Category Archives: Canadian Literature

Galore: Gorgeous

                   I picked up Michael Crummey’s Galore because a friend of mine suggested it was “the best book he ever read.” Bold claims from a well-read man. I admit being reluctant to read it because I’m using Crummey in my dissertation, and the idea of reading – for pleasure – an author that I’ve spent endless hours thinking about worried me.

(Aside: Longstanding debate between me and M. about whether or not someone can “read for fun” or whether any sort of reading is inherently “critical.” I err on the side of “reading for pleasure” and “reading for work,” and find that when I’m reading for pleasure I do not annotate; I do not fixate on symbols/images in the same preoccupied way I might while working; I do not consciously consider the novel as a national work… But, of course, I write this blog, and I *think* about what I read as I’m reading it: that is the work of a reader, right? I’m not sure why reading critically cannot also be pleasurable, for me, at least, reading and thinking are pleasurable activities. It just becomes “work” when I then have to write about it, compare it, map the themes and ra ra ra – gag).

I shouldn’t have worried. Galore is beautiful. The poetry of description, the balance of third person limited with third person omniscient sweeps the reader between the intimate thoughts of characters – spanning generations – and the intricacies of the community and the relationships in that community. I suppose it was purposeful that the reader is denied the third person limited perspective of Jonah (the man who opens the novel being born from the belly of a whale), but all the same, my only complaint is that we don’t get the chance to hear his thoughts. Of course, it’s appropriate that we don’t (Jonah is mute), just frustrating because of how much I *wanted* to read his view: a testament, I think, to the strength of his character.

Ambitious in its time-line, Galore maintains a surprising (and pleasurable) balance between the intimate lives of the families on the shore (set in Newfoundland) and the “bigger” concerns of a settlement coming into the 20th century (medicine, education, union organization). Highly recommend.

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Filed under Canadian Literature, Erin's Favourite Books, Fiction, Prize Winner

The Outlander: Half-Half

            Gil Adamson’s The Outlander focuses on “the widow,” a nineteenth-century woman we quickly learn who has killed her husband and, as the novel opens, is on the run from his two brothers.

The widow herself is unremarkable. The plot, likewise, leaves something to be desired. The widow encounters a series of figures who help/hinder (but mostly help) her escape in the fashion of a children’s book where a lost lamb tries to find its mother and must first meet a duck, horse, pig and cow before at last finding its true mum. So follows the plot of The Outlander. That said, by the time the novel gets to the “cow” in the series of chance encounters, I found myself rooting for the widow’s escape and invested in her finding something of a happy ending. Not overly invested, mind you, but interested, which is more than I expected throughout the first half of the book where (I confess) I only kept reading because I suspected the novel might be of some use to my thesis (it will not be).

Meh.

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Filed under Canadian Literature, Fiction, Historical Fiction

Galveston: Forgettable

    Id never tell anyone not to read Paul Quarrington’s Galveston, but neither would I recommend it. The novel sees three storm chasers arrive on a small island – Dampier Cay – a day before the arrival of a category 5 hurricane. Two of the chasers have traumatic pasts. One is just in it for the glory.

The parts I liked? Learning bits about hurricanes. Descriptions of the wind.

Parts I didn’t? Endless and extreme symbolism, such that I felt battered myself by the barrage of this-means-this and look-out here comes another symbol, duck! you might get hit by significance!

Meh. Not good, not bad. Nominated for the Giller, if you’re into that sort of thing.

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Filed under Book I'll Forget I Read, Canadian Literature, Fiction

De Niro’s Game: Not about the actor

I checked out Rawi Hage’s De Niro’s Game from the library because I had spent an hour or so checking out “best book lists” in an effort to overcome my recent spate of terrible reads. It showed up on several lists, and without reading a plot summary, I decided I’d give it a try. I think from the title I expected that the book would be about a game show, or maybe the actor – Robert De Niro. Wrong!

The novel centers on the first person protagonist, Bassam, as he tries to escape Beirut during the Lebanese Civil War, and his best friend, George – who also goes by the name “De Niro” (one part of the title explained). The two begin the novel messing about with a casino – stealing money and what not – and so you might at first expect the titular “game” to be related to gambling. Not so! The game, as it turns out, De Niro’s game in The Deer Hunter: both Bassam and George literally and symbolically play Russian Roulette as the two try to navigate the politics of the Civil War and the psychology of having been raised as “hunters”.

I did enjoy the story, and I appreciated Bassam’s narrative voice – not an entirely reliable narrator, certainly not very sympathetic in his actions, and yet someone, I still cared about him and wanted him to be okay – but what I enjoyed most was the use of extended similes and metaphors. Scenes are described with one rich simile which is then compared to something else, and compared to something else, an on, until you’ve reached the end of a breathtaking sentence that really does wonderful work with the imagination and in conjuring the sensory and emotive registers of the scene (that sounds  a bit like an ad for perfume, but I do mean it – the similes are mind-blowing, and not in a Tom Robbins “what does this have to do with anything” kind of way, but in a melding of all kinds of different experiences). The metaphors – hunting, dust, cannibalism, games, smoking, the moon – carry throughout the novel and interweave with one another to a degree where I found it difficult to be sure what one alluded to, or whether the whole point was a collapse of clear meaning. In any case: full points for narrative style.

If nothing else De Niro’s Game  breaks the cycle of bad writing and reminds me that a good book can make you forget just about everything (including a heat wave of temperatures in the 40 degree Celcius range, a thesis that refuses to write itself) and if it doesn’t help you forget, it at least puts into perspective so-called “problems”.

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Filed under Book I'll Forget I Read, Canadian Literature, Fiction, Giller prize, Governor Generals