Category Archives: Erin’s Favourite Books

On Reading

I read novels as a way to think about my responsibilities without having to think about my responsibilities. I read novels about characters who create new identities for themselves, or who question the dangers of too much compromise, or who contemplate the brevity of life and the challenge of making meaning in a world of such surplus and scarcity, a world of such disparity. While reading these novels I think that I understand the questions the author is asking. I pause after a poignant paragraph, I write essays on completion of the novel that summarize my impressions of the narrative, I emphatically recommend books to anyone who will listen and enthusiastically agree with the declaration that such and such a book is just incredible. I don’t do these things without sincerity; in each moment I attend to the narrative itself I am committed to being with and in the narrative.

I tell people – family, friends, colleagues – that the value of reading Literature is its capacity for changing perceptions, for inviting questions, for provocation, challenge and for altering the way readers look at everyday life. I passionately argue for an engaged readership that sees novels as a way to explore societal ills and potential solutions, as a space to wrestle with historical and contemporary grievances and injuries, and as a conversation about who we are as people, what we value and what defines us as (ir)rational, meaning-making, meaning-seeking beings.

Any regular reader will know that what I’ve written so far can only be followed by a “but,” because this is not an era of sincerity and we are not inclined to the optimistic observations about simplistic goods. My but is not dependent on an admission of the failings of fiction, far from it; I remain earnest in my stated beliefs about the power of novels. But. For all my acclamation of beauty, power and potential, I, myself, refuse these opportunities for sustained reflection. I make routine resolutions to sit quietly with my thoughts and to ask myself what I value, what my purpose might be, what makes for a meaningful relationship. I run, I swim, I cycle and each moment I’m engaged in these expressions of body – these intense experiences of breath, heat, movement – I remind myself that I should be thinking about the Big Questions (and that I should be writing my own novel while I’m at it). In the moments on transit when each rider fills the car with their separate, silent dialogues I think I should be thinking right now. I see my days as moments when I should be thinking about myself and my community, but I instead fill my mental landscape with headphone music, cellphone conversations, internet television, food, radio, sex and sleep. This admission is not intended as an indictment of “modern society” and its ills of isolation; this admission is meant only as confession.

I confess that I do not know how to spend time with my own thoughts. I do not want to ask the questions I read in novels. I do not want to know how little substance I have available to shape an answer. I will avoid the risk of inevitable silence by cramming my mental space with all manner of other distractions, not the least of which are novels.

I read because I do not want to think about myself, my complicity in inequality, my failure to meet my own expectations of citizen engagement, my frustration with my friends, family and colleagues, my dissatisfaction with the promises made and undelivered, my hurt and loneliness, my secret belief that I’m destined for great things.

Am I sad? Do I want to quit my job? Do I love my partner enough? What are my responsibilities to my family? What do I owe my community? Why do I get paid as well as I do? How can I live in a country that denies health care to refugees and exploits the environment for economic gain? I can’t answer these questions because I won’t answer them. I won’t give up the mental real estate required to be sad. To be hurt by injustice, by my selfishness, by exclusion. Instead I’ll read stories that let me feel just a little bit, just enough to assure myself that I’m engaged and that I’m politically active. I will read novels that grant me the self-assurance to say “oh this is an important question” and to flag it as such when I present the story to someone else. As if I can take credit for the thematic heft by identifying its existence. As if I can claim depth by knowing where the deep end lies.

I read, still. I love reading because I love feeling like I’m doing something.  I’m asking the questions, but only to you. After I finish this sentence I’ll close my thoughts, pick up a book, and let someone else take responsibility for giving the answers.

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In the Realm of Hungry Ghosts: Read it. Now.

        E. suggested I read “In the Realm of Hungry Ghosts” as part of my introduction to Vancouver, and gosh but was he right in recommending it.

The book’s author, Gregor Mate, is a doctor who works in Vancouver’s notorious downtown eastside – a neighbourhood known for being a drug zone. Mate uses interviews and character sketches of his patients as the individual grounding for his discussion of the causes and outcomes of addiction, as well as the detrimental drug policies that currently govern drug addicts’ behaviour. The chapters vary among first person reflections on his own addicted behaviour, reflections on the life experiences of his patients, accessible descriptions of brain science and development and exhortations for evidence based addictions/drug policies.

The book is, simply put, brilliant. Mate methodically lays out his argument all the while drawing in personal narratives that make the science not only accessible but entirely compelling. The reader cares about addictions science and drug laws because we are made to know the addicts – ourselves! – as people. The demand that we reserve judgement because we too, find ourselves in addicted patterns, or because we begin to understand the lack-of-choice inherent in addicts’ actions, persuasively asks us to reconsider our long held judgements about those addicted to X or Z.

I’m anxious for someone I know to read the book, too, so that I might discuss the ending – a suggestion that the ‘cure’ for addicted behaviour might be meditation and mindfulness – and the overarching premise of the book that addiction isn’t so much a choice as a set of circumstances thrust upon that must be chosen against, refused, rather than actively sought. My local library is hosting a book club night on the book, and I’m eager to go and hear what others in my community thought of the book, but I’d really (really) like for you to read it, too, and let me know your thoughts.

Given how much I’m struggling to sort out how to reconcile the gross inequality I’ve been encountering in Vancouver, and given my own (relative) addictions, the book has been incredible in provoking thought, challenging assumptions, and arguing for a kind of generosity to the self and to others that is otherwise unspoken.

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The Sense of an Ending: Near Perfect, but for the… ending

       Julian Barnes gets it so right in “The Sense of an Ending.” The novel(la) asks and attempts an answer at questions of how we remember our own histories, what makes for an exceptional life, and how we can reconcile the story we tell ourselves about who we are now with the “evidence” of our past actions and beliefs.

Our protagonist spends the first half of the novel narrating a pivotal experience from his adolescence/young adulthood – narrating it with a self-conscious awareness that his narration can only ever be partial and biased (but not an overly obsessive or intrusive self-consciousness, rather the gentle thematic reminders that history and memory might claim to rely on evidence and testimony, but in the end are only ever versions based on ever-shifting “facts”). The second half of the novel narrates how our protagonist must revisit and revise his version of his history, his memories, after new information – new “facts” – come to his attention. This attempt a revision, or attempt at reconciling long held memories with “realities” of the past, or contrasting memories, all result in the “sense” of an ending – the illusion of a conclusion, the ethereal trace of something like resolution, when in fact all we know at the end of the book is how incomplete, how false the certainty of a memory, how inadequate our capacities for recollection.

And this is my only quibble with the book – otherwise I really did find it to be exceptional – is that the ending that we’re given to the narrative reads as too dramatic, *too* showy, and its unnecessary. The brilliance of the book until that point is the banality of the events, the quotidian dramas that make the protagonist so brilliantly human and allowed this reader to so clearly empathize. Which is not to say that I’d do away with the climatic unpacking of the tangled threads of memory and actual experience, but rather I’d have appreciated a slightly less punchy actual experience – in other words, the climatic drama did not need to be so dramatic. Should not have been, actually, as it took away from the subtlety of the thematic exploration of what we can and what we pretend to know about our past and about our selves.

And as an individual with what I like to call a “partial memory,” or an “episodic memory” — I do not have a memory that allows for either sequence or certainty. I forget conversations, experiences, interactions and remember only brief moments, emotional impressions and that which a photograph prompts — I found this book a refreshing reminder that I am not so different from those who have “normal” memories/memory faculties – in that while those people might imagine a sure-r narrative and may be able to more convincingly recall their stories to themselves, they are, in the end, all but stories. And so perhaps my fixation with the historical and the fictional, with that which exists in the space between fact and imagination, has most to do with this – with my understanding of my own mnemonic incompleteness and my fantasy that I am missing out on a plenitude others experience. Julian Barnes reminded me that what I (imagine I) miss out on might just be the experience of memory for all of us, and that the certainty we imagine is just a sense, just a trace, that we use to account for our lives in a way that allows ourselves a story about the kind of person we are (or wish we were) and a story we mix up as true.

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Filed under British literature, Erin's Favourite Books, Fiction

Cloud Atlas

Away for work with no laptop, and so a proper post is impossible at the moment, but I wanted to get down a few thoughts about David Mitchell’s Cloud Atlas before I forget (for those counting I only have one Mitchell novel left, which I may save for the day i recognize as the worst day of my life so that I might have something to live for/look forward to. He is so. Brilliant. I like just knowing there is
more of his genius for me to discover. that promise (both the potential and the guarantee) – withheld – makes my life more livable).

I want to remember the form – a mess of genres, narrative points of view and forms. The theme of servitude: to ideals, people, corporations, history (but not love). The idea of ascension – that we (people, characters) might be evolving in a way that keeps us the same even while we strive to be/do better. The idea of reliance, that if we are to make it/survive it will only be after trusting in someone else, knowing we will be betrayed, but in the time before betrayal that we might make/do something great or lasting. That we lose ourselves in moments of beauty – that in reading this book we find ourselves presented with one such moment – a space to forget the petty, insular problems of a particular time and place, and transcend form, genre, and *self* in a way that allows the briefest recognition of beauty. That is what the characters do, and that is what Mitchell offers his readers. And we rely on him to take us somewhere higher then we had been before. And he, unlike his characters, doesn’t betray that faith, but really did leave this reader with a greater expectation for what is beautiful, for what great art can do.

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Filed under Booker Prize, British literature, Erin's Favourite Books, Fiction, Prize Winner