Monthly Archives: November 2007

Encounters with Books: Kleptomaniacally

sadbooks.jpg

There is a name for my condition, and so I am human after all. This ailment of mine (though I don’t want no cure) might call for medic-alert bracelets, prescriptions. Though I’ve got the mildest of cases, but still— what a relief to have it pinned down. Not a character failing at all but an affliction, and Merriam-Webster’s Medical says so. For there is really such a thing as bibliokleptomania.

I steal books. Like most people who steal books, however, my thievery comes with strict perameters: I am not talking about copyright, and I would die before stealing from a bookshop or a library. No, rather I steal books in much the same manner people take in stray cats or foster children. I steal books from people who don’t take care of them, from establishments that keep them around as decoration. I steal books that double as coasters or doorstops. Books with shattered spines, or books that go uncatalogued— for how easily could such a book get lost, and who would ever know?

Not every one of these books, of course, goes home with me. Indeed there are some books which deserve to balance table legs or live on the backs of toilets. But some decidedly shouldn’t— good books, books with gaping holes in my own collection just waiting for them, books I covet, lust for, want. And they need me as much as I need them. I envision myself as protector of the neglected book, and my theft its liberation.

I began to suspect I was not alone in my crime when I came upon a profile of author Sheila Heti, and read that she’d found the inspiration for her novel Ticknor in a book she discovered whilst waiting for a friend at a lounge. She had “randomly pulled a book—an old leather-bound volume—from one of the shelves. She began reading and was intrigued by the uniqueness of the writer’s voice. ‘So I stole it,’ she says.”

Remarkable, her lack of compunction, her shamelessness. So matter-of-fact. She’d probably tell you that some books are meant to be stolen, have been waiting for you all their lives. Or at least I’d tell you that, if I were her. And also that these “lounges” are suspect places for books to be anyway. You know, sometimes they’re coffee shops, book-lined for ambience, but most of the books are terrible. Dumping grounds for the kinds of books that used to live on the backs of toilets, though I will admit this is probably because all the good books have been stolen. But the moral lines are so dubiously drawn here: who owns these books? They’re for the customers’ enjoyment? Who can enjoy a book for just fifteen minutes over a latte? So go on, just steal the book— it’s only right.

Of course this kind of stealing is small beans compared to what the big time biblioklepts get up to. Yes, the biblioklepts: those suffering from bibliokleptomania. There was even an article about it in the Canadian Medical Association Journal, in which writer E.C. Abbott explains that book thieving goes way back to the Middle Ages when books were rare and especially valuable. Abbott also writes of famous book thieves including Dr. Elois Pichler in the nineteenth century who stole 4000 volumes over three years from the Russian Imperial Library in St. Petersburg. He’d sneak them under his bulky overcoat, specially adapted with a storage sack inside, and when he was caught he was sent to Siberia. Also of Gilbert J. Bland, “the Al Capone of cartography”.

In another article, Pradeep Sabastian writes of Stephen Blumberg, who racked up over 22000 rare books over his “career”. “Though he had only passed high school he would masquerade as a professor in University libraries. His modus operandi ranged from wearing long coats with specially sown long pockets inside to hiding in the library after it closed… At his trial he said he always meant to return them.”

I find all this a bit delightful, though the less prolific book thieves not so much. All those petty scum who simply fail to return their library books, for example. Also those who manage to smuggle their heart’s desire out of the building without sounding the alarms— last year the British Library revealed their list of books registered missing, including a Jamie Oliver cookbook, 17 Rolling Stones albums, and four Shakespeare plays. People who cut pages out of library books or remove plates and illustrations from rare books make me sad. As does anyone who dares to steal a book for monetary gain. My disdain is also reserved for whoever it was that removed the “hotels” listings from all the Yellow Pages in the Montreal train station.

Though I must confess to being a bit in love with that woman in Maine who signed out two copies of It’s Perfectly Normal: Changing Bodies, Growing Up, Sex & Sexual Health from the library fourteen years ago. For isn’t bibliokleptomania at its best at its most absurd? I adore the fact that she refuses to return them because she thinks they’re pornographic.

Fear of Poetry and other phobias

Last night I attended an Art Bar poetry reading which featured three poets including the poetry of Karen Mulhallen, friend to one and all here at Descant. I can’t tell you how intimidating these proceedings seem to me at times. I repeatedly say to Karen, in our monthly meetings with the other Descant co-editors, that I am “afraid” of poetry and am reluctant to judge it (in terms of its quality) and I am only half joking. I am a little (afraid that is).

When Karen finished reading from her new book Sea Horses, her other friends present, all well versed, well educated, established writers and/or professors, were remarking on the poems – her allusions to the poetry of Al Purdy, her references to The Odyssey, the clever alliteration used, etc … I could only sheepishly murmur “That was lovely” (and it was – and sensuous and imaginative too).

I enjoyed the first reader, Steve McCabe, as well; his work was erotic and strange but appealingly so, accompanied by moody music and these odd, bright illustrations projected on to a screen which added a great deal to the reading I thought. The third reader, a spoken word artist Andrea Thompson, was young, energetic and fun – all three were so different, all three moved me in different ways.

And that’s the problem for me I think … I can only seem to respond on an emotional level to poetry. My instincts are so primitive, so unrefined, so uncerebral, that I can only think to myself “I like it or don’t like it, it moves me or it doesn’t.” I can’t analyze why the damn things work, why they move me (or don’t move me) or how they are put together, why they don’t seem to be well formed, etc … When I talk to poets/friends about this they always reassure me that this visceral reaction is fine.

But somehow I don’t think so. I think appreciation of poetry requires more than that. This harkens back to my “What you get away with” blog a while ago … Just because I like it does that make it “good”? Does it make it art? No, I don’t think so. Am I afflicted? Am I unable to decipher the secret code that poetry sometimes appears to be to the neophyte? Am I afraid to like poetry? Am I still that unsophisticated working class kid from Hamilton with a chip on her shoulder who is afraid to use mutli-syllabic words because her high school friends will think she’s a dork (nice friends eh?).

Even now, when my dear ”calls it as she sees it” Mama telephones I never tell her that I am reading instead I lie and say I’m cooking dinner, cleaning up, etc … because I still vividly recall her exasperation with my reading habits and her sense that it was a waste of time (mine and hers). I still hide books from certain friends(?) who only have caustic comments about the thickness or, seemingly to their eyes, complex reading material and often greet me with the exclamation “Aren’t we ambitious?” with a malicious gleam in their eye.

Am I afraid of poetry or am I afraid of not seeming to get it? I want to learn more. I just don’t know where to start. There are things I like but I am nervous to cite the poets I enjoy as I’m sure they will seem hopelessly old fashioned. See how insecure I am about this?

I enjoyed Camille Paglia’s Break, Blow, Burn because I admired her energy and the enthusiam she had for the poetry that she loved. I didn’t always agree with her reasoning but it was interesting to read what she thought was moving, emotional, beautiful.

And that’s what I’m looking for – moving, emotional, beautiful – please make a suggestion about where a novice should start. Give a new kid a break. 

 

Hobart

Former Now hear))this! Program Coordinator, Pasha Malla, is the Guest Editor for Hobart #8: Hobart in Canada. Check out the website for more information.

http://www.hobartpulp.com/print/index.html 


Encounters with Books: And with Fashion

Reading is Sexy
Begin with the assumption that a t-shirt never lies: if reading is truly sexy and somebody prints this message upon clothing, then the disconnect between literature and fashion cannot be so great. Descant bridges it with Issue 138, with fiction, poetry, memoirs, essays and theory inspired by and devoted to fashion. A literary journal with full colour spreads: now there’s a bridge.

Or rather, there’s a marriage? And an ancient marriage too, for isn’t fashion an age-old literary device? Fashion in Books is an early lesson on how to build a character, though of course also just the beginning. A character constructed solely of clothing would be awfully flimsy and require significant development in order to become multi-dimensional.

But still, “Clothes as Character”: Mrs.Turner “climbs into an ancient pair of shorts and ties on her halter top” in “Mrs. Turner Cutting the Grass”. Jordan Baker who “wore her evening-dress, all her dresses, like sports clothes” in The Great Gatsby. Billy in Laurie Colwin’s Another Marvelous Thing, in her “pair of worn cordoroy trousers, once green and now no colour at all, a gray sweater… and a pair of very old, broken shoes with tassels, the backs of which are held together with electrical tape.” Don’t you know these people? Don’t their clothes “become them”?

Even “Clothes as Heart’s Desire”: That dress in Anne of Green Gables: “But the sleeves— they were the crowning glory! Long elbow cuffs, and above them two beautiful puffs divided by rows of shirring and bows of brown silk ribbon.” The gold dress in Janice Kulyk Keefer’s The Ladies’ Lending Library: “If she were to step into it, she would become Cleopatra: everything about her would change.”

Seeking equivalent literary references to men’s clothing, I have to admit that I’ve come up short. Of course it’s possible that I’ve been reading the wrong books, but I would like to posit instead that men’s clothes in books functions differently to women’s. Similarly to Kulyk Keefer’s gold dress (“If he were to step into it, everything about him would change”), but men’s clothes themselves are invested with no particular meaning. The man’s transformation is the key, and the clothes remain as articles. We don’t see any of Jay Gatsby’s splendid array of shirts worn by him, but rather piled upon a table in a “soft rich heap.”

In Alan Sillitoe’s novel Saturday Night and Sunday Morning factory worker Arthur Seaton has saved his meagre wages to acquire two expensive suits— his most precious possessions. Yet wearing one, it doesn’t “become him”; well beyond the point of the suit is Arthur’s attempt to elevate his station.

Carol Shields’ Larry in Larry’s Party tries out such elevation by accident when he picks up someone else’s jacket at a coffee shop— a more expensive version of his own. And inside the other jacket, with its smoother lining, detailed buttons, well-stitched pockets, Larry has a glimpse of the kind of man that he could be. But of course an article of clothing is simply an article, and Larry is Larry: ashamed by what he’s done, afraid of being found out, he takes off the jacket and stuffs it into a rubbish bin.

In “The Characters Have New Clothes”, Amy M. Spindler speculates about what would be different if writers of modern classics had had designer clothing to define their characters by. In “I bet that you look good in the bookstore”, the books themselves become fashion: which one is best carried in order to attract a mate? Penguin has demonstrated that a well-dressed book can bring forth fashion iconography of its own. For the whole range of “Reading is Sexy” attire, go here.

Fashion and literature are intrinsically linked, and Descant 138 celebrates this.

He Rides Again: The Outlaw Mythology of Jesse James and Salvatore Giuliano

The Assassination of Jesse James by the Coward Bob Ford by Ron Hansen (published 1983 – reissued First Harper Perennial, 2007) 304 pp.
The excellent film of the same name, released this fall, drew me to this wonderful book. The film’s website is quite well done as well. In reading Ron Hansen‘s book, I cannot help but be struck by the similarities between the lives and fates of the American outlaw Jesse James (1847 – 1882) and the Sicilian bandit Salvatore Giuliano (1922 – 1950). In doing a bit of research on both men, I see that a similar observation was made in a Time article dated April 30, 1951 after the death of Giuliano. They had more in common than youth, beauty and a life of crime.
As a girl, my parents sometimes played a record (yes indeed, that ancient precursor to CDs) which sang of the exploits of Giuliano. The album cover featured various scenes from his life. I only had a vague interest in him then but this grew and became a sort of small obsession as an adult. I find that I am not alone in this mania. The powerful imagery and mythology of the outlaw lives on in books, film, song and life especially if the outlaw is favoured with cinematic good looks like my fellow countryman Giuliano (pictured here to the right above).
Although James’ death is separated from Giuliano’s birth by exactly 40 years and an ocean, both were famous outlaws whose celebrity lives on to this day. Jesse James’ reign began in the 1870s of Midwestern America and Giuliano in the early 1940s in Sicily.
Handsome and vain, heroic and ruthlessly devoted to their own mercenary and/or political causes, they were beloved by the people of the rural areas where they were raised (James in Missouri, Giuliano in the village of Montelepre in in Western Sicily). Despite their many murders (seventeen for James versus almost 100 for Giuliano) and robberies, they were both equally known for their generosity to the poor and often referred to as sorts of Robin Hoods. Anecdotes, newspaper accounts, folk tales and songs abound about the good they did, the poor they assisted, and how dashing they were. 

Ron Hansen’s grandfather claimed that, as a 13 year old boy, Jesse James had watered his horses near the family homestead in Iowa. I had heard similar stories growing up about a woman my mother knew who had claimed that she had danced with Giuliano (my mother was 15 when Giuliano was murdered in 1950, two years later she immigrated to Canada). He was to her, and still is I believe, a figure of glamour and mystery. 

Mention the name Giuliano to any Sicilian or Mezzogiorno Italian with a sense of their own history and their eyes light up. He is not primarily remembered for his hand in the ruthless gunning down of a dozen or so Communist sympathizers (among them women and children) at la Portella della Ginestra in May 1947 (his role was murky and often contested by his defenders) but for his supposed gallantry, kindness and regard for the poor.           

Their outlawry began with acts of rebellion against the state: James, as a teenager, engaged in guerrilla warfare against Union soldiers of the North during the American Civil War. Giuliano shot a carabiniero (military policeman) who had tried to arrest him for carrying food that was above the war rations that the Sicilian people were allotted during WWII. Rather than give himself up, Giuliano soon became an outlaw and a separatist agitating against the Italian government for independence from Italy. They were both proud, impoverished Southerners at war against perceived oppressors from the North.

The men had intense, highly charged relationships with family members. They weren’t anti-social loners or people who survived easily without the support and love of those closest to them. Jesse, by many accounts, was a devoted husband to his wife Zerelda Mimms James (known as Zee) and a loving father to his two children Mary and Jesse. His brother Frank James, with whom he frequently feuded, was also in the James gang. Although, he never married and was never definitively connected romantically to any woman, Giuliano was completely devoted to his parents and sisters who suffered a great deal under the heel of the Italian government. His cousin Gaspare Pisciotta, his first cousin and future executioner, was also a gang member.

According to Hansen’s book, a book of fiction based on historical fact, Jesse James took delight in robbing Easterners during his numerous train robberies. Giuliano, too, was pleased to outwit and steal from the Northerners who had been summoned to tame and destroy the Sicilian rebel. Both often sent notes to the newspapers vehemently protesting their innocence. They mingled with, and often charmed, complete strangers leaving them mischievous notes indicating that they had just spoken to a famous outlaw. Or they left notes on the bodies of those that they had killed with messages of warning about the consequences of treachery.

James challenged the detective Allan Pinkerton, whose mission it was to capture James, to a duel. Oddly this was often Giuliano’s preferred mode of engagement when outraged by any representative of Italian authority who wished to capture him (or merely insult him).

They endured the constant persecution of their families. Giuliano’s parents and sisters were incarcerated and harassed for years by the carabinieri while American law enforcement officials firebombed the home of Jesse James’ mother and stepfather causing the death of James’ nine year old step-brother and a serious injury to the hand of his mother who had to have it amputated.

Both men were murdered by close associates: James, by a gang member whom he had welcomed into his home and, Giuliano, by his cousin and fellow gang member. Their killers, respectively Bob Ford and Gaspare Pisciotta, suffered painful deaths in retribution for their treachery and their part in the assassinations. Ford was shot and killed in the bar that he owned in 1890; Pisciotta was poisoned in prison awaiting trial in 1954. As they say, live by the sword …

Remarkably, even though both were acknowledged killers and criminals, their deaths were mourned nationally, almost hysterically. The assassins were villified and threatened until they, too were, murdered in retribution. The men were each displayed and photographed in death like trophies on a wall by the authorities. Jesse’s death portrait was posted in the newspapers. This film still from the film Salvatore Giuliano (1962) faithfully depicts the press photograph that was taken of the scene at Giuliano’s death and the tumult of media attention it received. Idolized in death by the “common” people, they would come to name their children after both for generations to come. My cousin’s nephew is graced with both names “Jesse” and “James”. Today, meet a Giuliano and he is likely a Sicilian or Southerner with parents who can regale you with stories about his namesake.

I abhor violence and am mostly horrified by its depiction in all forms. The collective deeds of James and Giuliano, when itemized, sicken me as I read their biographies, and yet, and yet … is it their youth (James was 35, Giuliano 27 when he died), or is their beauty, which makes me turn a blind eye, which draws me to them?In the 1990s, the image of the bandit Giuliano kept creeping into my writing, mostly he would make a cameo appearance in short stories and later overtook me in a book length novel. While I was writing it, it did not immediately occur to me that I was so influenced by my interest in him that I likely named my daughter after him. However, I very surely was. Â