Category Archives: Fiction

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

Family Album: Where every character is fixed

Penelope Lively’s novel Family Album leaves as much mystery about its characters as this portrait. The family of the titular album is comprised of six children and three parents. The “shocking” reveal of the novel is that the au pair (whose name escapes me, such is her impression on this reader) mothers the final family child (Clare) with the patriarch and that the mother, zealously committed tothe importance of family, insists on raising Clare as her own. This reveal is not shocking. Any contemporary reader with a passing experience of family life will be attuned to the levels of secrecy operating in any given family. That the family members never speak about Clare’s parentage (until the last few pages) is also meant to be something of a shock, and again, I found this unsurprising. What family speaks openly about secrets? Is that not the nature of secrets to begin with?

If you are willing to put aside the scant basis for plot and turn only to character, you will be sadly disappointed. The characters each receive small chapters of third person limited narration, with slightly greater attention paid to the mother and the eldest daughter, Gina. Despite this narrative focus, none of the characters feel complex (at all), and so I found myself caring very little (or at all) about how they felt about anything – let alone how they were impacted by the dastardly father and the “deep dark” family secret. Indeed the characters felt as still and fixed as any portrait in an album.

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Filed under Book I'll Forget I Read, Fiction

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

The Mistress of Alderley: Least Suspected

         I recently made a trip to the local library intent on picking out books I would enjoy while on my vacation. I began with The Tiger Claw (disappointing), and immediately worried that I no longer knew how to pick a good book. The Mistress of Alderley, a straight-up whodunit, reassured me, as it was not only an impossibly addictive read, but despite my earnest intention to pay attention to “those I least suspected” (in order to solve the mystery and prove myself smarter than the author), I did not figure out who committed the crime, and it was the person I least suspected (even though the motive made perfect sense).

I can’t say I read mysteries of this sort very often (in fact, I can’t remember the last time I did read one), but I did enjoy this one. It was perfect bathtub reading (though I did get a little more pruned than usual) and would be ideal for the beach, the train, a plane or a Sunday afternoon couch. Well written, extremely well plotted, and yes, terribly engaging.

Enjoy.

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Filed under Fiction, Mystery