We Need to Talk About Kevin: It’s really about maternity

I’ve started marathon training again, and with the increase in kilometres comes an increase in books I listen to instead of reading. M. suggested I might like “We Need to Talk About Kevin” (well, maybe not “like” so much as be-interested-in) and she was right. It’s hard to separate out liking the book from liking the audio recording – a lot of background and supplemental sounds to keep this running reader engaged – but whatever the cause I did enjoy this story.

I’m not sure the book is about Kevin so much as it is about the narrator and wife Eva, and not so much about what makes for a sociopath as it is about what makes a mother (the plot, in brief, is that Kevin massacres 12 people at his high school, goes to prison, Eva and Franklin’s marriage falls apart). My friend C. recently asked what it might mean to be a woman and not be a mother in terms of the values we hold. She asked because she’d been thinking about Idle No More and the explanation many of the women gave for their participation as a result of their concern for their children and grandchildren. What shapes our values – or justifies them – if we don’t have children through whom to explain our actions? This narrative asks a slightly different – but related question – in that it wonders how women become complicit or implicated in the successes of failures of their children. It wonders whether mothers are nothing more than extensions of their children, or hold ultimate responsibility for their actions – as if they are always-already accountable for what the child does or doesn’t do (and in a manner different from that of the father). And what of those mothers who do not “do” maternity well? Those who dislike their children, who experience post-partum depression, who make egregious and conscious errors in parenting? These sorts of obvious “failures” of maternity are contrasted with the unspoken but assumed failures that attach to childless mothers, barren women, women who abort or miscarry, women who do not “take” to mothering with the seamless ease supposedly innate and natural. And in all of these questions the reader is left to ask what happens to Eva as a person – someone who wanted particular things from and for her life in and beyond maternity – if all she is becomes subsumed by her actions and failings as a mother. And this is, I think, where C.’s question comes back into it – if we allow femininity or womanhood to be unilaterally attached or drawn to our propensity or success as a mother, what do we leave women for themselves? If our values are tied to preservation and protection of our children, our identities wedded to our success as mothers, our purpose and meaning derived from our children… well it seems an awfully oppressive kind of maternity. A sexist one that says that women must identify themselves first and always as mothers (while men might have identities far beyond or in addition to paternity) and that any inclination toward a separate life is selfish or unnatural. And one that casts doubt or suspicion on those women for whom maternity is not possible, desirable or suitable. 

The book is supposedly about what makes for a sociopathic killer, but it is, I think, far more interesting in the ways it grapples with what makes for a woman, a wife and a mother. 

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Room: Disturbingly Enjoyable

               I didn’t want to like Emma Donoghue’s *Room*. I resisted reading it until now – despite the swells of book-club interest, the claims of brilliance from fellow readers – because there seemed something exploitative and disturbing about the idea of a child protagonist narrating his experiences first held captive in a 12×12 room and then emerging to be reintegrated into “normal” life. 

And there was something disturbing out of the pleasure I took in reading it – the rapturous irresistibility of the narrative. I had trouble putting it down – first wanting to know what depraved and horrifying passage might come next, and later wanting to observe the herculean task of reorienting these “victims” into the Outside. Like watching one of the many crime procedurals the fascination must be one of pleasure: do we want to experience something similar (as perpetrators? as voyeurs? as victims?) or do we attend to these stories of the depraved in humanity because it reminds us of what we are capable of and congratulates us for the smart choices we’ve made in *not* succumbing to these base impulses.

I’m not sure what the cause of the pleasure, but I found myself very much enjoying the story and from that enjoyment very much disturbed by my pleasure. And disturbed, too, for the thousands (millions?) of fellow readers who felt similarly drawn to this story (hopefully with as much reflexive concern for their own pleasure, but I suspect more likely aghast by the “horror” and “darkness” and “how-could-he” – which is not the same as me thinking that I’m somehow more insightful than all the other readers, rather I think I’m willing in this space to be honest and because it’s scary and vulnerable to say you took pleasure in the abuse of others). 

I should read something about reader-viewer pleasure in watching disturbing violence. I’m sure there’s something good out there – suggestions? – that could nuance my reading of *Room*, but as it stands I’ll just have to say – with a decided lack of theoretic depth – I *enjoyed* the book and I wish I hadn’t.

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Atmospheric Disturbances: Gimmicky

So all of the usual suspects – The New York Times, The Globe and Mail, The Washington Post, the Booker People – thought this book was The Shit. And so I feel a bit like an inept, ignorant reader to say this, but I thought it was just okay. And maybe not even that. 

The premise (and yes, this is a book that has a premise) is man is sitting on his couch, a woman walks in his door that looks identical to his wife but is NOT his wife. So begins the journey through the book to find his “real” wife with all the attendant thematic questions that I’m sure you’ve already thought of: do we change as people over time? what is our real self? how do we ever know (ourselves) one another? can we ever pin point identity? The thematic complication is the overlay of weather patterns and weather predictions as the parallel to the search for self – just as we cannot predict the weather, we cannot predict the behaviour of selves. And the plot complication is that our protagonist is simultaneously searching for a lost psychiatric patient who believes he occupies two times and works for the weather agency. Right-o – this doppleganer foil of our protagonist shows us the insanity of trying to fix identity or relationships. 

When I write this I realize that it does not seem (at all) obvious or matter the fact. Rather, it reads as terribly creative and exciting. And it is! For the first fifty pages. But there’s only so much surface wit and self-congratulatory whimsy that one reader can take. I would have been delighted with this as a novella or short story, or as a novel if it had a serious edit to include something deeper or more complicated than the gimmicky plot. But as it is, I feel a bit like maybe I missed something and didn’t get something that the Serious Reviewers did. If only I was a better reader? No, scratch that. This book just isn’t as good as I might want it to be. And it isn’t as good as the Serious Reviewers want it to be. And that’s a shame, but the truth.

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The Birth House: Caricatures

     A note of caution if you’re looking for images to accompany a blog post on Ami McKay’s “The Birth House”: do not type “home birth” into google images and eat your lunch at the same time. Particularly if you are, as I am, a 28 year old woman who spends altogether too much time thinking about babies already. I’m suddenly much less keen to be pregnant. Does it have something to do with the looks of agony of labouring face? Yes. Yes it does.

You might have thought the novel would be the thing to turn me off – mothers and children dying in childbirth – but in this particular account of maternity the women who choose (or are able to choose) to have home births appear to have remarkably comfortable times delivering their babies. This remarkable ease contributes to my dissatisfaction with this novel. The midwife – Dora Rare – is characterized in the most uncomplicated of ways as the healing, caring, gentle, kind, understanding and empathetic midwife. The doctor – the strawman for the evils of modern medicine – finds himself (unfairly, I think) characterized as cruel, insensitive, cold, indifferent to the needs and desires of women.

Both characters are naught be caricatures of their professions. It is a novel that pits Midwife against Doctor; Women/Feminism against Medicine/Patriarchy; Women against Men. While the novel does well in exploring the challenges women encounter in deciding and declaring their desires for their bodies, the challenges in controlling their own bodies – both in the early 20th century and now (as good historical fiction always offers parallels to the present) – the strength of the critique of Science, Reason and Patriarchy is blunted by the overly crude representation of the Doctor and of Dora. 

Had either Dora or the Doctor some degree of complexity – something surprising about their reactions, an unanticipated decision or line of dialogue – I might have found the narrative more compelling, but as it was the story unfolded much as I expected and only as it could, ending in a near gag-induced “and they lived happily ever after-esque” conclusion. 

One of the most interesting questions the novel *could* have raised (but didn’t because it was so wedded to a staunch binary between Science and Women’s Traditional Healing Knowledge) is the space for overlap or collaboration or cooperation between science and traditional healing. No doubt the approach of the doctor – to dismiss women as hysterics – suggests that Science can only ever be a bane to women’s control of their bodies. And this representation did little to invite speculation about the opportunities for “medicine” to involve both institutionalized and individualized practices; however, I couldn’t help but place the historical narrative in the contemporary context and wish (oh how I wished) that McKay had done something to suggest the resonances in the present. For a quick search of “birth” will reveal a heated debate – one charged with judgements and dismissals as either “dangerous,” or “hegemonic” – around where and how a woman should give birth. To forget the contemporary resonance and to reduce the complexity of this narrative to one of Right and Wrong, Good Woman and Bad Guy doesn’t do justice to the questions of the reader and the potentials of the topic.

A pity, as I think there’s much room in this plot to offer something complicated and current. Too bad. 

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