Apr 022012
 

Bill Gaston

Herewith a hilariously good story (the hilarity darkly edged with care) about bad writing (the 57-year-old manager of a hockey rink trying to write the perfect bad sentence for a fictional version of the real annual Bulwer-Lytton Fiction contest) from Bill Gaston who has, yes, contributed already to Numéro Cinq and has laboured mightly in the fields of fiction yea these many years–during the ten years I edited the annual Best Canadian Stories, I included Bill Gaston stories three times. Bill is a prolific author of novels, plays, stories and nonfiction. His seventh novel, The World, will come out this fall with Hamish Hamilton. He writes about the human comedy with gentle irony, grace, poignance, and an earthy sense of humour.

dg

 

His sister’s phone call interrupted him composing his next bad sentence:

               Her thighs pulled apart with the sound of

Raymond let Elizabeth talk. When she was done he dropped his phone from a height and with a noise that made him check for broken plastic. He couldn’t take it anymore. Leaning back in his chair he balanced on the two rear legs and on the verge of toppling, a position he found comfortable. He had learned not to hear the muffled booming of pucks in the six rinks outside his office’s glass door, but he heard them now. Moaning low and long, he built it nearly to a shout. As always, he was damned if he said something and damned if he didn’t. After a week’s research, his sister, who was only 53, was convinced not only of having Alzheimer’s, but a particularly swift kind that attacked the young. His sincerely-intentioned comment–that if she had Alzheimer’s she couldn’t have done such excellent research on Alzheimer’s–caused her to announce, “You just abandoned me,” and hang up.

He didn’t know what to do. It hurt to think about. Because he loved her, he supposed.

Raymond let his chair fall forward. He picked up his pencil. She’d be crying now. The one up side to these more explosive conversations was that she likely wouldn’t call him for a week. Unless…she forgot. No, he mustn’t make light of this. She did display more memory loss of late, more than just the name-forgetting kind, and both their parents had gone daffy before they died. Her condition was probably real, but her panic was unbearable. Today asking him, all a-fever, if she should check her iron levels again, because they can point to arterial blockage and oxygen depletion in—her voice was shaking and what’s he supposed to say?

Raymond never panicked. It dismayed him that his older sister could be so different in this way. They were only two years apart. They had the same curly ginger hair, the same swelling cheekbones with unfortunate small eyes. They were both high-strung and made impractical life decisions. Their tastes were so similar that it didn’t surprise him, for instance, to learn Elizabeth disliked Chilean wine and had taken to Spanish and that her reasons were exactly his.

Shaking his head minutely, in the kind of spasm that did mean to abandon his sister for a week, Raymond leaned over his foolscap to read his latest. This was the best time of year, these spring weeks leading up to the deadline. He finished reading it, hesitating on a breath to pencil-tap it with approval. Fixing a few circled bits as he went, he committed this to his computer screen:

Her thighs pulling apart with the sound of a low-grade adhesive, Jungle Jones eyed his next conquest, tried and failed again to grunt like one of his idols, a Silverback, rose to his feet and leapt to the liana vine, from which he fell because he was tired, from all the conquesting.

It wasn’t his best but it was a keeper he’d enter in the Romance category, under one of his pseudonyms. Marvin Gets. Westley Winns. Thomas Smother. It was Thomas Smother who won a Dishonorable Mention two years ago in the Detective category. Raymond had that one committed to memory:

As they lay waiting in the alley, involuntarily spooning, for the thugs to run past, his overcoat could not cushion him from the press of her Luger, which made his own gun feel like nothing but a Mauser in his belt—because that’s all he had, a lousy Mauser—so he was glad his back was to her. 

He could recall the spreading glow in his stomach when notified. He remembered how surprised he’d been that this one had won, it was nowhere near the best of the thirty or so he’d submitted that year–and the contest itself dissuaded the use of the dash.

He copied his sentence to the body of a new email and popped Send, nostalgic for the days it was done by letter. One entry per envelope. Stamps did get expensive but everything about good old mail—the labour of addressing, the folding of paper and taste of glue, the frisky walk in all kinds of weather to the mail box, not to mention the primal sliding a letter through a spring-loaded slot—suited the contest’s archaic soul. Apparently there was a torrent of complaints when it changed.

This year Raymond’s goal was one hundred entries. He was at fifty-seven. He no longer cared much if he won. The goal was the path.

*

As on-site manager of ArenaSix, Raymond was content enough with his job, it being understood that work was work and one would rather be elsewhere. He kept the ice surfaces near to booked and between sessions resurfaced, the two Zambonis in repair, the monthly schedules publicized, the bar/restaurant staffed with nubiles (as Nabokov had called them), and the hockey parents away from the throats of the parents of figure skaters (though the skaters’ parents, especially mothers, tended as a species to be the fiercest, and blind to compromise). And though his job also oversaw the losing battle to keep beer out of the changing rooms during men’s late-night hockey, it was, as jobs went, not torture.

Though on occasion he had to fire someone. This morning it was Mr Fernandez, one of his two maintenance men. Through his damnable glass door Raymond had been eyeing Mr Fernandez perched out there on the bench, waiting in the cold. No-one should have to wait in the cold on a bench like that one, wooden and skate-mauled, let alone someone about to be fired. Raymond was further disappointed that the man hadn’t had the good graces to come alone. As always, he’d brought Paytro (likely the name was Pedro, but it always sounded just like “Paytro”), as if he didn’t know his son was the heart of the problem. Paytro had Down Syndrome, was perhaps in his adolescence, and he never stopped fidgeting, especially a grand rolling of one hand around the axis of his wrist. The boy held his twirling hand out from his body in a way that suggested ritual, and because each roll made the faintest click, Raymond knew it nauseated the patrons of this place just as it nauseated him. Despite two warnings, Mr Fernandez insisted, intermittently at first and then always, on bringing Paytro with him to work.

Raymond re-read the sentence on his screen. He popped it black.

He stood, stretched, then opened the door to Mr Fernandez, who, predictably, ushered wrist-rolling Paytro in first.

The whole affair was predictably uncomfortable. Mr Fernandez nodded when asked if he knew why he was being called in, and then he demanded that Raymond explain things to his son.

“I would like to hear you say to Paytro why we are not wanted any more,” is how the glowering maintenance man put it.

Why explain what Fernandez already knew, that the problem was the “we”? Fernandez had proved an excellent painter, cleaner and, most of all, fixer. In the shop he’d used a grinding machine to shape a piece of scrap metal that somehow fixed the number two Zamboni. The problem was solely the “we.” Paytro was never not with him. More and more, Fernandez gave him jobs to do. Sometimes, the father simply stood watching the son sweep or rake or polish.

“Your son gets in the way of you doing the job you were hired to—”

“Say this to Paytro. Look at him when you say it.”

Now Fernandez was only being cruel. Fine.

“Paytro, I’ve asked your father to come to work alone, and he refuses. I’ve asked him formally, twice. We call them warnings. He ignores—”

“Tell Paytro why you want me to work alone.”

“Fine.” Raymond swung his gaze back to the son. The boy watched him back. He was hard to read. It was hard to know what he understood. “Your father is a good worker, a highly skilled worker, and that is what we pay—”

It came out shouted, sloppy, but with equal emphasis on each word: “I’m a good worker too.”

“Yes, but—”

He’s teaching me.”

What struck Raymond most was the boy’s utter lack of accent, seeing that his father’s was so thick. Paytro had hidden his twirl-hand in his windbreaker and it humped around in there, shushing the nylon. Raymond recalled times he’d spied on Fernandez as he supervised Paytro scrubbing solvent on puck marks or, outside, sweeping the leaf-blower in scythe-like arcs. Fernandez would interrupt and take over his son’s slow job, demonstrating proper pace, then hand back the gear. Raymond suspected that the father-son team was productive enough to justify Fernandez’s salary. It was that he’d been told to come alone and he’d blatantly ignored the order. A boss could not just ignore being ignored. In a hierarchy, insurrection demanded—no, created–consequences. It was nothing but natural, and Raymond must let nature take its course.

He spoke clearly and met Paytro’s eye.

“You are a good worker. I am glad he is teaching you. But, as manager, I have to end your father’s employment here. The reason? I told him to come to work alone, and he didn’t obey me. I told him twice. Then I told him three times.”

Looking at Fernandez, he once again explained that insurance didn’t cover his son who, if hurt, could sue both of them. Surprising himself, Raymond added that, once fired, Fernandez could apply again for his job. Finally, he said he could supply him a good reference letter if he wanted, but Fernandez was already shaking his head in automatic disbelief and leaving, guiding Paytro out the door ahead of him.

But first Fernandez stopped, turned to face Raymond, ponderously held his eye to say, in his heavy accent, “Look at youself,” then left.

Raymond respected Fernandez enough to do this, so he sat down. The instructive silence grew louder with the man gone. He sat with this task for several minutes, then flipped open his laptop. It was likely the start of an entry for Romance:

“An unexamined life,” she said, naked of irony as well as clothing,

*

He saved it and closed his machine. Raymond had learned that when he memorized an opening fragment and then went about his day, some part of his brain kept working behind the scenes and came up with good bad ideas.

Down an employee, he had to scrape and flood three ice surfaces himself. It was a chore he found more meditative than anything else, though skaters did complain, especially the old-timer hockey players who, though hardly speedsters anymore, demanded the most pristine surface, like they were fairies of the pond, not chuggers. But he couldn’t quite find the knack, or settings, and he left grooves. He wished he could have accelerated hiring a new man, but you couldn’t very well advertise before firing, could you?

          “An unexamined life,” she said, naked of irony as well as clothing,

Riding high on the Zamboni, he let phrases simmer as he drove an oddly rectangular oval, old mauled snow disappearing under the front bumper while a strip of shining water followed. He tried to work up more:

as they rode together on the Zamboni, its engine beneath their bare, cold bottoms droning deeply but blindly, like a massive phallus asleep but prowling in its dream

Bad-on-purpose was anything but easy. It had to be knowing. It had to be subtle in its build to looniness. (He mentally crossed out the massive-phallus-asleep line, which was somehow both too cheap and too poetic.) Its clauses had to invert and sometimes buckle and then flow horribly on. Its clichés had to be the right ones. Puns were discouraged unless they stretched pun-logic to snapping. The best entries tended to rise in limp-frenzy and end not on a punchline but a downbeat, like tobacco spittle after a hillbilly whoop–which was how it might indeed be described in Bulwer-Lytton language. It was a near-impossible contest to win, with its thousands upon thousands of entries. This despite no cash reward at all. Detective, Western, SciFi, Romance, Historical, Fantasy—all categories had their aficionados, their style-mavens. Sometimes Raymond knew the entrants before reading their names.

Cruising rink number three he came upon another bit. After parking and shutting down (he simply left the snow to sit and melt in the Zamboni’s back bin instead of dumping it outside; Bernie was on in an hour and he’d do that chore, grumbling and swearing), he hurried back upstairs to type:

“An unexamined life,” she said, naked of both irony and clothing, as they rode atop the Zamboni, its engine beneath their bare, cold bottoms droning deeply but blindly in its work, which when you thought of it was nothing but eating snow at the front and spewing water out the back, “is

Is what. Nothing more came. He opened a new file. He was hungry, and it was almost time to go, but he had a palpable sense of time running out. It was getting down to the wire. He stood hovering over the keyboard, shifting foot to foot on his office’s weird rubber floor, stepping in and out of two pools of water under his shoes. It wasn’t just taking a good idea one bad step too far. It was rhythm, too, it was building a good sentence with a tin-ear clunk to sabotage it.

After ten minutes he had this:

Her heart’s desire ran in two directions, the main one leading to her husband, the other to Jungle Jones, but her lust ran in even more directions, so many that the word “direction” lost all meaning, like when you said it over and over, say, a hundred or, in her case, four hundred and sixty-three times.

*

Raymond had no idea who the hell Jungle Jones was, what he looked like, or what readers—if there were any–made of the name. It just sounded right. It was funny in that slightly gut-churning way.

He pressed Send. Submitting entries he knew wouldn’t win felt a bit like throwing letters at a closed mailbox. Or—like pissing at a tree protected by glass! He typed is like pissing on a tree protected behind glass to the end of An unexamined life. He read it a couple of times. Then deleted it. It was too abstract, however astute it might be philosophically.

He was closing his laptop, anticipating his nicer screen at home, when the phone rang. Elizabeth’s bouts of solitary depression did usually last a while, plus she did tend to respect his request not to call him at work, so he was surprised it was her a second time this afternoon. Her tone of saying hello told him she was beyond instructing, so he kept censure from his voice when he told her how nice it was to hear from her again today. She ignored him, interrupted him in fact, and what she said sat him up straight.

“Raymond. I want to kill myself, sooner rather than later, and I want your help.”

“My help, to…”

“To do it, yes.”

He could picture the musty brown couch she was probably sitting on, its fabric one that reminded him of haunted theatres, and it made him sadder than her words had. He asked her to repeat herself, and she did so, word for word, including his name with the period after it, as if to make sure he knew he could not escape.

After the call, Raymond sat for a while. He neither moved nor intended to. Pucks boomed meaningless pronouncements outside his door. He promised himself he would not feel guilt when he opened his laptop. When he did, he typed this:

Jungle Jane wasn’t given to cheap sentiment, but she wondered, fingering the noose around her neck, test-rocking the rickety chair beneath her feet, thinking disturbedly of the empty pill bottles scattered like Hansel’s bread crusts along the sidewalk all the way to her house, if he would still respect her tomorrow.

*

With the deadline creeping ever closer, over the next weeks Raymond finished thirty-nine more sentences, taking him to ninety-six. Five he considered exceptional, with a solid chance at a prize or a mention. He’d been coming to work distracted. He wrestled awkward phrases in his dreams and a good dangling modifier could wake him. One Saturday night he stayed up till dawn and one weeknight he slept in and was an hour late for work, two things that had never happened before. He stopped taking Elizabeth’s calls and she did try to kill herself, half-heartedly and without his help, displaying both her indecision and impatience in this as in all things. Since taking up residence in the psych ward she seemed more stoically content than she had in years. She was proud to have improved at Sudoku and she thought her memory disease was getting better but Raymond could tell it wasn’t and suspected it was just the structured regimen of hospital life, though of course he said nothing. He lost half of the pinky finger of his left hand while trying to adjust the height ratchet of the scraper under the number two Zamboni, and now it hurt like the devil to type, but almost a ghost pain, because his pinky never had touched keys in the first place and it certainly didn’t now. Several times he saw Paytro out on the main street near the arena complex, quite alone, walking steadily as if pulled by the propeller of his rotating hand. Mr Fernandez didn’t reapply for his job, though Raymond continued to wish he had, because MacLean, the new fellow he’d hired, scared him with a latent insubordination so severe he thought it could some day become violent. Maybe it was MacLean’s prison tattoos on the knuckles of his hand, “JESUS” or not, the “J” almost unrecognizable there on the thumb. The man made good ice, but could barely bring himself to nod when Raymond wished him good morning or have a nice weekend. So Raymond stopped saying these things.

And, God knows why but tonight, the night of the deadline and with four more entries to make one hundred, he went on the date he’d found excuses to put off for months and months. It was his first date in easily a dozen years, more like fifteen and perhaps closer to twenty. It had also been that long since he’d had sex. It was in the back of his mind that, Yes, he was probably giving it one last chance. Not just romance, but everything, anything. Her name was Leslie and she lived on the same floor; theirs had been an elevator relationship since she moved in. She was shy to the point of being monosyllabic. He suspected correctly that it would make her even more nervous, but because he never went out himself he took her to an absurdly high-end seafood place that had recently opened, called only small “s,” a simple unlit woodblock affixed to the cement wall. (Apparently the famous chef’s previous restaurant had been called only “sea.”) He could tell one part of her wanted to make some kind of racy joke out of ordering the raw oysters appetizer but couldn’t bring herself to do it. Instead she ate them non-theatrically and as if embarrassed. He picked one up with his injured hand, the bandage only recently off, knowing it would look ugly, and he positioned it near his ear and knit his brow for a few seconds, them simply put it back into its open shell, on its bed of ice. In a kind of answer to her own non-delivered joke, he had decided not to say, “Listening for pearls,” and instead made a promise with himself that if she was sensitive enough to know exactly what he’d just done, and what his joke had been, he would ask her to marry him. But she pretended not to have seen him do it. The food was very good, in some sense desperately good, and they spoke respectfully about each different dish, and how good the merlot was. That and careful politics, from which he could gather that she was the more liberal. He knew he could have sex if he wanted, but he didn’t. Nor did he want to analyze why.

After he stumbled over her name while saying goodnight to her outside their elevator like always, he got home, turned on his computer and read items from his favorite news sources. Headlines abounded concerning what some were calling “the most perfect storm,” wherein reports of final, irrefutable proof that ocean levels would indeed rise, combined with several countries colluding to default on their debt, appeared to be nudging global markets past anarchy toward total collapse. Next, he read local weather forecasts. Any dramatic change in temperatures meant he needed to adjust settings at work, for ice conditions. The next week appeared stable.

Raymond opened his files, found the sentence and typed:

“An unexamined life,” she said, cold naked ironic bum blah blah blah, “is like keeping your wings tucked, is like staying in the nest, is like staying in the egg, is like never being born.”

Thus completing that problem sentence. Which, for reasons too obvious to think about, he didn’t send.

Midnight was the deadline. He did reach ninety-nine, typing three more in a final flurry, sitting there at his laptop, sweating, good clothes still on and pinching at the throat and crotch, sentences that had been percolating throughout dinner. These he wrote without strategizing much, sentences a habit and certainly a pattern now, and after fixing a punctuation error he considered them finished. He simply pressed Send, three final times. He deemed them neither good nor bad, because you couldn’t tell anymore, you truly couldn’t. Especially in recent years, when even irony was used ironically, when bland-on-purpose square-danced with cool. Not that these were that.

In the restaurant so fancy it had no name at all, never blinking at him once she slowly slurped several slippery bivalves in an attempt to seduce him, which eventually would have worked, had she not had to pay a visit to the little girls’ room, where she sauntered to, to vomit. 

“Well if it’s grizzly bears you’re after,” Jungle Jane lisped at him from the dank, musky cavity of her cabin window, batting her one eyelash as she did, because one of her eyes lacked a lid, having been sliced off sometime during the squirrel-roast, “why don’t you just head round to my backyard and shoot one?”

It was the final climatic enormity whose name no one dared breathe, the news of which struck terror in the hearts of all men, and animals too, and sometimes even fish, who, though they generally lived under water, and lacked ears, could pick up on the hubbub and general nervousness of all the humans and animals stomping around in terror up there, especially on the beach.

—Bill Gaston

  ———–

Bill Gaston’s seventh novel, The World, appears this fall. Previous novels include The Good Body, The Order of Good Cheer, and Sointula, which earned a “Discover Great New Writers” bump from Barnes and Noble. Recent collections are Gargoyles, and Mount Appetite. He lives on Vancouver Island.

 

Jun 262011
 

María Jesús Hernáez Lerena on Signal Hill, St. John’s, Newfoundland

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What is a self? What is a short story? Those questions intersect at the moment of writing and the moment of reading but mostly at some pre-conscious level. There is however a growing mass of short story theory, research into the nexus of philosophy, psychology, genre and form. María Jesús Hernáez Lerena (see complete bio at the bottom of the essay) is a prolific Spanish scholar, critic and theoretician (also dg’s friend and a startlingly intelligent interpreter of his work). It’s a great pleasure to reprint here María’s essay (first appeared in the Journal of English Studies, full citation below) on Carol Shield‘s great novel The Stone Diaries (winner of the 1993 Governor General’s Award for Fiction, the 1995 Pulitzer Prize for Fiction, and the National Book Critics Circle Award). Though the subject is a novel, the essay itself deals with novel and short story as distinct genres and examines the ways they each deploys personal consciousness (the theoretical cousin of “point of view”). Dense with reference and argument, the essay is intricate and perceptive—a good “reading” of a text always opens up a wider world. And, as often is the case with scholarly work, it has not been easily available to the general reading public (who might actually be hungry for such information). You can use this essay (and bibliography) as a jumping off point to explore short story and narrative theory (as usual, dg could not get the footnotes to work as “jumps” in WordPress; you’ll just have to scroll down and back).

Though she teaches at the Universidad de la Rioja, María will shortly be flying to St. John’s, Newfoundland, for a summer of research (hence we get the second photograph inside of a month taken on Signal Hill—St. John’s is the Paris of the North; everyone goes there.)

dg

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 Narrative Genres and THE ADMINISTRATION OF CONSCIOUSNESS: The Case of Daisy Goodwill’s Rebellion

By María Jesús Hernáez Lerena

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ABSTRACT. The Stone Diaries (1993), a novel by Carol Shields, examines the strategies characters use to render their selves accountable: they turn life into an ensemble made up of historical, scientific, novelistic or biographical discourse. In contrast, Daisy Goodwill, who is the subject-matter of this fictional autobiography,  remains close to the epistemology of the short story, whose potential has been described by critics as a challenge to knowledge or synthesis (Cortázar 1973; Bayley 1988; Leitch 1989, May 1994; Trussler 1996). There seems to be agreement that the only condition of coherence necessary for the short story is a pointing to the evasion of meaning in life, also that the genre allies itself to the way in which the past is attached to our memory (Kosinski 1978; Hallet 1998; Lohafer 199; Wolff 2000). This essay will analyze the implications of its protagonist’s stance with a view to pinning down some of the ideological grounds of the novel and of the short story in their approach to the question of identity.

 

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[H]ow are we to understand the project of telling a life story
where it must be organized in terms of what is anomalous,
difficult, and resistant to narration?
(Gilmore 2001: 33)

This article deals with the question of how we articulate our consciousness by focusing on the proposals of two major narrative genres: the novel and the short story. One of society’s demands upon the individual is precisely self-articulation, the creation of an identity of one’s own made manifest by an exercise in verbalization. This task is performed through the adscription of meaning to a sequence of incidents and emotions, that is, through the making of a story. Thus, the psychological structures we use to make sense of ourselves seem to put us unavoidably in a narrative dimension; we read ourselves as characters in a story.[1] The interplay between storyness and personal biographical composition will be the object of this study.

Carol Shields

The finality of a life story is knowledge, or at least, intelligibility, a goal reached thanks to certain formulaic beliefs which allow us to connect events within a sequential pattern of progress which—we imagine—moves us towards the future and diminishes the chaos of existence. We like to believe that experience leads to maturation, that the cause-effect binomial organizes our life and explains the conditions of our present situation, that the passing of time brings about learning (intellectual, emotional, ethical). These assumptions, which no degree of postmodernism will be ever able to uproot, act like joints which help interpret the succession of occurrences in one’s life—or in a character’s life—as the dramatization of the efforts towards self-understanding, a path sanctified with the aura of redemption. These ethical dynamics of narrative is grounded in the religious precedent of sacrifice followed by reward. It is the metaphor of life as a river or as a journey which starts as blankness or as confusion and achieves its climax in an adjustment of perception (an awareness of wrongness) or in a more satisfactory appreciation of the relationship between a person and his/her world. However, not all narrative genres share the same joints or the same sense of finality.  Indeed, the short story has been often defined as contrary to the ingrained idea that stories have to make transitions plausible or intelligible. In its search for truth in the clash of experiences which do not cohere, the short story shows ample disregard for other genres such as the novel or the biography, which often equate reality with a slow display of psychological interiors. Aspirations toward knowledge also fare differently in both genres: whereas the short story is said to have constituted itself in its challenge to knowledge and has a penchant for situations that cannot be rationalized (Leitch 1989: 133; Trussler 1996: 560), the novel has historically sought the “expropriation” of life’s mystery (May 1994: 135); it evidences a will to dissect the machinery of connections at play in an individual’s existence. Our culture has made us mainly inheritors to the legacy of the novel, a form of discourse which reveals life as an ongoing pattern connecting the past to the future. The novel’s appearance as a life-long companion is firmly rooted in a sense of biographical time: its embodiment of learned ideas of self as history makes it possible to envision life as a path that is psychologically self-sustaining.[2]

Continue reading »

Mar 042011
 

Pedro

Spain has a surprisingly extensive network of Canadian studies departments, a fact that astonished me when I stumbled upon a conference program reference to this essay about my novel Elle. I tracked down the author, wrote him an email, and asked to see a copy of the paper. This was years ago. Pedro and I became email friends. He arranged for me to be invited to a conference at the University of La Laguna in the Canary Islands where I met a crowd of fascinating scholars and lived in an old hotel on a beautiful windswept square in the centre of the city (which is a UNESCO heritage site). The volcanic mountain at the centre of the island was shrouded in mist the whole time I was there. I was introduced to drinks the names of which (as well as the contents) are unfortunately lost to memory. (DG is a notoriously bad traveler.) I love this paper about Elle. I love the magical message loops–someone in Spain was decoding Elle as, simultaneously, I was decoding Don Quixote and writing The Enamoured Knight. I have no idea why there is this connection with Spain. It’s mysterious. Pedro Carmona-Rodríguez is an affable, acute, and sapient scholar, a terrific reader of my work. He teaches English, Theoretical Discourses, and Anglo-American Literatures at Universidad de La Laguna /UNED in the Canary Islands. His area of research is contemporary Canadian literature with an emphasis on gender and postcolonialism, the two entwined. An earlier version of this paper was delivered at the Annual meeting of the Spanish Association for Anglo-American Studies (AEDEAN) at the University of Huelva (Spain) in December, 2006.[1]

dg

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Douglas Glover’s novel, Elle, engages issues of control and its refusal, which are part and parcel of any document that intertextually appropriates and interrogates the imperial text. Through its historical research, the novel shows how the dynamics to expose the functioning of empire is increasingly concerned with examining the extent to which contemporary views are inflected by colonialism. As Tiffin and Lawson argue, “[i]mperial textuality appropriates, distorts, erases, but it also contains” (1994: 6), being this containment a more or less covert tendency to silence any contesting narrative. Glover’s Elle reflects how a female wayward gender construction turns into a counter narrative of the imperialist zeal of settlement and reproduction of the same in the seemingly empty land of the other. Woman and land are here interrelated entities, since biological reproduction and the reproduction of the incoming civilisation are, therefore, parallel acts of colonialist impregnation.

Anne McClintock’s suggestion that imperialism and its deconstruction requires a theory of gender power unveils the mechanisms whereby gender and sexuality lead us into a new dimension of colonial mimicry (1995: 6). This paper is concerned with the ways in which a wayward gender configuration parallels the generic instability of the document produced by the novel’s heroine. On the one hand, Elle’s views on space, race, gender, sex or Native myths challenge the mirror of the Eurocentric technologies of representation, and their vehicular means, the travel account, to inhabit on the other side. On the other, an atypical gender inscription manufactures a peripheral location for her subject. In the meantime, the Canadian periphery, in several senses, is hailed as the stance to threat the colonialist centred textuality. Elle’s autobiographical document unwrites the marginalisation that colonialism and patriarchy have firmly elaborated for her and the Canadian space.

When the novel opens its main narrative line, its then anonymous female protagonist, a replica of the 16th century historical Marguerite de Roberval, the French woman abandoned in the St. Lawrence River’s firth during Jacques Cartier’s third Canadian expedition, is on top of a man whose penis she maintains erected as tied by a rope, while her lover, Richard, is about to throw up out of sea sickness. When the novel is about to end, in turn, the same protagonist has just murdered Monsieur de Roberval, the agent of her dereliction, in the guise of a Canadian she-bear.[2] While it seems evident that passivity and activity struggle for preponderance in Elle’s story, her act of writing back from Canada gains for her an upper hand in her fight with the vectors of imperialism and patriarchy: on the one hand, she overtly defies the humanist subject in underlining her gender, and, on the other, that same gender diminishes the relevance of the European colonialist patriarchy.

Being a literal defiance for the systems upholding the enterprise of settlement and reproduction of the French in Canada, Elle is left behind the expedition to which she belongs. Her rendition of that abandonment is transformed into a vitriolic critique of the colonialist mentality (see Hernáez Lerena, 2007; 2009). The creation of subjectivity produced by her memoir interweaves race, gender and sexuality, three elements that turn colonialism upside down. However, Elle promptly claims that “I must be the first French woman to set foot in this world, the first of the General expedition to land, the first colonist in Canada” (Glover, 2003: 37). From the opening of her text, she reveals herself as being between the colonialist and the colonised. Whereas her European origin includes her within the former group, her position as writer and story-teller endows her with the authority of the historian, and illustrates that of so many white women in the New World, who “[…] were not the hapless onlookers of empire, but were ambiguously complicit both as colonisers and colonised, privileged and restricted, acted upon and acting” (McClintock, 1995: 6). As part of that appropriated agency, Elle launches demolishing critiques, and, once, they have targeted their aim, recedes to deny her own relevance as writer and subject. Pragmatically speaking, however, the objective has already being achieved, namely, that of undermining the basis of dominance and establishing firmly a counter-narrative. Thus, she frequently makes speeches like,

I am a headstrong girl, shallow and frivolous, born to a little land in the provinces but never meant to take part in the so-called great events of my time even if I have wanted to. Instead, I wanted to read books and make love, which only made me an object of lust or ridicule and bound me to the periphery, the social outlands, to Canada. Aguyase. […] I have founded an unofficial colony in an unofficial Canada. […] Unfortunately, no one knows this, which is the nature of unofficial non-histories (and anti-quests). (Glover, 2003: 149)

That rejection of positionality starts from quite early in Elle’s memoir. The writing subject lacks a name, since ‘Elle’ is not a proper noun, but a common third person, singular female pronoun. In lacking a name, issues of position, addressing and the authority of writing are immediately affected. In other words, the author of this memoir adopts a quasi-anonymous persona that travels back and forth in time; she rejects the linear teleology and moves from 1542 to 2003, when a contemporary Elle makes love to her boyfriend by the sandy estuary of the St. Lawrence, where it all begun five centuries ago. In this form, the unity and the single voice resonant of any account of colonialism and pseudo-ethnography are broken into pieces; Elle moves in and out of her own writing and her movement, literal and metaphorical, deconstructs the fixity of the ideology and categories underneath. Her dwelling between positions of superiority and inferiority is also a rejection to inhabit a single site to be in turn in several, all-partial enclaves of writing and vision where the spectacle of travelling is mostly refused (see Siegel & Wulff, 2002: 109-122).

Her memoir also deconstructs itself, and in the process, undermines one by one the cornerstones of the linear geographical conquest and its narrativisation according to an European calendar. “[…] I find I am the subject of a story I can hardly follow. In the labyrinth of dream, I lose the power of thought”. And then, she continues, “[…] this is the unofficial account of an anti-quest. This is the story of a girl who went to Canada, gave birth to a fish, turned into a bear, and fell in love with a famous author (F). Or did she just go mad” (Glover, 2003: 131).[3] And, not only is this an anti-quest, since Elle’s descent is not followed by an ascent paralleling a learned moral lesson (see Frye, 1976), but an anti-conquest as well.[4] Hardly do we hear her comments on racial dominance or the prevalence of her moral codes. Far from that, she questions the hegemonic stance with which Europe constructs its other as well as the conveyance of any message of human progress travelling from Europe to America. “[A]nd which message”, Elle wonders, “will we bring to the New World racing through the waves to meet us at the fringes of the mist (M. Cartier says the savages call it Canada, to our ears a nonsense word something like banana, although I can easily imagine that to their ears the word France calls to mind wholly other and unworthy resonances)” (Glover, 2003: 22).

Whereas it is clear that Elle’s alleged lasciviousness motivates Roverbal’s decision to leave her behind the expedition, her learned status is never dismissed as a relevant cause for her dereliction. And, no less important, the connection between her attitude to knowledge and her challenge of patriarchal morality are never set down as trivial reasons for her exclusion. “Maroon her on a deserted island lest she spread the contagion of discontent to other girls or even men, though men are generally impervious”, Elle remembers, “Keep her away from shops and books and looking glasses and friends and lovers, forget her” (Glover, 2003: 29). Her words notwithstanding, there is no way in which she can be forgotten, inasmuch as the text we read is her own account of the events, and seldom does she let her tracks be textually undetected. She never misses the opportunity to highlight that her viewpoint presides over, and consequently, her text strikes backs the systems that attempt to stifle her liberty in every sense, and physically constrain her to an open-air prison. “I like fucking and food and reading books […]” (Glover, 2003: 37), she states to define herself in opposition to the patriarchal imperial system that restricts her freedom of thinking and movement likewise. Bearing in mind the outstanding parallelism between woman and geography, it is no coincidence that there is a shared intention to contain both of them. Whereas the contagion that Elle may bring for the men in the expedition is ended by confining her on an island, the colonialist contention of a threatening geography is carried out by means of a representation whereby cartography is the direct vehicle to overpower the unknown. Thus, when she is about to be exiled, it is Roberval’s finger that points on the map and decides the place where Elle will stay. She, in turn, points out that “maps never look like the territory. Their relation to geography, […], has always been abstract if not outright deceptive” (Glover, 2003: 28). And if the relation between subject and space is always problematic in the colonial context, it is especially so in Canada, where a great deal of attention has been paid to the description of North American nature (see Osborne, 1988). In this sense, whereas the colonial writer makes an effort of containment, Elle shows the opposite tendency, since she distrusts the power of language and representation to contain, and very especially the power of cartography (see Huggan, 1994; van Herk, 1996):

the most up-to-date geographers, cosmographers, map-makers, astrologers, admirals, kings, court jesters and merchant adventurers of Europe contend that Canada is: a) a thin strip of land running north-south and dividing the Atlantic Ocean from the Pacific Ocean; b) an archipelago of large and small islands encompassing a labyrinth of channels leading more or less directly from the Atlantic to the Pacific; and c) a continent enclosing a vast inland sea  […]. (Glover, 2003: 46).

Yet that distrust also taints Elle’s capacity to see and report, and, consequently, her memoir turns into what Graham Huggan calls “counter-travel writing” since it “interrogates the privileges that accrue historically to the genre” (2000: 40).  And that position of writing from the questioning of genre enables her to provide the reader with a counter-vision of the traditional account.  “[…] I have entered a place where the old definitions, words themselves, no longer apply, a world strange beyond anything I could have imagined […]. We have a name for such a place as this – wilderness. It is a name for the thing without a name, for everything that is not us, not me” (Glover, 2003: 38).

Her position as the non-European, paradoxically, enables her to go against the grain and interrogate more fiercely issues of foundation as well as the authority of the national fathers, and the very ontology of Canada. Thus, “[…] The mere existence of Canada constitutes a refutation of the first principle of Christian cosmology, expressed by St. Isidore in the seventh century, ‘that beyond the Ocean there is no land’” (Glover, 2003: 58; see Turner, 1994: 1-18). This creation of what could be termed a strategic marginality endows her with more authority to question issues of foundation:

And I wonder about a country founded by such disparate heroes as Richard and the Sieur de Roberval, who, if combined, still might not amount to a real man. Poor Canada, destined always to be on the edge of things, inimical to books and writing, plagued by insects in the summer and ice in the winter, populated by the sons and daughters of ambitious, narrow, pious, impecunious Protestants and inarticulate but lusty Catholic tennis players, not to mention the rest of the expedition […], every kind of rogue except heretics, traitors and counterfeiters who were deemed unsuitable to the dignity of our pious expedition. (Glover, 2003: 43)

But the act of colonisation is also filtered through the lenses of the body and a related politics of desire. It is in this context where Elle’s assertion of “I am a landscape of desire” (Glover, 2003: 53) gains special strength, since it reduces the act of colonisation to that politics of free-ride desire that has secluded her on a stranded island, and, eventually, reconciles the act of colonisation to her body mastery. In opposition to her fellow explorers, and their ideas on foundation, Elle claims “[f]ounding a colony in the New World is like the act of love” (Glover, 2003: 108). And to go further, their divergence concerning colonisation is made to rely on a gender difference that borders that comic effect with which Glover, and, ultimately, Elle punctuate their writings. “[…] I think, this is the difference between men and women: my uncle has conquered Canada by brandishing a sword over the bodies of his companions; I have conquered Canada on my back. In either case, the long term effect on the inhabitants is the same” (Glover, 2003: 96).

Thus, Elle rapidly approaches the native Itlsk, once her European fiancé dies on the Isle of Demons. The common issues of human degeneration and its coterminous claims of lack of domesticity and progress are wiped out in Elle’s reliance on her own colonial politics. The colonialist assumption of the virgin land is also disclaimed in her writing. First by her acknowledgement of the native presence, but also by using and reversing that already classical parallelism between woman and land. As Lawson and Tiffin state drawing on Peter Hulme (1995: 5), the parallel between these two entities is based on gender / sexual and racial postulates. First, the virgin woman/land is depicted as devoid of desire and sexual activity, but also waiting to be sexually initiated and impregnated, and, indeed, it cannot be overlooked that “sexuality as a trope for other power relations was certainly an abiding aspect of imperial power. The feminising of the virgin land […] operated as a metaphor for relations that were very often not about sexuality at all, or were only indirectly sexual” (McClintock, 1995: 14).

The racial factor is also significant, because the claim of native property is rapidly dismissed on the basis of white European supremacy. Racial inferiority was officially accompanied by a feminisation of the native, once again evincing that “knowledge of the unknown world was mapped as a metaphysics of gender violence  […]. In these fantasies, the world is feminised and spatially spread for male exploration, then reassembled and deployed in the interests of massive imperial power” (McClintock, 1995: 23; see Pratt, 1991). Therefore, and taken as a whole, “colonialism conceptually depopulated countries either by acknowledging the native but relegating him to the category of the subhuman, or simply by looking through the native and denying his/her existence” (Tiffin & Lawson, 1994: 5).

Elle’s abandonment can only be understood by looking at a colonialist politics of surveillance on women’s bodies and their borders. Her free ride of her sexual desire jeopardises the enterprise of conquest and settlement. Not in vain, the control of women’s sexuality ensured maternity, and the racial purity of the new empire builders. In the end, it was a question of the “health of the male imperial body” (McClintock, 1995: 47). On the contrary, female “body boundaries were felt to be dangerously permeable and demanding continual purification”. Consequently, “women’s sexuality, was cordoned off as the central transmitter of racial and hence cultural contagion” (McClintock, 1995: 47). As McClintock underlines, for the 16th century explorer and coloniser, women, of any race,  needed to be mastered for being embodiments of nature, and the unconquered, but also for being ambivalent figures, thresholds “by means of which men oriented themselves in space, as agents of power and agents of knowledge” (McClintock, 1995: 24). And, as a matter of fact, Glover’s protagonist perfectly illustrates that position of threshold. On the one hand, she is between the old and the new world, being literally transported from the former to the latter and back, but also for her position as colonised and, though unwilling it may be, coloniser. She is taken care of for her role as reproducer, and when she cannot be mastered, left nowhere. She moves not only between places, but languages; loses her French in favour of muteness, and recovers her language, but now inflected by her travelling and dwelling in the stance of the other: “[d]id I once speak fluent French, read books? Now I am mute, or my words stumble as they come out of my mouth” (Glover, 2003: 147).

And, indeed, in this novel any roles are interchangeable; any position, contingent (see Wyile, 2003). Elle is the peripheral subject writing from the margin back to a centre that her own writing sets to deconstruct. Yet her status as a white coloniser makes of that periphery an unreal centre subject to immediate threats. Her memoir is also a feeble colonialist document, which, from the edge of genre, launches a powerful assault on the textuality of empire and its dissemination of pseudo-ethnographic travel accounts. Elle’s attack on colonialism and empire does not overlook the power of books, since she is prompt in defining herself as a product of her own reading, as in the end we all are. “I have made my mistakes”, she explains in her memoir. “I blame printed books for this, a recent invention which has led us to solitary pleasures: reason, private opinions, moral relativism, Lutheranism and masturbation” (Glover, 2003: 65). For all the assertions made in her writing, the grim truth is that her account vanishes, self-deconstructs and, therefore, goes as it came, leaving the reader valuing the connection between colonialism and gender and assessing the inflection of colonialism and its textuality on our daily lives.

—Pedro Carmona-Rodríguez

.

References

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Engel, Marian. 1990 (1976). Bear. Toronto: McClelland & Stewart.

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Frye, Northrop. 1976. The Secular Scripture: A Study of the Structure of Romance. Cambridge: Harvard U.P.

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Glover, Douglas. 2003. Elle: A Novel. Fredericton (NB): Goose Lane Editions.

Holland, Patrick and Graham Huggan. 2003 (1998). Tourists with Typewriters: Critical Reflections on Contemporary Travel Writing. Ann Harbor: The U. of Michigan P.

Hernáez Lerena, María Jesús. 2007. “Surviving the Methaphorical Condition in Elle: Douglas Glover’s Impersonation of the First French Female in Canada”. Canon Disorders: Gendered Perspectives on Literature and Film in Canada and the UninitedStates. Eds. Eva Darias Beautell and María Jesús Hernáez Lerena. Logroño: Universidad de La Rioja / Universidad de La Laguna. 71-91.

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Huggan, Graham. 1994. Territorial Disputes: Maps and Mapping Strategies in Contemporary Canadian and Australian Fiction. Toronto: University of Toronto Press.

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McClintock, Anne. 1995. Imperial Leather: Race, Gender and Sexuality in the Imperial Contest. New York: Routledge.

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Ryan, Simon. 1994. “Inscribing the Emptiness: Cartography, Exploration and the Construction of Australia”. De-Scribing Empire: Post-colonialism and Textuality. Eds./Intro. Chris Tiffin and Alan Lawson. London: Routledge. 115-130.

Siegel, Christi and Toni B. Wulff. 2002. “Travel as Spectacle: The Illusion of Knowledge and Sight”. Issues in Travel Writing: Empire, Spectacle and Displacement. Ed. Christi Siegel. New York: Peter Lang. 109-122.

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Footnotes    (↵ returns to text)

  1. An earlier version of this paper was delivered at the Annual meeting of the Spanish Association for Anglo-American Studies (AEDEAN) at the University of Huelva (Spain) in December 2006 and published in Proceedings of the 29th AEDEAN Conference: Universidad de Jaén 15 al 20 diciembre 2005. CD-ROM. Ed. Alejandro Alcaraz Sintes et al. Jaén: AEDEAN / Servicio de Publicaciones U de Jaén, 2006. 539-45.
  2. Marian Engel’s novel Bear (1976) and its many echoes all the way through a thirty-year-old tradition of Canadian writing are decidedly present in Elle. Here, as much as in Engel’s text, the bear is not only the savage symbol of Canada that needs to be tamed to ensure the human mastery of the landscape. In both novels, the bear is the other, near but not quite; distant but at hand to assert by opposition issues of national and personal subjectivity. In Elle, like in Bear, a too close contact with the animal brings an imminent danger for the human. Additionally, it is women that in the two novels flirt in different ways with the wild icon of Canadianness, and it is them that in distinct forms go back to a civilisation whose appearance has been remodelled by the contact with the savage lands of Canada (see Appenzel, 1976; Brady, 1987; Hutchinson, 1987; Fee, 1988; Verduyn, 2008).
  3. And indeed, it is quite late in the course of the novel when we find Elle saying “I tell you now that I am very old and writing this memoir in secret, knowing that it may be used to light fires when I am gone” (Glover, 2003: 113). Her document goes through a process of demystification similar to the one undergone by other European texts. Thus, in the early stages of her period on the Isle of Demons, she acknowledges “we have eaten the books, using the bits we found inedible to kindle the fire in desperate circumstances […]. I keep only the English Bible, much chewed by rodents, for its strangeness and the vulgar force of its language (Glover, 2003: 49). From pseudo-ethnography to European religion, all goes through an immediate act of mockery that diminishes their cultural relevance, while recognising their presence in the postcolonial imaginary.
  4. Holland and Huggan have appreciated a certain similarity between travel narratives and what they term “displaced romances”, but preserving the distinction between “the picaresque mode of comic misadventure and the pastoral mode of contemplation and elegiac reverie” (2003: 10). In its blurring of defining categories, nevertheless, Elle fluctuates between one and the other, and, whereas it is true that the comic predominates, it hardly avoids being grotesque and sad.