Griffin & Sabine & the Long Wait For a Short Ride

Back in my college days, I bought secondhand copies of Nick Bantock’s irresistibly beautiful Griffin & Sabine and The Golden Mean. I decided I would wait until I had the middle book of the trilogy before I read them. In the end this meant that two books I had have travelled with me, unread, for thirteen years, sitting on various shelves in different buildings as I moved a total of six times, and remaining packed in a box for a solid seven of those years. I was always either too poor or too busy (if not both) to even think about getting the second volume. It was only when I moved the sixth time in this past December and was shelving my books that I came across them and thought that I really must get around to buying that missing volume — and kept thinking it. Then just last weekend I came across a copy of Sabine’s Notebook at Value Village for $4. And so at last, I got to read them, indulging in just one a night this past week so as to make the long-awaited experience last.

And… the experience was disappointing. The art is certainly very good, and Nick Bantock has created two very distinctive artistic styles for his two characters. The multi-media concept, that of presenting postcards and letters that must be pulled from their envelopes, is a terrific one. And the premise of two artists who live at opposite sides of the globe and have never met yet share a mystical connection is very intriguing. The dust jacket flaps promise the reader a “delightful forbidden sensation” in the “wonderfully illicit activity” of reading someone else’s mail. But either I’m less voyeuristic than the jacket copy writer assumed or the said mail just wasn’t juicy enough.

The narrative is so slight it’s difficult to discuss it without giving it away. So, if you haven’t read these books, I’ll warn you of and apologize for any spoiling I may do in this review. Griffin Moss, an English artist, receives a postcard from a mysterious Sabine Strohem, who creates art for stamps and lives on Katie Island in the South Pacific. She claims that she has visions of the art he is drawing, and proves that she can by describing changes he has made to his work while alone in his studio. They exchange letters and postcards and details about their lives and, with the kind of efficiency usually only seen in Harlequins and Hollywood romantic comedies, fall desperately in love by the sixth exchange. They talk about meeting, they decide to meet, they try to meet and fail, they are hounded by a threatening man who stalks Sabine and writes (sub par) postcards to Griffin, demanding to know all about their psychic connection, they worry about this man and each other, begin to despair that they will never meet, and finally agree on another plan of meeting.

What there is in terms of narrative is pretty good, but there isn’t enough of it. Despite my year of visual arts training, I am still almost all about the text. I wanted to be drawn more deeply into this story, to have Griffin and Sabine’s characters come to life through the gradual accumulation of detail and demonstration of character, to watch their love for each other develop at a slower, more believable — and thus richer and more compelling — pace. But then I am aware that Nick Bantock and his publishers had to work within certain limits imposed by practical economics. Developing the story in the way I have in mind would have required making the correspondence (and the books) perhaps three or four times their current length and made them prohibitively expensive for most book buyers.

So we have them on our shelves in their present form, and the most compelling thing about them is their lush visual appeal and tracing the impact of their relationship and its resulting fervour and angst on their art. I will say this is not the least satisfactory of compromises. And that, to be fair, perhaps no book or reading experience could possibly live up to the kind of thirteen-year anticipatory build up these ones had.

The Story of an African Farm... and of a Life

Olive Schreiner’s book The Story of an African Farm is one of those books that are more important and interesting for its cultural and historical significance, or for the always fascinating relationship between writer and what is written, than for their own literary merits. An African Farm is one of the earliest feminist novels, and one of the earliest South African novels, and perhaps the earliest example of the “South African farm novel”, which I gather is considered something of a sub-genre. I was startled by some of its content, which must have forced some of its Victorian readers to recourse to their sal volatile. One does not expect to find a transvestite in a Victorian novel. But for all An African Farm’s remarkable qualities, it’s not an artistic success. There is good material in it, but it’s something of a mess.

The Story of an African Farm narrates episodes from the lives of three children as they grow up on a farm in South Africa: Em, the English stepdaughter of Tant’ Sannie, the farm’s Boer owner; Lyndall, Em’s cousin; and Waldo, the son of the farm’s kind and deeply pious German overseer, Otto. The two chapters of the book sets up the characters and conflicts of the three children nicely. We learn of Waldo’s spiritual unrest, Lyndall’s fierce and far-reaching ambitions, and of Em, who is sweet and stolid but no fool, and we are immersed in an evocative description of a different time and place and a unique culture.

Then a man named Bonaparte Blenkins walks onto the farm. We don’t know his back story, but my best guess is that he’s a discarded Charles Dickens’ character who wandered into the wrong novel by accident and stayed because the pickings were good. He’s an ignorant, sadistic, devious, sociopathic, opportunistic man, and a bizarrely out-of-place caricature among the delicately realized children and even the less well-drawn Tant’ Sannie and Otto. He remains on the farm for some years, first as an incompetent teacher of the children and then as overseer and Tant’ Sannie’s accepted suitor, until Tant’ Sannie finally proves herself able to recognize Bonparte’s real nature, and equally able with a barrel of pickle brine when the occasion calls for it.

The whole eleven chapters concerning the impossibly evil Bonaparte Blenkins are basically one long derail from the narrative of the novel, and despite the fact that he was almost its only comic relief, I gratefully watched him walk off the farm for good. Then there was one more digression before the novel got back on track — an entire chapter dealing in the most abstract, meandering terms with Waldo’s transformation from tortured Christian to despairing atheist, which feels more Schreiner’s own spiritual biography than like an integrated part of the novel. Finally Schreiner pulls the novel back on track, and progresses in fine style through Em’s engagement to Gregory Rose, Lyndall’s return to the farm after years away at boarding school, Gregory Rose’s and Waldo’s respective passions for Lyndall, Tant’ Sannie’s wedding to a young Boer, and the appearance of Lyndall’s mysterious correspondent.

I’m not sure what I think of the novel’s denouement. I can’t call it improbable or contrived exactly (though are we really to believe that Lyndall, who is never, ever hoodwinked at any other point in the book, didn’t recognize a disguised Gregory Rose?), but I do have a sense that Schreiner copped out somehow. Lyndall, with her incredible ambition and shattering insight, is a woman ahead of her time whom no social conventions will ever hold — and who, like a rocket explosion in a horse-and-buggy world, leaves others stunned and damaged in her wake. Her character has such sheer force the book can barely contain her, and maybe Schreiner chose to destroy Lyndall rather than try to make the world of the novel a fitting environment for Lyndall.

But it’s entirely possible Schreiner really couldn’t envision a happy ending for Lyndall. Schreiner had finished writing An African Farm by 1880. Born in 1855, she was then only 25. At 21, while working as a governess, she had had a sexual relationship with a young businessman named Julius Gau. The nature of their relationship was known in the village where she then lived, and the village condemned and rejected her socially. Schreiner and Gau became engaged, and Schreiner may have become pregnant, but if so, she miscarried, and Gau broke the engagement. Schreiner then suffered a bout of depression and developed asthma. Over the course of the next four years as she returned to work as a governess and wrote An African Farm, she perhaps didn’t foresee that she would win out, remain her free-thinking, rebellious, corset-rejecting self, and live a successful, meaningful, happy life, and so couldn’t give Lyndall the same gift.

The Story of an African Farm, Schreiner's first published book, appeared in 1883. It was an immediate best seller and attracted much attention. Not all of this attention was favourable, of course, but she had her admirers, among them William Gladstone, who was at that time Prime Minister of Great Britain. Schreiner traveled Europe and participated in various social and political movements (she was way ahead of her time in her views on race, class, colonialism, pacifism and politics as well as in her feminism). At age 39 she married a progressive-minded South African farmer. She published four books in all as well as many pamphlets and essays, some of which she co-wrote with her husband. And so when I look at Schreiner’s life and at her remarkable accomplishments, I can’t be too harsh with An African Farm. The novel is a mess; its author’s life was not. Even though I wish both the book and the life could have been successful, I can’t help being glad that at least the success and failure weren’t reversed.

Getting Taken to a Place We've Been Before

Lynne Rae Perkins’ Criss Cross, the 2006 Newbery Medal winner, is a novel about a group of teenagers in a small town called Seldem, and takes place in what seems to be the late seventies. The main characters are Debbie, Hector and Lenny, but there’s also Dan, whom Debbie likes and who is in Hector’s guitar class; Phil, who is friends with Lenny and Hector; Patty, who is Debbie’s friend; Rowanne, who is Hector’s sister; and Peter, who is the grandson of Mrs. Bruning, for whom Debbie works. Almost all of these characters know one another and are connected in ways it would take too long to describe. The small town dynamic social web is among the many things this novel gets exactly right and that suits so perfectly its themes of connecting and the force of coincidence and happenstance that shapes our lives. Here in Toronto or in any urban centre your hairdresser is only your hairdresser. In a small town your hairdresser is also your niece’s Sunday School teacher and her husband is your boyfriend or girlfriend’s older brother’s best friend. And those are only the connections you happen to know about.

There is no real plot. I’m not even going to bother being careful about not including a spoiler as I usually am. These characters move through their days and a series of ordinary events. Debbie loses a necklace, and it passes hands, gets lost again, and is finally returned to her. Hector takes up the guitar and writes songs that aren’t very good but that may or may not lead to better things. Debbie, Lenny and Phil hang out in Lenny’s father truck to listen to the radio on Saturday nights. Hector likes a girl named Meadow. Debbie gets her own room and pores over her mothers’ old photo albums and yearbooks. Inspired by a Mamas and Papas song, Hector decides he wants to take Meadow somewhere she's never been before, and goes in search of such a place in Seldem. Everybody hangs out at the Tastee-Freez. It sounds banal, and it is banal, and that’s the point. The reader has to sift the meaningful from the chaff just as the kids do.

I’ve never read a novel that captures and evokes the adolescent day-to-day experience better. Although perhaps I’m assuming my own particular experience of adolescence was more general than it really is. Do you remember the long, meandering conversations with your friends that seem so tedious now but that at the time were by turns so riotously funny and so exciting because you seemed to have gotten hold of some profound truth together? Do you remember wishing something would happen, and gazing forward into a future you couldn’t imagine because you didn’t know enough about what you wanted or what specifically would be possible, although everything seemed possible? Do you remember how mundane or everyday things like a casual hello from the school golden boy or girl, a project that involved hours of work for a result that wasn’t what you envisioned, or wearing pants of exactly the right length seemed to assume an incredible importance? Do you remember the half-assed life theories you explained to your friends, and the way you tested them, together or alone? Do you remember how sensory experiences like that afternoon spent reading and getting sunburnt in the backyard or eating junk food at the fair with you friends seemed to soak into your bones? Do you remember talking to a guy or a girl and how something almost seemed to happen? Do you remember the deepening of your friendships, how for the first time you became aware of others your age as more than just kids to play with? And can you trace a lifelong passion back to its nascent beginning during, say, an evening out with your older sister and her friends? Lynne Rae Perkins evidently does, and her Debbie, Hector and Lenny and all their friends will know what I mean in 20 years if they don’t now.

Yes, adults have meandering conversations, get consumed by trivia, feel sunlight on their skin, and know what it’s like to have new passions flower into being from overlooked germinations. But these experiences aren’t the same for an adult as they are for a teenager. Adults file and discard new impressions more readily. They’ve seen something of the kind before, they know more about what will be of use to them and where they’re going — or think they know — they’ve developed a psychic shell that repels some experience. For teenagers it’s all almost entirely new, they might use anything, they need to explore more, test more, ponder more, and laze around in the backyard or on their beds with a copy of Popular Mechanics or Wuthering Heights or Seventeen and process it all.

Reading this book felt less like reading than like looking at pictures someone had secretly taken of me and high school era friends and our small town. I looked at it all, half amazed, half not, and thought, yes, yes, that’s the way it was, I remember this, I recognize this, I know this. I just didn’t know that it could ever be documented so perfectly.

Fast Forwarding Through History

The first-ever Newbery award-winner, The Story of Mankind, written and illustrated by Hendrik Willem van Loon, is difficult to review not because it isn’t flawed (flaws being meat to any reviewer) but because of the general conclusion I keep reaching that at least one of its main flaws were inevitable. The Story of Mankind begins its tale in the very dawn of the existence of our planet, when what we now call Earth was a ball of flaming matter, and ends with a chapter about the turn of the millennium, which tries to forecast the impact such forces as the internet, Dolly the cloned sheep, and ozone pollution will have on our future. The mere thought of the intellectual task it must have been to condense all of human history into less than 700 pages makes me feel in need of a lie down. Add to this goal van Loon’s intention to make this comprehensive history a book that children could not only read but would enjoy reading and you have a project overwhelming in its sheer magnitude. Reading the book can be a bit like being a passenger in a car the driver insists on driving too fast. The passenger calls out, "Slow down! I want to get a better look at that!" and the driver yells back, "Can't! We've got a lot of ground to cover before the perfect bound spine exceeds its page count limit!"

Hendrik van Loon wrote that he had but one rule in selecting material for his book: “Did the country or the person in question produce a new idea or perform an original act without which the history of the entire human race would have been different?” This is certainly a good rule, but van Loon’s application of it is somewhat problematic. His concept of the “entire human race” seems to have a definite bias towards the members of western civilization. As a result his idea of the defining events of history seems to be those events that shaped specifically western civilization, and so the book is Eurocentric. When I read The Story of Mankind I got a definite sense of a long funnel of events ever narrowing in scope until its last chapters (updated by various other people since Hendrik van Loon’s death in 1944) become unapologetically absorbed with purely American history. I cannot see how anyone using a “definitive events only” rule can possibly justify the mention of John Lennon’s murder or even of Watergate when the book includes nothing of the development of China’s ancient civilization. However, I will concede that it would be very difficult, if not impossible to write such a book without some sort of bias. And at least, when aiming for impartiality and a narrative schema, van Loon did not go to such desperate lengths as the producers of the 1957 movie, “The Story of Mankind”. The movie uses the premise of an outer space tribunal meeting to decide the fate of humankind, with the Devil (played by Vincent Price) and the Spirit of Mankind (played by Ronald Colman) arguing opposite sides of the case and providing evidence in the form of flashbacks from different eras of history. It all sounds so generally terrible in an enjoyable sort of way that I'm tempted to see it.

Another, less qualified, criticism of the book is that the updates added to the end could have been better done. The book is no Newbery winner in its current state. As well as I can trace the history of the updates, The Story of Mankind, originally published in 1921, was updated in 1926 by Hendrik van Loon, at some indeterminate point by van Loon’s son Willem van Loon, in 1972 by the publishers and several New York University professors, and in 1984 and 1999 by John Merriman of Yale University. I don’t know how much revision has been done to the original text of the book, but the added chapters feel very patchy and disruptive for the reader. If the reader comes across the phrase “forty years ago” and has to stop and use the copyright dates and updating information in the publisher’s note to figure out from which date to subtract the forty years, it’s time the book was better integrated. I can certainly understand why this wasn’t done. If the publishers revise the book to make it seamless they will risk losing the charming, grandfatherly voice and personal asides of Hendrik van Loon. But the present, jarring, juxtaposition of the original text with the updates is a bad compromise, and surely a better one can be found if the publishers and authors will dare to be less reverential. It would also be a good idea if the last part of the book were far less focused on the U.S., and I’m not just saying that because Canada’s name only appeared in the book eight times (only two of which mentions the indexer saw fit to note). I will say, though, that the line drawings added to the book by Dirk van Loon are if anything better than his grandfather's - they are as charming in their rough, amateurish way, and funny as well, which Hendrik van Loon's weren't. The sketch of a scientist squeezing identical sheep out of what looks like a large cake decorating cylinder (and which is marked "CLONING") is the wittiest of the entire book.

Reading back over what I’ve written so far, I feel I haven’t done justice to this book. So I will say that The Story of Mankind is truly is a notable achievement, and I so wish I had read and re-read it as a child. As I made my way through it I could feel my scattered bits of knowledge of the past slotting themselves into place in the framework Hendrik van Loon so ably built for us, and I wondered how much more historical information I would have retained if I’d the sense of its place and relation to the human timeline that this book could have given me.

Dr. Dolittle's Voyages Through Time

Although I have read the very first Newbery Medal winner, The Story of Mankind, by Hendrik Willem van Loon (and am, er, working on the review), it was the reading of 1923’s Newbery Award winner, Hugh Lofting’s The Voyages of Doctor Dolittle, that made me feel as though I’d really begun on my Newbery review project. Perhaps this is due to the fact that it’s fiction while The Story of Mankind is non-fiction. No matter how readable The Story of Mankind was, it still made me feel like a child dutifully eating her literary vegetables in order to get to the dessert. For The Voyages of Dr. Dolittle is definitely dessert. Actually, perhaps it’s more accurate to say Dr. Dolittle is pure candy. Even the illustrations in my library edition have a certain confectionary quality — everything is in bright bubblegum colours of pink and blue and red, the shapes are round, the lines soft, the characters delectably chubby.

Novels are usually as indelibly time-stamped by the psychology of their era as pre-computerized library cards used to be. Victorian novels were generally stern and spoke of morals and duty; today’s novels are about personal growth and personal problems (and those often of a nature a Victorian would blush to hear acknowledged). Dr. Dolittle is very much a novel of the nineteen twenties, with a twenties spirit of irrepressible optimism, fun, and adventure.

The story’s narrator is a small, animal-mad boy named Tommy Stubbins who meets the famous Dr. Dolittle. Dr. Dolittle is a naturalist who travels all over the world and has learned to speak to animals in their own languages, although he is frustrated in his attempt to learn the language of the shellfish. Dr. Doolittle’s home is a wonderful menagerie of animals, and it is kept by a perfect duck of a housekeeper (yes, literally). Tommy Stubbins manages to convince his parents to let him live, study and travel with Dr. Dolittle, and he and Dr. Dolittle (and a dog named Jip, a parrot named Polynesia, and and an African prince named Bumpo) voyage together around the world to the floating Spidermonkey Island.

A twenties-era exuberance permeates this book. This was a decade in which people believed that dramatic self-improvement could come from the constant repetition of the mantra “Every day in every way I know I am getting better”. Dr. Dolittle doesn’t know how to navigate or sail a ship, but he always gets safely to wherever he wants to go, even when shipwrecked. He can get a friend acquitted for murder in a courtroom scene more dramatic and sensational than the Law & Order writers can ever dream of staging, and tame five mad bulls at once. Though he hates war he can fight heroically and effectively in the war between the two Spidermonkey Island Indian tribes (referred to as the Great War, involving injuries but no deaths, and followed by a seemingly endless peace – the twenties strike again). And when Dr. Dolittle’s ready to return to good old England (this is a very English novel for an American award winner), he and his entourage voyage homewards across the sea floor inside a transparent snail shell. And yes, he can ultimately learn to speak the language of the shellfish.

The age of this novel shows itself in more regrettable ways as well. Even when I know it’s not at all fair or useful to critique an old literary work by contemporary standards of what constitutes racism, it did make me wince when the African prince, Bumpo Khabooboo, Crown Prince of Jolliginki, appeared on the scene, announcing that he’d left the Oxford "quadrilateral" because the shoes and the algebra they tried to force upon him there hurt his feet and his head, respectively. Also cringeworthy was the depiction of the Spidermonkey Indians, who are described as "child-like" and who, under Dr. Dolittle’s tutelage, progress from the discovery of fire to the construction of an opera house in something less than two years. They gratefully crown Dr. Dolittle king, and it is with a guilty reluctance that he eventually leaves them to return to England and his "more important" work among the animals. And I really doubt it would possible now to publish a child's novel in which a young boy meets a strange man in a rainstorm and accepts the man's invitation to go home with him and "get those wet clothes off".

I keep calling The Voyages of Dr. Dolittle a twenties novel, but the more I consider its spirit of limitless possibilities, the more I begin to realize that it does, as all lasting works of fiction must, touch modern chords as well. Perhaps we’ve lost our sense that we could collectively be wise enough to permanently end war, and we don’t have that particular brand of happy-go-lucky optimism, but we’re still optimistic. Our faith has undergone a seismic shift and currently is rooted in our ability to solve problems through technology, rather than in wisdom and goodwill. But optimism, like wanderlust, like the age-old child’s fantasy of escaping parental control and school, and like the fantastic appeal of travelling in a transparent snail shell, is still very much with us, and so The Voyages of Dr. Dolittle is as well.

True Romance and Elinor Glyn

I decided to read Addicted to Romance: The Life and Adventures of Elinor Glyn, by Joan Hardwick, because I was intrigued by the descriptions of Elinor Glyn in The Viceroy’s Daughters: The Lives of the Curzon Sisters. But when it came time to open the book and begin reading, I did so with some trepidation. The prologue opens with a quote from Elinor Glyn, declaring that her dominant interest in life had been the desire for romance. This inspired dread. Perhaps I would learn that Elinor snacked on heart-shaped sandwiches as Danielle Steel does. I might be subjected to examples of Hallmark-style poetry, or read that Elinor could be seduced with the properly timed presentation of a plush teddy bear. Who knew what examples of mawkish sentimentality I might find lurking in the book.

But I need not have feared any of these things. I love biographies and have read many, and I don’t think I’ve ever admired the subject of a biography more. I do deliberately write “subject of a biography” as distinct from person, being aware that biographers are known for their partisanship to their subjects. After all one doesn’t like to spend years and much hard-won grant money on research and writing only to admit that one’s subject wasn’t worth the trees after all. A less sympathetic biographer might have made more of Elinor’s flaws and been less generous in assessment of her literary abilities. It’s an interesting experiment in to read two biographies on the same person and to see how much of our final view of the subject is dependent on the biographer’s spin.

But even so I don’t think I could be otherwise than admiring of Elinor Glyn, who was an incredibly interesting and accomplished person. Glyn was a prolific writer of romance novels, and a screenwriter during Hollywood’s early days. Beginning in 1901, she supported her family by producing a book a year for many years. In 1907 Elinor’s book Three Weeks, which told the story of a young man’s affair with an older married woman and featured an erotic love scene on a tiger skin, was published, and it catapulted Elinor to a new level of readership and fame, or rather infamy. Both the book and Elinor achieved instant notoriety, with everyone assuming that book was autobiographical. A popular bit of doggerel made the rounds: "Would you like to sin/With Elinor Glyn/On a tiger skin?/Or would you prefer/To err with her/On some other fur?" Edward VII – a compulsive womanizer – refused to have the book mentioned in his presence. When Elinor’s daughter Margot was caught reading Three Weeks at her boarding school, the school authorities confiscated the book and punished her. Glyn’s second career as a screenwriter began when, at 50, she received propositions from the King of Spain and from a Hollywood production company. She declined the first and happily accepted the latter. Elinor flourished in Hollywood, where her gift for self-promotion soon established her as someone of note. She gave birth to a meme that survives to today by declaring that Clara Bow had "It" (though Dorothy Parker snorted, "'It', hell. She had Those.") She made many prominent friends and mentored a number of young actors. Rudolph Valentino benefited from her lessons on how to woo a woman; Gloria Swanson and Clara Bow came to love and respect her for her excellent advice; Charlie Chaplin’s incisive mockery of her pretensions in no way diminished their friendship; and she travelled with Douglas Fairbanks and Mary Pickford on their belated honeymoon.

Excellence is generally compelling, but human nature being what it is we find excellence all the more attractive when it is packaged and delivered with style, and this Glyn never failed to do. It helped that she was beautiful, and seemingly ageless. I kept turning to the photo section to stare with incredulity at the pictures taken throughout her life. Though there are pictures taken of her in her late seventies, she never appears to be older than her late thirties. This seems to have been partly due to genetics (her mother’s photos are similarly amazing) and partly to her self-discipline. Elinor Glyn lived in an era during which those of her leisured class dined lavishly on seven-course dinners and routinely made trips to some elite spa to shed the resulting avoir dupois. Glyn ate simply and drank lots of water. She never permitted herself to slouch and even as an elderly woman always sat bolt upright. She loved clothes and dressed beautifully, keeping a notebook in which she sketched and detailed every outfit, and served as a model for the clothes produced by her sister, whose dressmaking business was wildly successful, thanks to Elinor. She always decorated her homes lavishly to provide the proper backdrop for the sort of life she wanted to lead. She knew how to get attention of the kind she wanted – once in her seventies she appeared at a luncheon with her cat Candide draped over her shoulders. Glyn was pretentious, but her pretensions were not a false front hiding emptiness or inadequacy, but an outlet for her creativity and artistry. The reality was just as interesting, and the relation between her actual self and her presentation of herself a fascinating one.

Glyn’s self-discipline seems to have been remarkable and, coupled with her intelligence, generous nature, and strong ethics and generally good judgment, enabled her to sail through many difficulties. During her adulthood if she needed money she promptly found a way to earn some. At one time of dire need she wrote a novel in 18 days. During World War I, like many other British women, she did a great deal of war work, and visited recuperating soldiers and washed dishes in a canteen (when she had never previously washed dishes in her life) as well as visiting the trenches as a war correspondent. And she never stooped to behaving badly no matter how others might have treated her. Though her marriage was not a successful one there was never animosity between Clayton and Elinor Glyn. Clayton lost all interest in Elinor soon after their marriage and was always indifferent to the attention she received from men, or at most found it amusing, as on the occasion the Sultan of Turkey sent an envoy to Clayton offering to purchase Elinor (to be fair, I can’t blame him for finding that one funny). Never lacking in suitors, Elinor found some emotional satisfaction in her several intense yet platonic relationships with men. But she couldn’t bring herself to be physically unfaithful to her husband, and would part from her lovers when they became too insistent on her doing so. It was not until Elinor met George Curzon, who was probably the love of her life, that she allowed herself to have a sexual affair.

Glyn met the widowed George Curzon in 1908, and they began a passionate affair that was to last for years. In 1915 Clayton, who had become an alcoholic, died, and while Elinor honestly mourned the waste of his life and the loss of the man she had once loved and fell ill immediately after his death, she could now hope to marry Curzon. Curzon even asked her to take charge of the decoration of a Montacute estate he had recently acquired. But Curzon had also been seeing another married woman, Grace Duggan, whose husband died at the same time as Clayton. Curzon seems to have honestly loved both women and been torn by the decision between them, but in 1916 he married Grace, probably because as she was younger than Elinor, he could hope to have the male heir he desperately wanted. Elinor was at Montacute working on its decoration when she read of George and Grace’s engagement in a newspaper. She left the house at once, and later burned the 500 letters Curzon had sent to her.

Devastated as she was by Curzon’s treatment of her, she seems to have carried on with her life without noticeable pause. She entered happily into her new life in Hollywood. She had the satisfaction of continued close relationships with Irene, Cimmie, and Baba Curzon, who would turn to Elinor Glyn rather than their stepmother when they needed a mature woman’s advice. Glyn also learned from the Curzon daughters that George and Grace Curzon’s marriage was a failure. She did not delight in the news, but it was a comfort to realize that she might well have been an unhappy Lady Curzon as well.

Glyn was contemptuous of the uselessness of the lives led by most of those in her circle, and her life was chockfull of the worthwhile. Besides writing her many books and several screenplays she travelled incessantly, had many talented and powerful friends, and educated herself to a high degree. As she aged she continued to be open to new adventures and undertaking, and to learn and grow as a person, and showed an excellent discernment when it came to discarding or retaining the values she’d had in her younger days. She was the kind of grandmother who insisted that her grandchildren converse, rather than chatter, but she was able to see that she’d been wrong in her youthful reverence for pre-revolutionary French government and to see the good in socialism.

As I read the book I often shook my head in disbelief at the way Elinor seemed to repeatedly manage to get entrée into the kind of society and incidents that are of historical note, but looking back on her life I see that she was a part of those moments because she belonged in them. She achieved a great deal, and was a remarkable person, and so attracted others like herself. It was not luck that Mark Twain called on her while she was in New York. It was not a coincidence that she was asked by the Grand Duchess Kiril to go to Russia in 1910 to write a book set in the Russian royal court. The Grand Duchess had been impressed by the accurate rendering of the French court in Elinor’s books and thought that if such a widely read author could write such a book about Russia it might have a good effect on Russia’s image. Elinor, with her love of travel and adventure, her understanding of image creation, and her need to produce a new book every year, accepted at once. George Curzon was a man who enjoyed women as he did fine wines and beautiful paintings rather than as equals or partners, and when first approaching her, expected a light flirtation. He was taken aback when Elinor was well informed about his work in India, and interested in hearing about his travels and the book he’d written. She asked about his opinions on Lloyd George. She loved the classics as much as he did, and they would later read Plato together.

At the end I realized I’d been given a valuable illustration of the truest and best meaning of romance, a word that has become somewhat degraded since Elinor Glyn’s time. The word romance has come to be associated with some unfortunate things – Harlequins, stuffed animals, movies starring Julia Roberts, sentimental greeting cards bought by harried men late in the afternoon of February 14th, or other things that are well enough in their way but that are often so cliché and perfunctory in their presentation as to be almost empty of actual romantic value, such as gifts of roses, chocolates and lingerie (especially if the roses cause an allergic reaction, the chocolates make one’s skin break out and the lingerie doesn’t fit). Thus my sense of fear upon beginning the book – I am already so sated with this degraded, sentimental, modern definition of “romance”. But that’s not at all what Elinor Glyn had in mind when she spoke of romance. To her, romance meant ideals, imagination, adventure, passion, and heroism. A romantic life was thrilling and epic. She worked very hard to create a life that was romantic, and to present herself as a romantic figure, and succeeded despite her failed marriage and rejection by the love of her life. The story of her life makes it clear that this genuine romance can not only be incorporated into an intelligent and realistic person’s life, but enrich it.

Tracts With Plots

Last July there appeared on Metafilter a front page post about a book called From The Ballroom to Hell, by T.A. Faulkner. As MeFites were quick to point out, Faulkner’s books is basically a type of porn, containing such passages as:

Her head rests upon his shoulder, her face is upturned to his, her bare arm is almost around his neck, her partly nude swelling breast heaves tumultuously against his, face to face they whirl on, his limbs interwoven with hers, his strong right arm around her yielding form, he presses her to him until every curve in the contour of her body thrills with the amorous contact.

and:

When she awakes the next morning to a realizing sense of her position her first impulse is to self-destruction, but she deludes herself with the thought that her "dancing" companion will right the wrong by marriage, but that is the farthest from his thoughts, and he casts her off — he wishes a pure woman for his wife.

She has no longer any claim to purity; her self-respect is lost; she sinks lower and lower; society shuns her, and she is to-day a brothel inmate, the toy and plaything of the libertine and drunkard.

Hot, huh? As you can see, all the elements of porn are there. A nineteenth-century Christian reader could get the safely vicarious and voyeuristic pleasures of reading about behaviour considered wrong, and because the depiction of such behaviour is presented in a framework of moral condemnation, could at the same time delude herself or himself into the belief that the real motive for reading such material is a religious one.

Although I hadn’t previously ever seen or heard of this particular book, its existence and contents are no surprise to me, because mid-nineteenth to mid-twentieth century religious pulp fiction for both children and adults (basically, tracts with plots) is one of my guilty pleasures.

It's standard practice for this genre to argue strenuously against any and all indulgence of dancing, card playing, drinking, and theatre going, and often the characters refer to actual works of non-fiction in order to back up their arguments. No, I haven't seen anything referred to that is as salacious as this linked one, but one I do see mentioned is Plain Talks About the Theatre, by Herrick Johnson. I haven't ever seen the book, and it doesn't seem to be online anywhere, but I'm sure it's a gem of its kind and evinces the sort of facile logic and belief in absolute truth found in religious pulp fiction. For instance, it makes the argument that although there may be wholesome and moral plays, one cannot attend these plays without giving one's patronage to theatres which also run objectionable plays, and therefore the only morally safe course of action is not to attend any plays at all. The fact that this argument would also apply to book publishers and thus make it a moral imperative to refrain from reading almost all books never seems to occur to either Johnson or the characters who quote him.

I don't have that much patience with the worst of the genre, which tends to feature hysterically melodramatic touches such as disobedient children getting eaten by bears and young men becoming instant alcoholics upon their first sip of wine. The Elsie Dinsmore series, for instance, is maddening. Elsie’s father, Horace Dinsmore, demands absolute obedience from her. Elsie isn’t allowed to eat or drink anything without her father’s express permission, she mustn’t ask him the reason for any of his dictates, and at one point Horace orders eight-year-old Elsie to go to her room without any explanation because she had forgotten that her father had told her once months before that she should never sit on the floor. Morbidly conscientious Elsie soaks the pages with her tears in response — and is then severely lectured by her father on the importance of self-control. I collect children’s fiction and I have two of the Elsie books because I think them representative of a significant subgenre in children’s literature, but I can’t say they’re enjoyable. While reading them I amused myself by keeping a mental list of the psychological disorders a real child raised in such a fashion would have as an adult. And I regret that the edition of Elsie Dinsmore that I now own does not have the same illustrations as the one I read as a child. As a ten-year-old I found it hysterically funny that Horace Dinsmore, in his checked suit and pompadour, looks remarkably like The Joker from the sixties-era TV show Batman, and the humour of the coincidence has not worn thin though I'm now 33.

My enjoyment of and interest in this genre is rather complex and I'm not even sure I understand it. I read it to laugh at it, yes, but it's not as simple as that. An ironical enjoyment is a limited and superficial one and palls quickly. Someone who rents the occasional B horror movie is enjoying them for their kitsch value; someone who has a number of B horror movie DVDs and videocassettes lining the bottom drawers of his or her entertainment unit has a deeper stake in them. So… if I, hypothetically, had a stash of nearly 150 such books in old dresser in one corner of my attic studio, had ongoing automatic searches for particular books set up on E-bay, and occasionally whiled away the odd two or three hours reading them on Project Gutenberg and such sites, it might be fair to say that I get more from this genre than ironical amusement.

The religious aspect of these novels is not what I value, at least not in their literal sense. As an agnostic, I skim the most irritating passages that hold forth on Christianity as the only possible moral course. I get irritated with the worst of what can arise from that mindset — the endless self-chastisement, the looking-glass circular logic, the obsessive preoccupation with religious subjects, and the aggressively evangelistic tone. But this overtly religious content doesn’t bother me as much as they might other non-religious people, because I spent most of my childhood and adolescence steeped in that sort of thing. And if I had never learned to strip away the Christian trappings to get to the truly valuable philosophical teachings that usually lie within, I would be significantly the poorer for it.

Then, too, seen in the context of all other works written in the period, these “Sunday School books”, as they were called, don’t seem so excessively religious. It was an era in which almost everyone attended church as a matter of course. It wasn’t considered respectable not to, and there was considerable social pressure brought to bear on many of those who did not. And so practically all novels from this time have a vein of religion running through them. If I couldn’t accept this, I couldn’t read Jane Eyre, nor Little Women. And, in fact, some of Louisa May Alcott's work borders on inclusion in this religious pulp fiction genre. Alcott herself referred to it as "moral pap for the young".

I see these books, and the principles they espouse, very much in the context of their day, and this understanding has probably given me a better understanding of the role and place of religion in society. Even if one sets aside the fear of spending eternity roasting in hellfire like a weenie on a stick, so many of the taboos do make irrefutable practical sense.

In The King’s Daughter, by Isabella Alden, the heroine Dell Bronson refuses to marry a man she loves because he won’t sign a total abstinence pledge. She quotes Bible verses to him by the yard, and it’s laughable in a way because her suitor, an earnest minister who takes no more than the occasional glass of cider and who has shown no signs of susceptibility to addiction or any sort of substance abuse, is not at all likely to become a drunkard. However, let us look at the larger picture. Dell’s father is an alcoholic who runs a hotel which contains tavern. Dell is therefore called upon to live in the hotel, and is shunned by others in their town for being a saloonkeeper’s daughter. And then, too, given the socio-economic strictures of the time, a woman who married a man was choosing not only a companion and father for her future children, but an economic status. She would be completely economically dependent on him for the rest of her life. And there was no feasible escape from marriage in those days. Divorce was considered a disgrace, and was prohibitively expensive and difficult to attain. Women had limited earning capacity. If a woman had some capital she could set up her own business, but otherwise she would be fortunate to eke out a marginal existence as a factory worker, cook, laundry worker, etc. And if the woman had children to support, well, the picture becomes so much darker. There was no treatment for addiction, no child support, no alimony, no battered women’s shelters, no welfare, no calling on the police for protection. Yes, these modern safeguards work imperfectly, but try to imagine being without them. An abused wife’s best hope was that her birth family would be able and willing to take her back and assume her support again, but not every woman would be so fortunate. A woman in those times had much more reason than now to fear alcoholism in the man she loved. Let us remember that the women’s suffrage movement was originally an offshoot of the temperance movement. Given Dell’s particular circumstances and the harsh realties of the day, Dell’s insistence that her suitor show his commitment to remaining sober by signing his name to a temperance pledge becomes much more understandable. I can’t say I wouldn’t do the same.

Examining the religious dictates in these books, I find they boil down to stern pragmatism most of the time. There is much said about self-reliance, and one’s duty to help others. The late nineteenth century was the time in which we came closest to having a libertarian society, when there were the fewest industrial regulations and next to no social safety net. People and their families were especially vulnerable to catastrophe, and more dependent on themselves and each other. Plain as it is that individual measures can be inadequate in the face of larger problems, that society as a whole must make a concerted effort to help ensure the well being of its populace and minimize suffering, it’s reasonable that nineteenth century reformers should have begun with self-reliance as a first response. As for the insistence on chastity, if I had lived in the days before reliable birth control and access to abortions, I would have remained chaste too. Of course there’s much more emphasis on female chastity, but this too is understandable, if not excusable, given that the consequences of an illegitimate pregnancy would fall inescapably on the woman while the man at least had the option of refusing the responsibility.

Some of these authors wax indignant over very silly and trivial matters, such as dancing, or specific styles of dress or hair. Isabella Alden’s niece Grace Livingston Hill, who wrote about a hundred books between 1900 and 1946, was quite obviously fit to be tied over many small, harmless, fashionable “vices”, such as fingernail polish, backless dresses, and jazz music (described by one character as "the music of the lost”). She has several of her twenties-era heroines declare that they won’t bob their hair because “God gave me my hair and I’d like to keep it”, a scruple that doesn’t seem to keep said heroine from cutting her fingernails. Also these authors make many pronouncements against reading “third-rate dime novels”. This is where the ironic enjoyment comes in. I also have been known to curl up happily in bed with a temperance-themed novel and a delicious hot toddy.

Besides the fun of snarking, and the educational experience of coming to understand the relationship between the evolution of religion and prevailing sociological and economic needs, I also learn a little history from these books. I have very little interest in contemporary Christian fiction, so the history component must constitute a good part of my enjoyment. These old pulp novels familiarize me with the social mores and customs and mindsets of this era, and as someone who wishes to write at least one historical novel, I can consider them research.

But it seems that when I dig right to the bottom of my enjoyment in these books, I find that I take a certain escapist pleasure in their moral certainty. This moral certainty, and its accompanying neat resolution of plot, isn’t only to be found in nineteenth-century religious fiction. It’s also found in contemporary romance novels. We’re all familiar with the course of events — heroine meets man, conflict arises, heroine and man work through conflict, and then live happily ever after. And the fact that this is not realistic does not seem to keep Harlequin novels from selling at the rate of one every six seconds. I know behaving well, working hard, keeping my home neat and tidy and sticking to my principles doesn’t ensure a happy ending any more than does finding a man named Hunter with a chiselled jaw and abs (though the latter sounds like a more straightforward and immediate kind of fun), but after a day of dealing with a complex and sometimes seemingly random universe I sometimes find it comforting to retreat into a world where it does. And yes, it’s very odd to choose “late nineteenth to early twentieth century religious fiction” as my escapist genre, but I still find them more interesting and less tiresome than most contemporary romance novels or fantasy or sci-fi, and I can take something intellectual away from them.

Finally, these books are sometimes surprisingly well-written and enjoyable in their own right. The American Isabella Alden (1841-1930) is one of my favourites. Alden was incredibly popular in her day, and very prolific, writing or editing over 200 works in her long ifetime besides leading what is reputed to be a very full personal life. She wrote under the pseudonym of “Pansy”, and since that name has acquired connotations that must have whatever is left of her remains spinning in her grave, her modern publishers have chosen to go with her full name. I got a perfectly unironic satisfaction from her heroine, the independent and witty Dell Bronson, who refuses her (stubborn and insufferably arrogant, if temperate) minister’s proposal when he refuses to meet her conditions for marriage. Her suitor marries someone else, and Dell remains serenely single to the end of the book with no regrets, and decides to believe that there are better things in store for her.

Alden’s books do tend to melodrama and can’t be considered literature by any stretch of the imagination, but her characterizations are realistic and their psychological profiles sometimes astonishingly complete, her dialogue natural, and her plots usually interesting and not formulaic if extremely contrived at times. Moreover Alden was obviously a woman with a good sense of humour. In L.M. Montgomery’s Anne of Green Gables, Anne’s classmates gather at lunchtime to read a Pansy book out loud to each other — apparently her books were considered a treat back in the day.

I can’t pretend to have even a working familiarity with all such authors, as I’m sure there were many more than I will ever get to, and their books extremely hard to find if not completely unavailable, but of the dozen or so authors I have read, Alden does stand out as superior. L.T. Meade was perhaps Alden’s English counterpart in terms of popularity, but Meade is far less readable. I suspect the quality of her work suffered from her extreme prolifacy, as she produced an astonishing 280 novels as well as a number of short stories and articles in a 48-year career.

And now I must go fulfill some sort of duty before I get eaten by bears.

The Newbery Project

I’m contemplating a large, ongoing project for The Orange Swan Review: to review all the Newbery Medal winners. To give you an idea of the scope of this project, check out the list of award recipients. Yes, at the time of this writing there are 85 past recipients. And I would only do two Newbery books a month as I don’t wish to either make this site entirely about kid lit or to wind up having to spend the coming year reading almost nothing but children’s fiction. For one thing, many of the kind of readers I would like to attract wouldn’t frequent such a site. And then, as much as I enjoy children’s and young adult fiction, it would feel a little too much like subsisting on a diet of milk and cookies. I'd soon crave steak, strawberries, baked potatoes, croissants, raspberry tarts, avocado and tomato sandwiches, lentil soup, brie cheese, Reese peanut butter cups, and so on.

According to my math it will take me nearly four years to accumulate reviews for all these books (and those that will be added to the list in that time). Yet I have a fatalistic feeling that this is what I intend. I’ll never have a better excuse to read all the Newbery books as I have long wanted to do, and a comprehensive collection of Newbery reviews would be a plum feature of any book review site.

Why have I chosen the American Newbery Medal when, say, the Canadian Governor General’s Award for Children’s Literature or the Canadian Library Association Book of the Year Award for children’s or young adult fiction might make be a more obvious choice for me as a Canadian as well as being less punishing in terms of workload? I hate to say this, but I chose the Newbery list because, overall, its winners are superior to my country’s award winners. No, I have not read all the books on either list so I should not make such a sweeping claim. But among those titles I have read I see none on the Governor General’s or CLA’s lists that can stand beside Katharine Paterson’s Bridge to Terebithia, Joan W. Blos’s A Gathering of Days or Cynthia Voigt’s Dicey’s Song. I see Janet Lunn’s The Root Cellar, which is a solid and entertaining but not distinguished piece of work. I see Jean Little’s 1985 CLA Book of the Year for Children award-winner Mama’s Going to Buy You a Mockingbird, which is another good book, but which wouldn’t have won any sort of direct competition with 1985 Newbery Medalist, Robin McKinley’s The Hero and the Crown.

I know this painful contrast exists because Canada has a smaller population than the U.S.A. rather than less talent per capita, but I still wince to see the same few authors winning the awards again and again, and the overlap between the two awards. Have we really so very few good home grown books to choose from that no one can give Kit Pearson, Janet Lunn, Jean Little, and Tim Wynne-Jones a run for their money?

I definitely will make an effort to read and review Canadian books, and to write about at least the current Canadian award winners and contenders, but my passion for stellar literature overrules my (very real, and vested) loyalty and concern for the Canadian publishing industry, and so it is the Newbery Medalists that will become the main focus of my mission. Look for the first essay within the next few weeks.

Seduction by Deduction

Betsy Prioleau began the research that led to Seductress: Women Who Ravished the World and Their Lost Art of Love because of the reaction to a course she taught to packed lecture halls at Manhattan College — “The Seductress in Literature”. Students of both genders were avid to learn the secrets of fabled sirens. And after class, she writes, “the women flooded my office. Over and over I heard the same laments: elusive bad boys, soulless hookups, sapped confidence, wrecked pride, and total mystification about how to prevail in love.”

Prioleau came to think that this was indicative of a larger problem in our culture, that though decades of feminism have benefited women in the workforce they haven’t made women much happier in their romantic lives. She considered that there was a dearth of research on successful women in history, and decided to track down some role models herself in hopes that it would be a step towards changing things. The result was Seductress, in which Prioleau serves up an array of historical dishes.

I first became aware of the book when I read this Salon interview with Prioleau, which so intrigued me that I promptly visited the Toronto Public Library web site to put a hold on her book. While I was waiting for Seductress to become available I read some other the other book she recommended — the novels A Sport of Nature, by Nadine Gordimer and Justine, by Lawrence Durrell, plus some bios on some of the other women she considers successful, such as Catherine the Great and Beryl Markham. I admired Catherine the Great and enjoyed reading about Beryl Markham, but didn’t care for the novels. Both described the heroine as “an honorary man”, and I was irritated by the inference that the ultimate woman is one who has learned to successfully ape men.

Seductress was a surprise to me, though I am not quite sure what I had expected, and indeed when I try to define my prior expectations of it they sound silly. Was I expecting a typical self-help book? Perhaps something that was a combination of The Rules and an issue of Cosmopolitan which would advise me to never call a man and to wear nice undies? Fun as it would have been to mock such a book (supposing I’d read it all the way through), I doubt I would have learned much from it. Self-help books are not usually very helpful. The specific advice is usually not suited to the circumstances of every life or to every personality; the general advice is usually so obvious as to be condescending and silly. I stopped reading one such guide when it listed the items I should have in my night table drawer.

Prioleau is far too intelligent and has done her homework too thoroughly to make any such rash promises or to try to outline any kind of facile methods or magic formulae for succeeding in love. She writes that “love resists glib formula” and instead presents a selection of history’s sirens in all their complex, messy glory. Mini-bios constitute most of the book, and are the best of it, since outside the bios Prioleau has a tendency to concentrate on belabouring the tenuous connections between the women she profiles and ancient goddesses. The famous and the almost forgotten appear one after the other: Isabella Stewart Gardner, Catherine Sedley, Tullia d’Aragona, George Sand, Colette, Mae West, Diane de Poitiers, Cleopatra, Ninon de Lenclos, Elizabeth I, Martha Gellhorn, Violet Gordon Woodhouse, Gloria Steinem, Josephine Baker, Agnès Sorel, and Eleanor of Aquitaine are only a sample of the women she discusses.

When determining which women to include, Prioleau set the bar quite high. A successful woman is one who was able to get the men she wanted, “men who were good for her”, who were “rarely discarded or two-timed” and who “successfully combine[d] erotic supremacy with personal and vocational achievement.” She includes Wallis Windsor, but takes her to task for “shirking the task of self-development”.

Prioleau’s alpha women are by no means perfect. They were generally terrible mothers and amoral types who annexed married men without a qualm. And their effect on those who knew them was often disastrous – eight men committed suicide over Parisian dancer La Belle Otero. These women are also wildly diverse. They are drawn from many different eras and cultures. Sometimes they were educated, as with Cleopatra, who spoke eight languages and studied literature, rhetoric, philosophy, arithmetic, geometry, astronomy, medicine, drawing, signing, lyre playing, and horsemanship, and sometimes they weren’t, as in the case of Eva Perón. Sometimes they were young, and sometimes they were old. Sometimes they were beautiful, and other times they decidedly weren’t, as in the case of Edith Piaf, who was 4’10”, with a “boxy build and an oversize head with a thick neck and wide-set Pekinese eyes”. Some were extremely promiscuous from an early age, and some weren’t – as in the case of Lou Andreas-Salomé, who remained chaste until her thirties, despite the pressing attentions of many men, and then joyously made up for lost time.

By this varied parade, Prioleau seeks to debunk the myths of love and sexual attraction that have burrowed into our culture like parasites. A siren needn’t be young. When Josephine Baker died in her sleep at 69 she had rave reviews piled on her bed and a recently acquired man who loved her passionately living in her home. A successful woman needn’t be beautiful, and beauty alone is no guarantee of success in love, as Elizabeth Taylor’s multiple marriages and Elizabeth Hurley’s multiple humiliations prove. She needn’t be a silent, passive muse or hide her smarts, as Germaine Greer and Simone de Beauvoir would have us believe. Émilie du Châtelet told Voltaire, “The light of my genius will dazzle you.” It did. The two of them worked in frenzied intellectual competition for years, and she was the only woman with whom he ever fell in love, despite the fact that intellectual groupies pursued him avidly. A woman can finesse love without playing by society’s rules — many of the hussies in Prioleau’s book made off with smitten, unhinged men like bandits of eros.

The actual siren’s checklist of characteristics only becomes clear when one looks at these women in aggregate. The mad welter of detail recedes into larger, more general patterns. All of these women had enormous self-confidence. Throughout the course of their chequered lives they all determinedly pursued their own goals and happiness first and foremost. They knew their own self-worth, and paid no heed to their detractors. Many experienced considerable adversity – they were brutally raped, or forced into bad marriages or prostitution, or were subjected to racism and misogyny, or were penniless in the days when it was next to impossible for women to earn their own livings, but they hurtled over such obstacles with style and proceeded to claimed success as though it was their birthright. Prioleau highlights the fact that almost all of these women had horrible childhoods. Instead of becoming emotionally crippled by such formative experiences as one might expect, these women were galvanized by it — they learned early that it was up to them to take care of themselves, and that knuckling under to others led only to more abuse. They were creative and intelligent and very hard working. They had — and used — excellent judgment. They surrounded themselves with kind men who loved and nurtured them. And though the sirens may have loved and nurtured and pampered those men in return, it was not at the expense of their own self-development. They were non-conformist. If a social norm got in the way of what they wanted to do, they smashed it. Jane Digby of the ultra-conservative nineteenth century went from marriage to marriage before finding the love of her life at age 45 — a black, Muslim man who was young enough to be her son. Her family disowned her, but she cared nothing for that and enjoyed 25 years of happiness with her tribal prince, and he never remarried after her death.

It would be impossible for a modern woman to imitate these women too literally. Most of Prioleau’s babes had servants to take care of the tiresome details like cooking and changing diapers. I also wouldn’t recommend the calculated and wholesale use of men as practised by many of the women profiled in this book, especially when it’s not necessary in contemporary times. A modern woman needn’t be a courtesan to earn money nor a monarch’s mistress or wife to have political clout. I doubt that a modern Cleopatra would attach herself to the 21st century equivalent to Julius Caesar and Marc Antony, and not only because Caesar and Antony have no modern day peers. She would know full well that modern political spouses of either gender are (rightly) powerless and would run for office herself. Sex and romantic love are now merely an element of a woman’s life instead of her only means to success.

Prioleau’s book can’t be classed as a self-help book, but I can’t help thinking it’s a guiding light to what self-help books could be — works that teach without presuming to dictate specific applications for our lives. One is not supposed to emulate these women or try to use any of their specific methods. Rather, Prioleau’s mosaic of women is meant to provide historical precedents, to inspire, to enlarge our sense of the possible, to demonstrate to women that we needn’t resign ourselves to being sidelined romantically because we happen to be, say, a plain, awkward teenager or divorced 50-year-old. By providing us with examples of successful women Prioleau is attempting to demonstrate that we can feel empowered when in love or in hardship rather than subject to it. And in this she has succeeded remarkably well.

2006, In Review

New Year’s Eve is approaching, I’d like to review something thematically in keeping with the occasion, and my spent 2006 planner is sitting conveniently on my desk, so here goes. Perhaps I should begin by saying this planner cannot be named or described too exactly as the publishing company that employs me produced it, and there would be both conflict of interest and personal security issues in my being specific enough that it could be identified. Ahem.

I hope I can safely say it wasn’t the planner for me. Not that it isn’t a handsome, nicely designed volume in its own right, and I’m not just writing that because I’ve helped edit it in the past and/or could be fired for publicly criticizing my company’s product. The planner is black-covered and gold-lettered, has gold and black satin ribbons for marking one’s place, has a lot of reference material at the back, and at 8.5” x 11” looked weighty and impressive on my desk all year. But then weightiness and impressiveness weren’t qualities I particularly needed or wanted in a planner. I take public transit and need a planner that isn’t a chore in itself to carry. And then this planner is designed to be used at one’s workplace, whereas I needed one geared to organizing my activities outside of work. I can see it being exactly right for a number of busy professionals — thousands of them, in fact. Planners are a very individual preference.

But it’s typical of me, and indicative of a larger issue in my life, that I never do find quite the right planner for me, the one that will help me feel more in control of my life, to stop me from frittering away time and procrastinating (actual Freudian-style typo: procasturbating), to accomplish more, to keep me from neglecting or forgetting to do things I very much want to do. Or failing that, I’d like FOR THE LOVE OF GOD to at least find one that lets me look at a week at a glance, gives me some actual room to scribble more than a few things down AND still fits into my already bulging shoulder bag. This past year I wound up carrying a little plastic-covered calendar style planner because the weighty black one had to stay at home, a memo pad because the little calendar had no room in which I could write, and also keeping a planning notebook because I needed some place to write down brainstorming lists and research notes on the best roofers/internet service providers/books to read/Christmas present ideas. Etc.

Again, it’s typical of me that for 2007 I’ve bought a new planner, hoping that both the planner and the year will be a better one than the one past or if not, that I can at least condense my oragnizational system from four notebooks to two. But then this is always the appeal of new planners and notebooks. I can’t be the only person who has a notebook fetish, who lusts after those beautiful covers and crisp blank pages and winds up giving away several journals for Christmas every year simply because I wanted an excuse to buy them. (As was the case with the exquisite embroidered pale green satin one I gave to my seventeen-year-old niece this year – I wanted to buy it and it matched my niece’s eyes, so she got it.) Those rafts of gorgeous notebooks and planners one sees in the stores must go somewhere. The appeal of these planners and notebooks is the promise of renewal, of a fresh start, of new things and new days to come. It’s an act of faith to buy one because it presumes that one will be living each and every one of those days named within. And, if one is a writer, there’s always the hope that the words one will write within will actually be worthy of their beautiful setting.

I don’t get a sense of this promise as I flip back through my spent planners. Instead I get a sense of the past as a thing apart from my memories and overall impressions of it. Perhaps I find I went out more often or was more productive than I thought, or perhaps less. Perhaps I discover that I wrote in some item to be done, such as signing up for a yoga class or doing some home improvement task, see that I scheduled it again and again before it finally disappeared, but realize it doesn’t matter now that I’d rather take kickboxing and have moved. This particular year I find the gold ribbon is stalled in mid-November, because I was embroiled in all sorts of real estate and moving craziness and was too overwhelmed to even be able to try to calmly order my days. This bird’s eye sense of the past — even my own past, which I should know intimately — as something significantly different from my conception of it isn’t as exciting as the sense of anticipation I get from a new notebook, but it’s probably more instructive.

The planner is a relatively modern invention. I don’t suppose it is much more than a century old, though people were certainly jotting down their daily minutiae long before that. It’s something we designed to help us cope with lives that have become more varied and hectic (though not harder overall) than they were two hundred years ago. Not that the medieval peasant whose daily to-do list might have been a one item “plant turnips” wouldn’t have had some conception of the more primal motivation that underlies our dependency on planners, and BlackBerries, and whatever other forms the planner will take in future. Like most adaptations, they help us cope with currently existing circumstances without necessarily making us any happier or more fulfilled in the larger sense than people have been in past millenniums. Nearly two thousand years ago Paul of the Bible was writing, “That which I would not do, I do; and that which I would do, I do not”, and that is a universal, eternal human lament which even the most beautifully designed Moleskine will never do more than assauge. Not that this realization for one minute dampens my ravenous desire for the said Moleskines.

A Reader's Digest Christmas, Digested

I've been meaning to write a special Christmas-themed review about O. Henry's The Gifts of the Magi and four of his other short stories, but since I am now at my parents' place for Christmas and I cleverly left the O. Henry book at my own home in Toronto, I'll have to fall back on reviewing something from my parents' bookshelves.

So, I've unearthed a somewhat battered, Reader's Digest-produced copy of A Family's Christmas, copyright 1984. And I'm actually disposed to be more gentle with it than I would have been to The Gifts of the Magi. But please don't take this as some sort of endorsement of Reader's Digest.

Reader's Digest was always in my home as I grew up because my father subscribed to it, and it does seem to me to be a sort of yardstick to my development as a reader, the equivalent of old pencil marks on a wall being used to gauge a child's height. When I first began to read it at about eight, I read just the jokes. Then, perhaps a year later, I began to read the lighter articles. Then I began to read whatever articles interested me, and by twelve or so I was reading the entire magazine. At fourteen I beguiled away a good portion of a case of mono by reading ten years' worth of back issues. (I always remember my illnesses by my reading material, and have fond memories of the time I escaped from the miseries of a 2002 bout with Influenza A into a thick, small-print collection of Sherlock Holmes stories.) At fifteen I began to notice, as with an outgrown, outworn piece of clothing, the shortcomings of Reader's Digest, and consequently read it less and less. By the age of seventeen, I had stopped reading it all together, and now can't bear to read it at all. So, now, revisiting A Family Christmas as an adult, I'm pleasantly surprised to find that the book I enjoyed so much as a ten-year-old still has some merit.

The book opens with an essay written by the excellent Jessamyn West. (Not, you understand, the living and equally excellent Jessamyn West, librarian and Metafilter.com moderator, but the late and excellent Jessamyn West, Quaker writer.) West muses about her Christmas memories, and it's enjoyable reading, though I would enjoy it more if I didn't have to worry that Reader's Digest editors have gutted the piece — or as they call it, "condensed" it. The first time I ever read an original version of something I had only previously read as a Reader's Digest version I realized how cheated I had been, and it is this more than anything that destroyed my enjoyment of Reader's Digest materials. If the piece has been gutted, the editors certainly chose to leave in West's slightly didactic conclusion about the "heart-warmth" and religious meaning of Christmas. I can't help but suspect it would have seemed less preachy in the original form, as West, a woman who helped her own sister euthanize herself, had a very nuanced belief system and no tendency at all to proselytize.

Paging on, we enter a section called "Christmas Customs and Crafts". This section features pieces about the origin and practice of different Christmas customs followed by instructions for making your own Christmas paraphernalia. For instance, the first custom discussed is the Christmas tree. Origin of the custom, historical and present-day variations, a cute anecdote about Theodore Roosevelt's son's scheme to subvert his conservationist father's decree that there would be no White House Christmas tree, quotes from A.E. Housman, reproductions of works by Norman Rockwell, and Grandma Moses, pictures of antique ornaments, illustrations of various kinds of pine trees. Quite readable. Immediately following it we have instructions on how to make tree ornaments out of wood shavings, which look lovely. Then instructions on how to make Ecuadorian star ornaments out of yarn and foil covered squares. They're done in garish colours and look none too attractive in the book, but the crafter in me is thinking perhaps the idea has some potential...

Moving on more rapidly, there are pieces on creches, Christmas stockings, toys, Christmas cards, Christmas greens, and Santa Claus, and these are followed, respectively, by instructions on making one's own cornhusk creche, knitted Aran stockings, Cinderella doll and wooden wagon, Christmas cards, pine cone wreath and Advent wreath, and "Santa's dream dollhouse". Which I must admit mostly look attractive and damn tempting to me as a knitter, sewer, and person who loves to make things, and there's something to be said for a company that can produce crafts which still look good over twenty years later. The picture of a brooding Santa peering around a tree while a little girl plays happily with the dollhouse does look a little iffy, however.

Then we come to the "Christmas in the Kitchen" section. James Beard's Christmas recollections, and four separate menus for Christmas meals. Also a cookie section, featuring a photo of a pink-cheeked grandma happily making cookies with two children at her kitchen table. Grandma's pink cheeks are a little too obviously rouged, and there's no way any baker could possibly work on such crowded surface as her kitchen table, but we'll let that pass. The recipes certainly look good, but I'm already feeling sated on my mother's cooking, so I'll just move on to the next section.

Paging on, we find the section I remember the best, a collection of Christmas stories, which as always with Reader's Digest selections, range from the very good to the horrendous, and, as with West's piece, I cannot fully enjoy any of them for fear they have been gutted.

I would place the first story, "A Miserable, Merry Christmas" in the "very good" category. Lincoln Steffens tells the story of the boyhood Christmas he told his parents that he wanted "a pony or nothing" for Christmas, and how he awoke to find Christmas morning to find he'd been taken at his word. Steffens, so Wikipedia claims, is known for remarking, upon his return from a 1921 visit to the Soviet Union, that he "has been over into the future and it works", but let us leave that aside and give him credit for at least understanding his own past, and presenting us with an evocative representation of a childhood experience, with its wild expectations and painful hopes and sudden plunges from joy to misery and back again.

Next we find the lyrics for "Go Tell It On The Mountain". I'd say this was public domain (read: "free") filler and am musing on whether in today's cultural climate the Reader's Digest editors would still chose to subtitle the lyrics "American Black Spiritual".

On page 148, Selma Lagerlof's "The Legend of the Christmas Rose" begins, a mystical tale of monks and robbers and a forest that blooms and is visited by angels every Christmas. It's not bad, and it does achieve that certain flavour of a tale that has been passed down orally from generation to generation.

Next is Valentine Davies' "Miracle on 34th Street". I read this story before ever knowing about the movie. Now that I know about the movie and have skimmed over the story again, I found myself wondering if the story was the "fictionalization" of the movie — fiction written from the screen play. Such fictionalizations are usually flat and mechanical, like this story. Upon looking it up, I find the movie was made from the "novel". Since the story in the Reader's Digest book is just 35 pages long, I suspect the story has been stripped to the bare bones. It's hardly fair to assess it in this state.

Norah Lofts's "The Lord of Misrule" follows "Miracle on 34th Street". In medieval times, a minstrel and a penniless girl of good family fall in love. They know they would never be allowed even to speak together under ordinary circumstances, but when the minstrel is named Lord of Misrule they seize their chance. It's a good story, and is well told.

Then we come to "Mr. Edward Meets Santa Claus", as excerpted from Laura Ingalls Wilder's Little House on the Prairie. Not a bad story, nor badly written. And, of course, it's imbued by all those values Reader's Digest and Wilder's libertarian daughter Rose Wilder Lane (who heavily edited and rewrote her mother's work) hold so dear — the bonds of family and friendship, and hardy self-reliance.

Next is Pearl S. Buck's "Christmas Day in the Morning", the story of an elderly man's memories of a boyhood Christmas surprise for his father. More about the bonds of family and love, but the story has a dark vein, because it more than hints at the loneliness of an elderly couple whose children are busy with their own lives.

Then we read Kay Thompson's "Eloise at Christmastime". Somehow even at ten I never cared for this story. I don't think I really had the patience to read it properly. I always liked a good story, and this one is short on actual narrative and long on nonsense rhymes and whimsy.

On to Frank R. Stockton's "Old Applejoy's Ghost". The ghost of a man from the eighteenth century pulls some strings to manage a Christmas and other matters for his great-granddaughter. It's not literature by any means, but it's readable enough.

Then we find Edna St. Vincent Millay's "The Ballad of the Harp Weaver", which is supposed to be among the best of Millay's work. I hope this isn't the case. "The Ballad of the Harp Weaver" is maudlin, subscribes to the awful mother-reverence that was far too prevalent in the late nineteenth to mid-twentieth century, and is barely above doggerel.

Next is "Christmas Every Day" by William Dean Howells. A little girl gets her wish and has Christmas every day for a year. I hope it's not just my love for nineteenth century children's and pulp fiction speaking when I say I really like this one. I suppose it's supposed to be a morality lesson instructing little girls in the dangers of greed, but to my mind it's just as much about the excesses of Christmas and how once a year is as much Christmas as anyone can bear, and this subtext amuses me no end.

Finally, we come to "A Conversation About Christmas", by Dylan Thomas. A Welsh man describes his boyhood Christmasses to a small boy. It's a poetic piece about the nature of nostalgia.

We finish with more public domain filler — a poem from Tennyson, and then "A Christmas Prayer Book", which is a few pages of short poems and readings from various sources.

As you can tell from my description, it's a reasonably enjoyable, worthwhile book on the whole. The problems I have with it, and with Reader's Digest materials in general, are like unto the problem I have with Christmas as a whole. I don't like the painful contrast between the ideal presented as reality and the actual reality, the saccharine feel-good vibe, the unreasonable, unrealistic expectations nearly everyone develops and is subjected to. I don't like the nostalgia that laces its way through everything. The lament for "how things used to be" is literally everywhere in this book, even in the medieval-era The Lord of Misrule. But then Christmas, like such "family oriented" materials as this book, are not things that can or should be experienced every day. Perhaps they are well enough in their place.

I'll just say then, that I hope we all enjoy Christmas, and all such artificially sweet fare, on our own terms, and then enjoy equally our return to a more holistic way of living and perceiving.

Perfume That Attracts and Repels

Patrick Suskind’s Perfume: The Story of a Murderer is a novel about the life and career of an orphan boy born in eighteenth century Paris. Suskind’s first sentence refers to Jean-Baptiste Grenouille as a "gifted and abominable man", and that does sum up Grenouille as well as any phrase that occurs to me. Grenouille is a gruesome creature, seemingly both because he’s a product of brutish treatment, and because it is his nature to be. His genius lies in his nose, as he has infallible recall for any scent he has ever encountered and a bloodhound’s ability to track the scents of beings miles away, or behind walls. The story of his efforts to experience the world through his nose and conquer the world through his ability to create scents — and the extreme and horrific methods he uses to do so — isn’t a pleasant one, but it is enthralling. I read the second half of the book in a single sitting today despite the fact that a number of pressing tasks awaited me.

It’s much more difficult to review a good book than a bad one. With the bad novel the reviewer has readymade topics and the keen if low pleasure of snarking. When I try to write a piece on a good to stellar novel I usually spend a lot of time staring morosely at the cover of the book, trying to figure out what angle to take so that I can say something other than unadulterated praise, which is boring and will make me sound like a groupie — or perhaps just intellectually lazy. At the publishing company where I work we editors are regularly asked to double-check each other’s productions. When I get, say, an especially carefully prepared newsletter to proofread I often end up putting more effort into checking for errors than usual, because I’m worried if I don’t find a single mistake the other editor will think I didn’t really try.

Also beneath all these other concerns is usually the feeling that I don’t want to pick apart a book I love, anymore than I would want to pull a rose to pieces. I’m so reluctant to maul a well-crafted book with my clumsy analysis, not because I can possibly injure the book, but because the ineptitude of my efforts show up so much more clearlywhen contrasted with its artistry. These motives are all working in me right now, and I’ve decided to solve the problem of an angle by heading off into vaguely related topic that kept occurring to me as I read Perfume.

As I read I kept reflecting on certain other books or short stories that I have read that bear a sort of likeness to Perfume. These other works also involved a repulsive, unsympathetic main protagonist, and are almost unbearable to read because of their content. I suppose the genre can be roughly classified as literary horror. I kept musing over whether each writer had succeeded or failed in what he or she attempted to do. There seems to be no formula for success, as indeed there isn’t in literature. Each work always fails or succeeds on its own merits and in its totality.

A Clockwork Orange was a book that came to mind, for instance. And it is a success, of course. The whole point of Anthony Burgess’s work is the very banality of the sociopathic narrator’s voice and mindset. He’s ordinary, he’s violent, he’s remorseless, he's nonchalant, and you don’t even mind reading what he has to say because he’s so matter of fact about it all and because there’s a certain cool style in his use of slang and nonchalance. The horror lies in the very lack of horror.

The short story Clay by George Romero is another example. In Clay a mentally handicapped, socially isolated man crafts himself companions out of clay, and his efforts to make them as realistic as possible become more and more extreme and monstrous. I deem this one a failure because it has nothing attractive in it to grip the reader. In a horror novel one must provide something that holds the reader to counterbalance the repelling effect of the horror. There certainly is horror and repulsiveness enough in this story, but as I read I found myself physically turning my head aside, pulling back from the book. Nothing made me want to read it but the fact that I had to turn the pages anyway to get the next story in the anthology that contained it. I barely skimmed the last ten pages because I found the story so unbearable. Had it been much longer than 22 pages I certainly would never have finished it.

Another book that occurred to me, that perhaps may seem an odd or unsuitable choice if I’m supposedly discussing the genre of literary horror, is Ann-Marie MacDonald’s Fall On Your Knees. Fall On Your Knees is more often described as an epic, or a multigenerational saga than as horror. Frankly, I can only call it wretched. I’ll never review it properly for this site because I can’t bear the thought of re-reading it, and I doubt I’ll ever read the sequel, The Way the Crow Flies.

I was obsessed with Fall On Your Knees in a very negative way when I read it some years back. It’s quite long, and I hated almost every moment I spent reading it. The only part I enjoyed was Kathleen’s beautiful and lyrical diary of her days as a music student in New York — which sojourn ended suddenly with a horrific incident that dragged me back into the sewer that is the rest of the book. I remember how in the week or two that I spent reading the book I complained to a friend in email after email how much I hated it. Reasonably enough, she asked me WHY I kept reading it and even tried ordering me to stop. I replied that I couldn’t, that I just had to finish it. It’s a testament to MacDonald’s sheer narrative force that Fall on Your Knees should be so compulsively readable that I finished the book despite considering it the literary equivalent of thumbscrews. And I haven’t — at least, not at the distance of three or four years — a stylistic fault to find with it.

My whole experience of being made miserable by Fall on Your Knees lasted even longer than the actual reading. I could not understand why the book was so popular. Had I missed something? Was I a prissy, limited reader incapable of the empathetic and imaginative stretch it would take to enjoy something like this book? I scoured the internet for commentary on the book looking for a key to understanding how anyone could love it. I read reviews of Fall on Your Knees which usually didn’t seem to be about the book I had read. If my memory serves me correctly, one reviewer claimed it was an evocative depiction of family life in Cape Breton in the twenties. If I were a Cape Bretoner I would object to that assessment quite strongly. Perhaps I'd also produce a statistic or two about the rarity of families boasting pedophiliac, incestuous, bootlegging patriarchs.

Oprah Winfrey later selected Fall On Your Knees for her book club. This did not faze me. Although I applaud Winfrey’s efforts to get America reading and respect that she probably has realized demonstrable success in this endeavour, I can’t show the same enthusiasm for her literary taste. Yes, her books are a step up artistically for those who normally might only read romance or detective novels, but I would hope those who made that step would keep on climbing. I don’t feel any need to align my literary taste with Winfrey’s. She is just one person, after all. I wasn’t even bothered by her pronouncement that she was discontinuing her book club because "there weren’t enough good books", because I automatically amended her statement to "she can’t possibly have enough reading time to find the good books". What did bother me was that before she had singled out Fall On Your Knees, tens of thousands of people were reading the book and independently coming to the conclusion that they enjoyed it.

I still have not settled my internal "is it my failing or is it MacDonald’s" debate over this book, though fortunately the debate eventually dimmed and quieted. I can only say again, as I said about Clay, that a book that has horrifying, repulsive content must have some sufficiently attractive qualities to compensate. Perfume has enough attractive qualities. Grenouille has genius, artistry, and achieves at a high level, which are always compelling, no matter what their context. Perfume is well plotted and suspenseful. The concept is original and the idea that scent is such a profound and unrealized force in our lives is an intriguing one. These things compensate for the repellent force of Grenouille’s cold-bloodedness — and for the silliness of the novel’s climactic scene and denouement (scent may be an unrecognized power in our lives but I refuse to believe it's as powerful as Suskind's scenario suggests).

I can’t say that Fall On Your Knees has achieved this sort of balance between attraction and repulsion. I wanted, somewhere in the course of my reading of it, to experience a positive emotion, to be inspired, to be moved, to admire, to empathize. Instead the experience was more like that of watching the lowest kind of talk show. I came to know too much about a group of people about whom I couldn't bring myself to care, and I was only repelled.

The Witch That Cannot Bewitch

Witch Child by Celia Rees is a young adult novel about a seventeenth-century English girl, Mary. The woman who raised Mary and whom Mary called her grandmother is tried and hung as a witch, and Mary winds up immigrating with a group of Puritan settlers to America in attempt to escape the same fate. Except that she is then accused of witchcraft there, and it turns out that she does indeed have some supernatural powers. Witch Child is a respectably good young adult novel – the writing is competent, it’s very well plotted and suspenseful, and the historical research seems to be accurate. Rees also used a Blair Witch Project-style gimmick, presenting the novel as though it were an actual historical diary by including prologues and afterword notes from one “Alison Ellman”, who states that efforts to identify Mary are ongoing and requesting that anyone who might have information about her email her at the address provided. I visited the site mentioned, and found that it featured some basic historical background for the book, period woodcut illustrations, Celia Rees’ explanations of how she came up with the idea and why she used the Alison Ellman presentation, and of course a vendor’s link so that the viewer can conveniently purchase the book and its sequel. I admire the cleverness of the Alison Ellman gimmick – it will make the book seem very immediate to modern teens. But the book itself is too slick. There isn’t a lot of depth. Yes, I realize that it’s a young adult fantasy novel and so I deliberately used the phrase “respectably good young adult novel” in my assessment above. Witch Child does stand up well compared to an average teen novel. But then so many teen novels are atrocious, so this is not saying much. Which leads me to the question of why they’re atrocious.

I’m impatient with the all too common practice of classifying children’s and young adult literature as some sort of lesser art than materials written for adults. To begin with, good writing is always something to cherish, wherever it may be found. Adults should be beyond the sort of developmental superiority and condescension children often have for those a few years younger than they, and be able to enjoy genuine artistry in all its forms and at all levels. Children and young adults deserve and need good writing, and I still think it’s fair to judge a young adult or child’s novel by the usual literary standards, to expect artistic and intellectual merit rather than merely readability. It’s entirely possible to write excellent literary fiction that is suited to a teenager’s intellectual level, as say, Cynthia Voigt has done. And if we fail to demand literary work from authors in this genre and also don’t acknowledge it when it does appear, we’re only reinforcing the low calibre. So, as I say, the book is a very slight one in terms of literary merits. It’s in the Lois Duncan vein – suspenseful, readable, but flimsy. The characterizations are rather shallow, and though Rees’ physical settings may be historically accurate she has not been able to recreate a convincing seventeenth-century psychology for her characters. Mary is too modern in her sensibilities, too sophisticated for a seventeenth-century 14-year-old girl, too brisk and assured in her choices and emotional reactions, too detached in her descriptions of her environment and society. She writes as though she were a twenty-first century adult coolly assessing the ridiculously hysterical people around her. Though she knows she has some magical powers, she never wonders if any others in her settlement do. She makes friends with a native American without having to overcome a trace of the prejudice and fear the other settlers uniformly feel. She masquerades as a boy and swims naked without a qualm. Meanwhile the other characters act on simplistic motivations. Mary’s considered a witch by the ill-natured of the town and protected by the kindly ones who know her. It probably would have been a sound idea to have some of those who cared for her also show some fear of possible witchcraft, to have to resolve some inner conflicts, to have Mary progress from being a child to a self-sufficient adult, to have her make mistakes and question herself and her own values. As is, it’s a thin little suspense novel, quickly and easily read, and almost as quickly and easily forgotten.

The Vampire Book I Read In Spite of Myself

I found out about the novel Sunshine, by young adult fantasy writer Robin McKinley by visiting McKinley's web site. Upon reading the excerpt I found there I discovered that Sunshine was about vampires, which in effect punctured my usual enthusiasm for the latest McKinley book. Those of you who like vampires can picture blood spurting from the jugular, and the rest of you can imagine a tire sadly deflating. Far be it from me to deny anyone the visual of his or her choice.

A reading of Bram Stoker’s Dracula and a half-reading of Anne Rice’s Interview with the Vampire exhausted my limited interest in sucker lit some years ago, and it has not revived. However, I’ve read and loved all of McKinley’s books published to date and it would likely be a few years before there was another and so… I popped over to the Toronto Public Library site and placed a hold on it. I’m glad I did.

Sunshine is funny, involving, and suspenseful. There’s the usual wry, reluctant McKinley heroine, her next-to-impossible yet inescapable quest, and a complex, beautifully imagined alternate universe, complete with homely details such as how a vampire looks in a borrowed bathrobe. Aside from the vampires, there are other ways in which this book is something apart from the rest of McKinley’s oeuvre. It’s set in a modern environment with cars, sneakers, and video games such as McKinley has only used in some of her short stories, and written in the first person, which as far as I can recall she hasn’t previously done at all. She’s invented her own slang for the 25-year-old heroine to use and her own terms for computers and the Internet (a wise choice, since real slang and technology date faster than anything else). The resulting modernity and immediacy gives this alternate universe a coolness and an edge Damar never had. Moreover there is an abortive sex scene that is so incredibly erotic that its abrupt termination left me nearly as frustrated as the heroine. McKinley has been holding out on us—there were no sex scenes in any of her earlier books.

I remain uncoverted to all things vampirish, and am going to let Interview with the Vampire remain half-read (as I wish I had done with the horribly bloated The Witching Hour), but I enjoyed Sunshine as much as any of McKinley’s other novels.