Monthly Archives: April 2009

Sign of A Survivor

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The pioneers of Vancouver’s Chinatown had taught Wayson Choy: ”Survivors pay attention to signs.” And in many ways he has benefitted from this wisdom. His writing career had two auspicious starts. The first was while in his youth at UBC. His short story made the rounds of anthologies, including Best American Short Stories. After a gap teaching, he revived his writing career in 1977 with a creative writing workshop conducted by Carol Shields. She assigned the class to write a short story incorporating a particular colour. Wayson began writing about Old Chinatown but was stumped by having to use his designated theme of pink. By chance he visited his aunt who gifted him a pink jade ornament, and Wayson saw it as a sign. His short story was titled, “The Jade Peony”. The story then spawned a novel of the same title, a prize-winning book that is now read and term-papered in schools throughout Canada.

A similar sign, a lucky feeling, prompted Wayson to buy a lottery ticket that paid out $100,000.00, enough to buy a bigger house with his ‘family-by-choice’, Karl and Marie and their daughter Kate.

And yet, in 2001, when Wayson stood at the top of his stairs, a sudden acidic tingling in his throat triggering a hacking fit, he dismissed the sign as, “Allergies.” It was in fact a combined asthma-cardiac arrest; one that left him in a coma, fighting for his life. This is a very male response to illness: we dismiss symptoms as an inconvenience.

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In 2005 I stood on top of a ladder on University Avenue, holding my two-year old grand-niece so that she could enjoy a view of the Santa Clause parade. A sharp acidic pain suddenly traveled along my left arm to my chest. I too dismissed the sign as “heartburn.” It was in fact a myocardial infraction (a heart attack). I also lay in a coma for a month fighting for my life. I too belong to a culture that values signs, although we Hindus call them intuition. My guru defines intuition as a synergy of head and heart.

Recovery is a long and introspective process. Cardiologists are adept at patching arteries and unclogging veins. But there is no one afterwards to heal a clogged sense of purpose nor to stop a hemorrhaging will to live. One of my gurus advised me to write as a way of healing. My writing led me to win the Wayson Choy Scholarship at the Humber School for Writers (where Wayson has taught for over forty years). This time I paid attention to the sign.
Not Yet is a memoir and Wayson points out at the outset, “All memoirs are works of creative non-fiction.” Events and people have been compacted, congealed for dramatic effect. The names of the innocent have been changed. But the authenticity is unmistakable.  Not Yet is written in a style that is expertly simple in construction and unflinchingly honest. As Wayson’s student, used to his uncluttered thinking and meticulous penmanship, I was shocked to discover that he ”does housework religiously, every five years.” A bedroom furnished with dust-drenched carpets and stacks of take-out remains aggravated his asthma.
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This is one the few books that I was compelled to read in one sitting.  His descriptions of the nurses forcing catheters down throats; the Demerol-induced visitors who weave over and behind a family keeping vigil at his bedside, all of it was déjà-vu.

My sisters, like his Chinatown elders, had dire warnings: “No wife, no sons, no daughters. You die alone.” But gay men usually cultivate relationships that are sometimes stronger than filial bonds. During the early days of the AIDS crisis, families unable to deal with the stigma would routinely abandon sons. It was gay men who formed the Aids Committee of Toronto and Casey House to take care of their own. Wayson comes to realize, from the unwavering support of his ‘family-by-choice,’ that he is not and has never been alone.

My sisters’ children are now grown and some of them have children of their own. They now appreciate that progeny is no guarantee in times of sickness and old age. A compassionate outlook and an empathetic intelligence however, attracts the company of angels, in whichever form they may appear.

The logo for this book is a hummingbird in flight. A bird who’s wings beat so rapidly that the effort is invisible. After recovery Wayson returned to writing, touring, teaching, mentoring. Often neglectful of his body’s needs. Old Chinatown elders had another saying: “When things are going well, look behind you.” Wayson did not look behind him. He allowed wellness to distract him from the signs. He was stricken with a second heart failure.

A book that began with a near-death ends with a second near-fatality; the body of the book being not about death but about living. Living in a way that respects the delicate weave between strangers and friends: a life curious to both the seen and the invisible meanings. This indeed is the true sign of a survivor.

The hospital picture is of me during my coma. I would be interested in hearing from other survivors of near-death. Please reply in the comment box below with contact info. 

Encounters With Books: With an End Date

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Is there such thing as a terminal diagnosis leaving time enough to read 1001 whole books? Life itself would be the only diagnosis that I can think of, and even though I have come down with that, I still don’t feel a great deal of urgency. 1001 books is a long long time, but still, I am intrigued by the idea of reading with an end date. It’s sort of desert islandy, I realize, but imagine a finite amount of time left for reading. What books do you think you would pick?

This question has become important to me of late, as I am currently reading towards my own end date. And no, I’m not dying or losing my sight (and thank goodness for that), but my life is about to be thrown into upheaval, and all I know for sure is that come the end of May, things will never be the same again.

Because come the end of May, I will have had a baby, and not for a long time will I again be able to partake in reading pleasures. In the bath, or in bed, or even curled up on the couch on a rainy Sunday afternoon. I aim to teach myself to read and nurse as soon as possible (and I maintain this will happen. I have taught myself to read and floss, and read and knit, and I’ve even been caught out reading while bbq-ing, then the steaks got burned, but nevertheless…). But I realize this achievement will take considerable practice, and further, that my mind will be so fuzzy due to sleep deprivation, reading might actually prove cognitively impossible.

So what to do with the time that is left while my reading is still leisurely and free? First, I’ve increased that time, quitting work two weeks before my due date, and I fully intend to spend that fortnight reading a novel a day. (Alternatively, the baby might come early, which would be ok too. I’d miss out on fourteen books, but then I wouldn’t have to be pregnant anymore). But what books will I fill that time with?

The easiest answer would be rereading, of course, for then I’d be sure in advance of not wasting my limited time. Revisiting my favourite books, the ones I try to reread every year– Carol Shields Unless, Joan Didion’s Slouching Towards Bethlehem, anything by Margaret Drabble. Getting all thematic, I want to reread mothering memoirs– Rachel Cusk’s A Life’s Work and Anne Enright’s Making Babies. And to reread a Laurie Colwin novel, because she writes about pregnancy and babies like nobody else does.

But then there’s finishing books too– The Paris Review Interviews Vol.1 has been sitting on my bedside for ages, alongside Vol. 2 of Virginia Woolf’s Diary. I’m not sure whether to barrel through these, or to quietly put them back on the shelf and say nothing more of the matter to anyone.

Now, if I were actually dying, I’d hope I’d possess some proportion. But because I know that one day far off in the way distant future, I’ll have time to pick up a novel again, and also because I’m so partial to melodrama (atavistic, left over from teenage), that even though to resort to rereads would be safest, I can’t help being frantic with the thought of all the new books I can’t miss. Kate Christensen’s novel Trouble is out soon, Margaret Drabble’s got a new memoir out in the UK, I’m glad I got the new Zoe Heller in already, I’m now reading Helen Garner’s The Spare Room, just finished The Elegance of the Hedgehog. The new Descant is still waiting, not too long ago arrived in the post. And I won’t even mention what I’ve got on hold at the library. Or the numerous books I still mean to “get around to reading”, which I’ll not mention by name for fear of offending their poor neglected authors.

So I’m not being very sensible. If I were a better me, I’d be focusing, prioritizing. I’d probably also be picking up the kind of book that will teach me to change a diaper, or perform the infant heimlich, but then I’d have to give up sleeping already. And I can’t. So the stack of other books-to-be-read remains ever-high, and I console myself by imagining how much worse it would be if it wasn’t.

The Introductory

First, a virtual introduction (Welcome to Descant, Katia. Hi, Descant. You’re cute, and your little dogs too).

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When Joan Didion, of whose writing I fall far short, began writing a column for Life, she introduced herself thusly: “We are here on this island in the middle of the Pacific in lieu of filing for divorce.” She wants us to know, through the chink in the journalistic wall, what’s on her mind, who she is. In a way, she mused in an interview, she was writing to herself.

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So. I am here in Montréal’s Mile End, in the middle of doing laundry and rereading Joan Didion in lieu of filing, um, my taxes. The rest of my days: translations, reviews, editing, and poetry and fiction when I have time. For weeks and months I did not write. The inky nibs that sometimes I would let out for a walk by the tracks, watch them as they foraged with their friends the cursors and ate the long grass — they became weary, and I weakly.

I have come to write again, though I have apparently forgotten how to do poems (“use poetic devices”), and have become a part-time blogger. What I think about the form itself — the ephemeral blogosphere, the extent to which blogging has to do with the act of writing — will have to come later; I have never done this before.

In an Atlantic article from last winter, Andrew Sullivan rambles and justifies and probes why he blogs. “Writing out loud,” he calls it, “more free-form, more accident-prone, less formal, more alive.” Sullivan’s own “Daily Dish” mostly concerns current political and social happenings, the events and commentary instantaneous. Literature too has its need-to-know-now side — last year’s contentious GGs, tomorrow’s National Magazine Award shortlist announcements, the best place to get a typewriter fixed — but mostly writing is a slow business. (You notice the way an old woman’s hands are folded, one thumb worrying the knuckles of the other hand back and forth like a metronome, and three years later hands those makes it way into a scene with a guy breeding canaries in Entre Rios. The manuscript is submitted for publication, you niggle over commas for four years, you launch the novel at a McNally’s for a snowstorm audience of four.) I therefore invite your own introductions, thoughts on the usefulness of the blogging form, what you want from this Montréal correspondent.

For what to do in the Mo this weekend post- or pre-terrasse, Michelle has already mentioned Blue Met. A few of the events at this ginormous, laudable literary festival, which is now in its eleventh year, are how-to-get-publishey; there are a handful of workshops; the interviews are both Wachtelian and less dexterous, with good questions as well as those of the “do you write in your underpants?” variety. By and large, however, the writing is the thing, as it should be. (Though I hope that this year, sponsors, administrators and the rest of the peripheral intellectuati will be heard less than seen.)

While you’re waiting for Michelle’s panel, other recommended good times and good thoughts include a number of events featuring A.S. Byatt, the anti-cliché Donald Antrim, Charlotte Gray giving the annual Hugh MacLennan lecture, John Ralston Saul being John Ralston Saul, and the Palabras de peso and trilingual Soirée de poésie arabe readings, the writers hailing from countries where there are still two-hour poetry readings in public squares and people listen raptly.

Blue Metropolis Montreal International Literary Festival

Descant Co-Editor Michelle Alfano will be participating in the PAROLE PRO BONO panel at the Blue Metropolis Montreal International Literary Festival on April 26, 2009. 

This will include readings by Association of Italian-Canadian Writers whose works include socio-political messages of all kinds, and anything that foregrounds the Italian-Canadian community’s social and political concerns. The event will be hosted by Michael Mirolla and Maria R. Spina and will include:

Michelle Alfano
Rita Amabili-Rivet
Elettra Bedon
Nino Famà
Elvira Truglia

The Blue Met is the world’s first multi-lingual literary festival – and the best five-day literary party there is. In 2008, Blue Met gathered about 350 writers, literary translators, musicians, actors, journalists and publishers from Quebec and from all around the world for five days of literary events in English, French, Spanish and other languages.

For more information please go to:
http://bluemetropolis.org/

The Narrator’s Voice

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During the Summer Writing Workshop at the Humber School for Writers, they had organized a three-minute student reading night. Somehow, my name ended up at the front of the queue. Most of instructors gave the student readings a miss, but not my mentor, Wayson Choy. “I like to get a sense of the narrative voice,’ he said. I was not sure what he meant by that. “I can teach craft but either a student has a narrative voice or doesn’t.”

I was informed after my reading that I was one of the fortunate that had this narrative voice. And so I did not spend much time investigating exactly what that might be. That is until I was asked by Descant to read a story they had published in the Dogs issue. I was delighted to be asked to read at a bona-fida literary soiree, the launch of the Descant twin issues (a diptych) Cats and Dogs. I had answered the call for submissions two years back and after six months of waiting had assumed my story was rejected. Though it was the first of my submissions to be accepted, others have been printed before the Dogs issue made its way to the front of Descant’s printing queue.

There is something particularly prestigious about having your work appear in Descant. For one thing, people in literary circles know and respect the journal. Secondly, the look and caliber of the magazine is something I have long admired. Being published in it is immeasurable validation.  When I was invited to read, this was a further compliment.

I was assigned eight minutes and Karen Mulhallen expressly said, “Don’t read more than five minutes of the story.”  I had high expectations for the reading. All writers write for an imaginary audience. An audience of intelligent, curious and wordly readers. William Ziesner, in his book On Writing Well says,
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“…delete every word or phrase or sentence that tells readers something they have already been enabled to know or are bright enough to deduce.” He warns against using phrases like of course and adverbs like surprisingly, predictably, understandably and ironically.

He and other instructors advice writers to trust our readers.

With this blind faith, I had sent out many short stories to periodicals all across Canada. Many were run by the English Department of one university or another. When the rejection notices started piling up, I questioned whether my faith in the reader was justified. Was I correct to assume that student volunteers had the same focus, the same maturity that I had cultivated over four decades? Add to that there is the issue of state of the mind of the reader when they open your envelope. I know that during our reading sessions at Descant, people sometimes show up distracted, angry or excited.

In writing workshops I have sometimes struggled with the issue of telling too much. In instances where I left the readers to figure out the central mystery in the story, I sometimes got told that the meaning was too abstract. In other pieces, I all but spelled-out the subtleties and was chastised for doing so.

And so I looked forward to seeing the eyes of the listeners as I read my story out loud at the launch. I anticipated immediate feedback, the kind that stage actors speak of. Instead, as I looked out from the stage, all I saw was the glare of the floodlights. I began my reading thinking that I may as well be reading to my bedroom wall.

As the reading proceeded, I found this process curiously rewarding. Reading aloud in my own voice I was able to sense a rhythm. Sentences that were over-written and clunky caused me to trip over them as I read. I had heard from other writers who tape record themselves reading works-in-progress. That seemed vain and unnecessary to me. My Imac came with a nifty reading software. I normally edit my stories by having the computer read my work back to me. But now, after my first public reading I understand the usefulness of reading in one’s own voice. Wayson is probably right that narrative voice cannot be taught, but that is not to say it cannot be fine-tuned and refined.

The Perverse Pleasures of Albert Sánchez Piñol’s ‘Cold Skin’

Farewell, Chateaubriand! Farewell, Goethe! Farewell, Aristotle, Rilke and Stevenson. Farewell, Marx, Laforgue and Saint-Simon! Farewell Milton, Voltaire, Rousseau, Góngora and Cervantes. How I revere you, dear friends, but art can’t go before necessity; you’re words.

Thus proclaims the narrator of Cold Skin, Albert Sánchez Piñol’s brilliantly creepy literary debut. Shortly after travelling to a remote Antarctic island in search of solitude, circumstances force the narrator to destroy the entire contents of his library. He smiles as he does so, with the discovery that his own life is “worth more than the complete works of all the great thinkers, philosophers and writers of humankind.”

6002247341073_1_3117d040.jpgThis scene of cultural devastation is symbolic a tension in the novel, between the highly literary and the decidedly pulp, a tension that prompted a reviewer for Charlie Hebdo to provocatively (if inaccurately) declare that Cold Skin is “a deranged book . . . a flying saucer from somewhere far outside ‘literature.’”  Pinol’s debut novel is, in my opinion, decidedly within the realm of literature, but this by no mean precludes it from providing the page-turning pleasures of a finely crafted thriller.

The novel takes sometime between the two World Wars. The protagonist, after a falling-out with a political cause, feels deeply estranged from the concerns of Europe’s nations (his own national origin remains undisclosed). He accepts a post as a weather official on a nameless and isolated island, intent on working his way through the collection of books at his disposal. To discluse much more would be to detract from the pleasure of sharing in the narrator’s harrowing year on the island. Suffice it to say that things very quickly go awry.

First published in Catalan in 2002, the novel is the first written in that language to become a best-seller outside of Spain. Translated into English by Cheryl Leah Morgan, and first published in the U.S. in 2005, the novel has received a deservedly enthusiastic reception from North American reviewers. In a recent Toronto Star review, Michel Basilières aptly compares the novel’s prose to that of Camus, while in his review for the Globe and Mail, Robert Wierserma calls the novel “a timely commentary on the corners one can paint oneself into when one fails to understand the mysterious Other.” In a review for The Believer, Dan Johnson discusses the novel’s distortion of genre, comparing the effect to that of the French take on American crime films. The result of the novel’s contemplative pacing, Johnson concludes, is that when action does occur, it affects the reader more deeply.

At 182 pages, Cold Skin can easily be read in a sitting or two. Its modest length was fortuitous in my case, for I was unable, or rather, unwilling to stop reading until the final page, estranging myself for the duration from those who wished to share my company. Piñol, I am happy to report, has one other completed novel, and a third is reportedly underway.

Heart Murmur

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At one of our Descant meetings, Robin Elliot, a former co-editor, made a guest appearance. She is now Executive Director of the MurmurToronto project. Passersby in various Toronto areas, when they see the ear sign, can pull out their cell phones and dial the number provided. It will link them to a recording by someone who has a personal connection to the building they are in front of. They will hear candid and revealing stories that will add a context and a living history behind the brick-and-mortar. I found the idea of this art project very interesting.

Much is said about Toronto being a city of neighbourhoods. And even before the creation of GTA, residents of Burlington, Ajax and Brampton went about claiming to be Torontonians. Surely, the heart of a neighbourhood resides in the collective memory of those who have loved and lost, failed and survived in and around the buildings of a neighbourhood. Buildings that may not have enough architectural merit to be included in the glossy guidebooks. Buildings like Malabar, the venerable costume shop located at Queen and McCaul Street.

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Tucked away slightly north of trendy Queen Street West, this dowdy brick building has been the soul of the Queen West neighbourhoods for nearly one hundred years. Over the decades, Toronto’s upper crust has rented gowns for masked balls. Opera Divas like Maureen Forrester and Marilyn Horne have been outfitted here.

My very first full-time job was at Malabar. It was the height of a recession, much like now. Every advertised job had hundreds of applicants. This meant that, in the days before e-mail, job seekers had to literally ‘pound the pavement’. In my unemployed dejection, I got addicted to watching re-runs of the sitcom Rhoda, who worked in a costume shop. From over two hundred applicants, they offered the job to me and I was ecstatic. Little did I know then that working in this dusty and costume-enchanted building would redefine who I was. I had just completed by B.Com and never saw this job as anything more than a shelter from the recession. It was here that I met struggling poets who were cataloging breeches from Tosca. Or a receptionist working on her novel between taking phone orders for Santa suits.
I recall once coming back into the building from having made a bank deposit and finding a frizzy-haired customer waiting with her daughter. I tried my best to be friendly and charming, but nothing worked. The woman remained aloof and disdainful. She purchased some pancake make-up with a credit card, for a photo-shoot she said. The receptionist was beside herself as soon as the woman and her daughter left. “Don’t you know who that was?” she was incredulous. I looked at the signature on the credit card receipt—Margaret Atwood. The make-up was used for the back cover of a small, insignificant book known as, The Handmaid’s Tale. I photocopied and enlarged the signature and it became my first gliterati autograph.

We had pop stars and Bollywood royalty walking in through the door, but that encounter with Margaret Atwood aroused in me my most cherished but unrealistic of dreams. It was soon after that encounter, fuelled by the magnificent showcase of life I witnessed daily, that I began writing. Working there was such a pleasure that we tolerated the minimal wages, finding creative ways of getting by. The cleaner got so frustrated that he put up a sign in each of the staff washrooms: “Don’t steal the toilet paper.”

When Robin asked if anyone at Descant had anecdotes or stories to contribute for an oral history project of the Grange catchment area, I volunteered to talk about Malabar. People tend to walk past this building, sometimes amused by the quirky window displays. Browsers typically want to try on hats and wigs and have a few giggles over the fake boobs. What they do not see is that one of the main reasons Queen Street emerged as the epicenter of the Toronto art scene was because of the staff and customers of this establishment.

I ended up contributing five stories about this neighbourhood, though there is plenty more I want to say about them. One day, I hope to write a novel or a short-story collection centered on this building. I can just see the cover page: Don’t Steal the Toilet Paper.