theirauthors have been such near neighbours for so many years that their fictions are

RESA

LE

authors have been such near neighbours for so many years that their fictions aretoo inextricably entwined with who we are when we’re not writing for me to

RESA

LE

too inextricably entwined with who we are when we’re not writing for me to be able to strike the balanced viewpoints I hope I’ve achieved elsewhere. There

RESA

LE

be able to strike the balanced viewpoints I hope I’ve achieved elsewhere. There are winter days when I wake up to such a high, blue sky this neighbourhood

RESA

LE

are winter days when I wake up to such a high, blue sky this neighbourhoodfeels closer to Saskatchewan than to Peel and Ste-Catherine and Robert Currie RE

SALE

feels closer to Saskatchewan than to Peel and Ste-Catherine and Robert Currie of Moose Jaw seems more like the man next door than the man next door. RE

SALE

of Moose Jaw seems more like the man next door than the man next door.

INTRODUCTION

5

beg to differ: the first decade of the twenty-first century and final years of thetwentieth altered the shape of our fiction in significant ways that weights thisbook to more frequent astonishments in the last ten years than in the precedingfifteen. I confine my disagreements with W. J. Keith and other commentatorsto the “Annals of OurLit” that open, close, or interrupt chapters. I strongly recommend Professor Keith’s work as a guide to what is worth reading before1984 and as a guiding spirit to reading for pleasure:

Despite the trendy popularity of the phrase “the pleasures of the text” afew years ago, “pleasure” is a word that does not occur regularly in contemporary literary discussion.... I read literature unashamedly forpleasure — not the “fun” so distressingly flaunted by bureaucratic committees of adult education, but pleasure.

When it comes to Canadian fiction published over the past quarter century,some actually think I’ve read everything: I haven’t — no one could becausethere are more novels published year after year than ordinary readers can imag-ine. I’ve done the necessary reading: In order to report with reasonable accuracyon any human phenomena, you have to study a thousand and some “samples”of the “population.” The better the sampling technique, the higher the level ofprobability — that’s “the margin of error” pollsters must note as a variable —but the “thousand and some samples” is a constant whether you’re investigatingvodka consumption in Russia or the musical preferences of anglo listeners to CBC Radio’s “New 2” in Montreal (a case where an accurate “sample” wouldlikely exceed the total “population”). And if it’s true, as Malcolm Gladwellinsists, that you have to put in 10,000 hours of dedicated work to become expert at anything, I’ve done the time. How I came to read something new inCanadian fiction every week for more than twenty years as an avocation ratherthan a paying occupation is a story worth telling so the opening chapter hasmuch to do with two remarkable women and the institutions they operated —Judith Mappin and her fiercely independent bookstore, The Double Hook, andNorah Bryant, the Chief Librarian at Westmount Public Library from 1962

until her retirement in 1982. If our literature has any hope of mirroring our

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vodka consumption in Russia or the musical preferences of anglo listeners

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vodka consumption in Russia or the musical preferences of anglo listeners Radio’s “New

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Radio’s “New 2

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2” in Montreal (a case where an accurate “sample” would

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” in Montreal (a case where an accurate “sample” wouldlikely exceed the total “population”). And if it’s true, as Malcolm Gladwell

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likely exceed the total “population”). And if it’s true, as Malcolm Gladwellinsists, that you have to put in

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insists, that you have to put in expert at anything, I’ve done the time. How I came to read something new in

PREV

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expert at anything, I’ve done the time. How I came to read something new inCanadian fiction every week for more than twenty years as an avocation rather

PREV

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Canadian fiction every week for more than twenty years as an avocation ratherthan a paying occupation is a story worth telling so the opening chapter has

PREV

IEW

than a paying occupation is a story worth telling so the opening chapter hasmuch to do with two remarkable women and the institutions they operated —

PREV

IEW

much to do with two remarkable women and the institutions they operated —Judith Mappin and her fiercely independent bookstore, The Double Hook, and

PREV

IEW

Judith Mappin and her fiercely independent bookstore, The Double Hook, andNorah Bryant, the Chief Librarian at Westmount Public Library from

PREV

IEW

Norah Bryant, the Chief Librarian at Westmount Public Library from until her retirement in

PREV

IEW

until her retirement in

NO

T some actually think I’ve read everything: I haven’t — no one could because

NO

T some actually think I’ve read everything: I haven’t — no one could becausethere are more novels published year after year than ordinary readers can imag-

NO

T there are more novels published year after year than ordinary readers can imag-reading: In order to report with reasonable accuracy

NO

T reading: In order to report with reasonable accuracyon any human phenomena, you have to study a thousand and some “samples”

NO

T

on any human phenomena, you have to study a thousand and some “samples”of the “population.” The better the sampling technique, the higher the level of

NO

T

of the “population.” The better the sampling technique, the higher the level ofprobability — that’s “the margin of error” pollsters must note as a variable —N

OT

probability — that’s “the margin of error” pollsters must note as a variable —but the “thousand and some samples” is a constant whether you’re investigatingN

OT

but the “thousand and some samples” is a constant whether you’re investigatingvodka consumption in Russia or the musical preferences of anglo listeners N

OT

vodka consumption in Russia or the musical preferences of anglo listeners

FOR

Despite the trendy popularity of the phrase “the pleasures of the text” a

FOR

Despite the trendy popularity of the phrase “the pleasures of the text” afew years ago, “pleasure” is a word that does not occur regularly in

FOR few years ago, “pleasure” is a word that does not occur regularly in

contemporary literary discussion.... I read literature unashamedly forFO

R contemporary literary discussion.... I read literature unashamedly forpleasure — not the “fun” so distressingly flaunted by bureaucratic

FOR pleasure — not the “fun” so distressingly flaunted by bureaucratic

pleasure

FOR

pleasure.

FOR

.

When it comes to Canadian fiction published over the past quarter century,FOR

When it comes to Canadian fiction published over the past quarter century,some actually think I’ve read everything: I haven’t — no one could becauseFO

R some actually think I’ve read everything: I haven’t — no one could because

RESA

LE

RESA

LE

RESA

LEbeg to differ: the first decade of the twenty-first century and final years of the

RESA

LEbeg to differ: the first decade of the twenty-first century and final years of thetwentieth altered the shape of our fiction in significant ways that weights this

RESA

LEtwentieth altered the shape of our fiction in significant ways that weights thisbook to more frequent astonishments in the last ten years than in the preceding

RESA

LE

book to more frequent astonishments in the last ten years than in the precedingfifteen. I confine my disagreements with W. J. Keith and other commentators

RESA

LE

fifteen. I confine my disagreements with W. J. Keith and other commentatorsto the “Annals of OurLit” that open, close, or interrupt chapters. I strongly

RESA

LE

to the “Annals of OurLit” that open, close, or interrupt chapters. I strongly recommend Professor Keith’s work as a guide to what is worth reading before

RESA

LE

recommend Professor Keith’s work as a guide to what is worth reading before

Despite the trendy popularity of the phrase “the pleasures of the text” aRESA

LE

Despite the trendy popularity of the phrase “the pleasures of the text” a

HOOKED ON CANADIAN BOOKS

6

rainbow-hued Canadian selves, of keeping us from becoming consumers unattached to the places we live, it can’t do it with chain bookstores that are“educentres” and libraries that are “infocentres” modeled on Wal-Mart andWikipedia.

“The novel can do simply everything,” Henry James wrote in his essay “TheFuture of the Novel” over a hundred years ago: James was stating a fact aboutthe form — “its elasticity is infinite” — and issuing a challenge to would-benovelists to be as “various and vivid” as life itself. Between 1984 and 2009,Canadian novelists attempted many, many things. The failure rate among themis high but that has always been the case wherever novels are widely published.Noting the “contagion” of failed novels in his own time, James placed the blameon the mediocrity of writers, the laxness of readers, and the timidity of editors.He condemned an aversion to risk-taking on all sides and, specifically, the failure of both Anglo-American writers and readers to embrace adult life andexamine sexual relations in straightforward ways. He placed much blame on editors and their publishers for fastening on female adolescents as their “ideal”readers. The reshaping of Canadian fiction lies with a surprising number of ournovelists successfully addressing “ideal readers” who are adults willing to exam-ine and embrace lives that acknowledge sexual relationships but move beyondphysiological encounters into less “romantic” realms of friendship, knowledge,joy, and comfort with variety and vividness and into realms of love and religionmore tentatively.

The ways by which the novels recommended within the pages of this bookexamine, explore, elaborate, and explicate these fundamental aspects of humansbecoming more human are loosely catalogued: “Reading by Association” high-lights novels of friendship (and enmity); “Reading and Coming to Terms withthe Past” underscores knowledge (and ignorance); “Reading Some of ‘the TalentedWomen Who Write Today’” stresses love (and hate), comfort (and discomfort);joy (and sorrow), comfort (and distress) are stressed in “Midnight at the Oasis”but the best of the better novels are without frontiers and their placements aremarriages of convenience. My sense of which few of the many matters most isthe subject of “Chère Karine: A Letter to a Québécoise Friend in Search of theCanada She Knows She Doesn’t Know.”

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The ways by which the novels recommended within the pages of this book

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The ways by which the novels recommended within the pages of this bookexamine, explore, elaborate, and explicate these fundamental aspects of humans

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examine, explore, elaborate, and explicate these fundamental aspects of humansbecoming more human are loosely catalogued: “Reading by Association” high-

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becoming more human are loosely catalogued: “Reading by Association” high-lights novels of friendship (and enmity); “Reading and Coming to Terms with

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lights novels of friendship (and enmity); “Reading and Coming to Terms withthe Past” underscores knowledge (and ignorance); “Reading Some of ‘the Talented

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the Past” underscores knowledge (and ignorance); “Reading Some of ‘the TalentedWomen Who Write Today’” stresses love (and hate), comfort (and discomfort);

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Women Who Write Today’” stresses love (and hate), comfort (and discomfort);joy (and sorrow), comfort (and distress) are stressed in “Midnight at the Oasis”

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joy (and sorrow), comfort (and distress) are stressed in “Midnight at the Oasis”but the best of the better novels are without frontiers and their placements are

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but the best of the better novels are without frontiers and their placements aremarriages of convenience. My sense of which few of the many matters most is

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marriages of convenience. My sense of which few of the many matters most isthe subject of “Chère Karine: A Letter to a Québécoise Friend in Search of the

PREV

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the subject of “Chère Karine: A Letter to a Québécoise Friend in Search of theCanada She Knows She Doesn’t Know.”

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Canada She Knows She Doesn’t Know.”

NO

T editors and their publishers for fastening on female adolescents as their “ideal”

NO

T editors and their publishers for fastening on female adolescents as their “ideal”readers. The reshaping of Canadian fiction lies with a surprising number of our

NO

T readers. The reshaping of Canadian fiction lies with a surprising number of ournovelists successfully addressing “ideal readers” who are adults willing to exam-

NO

T novelists successfully addressing “ideal readers” who are adults willing to exam-ine and embrace lives that acknowledge sexual relationships but move beyond

NO

T

ine and embrace lives that acknowledge sexual relationships but move beyondphysiological encounters into less “romantic” realms of friendship, knowledge,

NO

T

physiological encounters into less “romantic” realms of friendship, knowledge,joy, and comfort with variety and vividness and into realms of love and religionN

OT

joy, and comfort with variety and vividness and into realms of love and religion

The ways by which the novels recommended within the pages of this bookNO

T

The ways by which the novels recommended within the pages of this book

FOR

Canadian novelists attempted many, many things. The failure rate among them

FOR

Canadian novelists attempted many, many things. The failure rate among themis high but that has always been the case wherever novels are widely published.

FOR is high but that has always been the case wherever novels are widely published.

Noting the “contagion” of failed novels in his own time, James placed the blameFO

R Noting the “contagion” of failed novels in his own time, James placed the blameon the mediocrity of writers, the laxness of readers, and the timidity of editors.

FOR on the mediocrity of writers, the laxness of readers, and the timidity of editors.

He condemned an aversion to risk-taking on all sides and, specifically, the

FOR

He condemned an aversion to risk-taking on all sides and, specifically, the failure of both Anglo-American writers and readers to embrace adult life andFO

R failure of both Anglo-American writers and readers to embrace adult life andexamine sexual relations in straightforward ways. He placed much blame on FO

R examine sexual relations in straightforward ways. He placed much blame on editors and their publishers for fastening on female adolescents as their “ideal”FO

R editors and their publishers for fastening on female adolescents as their “ideal”

RESA

LE

RESA

LE

RESA

LErainbow-hued Canadian selves, of keeping us from becoming consumers

RESA

LErainbow-hued Canadian selves, of keeping us from becoming consumers unattached to the places we live, it can’t do it with chain bookstores that are

RESA

LEunattached to the places we live, it can’t do it with chain bookstores that are“educentres” and libraries that are “infocentres” modeled on Wal-Mart and

RESA

LE

“educentres” and libraries that are “infocentres” modeled on Wal-Mart and

“The novel can do simply everything,” Henry James wrote in his essay “The

RESA

LE

“The novel can do simply everything,” Henry James wrote in his essay “TheFuture of the Novel” over a hundred years ago: James was stating a fact about

RESA

LE

Future of the Novel” over a hundred years ago: James was stating a fact aboutthe form — “its elasticity is infinite” — and issuing a challenge to would-be

RESA

LE

the form — “its elasticity is infinite” — and issuing a challenge to would-benovelists to be as “various and vivid” as life itself. Between RE

SALE

novelists to be as “various and vivid” as life itself. Between 1984RESA

LE

1984

Canadian novelists attempted many, many things. The failure rate among themRESA

LE

Canadian novelists attempted many, many things. The failure rate among them

INTRODUCTION

7

Chronology plays little part in any of this — except occasionally in terms of an individual author’s development. Every book, whatever its date of publication, is new to those who have not yet read it and — in the cases of thebest of them — is an altered, renewed experience the second or third or tenthtime around. D. H. Lawrence wrote in Apocalypse (1931), his final book and onethat I’m not tired of rereading — forty-two years after first discovering it:

Owing to the flood of shallow books which really are exhausted in onereading, the modern mind tends to think every book is the same, finished in one reading. But it is not so.... The real joy of a book lies inreading it over and over again, and always finding it different, comingupon another meaning, another level of meaning ... we are so over-whelmed by the quantities of books, that we hardly realize any morethat a book can be valuable, valuable like a jewel, or a lovely picture,into which you can look deeper and deeper.

For me, “reading” a novel means any of at least a half dozen things, three ofwhich are reflected in the phrase “good, better, and the best.” Some novels are so familiar in characters, so predictable in plot, so sentimental in spirit, sounwilling to embrace adult life and complex relationships, so innocent of politics, so intellectually blinkered that spending even an hour zipping throughthem is a waste of forty-five minutes. I have “read” my way through too manysuch hours but sometimes, the fifteen minutes that yielded pleasure led my eyesback and forth for another hour or two, gathering consciousness of a place andthe conditions under which people live that are unfamiliar but ring true: Canadahas a lot of geography beyond rocks and trees and lakes and trees and rocks anda diversity of communities beyond hardscrabble farms and down-at-heel villagesand one-whore-multiple-idiot towns. Even so, far less cosmopolitanism enteredCanadian fiction than entered its music, dance, theatre, or painting until themid-eighties. Reading, at other times, means testing such rapid dismissals of the seemingly vapid against the opinion of another reader I genuinely respect bygoing back to a scanned book a second time in the normal way, beginning toend at a more ordinary speed. I’m willing to be proven wrong and can admit to

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such hours but sometimes, the fifteen minutes that yielded pleasure led my eyes

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such hours but sometimes, the fifteen minutes that yielded pleasure led my eyesback and forth for another hour or two, gathering consciousness of a place and

PREV

IEW

back and forth for another hour or two, gathering consciousness of a place andthe conditions under which people live that are unfamiliar but ring true: Canada

PREV

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the conditions under which people live that are unfamiliar but ring true: Canadahas a lot of geography beyond rocks and trees and lakes and trees and rocks and

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has a lot of geography beyond rocks and trees and lakes and trees and rocks anda diversity of communities beyond hardscrabble farms and down-at-heel villages

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a diversity of communities beyond hardscrabble farms and down-at-heel villagesand one-whore-multiple-idiot towns. Even so, far less cosmopolitanism entered

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IEW

and one-whore-multiple-idiot towns. Even so, far less cosmopolitanism enteredCanadian fiction than entered its music, dance, theatre, or painting until the

PREV

IEW

Canadian fiction than entered its music, dance, theatre, or painting until themid-eighties. Reading, at other times, means testing such rapid dismissals of

PREV

IEW

mid-eighties. Reading, at other times, means testing such rapid dismissals of the seemingly vapid against the opinion of another reader I genuinely respect by

PREV

IEW

the seemingly vapid against the opinion of another reader I genuinely respect bygoing back to a scanned book a second time in the normal way, beginning to

PREV

IEW

going back to a scanned book a second time in the normal way, beginning toend at a more ordinary speed. I’m willing to be proven wrong and can admit to

PREV

IEW

end at a more ordinary speed. I’m willing to be proven wrong and can admit to

NO

T For me, “reading” a novel means any of at least a half dozen things, three of

NO

T For me, “reading” a novel means any of at least a half dozen things, three ofwhich are reflected in the phrase “good, better, and the best.” Some novels are

NO

T which are reflected in the phrase “good, better, and the best.” Some novels are so familiar in characters, so predictable in plot, so sentimental in spirit, so

NO

T

so familiar in characters, so predictable in plot, so sentimental in spirit, sounwilling to embrace adult life and complex relationships, so innocent of

NO

T

unwilling to embrace adult life and complex relationships, so innocent of politics, so intellectually blinkered that spending even an hour zipping throughN

OT

politics, so intellectually blinkered that spending even an hour zipping throughthem is a waste of forty-five minutes. I have “read” my way through too manyN

OT

them is a waste of forty-five minutes. I have “read” my way through too manysuch hours but sometimes, the fifteen minutes that yielded pleasure led my eyesN

OT

such hours but sometimes, the fifteen minutes that yielded pleasure led my eyes

FOR

reading, the modern mind tends to think every book is the same,

FOR

reading, the modern mind tends to think every book is the same, finished in one reading. But it is not so.... The real joy of a book lies in

FOR finished in one reading. But it is not so.... The real joy of a book lies in

reading it over and over again, and always finding it different, comingFO

R reading it over and over again, and always finding it different, comingupon another meaning, another level of meaning ... we are so over-

FOR upon another meaning, another level of meaning ... we are so over-

whelmed by the quantities of books, that we hardly realize any more

FOR

whelmed by the quantities of books, that we hardly realize any morethat a book can be valuable, valuable like a jewel, or a lovely picture,FO

R that a book can be valuable, valuable like a jewel, or a lovely picture,into which you can look deeper and deeper.FO

R into which you can look deeper and deeper.

RESA

LE

RESA

LE

RESA

LEChronology plays little part in any of this — except occasionally in terms

RESA

LEChronology plays little part in any of this — except occasionally in terms of an individual author’s development. Every book, whatever its date of

RESA

LEof an individual author’s development. Every book, whatever its date of of an individual author’s development. Every book, whatever its date of

RESA

LEof an individual author’s development. Every book, whatever its date of to those who have not yet read it and — in the cases of the

RESA

LE

to those who have not yet read it and — in the cases of theexperience the second or third or tenth

RESA

LE

experience the second or third or tenth), his final book and one

RESA

LE

), his final book and onethat I’m not tired of rereading — forty-two years after first discovering it:

RESA

LE

that I’m not tired of rereading — forty-two years after first discovering it:

Owing to the flood of shallow books which really are exhausted in oneRESA

LE

Owing to the flood of shallow books which really are exhausted in onereading, the modern mind tends to think every book is the same, RE

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reading, the modern mind tends to think every book is the same,

HOOKED ON CANADIAN BOOKS

8

being wrong when I am but, more often than not, my first impression holds andsuch books are remembered only for quirky settings.

To be “good” reading, a book must insist on being read, beginning to end,in one or two or three gulps. Opening a good novel should be something likepicking up a child who needs to tell you — parent, guardian, or sitter — a tale.You hold it firmly and affectionately. You give it undivided attention, accom-modate its insistence, and tolerate its inconvenience until you can’t keep youreyes open or your stomach from growling or your employer from wonderingwhere you are. As soon as possible, you take it up again until you can finally putit and yourself to rest. A “better” book makes you stop after fifty pages and startafresh immediately — or sometimes days, sometimes weeks later. Better novelsimpose new rhythms on your reading, alter your expectations of what a storycan be, temper your steel, and ultimately win you over to their own complexi-ties — in short, they surprise you. This is the kind of novel that makes you loseyourself in its incidents, has you jumping forward because the suspense isunbearable and flipping back because you want to give yourself another shot ofan exchange, an insight, a moment thrumming with life. Sometimes, you catchyourself rereading passages several times and even saying them aloud in emptyrooms because the words are so light and nimble. This is the kind of novel thatinsists on being shared with your journal, if you keep one, and with friends who,you think, must read it. The “best” novel is one that can be read over and overagain because there is something that lies behind the words and between thewords, as complicated an array of tones and shadows and illuminating colours asa Turner landscape or a Mahler symphony that changes and changes andchanges again as vision and hearing become heightened as age advances. Or, asD. H. Lawrence writes, such rarities have “power to move us, and move us dif-

ferently; so long as we find it different every time we read it ... always finding itdifferent, coming upon another meaning, another level of meaning.”

Is this all that aesthetic judgments come down to — the intensities of subjective reaction? No, of course not: reading and writing about novels as aprofessional reviewer, I’ve learned much from many editors and more fromother reviewers, especially the cold-eyed but capacious humanity of the lateAnthony Burgess, an author too closely associated with A Clockwork Orange and

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words, as complicated an

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words, as complicated an array of tones and shadows and illuminating colours as

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array of tones and shadows and illuminating colours asa Turner landscape or

PREV

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a Turner landscape or a Mahler symphony that changes and changes and

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a Mahler symphony that changes and changes andchanges again as vision and hearing become heightened as age advances. Or, as

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changes again as vision and hearing become heightened as age advances. Or, asD. H. Lawrence writes, such rarities have “power to move us, and move us

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D. H. Lawrence writes, such rarities have “power to move us, and move us ; so long as we find it

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; so long as we find it different, coming upon another meaning, another level of meaning.”

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different, coming upon another meaning, another level of meaning.”Is this all that aesthetic judgments come down to — the intensities of

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Is this all that aesthetic judgments come down to — the intensities of subjective reaction? No, of course not: reading and writing about novels as a

PREV

IEW

subjective reaction? No, of course not: reading and writing about novels as aprofessional reviewer, I’ve learned much from many editors and more from

PREV

IEW

professional reviewer, I’ve learned much from many editors and more fromother reviewers, especially the cold-eyed but capacious humanity of the late

PREV

IEW

other reviewers, especially the cold-eyed but capacious humanity of the lateAnthony Burgess, an author too closely associated with

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Anthony Burgess, an author too closely associated with

NO

T unbearable and flipping back because you want to give yourself another shot of

NO

T unbearable and flipping back because you want to give yourself another shot ofan exchange, an insight, a moment thrumming with life. Sometimes, you catch

NO

T an exchange, an insight, a moment thrumming with life. Sometimes, you catchyourself rereading passages several times and even saying them aloud in empty

NO

T yourself rereading passages several times and even saying them aloud in emptyrooms because the words are so light and nimble. This is the kind of novel that

NO

T

rooms because the words are so light and nimble. This is the kind of novel thatinsists on being shared with your journal, if you keep one, and with friends who,

NO

T

insists on being shared with your journal, if you keep one, and with friends who,read it. The “best” novel is one that can be read over and overN

OT

read it. The “best” novel is one that can be read over and overagain because there is something that lies behind the words and between theN

OT

again because there is something that lies behind the words and between thearray of tones and shadows and illuminating colours asN

OT

array of tones and shadows and illuminating colours as

FOR

where you are. As soon as possible, you take it up again until you can finally put

FOR

where you are. As soon as possible, you take it up again until you can finally putit and yourself to rest. A “better” book makes you stop after fifty pages and start

FOR it and yourself to rest. A “better” book makes you stop after fifty pages and start

afresh immediately — or sometimes days, sometimes weeks later. Better novelsFO

R afresh immediately — or sometimes days, sometimes weeks later. Better novelsimpose new rhythms on your reading, alter your expectations of what a story

FOR impose new rhythms on your reading, alter your expectations of what a story

can be, temper your steel, and ultimately win you over to their own complexi-

FOR

can be, temper your steel, and ultimately win you over to their own complexi-ties — in short, they surprise you. This is the kind of novel that makes you loseFO

R ties — in short, they surprise you. This is the kind of novel that makes you loseyourself in its incidents, has you jumping forward because the suspense isFO

R yourself in its incidents, has you jumping forward because the suspense isunbearable and flipping back because you want to give yourself another shot ofFO

R unbearable and flipping back because you want to give yourself another shot of

RESA

LE

RESA

LE

RESA

LEbeing wrong when I am but, more often than not, my first impression holds and

RESA

LEbeing wrong when I am but, more often than not, my first impression holds and

To be “good” reading, a book must insist on being read, beginning to end,

RESA

LE

To be “good” reading, a book must insist on being read, beginning to end,in one or two or three gulps. Opening a good novel should be something like

RESA

LE

in one or two or three gulps. Opening a good novel should be something likepicking up a child who needs to tell you — parent, guardian, or sitter — a tale.

RESA

LE

picking up a child who needs to tell you — parent, guardian, or sitter — a tale.You hold it firmly and affectionately. You give it undivided attention, accom-

RESA

LE

You hold it firmly and affectionately. You give it undivided attention, accom-modate its insistence, and tolerate its inconvenience until you can’t keep your

RESA

LE

modate its insistence, and tolerate its inconvenience until you can’t keep youreyes open or your stomach from growling or your employer from wonderingRE

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eyes open or your stomach from growling or your employer from wonderingwhere you are. As soon as possible, you take it up again until you can finally putRE

SALE

where you are. As soon as possible, you take it up again until you can finally put

INTRODUCTION

9

too little remembered for the Malay trilogy that first brought him to attention,the quartet of Enderby novels, Nothing Like the Sun, at least a half dozen moreof his many books, and his masterpiece Earthly Powers. In his “Introduction” to99 Novels: The Best in English Since 1939 (1984), lover of wordplay that Burgessis, he notes that “BOOK can be taken as an acronym standing for Box ofOrganized Knowledge” and that the novel “is a box from which characters andevents are waiting to emerge at the raising of a lid.” Once opened, he asks, whatsort of organized knowledge emerges, what fictional truths jump out? First, mostcertainly, is a sense of gradation in human affairs, a lack of absolutes — eventhose the author might personally espouse. “Create your characters, give them atime and a place to exist in, and leave the plot to them.” Burgess advises fellownovelists:

imposing of action on them is very difficult, since action must springout of the temperament with which you have endowed them. At bestthere will be a compromise between the narrative line you havedreamed up and the course of action preferred by the characters....[A]ction is there to illustrate character; it is the character that counts.

The novelist who doesn’t allow this to happen, who insists on preaching, onbeing didactic, on seeing himself (and outside the realm of the “romance” andAyn Rand, it is generally the male of the species who does this) as “a kind ofsmall God of the Calvinists,” and is able to predict what is going to happen onhis final page is the maker of bad novels, novels that create no surprises, leavenothing new behind. Burgess (who titled his autobiography Big God and Little

Wilson) continues:

It is the Godlike task of the novelist to create human beings whom weaccept as living creatures filled with complexities and armed with freewill.... As novels are about the ways in which human beings behave,they tend to imply a judgement of behaviour, which means that thenovel is what the symphony or painting or sculpture is not — namely,a form steeped in morality.... The strength of a novel, however, owes

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small God of the Calvinists,” and is able to predict what is going to happen on

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small God of the Calvinists,” and is able to predict what is going to happen onhis final page is the maker of bad novels, novels that create no surprises, leave

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his final page is the maker of bad novels, novels that create no surprises, leavenothing new behind. Burgess (who titled his autobiography

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nothing new behind. Burgess (who titled his autobiography ) continues:

PREV

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) continues:

It is the Godlike task of the novelist to create human beings whom we

PREV

IEW

It is the Godlike task of the novelist to create human beings whom weaccept as living creatures filled with complexities and armed with free

PREV

IEW

accept as living creatures filled with complexities and armed with freewill.... As novels are about the ways in which human beings behave,

PREV

IEW

will.... As novels are about the ways in which human beings behave,they tend to imply a judgement of behaviour, which means that the

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they tend to imply a judgement of behaviour, which means that thenovel is what the symphony or painting or sculpture is not — namely,

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novel is what the symphony or painting or sculpture is not — namely,

NO

T there will be a compromise between the narrative line you have

NO

T there will be a compromise between the narrative line you havedreamed up and the course of action preferred by the characters....

NO

T dreamed up and the course of action preferred by the characters....[A]ction is there to illustrate character; it is the character that counts.

NO

T [A]ction is there to illustrate character; it is the character that counts.

The novelist who doesn’t allow this to happen, who insists on preaching, on

NO

T

The novelist who doesn’t allow this to happen, who insists on preaching, onbeing didactic, on seeing himself (and outside the realm of the “romance” andN

OT

being didactic, on seeing himself (and outside the realm of the “romance” andAyn Rand, it is generally the male of the species who does this) as “a kind ofN

OT

Ayn Rand, it is generally the male of the species who does this) as “a kind ofsmall God of the Calvinists,” and is able to predict what is going to happen onN

OT

small God of the Calvinists,” and is able to predict what is going to happen on

FOR

certainly, is a sense of gradation in human affairs, a lack of absolutes — even

FOR

certainly, is a sense of gradation in human affairs, a lack of absolutes — eventhose the author might personally espouse. “Create your characters, give them a

FOR those the author might personally espouse. “Create your characters, give them a

time and a place to exist in, and leave the plot to them.” Burgess advises fellowFO

R time and a place to exist in, and leave the plot to them.” Burgess advises fellow

imposing of action on them is very difficult, since action must springFOR

imposing of action on them is very difficult, since action must springout of the temperament with which you have endowed them. At bestFO

R out of the temperament with which you have endowed them. At bestthere will be a compromise between the narrative line you haveFO

R there will be a compromise between the narrative line you have

RESA

LE

RESA

LE

RESA

LEtoo little remembered for the Malay trilogy that first brought him to attention,

RESA

LEtoo little remembered for the Malay trilogy that first brought him to attention,, at least a half dozen more

RESA

LE, at least a half dozen more. In his “Introduction” to

RESA

LE

. In his “Introduction” to), lover of wordplay that Burgess

RESA

LE

), lover of wordplay that Burgessis, he notes that “BOOK can be taken as an acronym standing for Box of

RESA

LE

is, he notes that “BOOK can be taken as an acronym standing for Box ofOrganized Knowledge” and that the novel “is a box from which characters and

RESA

LE

Organized Knowledge” and that the novel “is a box from which characters andevents are waiting to emerge at the raising of a lid.” Once opened, he asks, what

RESA

LE

events are waiting to emerge at the raising of a lid.” Once opened, he asks, whattruths jump out? First, mostRE

SALE

truths jump out? First, mostcertainly, is a sense of gradation in human affairs, a lack of absolutes — evenRE

SALE

certainly, is a sense of gradation in human affairs, a lack of absolutes — even

HOOKED ON CANADIAN BOOKS

10

nothing to its confirmation of what conventional morality has alreadytold us. Rather a novel will question convention and suggest to us thatthe making of moral judgements is difficult. This can be called thehigher morality.

Such higher morality is much misunderstood. Does anyone read or even remem-ber John Gardner any longer? Google gives priority to two others of the samename and Wikipedia requests more critical information than it dispenses. Butbetween 1971 and 1979, few American novelists were more popular or prolific.After his third novel, Grendel, a retelling of Beowulf from the point of view ofthe monster as foul-mouthed mommy’s boy, brought him massive sales andacclaim in 1971, Gardner further enlarged his readership and reputation withThe Sunlight Dialogues (1972) and October Light (1976). There were four othernovels in these eight years (including the unjustly neglected Mickelson’s Ghosts),two books of children’s stories, a biography of Chaucer and a book aboutChaucer’s poetry in 1977, and then a flood of mainstream media attention anda collapse of relations within New York’s publishing industry when he publishedOn Moral Fiction in 1978. Diagnosed with colon cancer while writing it, he diedin a motorcycle accident in 1982 but not before publishing four further novels that disappeared from bookstores much too soon. On Moral Fiction argued that fiction should aspire to discover those human values great artists beginning withHomer have always regarded as universally sustaining — friendship, joy, comfort,

knowledge, religion, and love. Gardner regarded as “moral” (and Burgess agreed)fiction “that attempts to test human values, not for the purpose of preaching orpeddling a particular ideology, but in a truly honest and open-minded effort tofind out what best promotes human fulfillment; and it does so ... by the kind ofanalysis of characters and the things they do that bring both writer and readerto understanding, sympathy, and love for human possibility”:

The traditional view is that art is moral; it seeks to improve life, notdebase it. It seeks to hold off, at least for a while, the twilight of thegods and us. I do not deny that art, like criticism, may legitimately celebrate the trifling. It may joke, or mock, or while away the time. But

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knowledge, religion, and love

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knowledge, religion, and love

fiction “that attempts to test human values, not for the purpose of preaching or

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fiction “that attempts to test human values, not for the purpose of preaching orpeddling a particular ideology, but in a truly honest and open-minded effort to

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peddling a particular ideology, but in a truly honest and open-minded effort tofind out what best promotes human fulfillment; and it does so ... by the kind of

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find out what best promotes human fulfillment; and it does so ... by the kind ofanalysis of characters and the things they do that bring both writer and reader

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analysis of characters and the things they do that bring both writer and readerto understanding, sympathy, and love for human possibility”:

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to understanding, sympathy, and love for human possibility”:

The traditional view is that art is moral; it seeks to improve life, not

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The traditional view is that art is moral; it seeks to improve life, notdebase it. It seeks to hold off, at least for a while, the twilight of the

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debase it. It seeks to hold off, at least for a while, the twilight of thegods and us. I do not deny that art, like criticism, may legitimately

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gods and us. I do not deny that art, like criticism, may legitimately celebrate the trifling. It may joke, or mock, or while away the time. But

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celebrate the trifling. It may joke, or mock, or while away the time. But

NO

T , and then a flood of mainstream media attention and

NO

T , and then a flood of mainstream media attention and

a collapse of relations within New York’s publishing industry when he published

NO

T a collapse of relations within New York’s publishing industry when he published. Diagnosed with colon cancer while writing it, he died

NO

T . Diagnosed with colon cancer while writing it, he died1982

NO

T

1982 but not before publishing four further novels

NO

T

but not before publishing four further novels that disappeared from bookstores much too soon.

NO

T

that disappeared from bookstores much too soon. fiction should aspire to discover those human values great artists beginning withN

OT

fiction should aspire to discover those human values great artists beginning withHomer have always regarded as universally sustaining — N

OT

Homer have always regarded as universally sustaining — . Gardner regarded as “moral” (and Burgess agreed)N

OT

. Gardner regarded as “moral” (and Burgess agreed)

FOR

, few American novelists were more popular or prolific.

FOR

, few American novelists were more popular or prolific.Beowulf

FOR Beowulf from the point of view of

FOR from the point of view of

the monster as foul-mouthed mommy’s boy, brought him massive sales andFO

R the monster as foul-mouthed mommy’s boy, brought him massive sales and, Gardner further enlarged his readership and reputation with

FOR , Gardner further enlarged his readership and reputation with

October Light

FOR

October Light (

FOR

(1976

FOR

1976). There were four other

FOR

). There were four othernovels in these eight years (including the unjustlyFO

R novels in these eight years (including the unjustly neglected FO

R neglected

two books of children’s stories, a biography of Chaucer and a book aboutFOR

two books of children’s stories, a biography of Chaucer and a book about, and then a flood of mainstream media attention andFO

R , and then a flood of mainstream media attention and

RESA

LE

RESA

LE

RESA

LEnothing to its confirmation of what conventional morality has already

RESA

LEnothing to its confirmation of what conventional morality has alreadytold us. Rather a novel will question convention and suggest to us that

RESA

LEtold us. Rather a novel will question convention and suggest to us thatthe making of moral judgements is difficult. This can be called the

RESA

LE

the making of moral judgements is difficult. This can be called the

morality is much misunderstood. Does anyone read or even remem-

RESA

LE

morality is much misunderstood. Does anyone read or even remem-ber John Gardner any longer? Google gives priority to two others of the same

RESA

LE

ber John Gardner any longer? Google gives priority to two others of the samename and Wikipedia requests more critical information than it dispenses. ButRE

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name and Wikipedia requests more critical information than it dispenses. But, few American novelists were more popular or prolific.RE

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, few American novelists were more popular or prolific.

INTRODUCTION

11

trivial art has no meaning or value except in the shadow of more serious art, the kind of art that beats back the monsters and, if you will, makes the world safe for triviality. That art which tends towarddestruction, the art of nihilists, cynics, and merdistes, is not properlyart at all. Art is essentially serious and beneficial, a game played againstchaos and death, against entropy. It is a tragic game, for those who havethe wit to take it seriously, because our side must lose; a comic game— or so a troll might say — because only a clown with sawdust brainswould take our side and eagerly join in.

Gardner felt few of his contemporaries were moral in this sense, indulging in“winking, mugging despair” or trendy nihilism in which they did not honestlybelieve. Gore Vidal famously called Gardner the “late apostle to the lowbrows,a sort of Christian evangelical who saw Heaven as a paradigmatic American university.” But he wasn’t that — not at all — even if he was rather humour-less. His two books on the craft of writing fiction — The Art of Fiction and On

Becoming a Novelist — published posthumously in 1983 — enhance the craft,smooth the rhythms, and develop the continuity of the fictive dream. His bookswere touched by the redemptive power of art. As are Anthony Burgess’s.

For Burgess, as for Gardner, the rules of thumb to a good novel are:

• It never forgets that a novel is about characters — human beings individ-ually, socially, and en masse.

• It operates within temporal and spatial laws of human probability (allow-ing characters the time it takes for real people to do whatever they’re doingand puts them in places in which people can actually do these things andgives them the kinds of bodies that respond to these actions more or lessas actual bodies do).

• It doesn’t try to get all the details down because there has to be a balancebetween a journalist’s quest for particulars and a philosopher’s digginginto underlying reality.

• Its speech is lifelike without being transcription.• It eschews superdeligorgeous verbosity (to be hyperspondulically explicit)

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ually, socially, and en masse.

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ually, socially, and en masse.• It operates within temporal and spatial laws of human probability (allow-

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• It operates within temporal and spatial laws of human probability (allow-ing characters the time it takes for real people to do whatever they’re doing

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ing characters the time it takes for real people to do whatever they’re doingand puts them in places in which people can actually do these things and

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and puts them in places in which people can actually do these things andgives them the kinds of bodies that respond to these actions more or less

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gives them the kinds of bodies that respond to these actions more or lessas actual bodies do).

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as actual bodies do).• It doesn’t try to get all the details down because there has to be a balance

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• It doesn’t try to get all the details down because there has to be a balancebetween a journalist’s quest for particulars and a philosopher’s digging

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between a journalist’s quest for particulars and a philosopher’s digginginto underlying reality.

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into underlying reality.• Its speech is lifelike without being transcription.

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• Its speech is lifelike without being transcription.• It eschews superdeligorgeous verbosity (to be hyperspondulically explicit)

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• It eschews superdeligorgeous verbosity (to be hyperspondulically explicit)

NO

T less. His two books on the craft of writing fiction —

NO

T less. His two books on the craft of writing fiction —

— published posthumously in

NO

T — published posthumously in smooth the rhythms, and develop the continuity of the fictive dream. His books

NO

T smooth the rhythms, and develop the continuity of the fictive dream. His bookswere touched by the redemptive power of art. As are Anthony Burgess’s.

NO

T

were touched by the redemptive power of art. As are Anthony Burgess’s.For Burgess, as for Gardner, the rules of thumb to a good novel are:

NO

T

For Burgess, as for Gardner, the rules of thumb to a good novel are:

• It never forgets that a novel is about characters — human beings individ-NO

T

• It never forgets that a novel is about characters — human beings individ-ually, socially, and en masse.N

OT

ually, socially, and en masse.

FOR moral

FOR moral in this sense, indulging in

FOR in this sense, indulging in

“winking, mugging despair” or trendy nihilism in which they did not honestlyFO

R “winking, mugging despair” or trendy nihilism in which they did not honestlybelieve. Gore Vidal famously called Gardner the “late apostle to the lowbrows,

FOR

believe. Gore Vidal famously called Gardner the “late apostle to the lowbrows,a sort of Christian evangelical who saw Heaven as a paradigmatic American FO

R a sort of Christian evangelical who saw Heaven as a paradigmatic American university.” But he wasn’t that — not at all — even if he was rather humour-FO

R university.” But he wasn’t that — not at all — even if he was rather humour-less. His two books on the craft of writing fiction — FO

R less. His two books on the craft of writing fiction —

RESA

LE

RESA

LE

RESA

LEtrivial art has no meaning or value except in the shadow of more

RESA

LEtrivial art has no meaning or value except in the shadow of more serious art, the kind of art that beats back the monsters and, if you

RESA

LEserious art, the kind of art that beats back the monsters and, if you will, makes the world safe for triviality. That art which tends toward

RESA

LE

will, makes the world safe for triviality. That art which tends towarddestruction, the art of nihilists, cynics, and merdistes, is not properly

RESA

LE

destruction, the art of nihilists, cynics, and merdistes, is not properlyart at all. Art is essentially serious and beneficial, a game played against

RESA

LE

art at all. Art is essentially serious and beneficial, a game played againstchaos and death, against entropy. It is a tragic game, for those who have

RESA

LE

chaos and death, against entropy. It is a tragic game, for those who havethe wit to take it seriously, because our side must lose; a comic game

RESA

LE

the wit to take it seriously, because our side must lose; a comic game— or so a troll might say — because only a clown with sawdust brainsRE

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— or so a troll might say — because only a clown with sawdust brains

HOOKED ON CANADIAN BOOKS

12

unless such loquacity is necessary to a character.• It moulds the storyline into a parabola ending in a resolution; some metic-

ulously qualified understanding and assertion.

Because good novels can only be made by artists who subsume themselves to their work, they transcend the intelligence and decency of their makers.That’s what makes them “lifes best businesse” as Richard Whitlock noted threeand a half centuries ago in Zootomia, or, Observations on the present Manners of

the English: Briefly anatomizing the Living by the Dead:

They are for company, the best Friends; in doubts, Counsellours; inDamps Comforters: Times Prospective, the home Travellers Ship, orHorse, the busie mans best Recreation, the Opiate of Idle wearinsesse, theMindes best Ordinary, Natures Garden, and Seed-plot of Immortality.

Whitlock preferred them to doctors, lawyers, and priests. Me too.

Westmount 2010

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NO

T Whitlock preferred them to doctors, lawyers, and priests. Me too.

NO

T Whitlock preferred them to doctors, lawyers, and priests. Me too.FO

R They are for company, the best Friends; in doubts, FO

R They are for company, the best Friends; in doubts, CounselloursFO

R Counsellours

, the home Travellers FO

R , the home Travellers , the

FOR

, the Opiate

FOR

Opiate of

FOR

of Idle wearinsesse

FOR

Idle wearinsesse

, Natures Garden, and FOR

, Natures Garden, and Seed-plot of ImmortalityFOR

Seed-plot of Immortality

Whitlock preferred them to doctors, lawyers, and priests. Me too.FOR

Whitlock preferred them to doctors, lawyers, and priests. Me too.RE

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RESA

LE

RESA

LE• It moulds the storyline into a parabola ending in a resolution; some metic-

RESA

LE• It moulds the storyline into a parabola ending in a resolution; some metic-

Because good novels can only be made by artists who subsume themselves

RESA

LE

Because good novels can only be made by artists who subsume themselves to their work, they transcend the intelligence and decency of their makers.

RESA

LE

to their work, they transcend the intelligence and decency of their makers.That’s what makes them “lifes best businesse” as Richard Whitlock noted three

RESA

LE

That’s what makes them “lifes best businesse” as Richard Whitlock noted threeZootomia, or, Observations on the present Manners ofRE

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Zootomia, or, Observations on the present Manners of