Thematic convergence was far from my mind when Frank Davey's nearly-instant book, Karla's Web: A Cultural Investigation of the Mahaffy-French Murders (Viking), appeared in the office. For one thing, it came in a wrapper announcing it to be a copy of
Mordecai Richler, in a withering put-down, once dismissed the novelist Hugh Garner as “a good speller.” In the summer of 2003, grinding through 160 Canadian books as a jury member for the Governor General’s Literary Award for Fiction in English, I learned that for many contemporary Canadian writers, Garner’s level of dubious distinction remains out of reach.
In a letter of 350 words, published in Geist 65, Michael Redhill calls me a racist once and implies that I am a racist on at least four other occasions. Redhill’s repetition of the ultimate insult of the postmodern era offers a fascinating, if depressing, window into how certain Canadian writers betray their responsibility to the society they live in.
The federal government recently announced it is reviewing the CBC’s mandate. This review is the latest chapter in a long story of questioning the value of the CBC since its inception seventy years ago. Clearly there are politics involved here; the CBC is an easy target for attack by parties of all stripes.
Auvers-sur-Oise is a town of ghosts. Among the summer tourists and art-loving pilgrims who visit Auvers from all over the world, drift flocks of long-dead artists with folding easels and boxes of paints, who a century ago would disembark every week at the small railway station.
For reasons I can't make out, organizers of congresses and literary get-togethers throughout the world appear to have been inspired by a common theme: America. In Germany, in Spain, in France, in Holland, writers are being asked to talk about this faraway place that is either an overwhelming country or an underdeveloped continent.
Cyril Connolly’s writings have been republished, as The Selected Works (Picador, 2002). I remember reading his work in my late adolescence and wondering how someone could write like that, in fragments and half-formed ideas, allowing his thoughts (and the reader’s) to go in a thousand directions at the same time, and yet lend his texts an overwhelming feeling of cohesiveness.
One of the pleasures of reading for no particular reason is coming across hidden stories, involuntary essays, samples of what someone once called “found literature”—as opposed, I imagine, to the literature that states its official identity on the cover. Leafing through a book on Samuel de Champlain, I came across, of all things, a detective story.
When I was in school in Argentina, Europe (our notion of Europe) was a vast and powerful conglomerate of culture and wisdom. From there, from across the Atlantic, came the history to which, magister dixit, we owed our existence; from there came the writers whose literature we read, the musicians whose music we listened to, the filmmakers whose films we watched.
Many years ago my father-in-law, who had been a British prisoner of war in Japan, gave me a small pocket anthology, The Knapsack, edited by the undeservedly forgotten Herbert Read. The book (which I have since passed on to my daughter) had been put together for the Ministry of War to be given to its soldiers: its proclaimed intention was "to celebrate the genius of Mars." Surprisingly, however, the general tone of the anthology was above all elegiac.
A few years after Kafka’s death, Milena, the woman he had loved so dearly, was taken away by the Nazis and sent to a concentration camp. Suddenly life seemed to have become its reverse: not death, which is a conclusion, but a mad and meaningless state of brutal suffering, brought on through no visible fault and serving no visible end. To attempt to survive this nightmare, a friend of Milena devised a method: she would resort to the books she had read, stored in her memory.
Six days before the Passover festival in Bethany, the sisters Martha and Mary gave a dinner in honour of Jesus who (the gospels tell us) had raised their brother from the dead. Martha worked in the kitchen while Mary sat herself down at the feet of their guest, to listen to his words. Overwhelmed by the many tasks to be done, Martha asked her sister to come and help her. “Martha, Martha,” said Jesus. “You fret and fuss about many things, but only one thing is necessary. The part Mary has chosen is the best, and it will not be taken from her.”
The latest book from Canada's Angry Young Playwright Brad Fraser includes a reprint of his infamous Unidentified Human Remains and the True Nature of Love alongside the screenplay of his recently produced film version Love and Human Remains (NeWest).