Mississauga: Cadence of Desire and Return, A Childhood Geografictione by Cheryl Cowdy

.

Here’s a Childhood essay unlike any on NC so far, dubbed a geografictione{{1}} [[1]] “A fiction of geography/ geography of fiction: coming together in people and landscape and the harboured designations of fickle memory.” Aritha van Herk, Places Far From Ellesmere, Red Deer, AB: Red Deer College Press, 1990: 40.[[1]] by its author, a psychogeographical meditation on suburbia by Cheryl Cowdy (who started life in Mississauga, a huge suburban agglomeration west of Toronto where many of dg’s relatives have lived from time to time).

We all live in the suburbs these days, and we’re all embarrassed by it. Here Cheryl challenges the notion that the suburbs are necessarily a cultural or imaginative dead end as she returns ambivalently to Mississauga, seeking the ghosts of untold stories – her own, but also those that might be buried within its golf course mountain of refuse.

Cheryl’s fascination with suburban spaces began long before the phenomenal success of Arcade Fire’s The Suburbs album. Her Ph.D. dissertation investigated the often conflicted meanings of the suburbs in post-war English-Canadian literature. Her essay “Ravines and the Conscious Electrified Life of Houses: Margaret Atwood’s Suburban Kunstlerromane” appears in the current issue of Studies in Canadian Literature (36.1. 2011). 

dg

.

Mississauga: Cadence of Desire and Return

A Childhood Geografictione

By Cheryl Cowdy

To Aritha van Herk, for Places Far From Ellesmere,
from which this piece borrows generously,
most obviously in italics.

.

.

“I had a lot of luck, then, which saved me from all kinds of side-tracks: neuroses first off, and perhaps psychosis, and psycho-professionalization, from which many intelligent people never recover. Next, the militant path, and finally—this may seem strange—it saved me from the suburbs, universe of my childhood, kind of wonderful, but which is often, all the same, a cultural dead end.” {{2}} [[2]] Guattari, Félix. “So What?” Chaosophy. New York, NY: Semiotext(e), 1995: 8 [[2]]

.

Desire

Beneath the flight path of airplanes heading for or just leaving Lester B. Pearson Airport, the temptations of exile pass through your acoustic space approximately once every six minutes(58). Thankfully (perhaps) you haven’t experienced the same kind of luck as Guattari. Luck has saved you from certain undesirable side-tracks but not from the suburbs. Home: what you visit and abandon. In spite of your desire for escape, the universe of your childhood is a familiar ambivalence to which you reluctantly return, physically and psychically. Your dream geography if not the geography of your dreams.

Home: an asylum for your origins. A variety of exits off the 401, bringing your grandparents westward from Port Hope to Scarborough in the nineteen fifties. When the Empress of Canada landed in Montreal in 1966, it would have brought your mother, eighteen, blithe and bonny, to Scarborough too. The 401 a mosaic your grandfather pieced together from the air for the PSC Photographic Survey Corporation. Your  father spent his days piecing it together from the ground, laying humid asphalt over dirt, soil, concrete, then navigating the labyrinth of paved earth long nights moonlighting in a rented cab, ferrying the more privileged to invented island destinations.

The 401: Anecdotes accumulate along its paved shoulder; details get on here, merge, some leave by the next exit. Like the time a bunch of the guys got drunk after work and Dad streaked down the 401. Or the time he stopped his cab to help someone after a collision – only learning later that the guy had robbed a bank then had his face blown off by the cops in a gun fight. How could he drive without a face? Sometimes this anecdote drives in the lane beside another one; tall tales weave back and forth between lanes, stealing and sealing the gaps between stories and messing with their integrity.

What about Mum? Or your Gran, for that matter? Where are they? It’s almost always the fathers doing the driving. Not much material for a tall tale fitting women for bras in Simpson’s, although every woman must have heaved a story in her D-cup. Your mother tending the cash register evenings at the corner store after caring for you all day. Her escape from the explosives factory in Stevenston, Ayrshire, Scotland her one big story. After that, your mother’s stories occur in parentheses, take circuitous back routes, avoiding left-hand turns and never, never, getting on the 401.

Yes, highways are constructed and anecdotes accumulate. Can a “literature” be built here too? Is this a place from which to launch a world, a river, or even a short story? Can it launch itself? Mississauga is premeditated, its stories pre-fabricated. Fake lakes and mountains made out of garbage then turned into golf courses.  Can we transform ourselves if our surroundings are right? Somewhere there’s an exit-also-an-entrance that brings you back to or beyond the prequel.

A romantic child, you search optimistically for stories. The week your family moves to Meadowvale (Meadowjail) you notice the generic head of an Indian on the banner of the Mississauga News. Like Louise in Barbara Gowdy’s The Romantic, you look for Indians expectantly: Lake Wabukayne, the Credit River, Lake Aquitaine. (When you learn that “Aquitaine” is a European name, you switch allegiances; look for ladies in the fake lakes, under the stormwater collection equipment). Eventually you meet members of the Mississauga Nation who look nothing like the Indian on the local paper.  As you write this, the Six Nations are resurrecting their blockade against suburban development at Caledonia, resisting, like Oka, like Ipperwash, the suburban narratives with which we’ve barricaded them.

The Great Train Derailment of ‘79 was your own private Cuban Missile Crisis. For one night and all of the following day you watched Mississauga burn and waited for the knock on the door. Evacuation held the promise of Rapture, you could feel it in the texture of the toxic air.  You wished to join that community of the elect, the early evacuees who spent an entire week camping out on cots in the Square One Shopping Centre (every kid’s dream to be stranded in the mall after the lights go out). Instead, you are transported to more eastern points of the 401 – your familial origins – Scarborough and Agincourt and Flemingdon Park. Where it all began.

You will remember less about those 4 days of exile than you will about that one day of waiting.

You develop and move from one townhouse complex to another, somehow keeping track of all those unit numbers.

Complex/ kompleks/ n. & adj. – n. 1. a building, series of rooms, network, etc. made up of related parts (the arts complex). 2. Psych. A related group of usu. repressed feelings or thoughts which cause abnormal behavior or mental states.  (inferiority complex; Oedipus complex). 3. (in general use) a preoccupation or obsession (has a complex about punctuality). 4. Chem. a compound in which molecules or ions form coordinate bonds to a metal atom or ion. – adj. 1. consisting of related parts; composite. 2. Complicated (a complex problem). 3. Math. containing real and imaginary parts. [French complexe or Latin complexus past part. of complectere embrace, assoc. with complexus braided]. {{3}} [[3]] Canadian Oxford Dictionary. Ed. Katherine Barber. Don Mills, ON: Oxford UP, 1998. [[3]]

There has to be a minotaur somewhere.

How to escape? Borrow more authentic addresses: Streetsville seems more small town, so for a time, you date Streetsville boys exclusively. Later you set your sights on bad boys from the city: Toronto: Downtown with a capital “D.” Whoring after strange places. Their addresses are rendered more exotic by the three-hour pilgrimage that takes you from the labyrinthine routes of the Mississauga Transit to the more pragmatic Toronto Transit Commission. Never getting on the 401, except the time dad snatched you back from an escapation attempt.

Escape artist, you look to Hollywood for familiar narratives, real and imaginary: Sixteen Candles, Pretty in Pink, The Breakfast Club. It’s the 80s – you listen to The Smiths, The Cure – and so for a time you are saved by the treacherous optimism of the cynic from certain side-tracks, seductions of the dreaming screen. You seek out copses of wood in the ravine, beside the fake lake, swamp of stolen bicycles, grocery buggies, plaid chesterfields, pizza boxes, condoms, cigarette butts and underpants, beer bottles, pop cans and PVC. You aren’t picky at that time and will accept pre-fabricated nature if that’s the best they can offer. Writing place: hiding place. You write Songs of Disaffected Innocence and Experience. They never seem right.

Next the militant path. You drop out of high school for a while, sell remainders in the record department at Woolco (Square One, at last). Miraculously, you find salvation in a secondary school for the lost. When you graduate, you pick the University with the most alien geography, Montreal a universe in which to dream a different language. You step over the homeless who sleep in front of your door. You have a Murphy bed and a rat that isn’t a pet. You are only mildly dissatisfied with your verse.When asked where you are from, you can say, “Toronto.” You think you are happy.

Four months later, you return.

Return

Return: escape to embarkation/ escapation.

You’re not exactly certain how the return was effected. Somewhere along the highway you took the wrong exit, forgot to merge, got trapped in a narrative you don’t recall writing. All exits are also entrances. You should be in exile in Toronto’s Annex neighbourhood along with everyone else in academe: you missed the Rapture again?

They cleaned up the fake lake, swamp of stolen bicycles and shopping buggies, plaid chesterfields, pizza boxes, condoms, cigarette butts and underpants, beer bottles, pop cans and PVC (evidence of your own adolescence may still be down there). Anecdotes accumulate, advertising copy trying desperately to disguise itself as his/tory:

“The 16 hectare (40 acre) Lake Aquitaine Park is one of Meadowvale Community’s best-known attractions. Designed in the late 1960s and opened in 1976, the park surrounds an artificial lake. This lake, considered a model by other cities, was the first stormwater management facility in the province to be a focus for a residential community. It is designed so the lake can significantly change water levels and store water during and after major storms.

Nature is being allowed to reclaim the edges of the lake, and new wetland and meadow areas are being nurtured. This will make the park more welcoming for fish, birds and other wildlife.”

Mississauga goes on with its falling, one molecule at a time: and you too in your ache to archive it there to read/ remember/ blame. To unhinge, and to carve with words, a reading act: this place of origins, of forbiddens and transgressions, of absence and remains.

Jeanette Winterson has a theory that “every time you make an important choice, the part of you left behind continues the other life you could have had.” {{4}} [[4]] Winterson, Jeanette. Oranges Are Not the Only Fruit. London, UK: Vintage, 1991. [[4]]

In the explorations of memory and place lie unsolved murders.

Some ghosts return because the narrative demands it. What are your ghosts doing now? Do they keep each other company, the streetwise adolescent ghost roaming the culs-de-sac and walking through the McDonald’s Drive-thru window at 2am, and the urban undergrad ghost haunting your condemned bachelor apartment on rue St. Denis? There are ghosts in Ottawa, some begging for change at the intersection of Yonge and Bloor (you have had more successful escapations). Do they sneer at the soccer mom?  If you wonder too much about which routes brought you back here, not just to the same community but the very same street you lived on prior to your first defection … from 6154 to 6205, a difference of only fifty-one numbers in eighteen years…

You dream yourself breaking into unruly houses, coveting secret passageways, and hidden rooms, always their subterranean floors. Nights you don’t dream thoughts toss and turn. (Stories in parentheses). Sometimes you rise, grope for notebook on night table, tiptoe into the bathroom, the only place you can write without waking husband, kids, dog, cat. Writing place: hiding place.

“You don’t reach Serendib by plotting a course for it. You have to set out in good faith for elsewhere and lose your bearings . . . serendipitously” writes John Barth. {{4}} [[4]] Barth, John. The Last Voyage of Somebody the Sailor. Boston:  Little, Brown, 1991. [[4]]

Perhaps you can’t reach Serendib by the 401.  How then to occupy a place? Be the crack in the plaster. Persistent mushroom exploding through dirt, soil, asphalt, concrete. You must live up to your fictions, that’s all there is to it; you must help yourself achieve geografictiones of the soul. Get off the highway then, and take the back roads. Excavate the stories from parenthetical constructions. Tear down the “No Exit” sign. See/k what has been wiped off the map. Construct an asylum for your origins, a mythology, a highway of heroes.

In good faith, you’re still losing your bearings.

–Cheryl Cowdy