May 302011
 

Sam Lipsyte, © Robert Reynolds

The Ask
Sam Lipsyte
296 pp.
$25
ISBN  978-0-374-29891-3 

As a Canadian, I’m ashamed that American fiction, which is largely underwritten by a market, has a keener social eye than Canadian fiction, which is underwritten significantly by state-funded, supposedly arms-length grants. Contemporary American novels from maturing writers like Jonathan Franzen, Jennifer Egan, Michael Cunningham and Sam Lipsyte (author of this superb novel The Ask) as well as emerging novelists Joshua Ferris and Jonathan Dee examine, castigate and celebrate today, while my fellow Canadian writers remain obsessed with yester-year. Egan’s recent A Visit from the Goon Squad mocks celebrity culture and trophy marriages. Dee’s The Privileges boldly reasserts that novels about money are not the exclusive domain of the Victorian novel. Ferris’s chilling The Unnamed and Cunningham’s By Nightfall fearlessly plumb the life-time relationship. Here in Canada we get muskeg tales of outport woe (see February by Lisa Moore and/or Annabel by Kathleen Winter). With The Book of Negroes, a mega bestseller in Canada, Lawrence Hill digs deep to conclude that slavery was bad. Canadian writing grants that should make our fiction brave and bold too often leave it feeling like it was written (reluctantly) by a harried committee at a government ministry.

Sam Lipsyte’s searing, hilarious and moving new novel The Ask is able to judge the society it records without sounding as sanctimonious as a government recycling campaign. Most fiction writers at some point feel the pull of Chekhov’s claim (or Thornton Wilder’s paraphrase) that literature is not bound to answer questions but rather to pose them fairly. However, Chekhov’s advice can create a crippling rudderlessness that leaves superficial fiction misidrected and unengaged. Egan’s A Visit from the Goon Squad has an utterly condemning scene with a self-inflicted scar. Franzen’s The Corrections has that minor but unforgettable couple who lost their adult daughter to murder. The father responds by eventually deciding to never speak of the matter again. The mother draws the killer’s gun every day then rips up her (near perfect) drawing. Social portraiture is alive and well in American fiction. In The Ask, the multi-talented Sam Lipsyte laughs and cries along with the characters he condemns and condones.

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May 042011
 

Foran’s Version

A Review of Mordecai: The Life and Times by Charles Foran

By Darryl Whetter


Mordecai: The Life and Times
Charles Foran
738 pp.
Knopf Canada
$39.95 hardcover


Author Charles ForanUntil Charles Foran’s recent Mordecai: The Life and Times, the various biographies of Mordecai Richler suggest that an interesting subject for biography does not necessarily an interesting biography make. Great lives don’t always inspire great books. In the decade since Richler’s death in 2001, four books entered a biography’s race between early market share, thoroughness and accuracy.  Globe and Mail journalist Michael Posner pre-excused the scattershot tone of his 2004 The Last Honest Man by subtitling it An Oral Biography. Posner splices together 150 interviews to raise questions (How much did he drink? Why the rift with his brother? Did he really seduce his high-school English teacher?) but refuses to affix any answers. The fatuousness Richler often mocked in the CanLit establishment didn’t leave him completely ignored by the Canadian academy. Reinhold Kramer’s Mordecai Richler: Leaving St Urbain (2008) examines many of the same formative experiences as Foran’s (the fall from Jewish orthodoxy, his parents’ loveless marriage and rare divorce) but also suffers the congenital blind spot of interpretation and begins to read a creative life of decades through a few childhood events. Like Foran, M.G. Vassanji is first and foremost a novelist. Vassanji’s peripatetic life within diasporic and intellectual communities could have made his 2009 Extraordinary Canadians: Mordecai Richler the most attentive to Richler’s dual citizenships as Canadian and a member of the Jewish diaspora, as Canadian novelist and cosmopolitan writer. However, Penguin’s insistence on a short biography denied Vassanji the archival time of the Kramer or the Foran and doesn’t find it as emboldened by extensive quotations from letters and manuscripts.

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Apr 032011
 

Christopher Ryan, Ph.D. & Cacilda Jethá, M.D.

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Sex at Dawn: the Prehistoric Origins of Modern Sexuality
Christopher Ryan and Cacilda Jethá
Harper, 416 pp., $25.99
ISBN 9780061707803

John Gardner’s lovely On Becoming a Novelist claims that readers have two big incentives to get through long blocks of prose: story and/or argument. In Sex at Dawn: the Prehistoric Origins of Modern Sexuality, Christopher Ryan (PhD) and Cacilda Jethá (MD) offer a little of the former and plenty of the latter. With kilos of scientific homework, not home-wrecking confessions, they tell the polyamorous story of human evolution as an argument for contemporary tolerance for open relationships and other strategies for more sexual-social-spiritual contentment and less work for divorce lawyers.

Those of us who teach know that few lessons are as powerful as Thomas Kuhn’s revelatory paradigm shift. Ryan and Jethá start their polyamorous argument in a double bind: Western culture has been so thoroughly and punitively mired in the monogamy paradigm that even the scientists (from Darwin to Stephen Jay Gould) who should be helping create an accurate reflection of open human sexuality often misinterpret, misrepresent or misguide us with physiological and historical evidence that should be a clear argument for some divisions of sex, love and family. To their credit, Ryan and Jethá (a couple) turn this challenge into a key opportunity for this measured, informed account of human sexual mutability. This wake of human intellectual development and the social management of knowledge (plus 65 pages of notes and references) make Sex at Dawn much more than a martini-soaked argument for a key party.

Taccola’s Piston, 15th century

The antagonists of the Sex at Dawn story are (recent, proprietary) monogamy, close-mindedness and unwise policy. Its various protagonists are human and (other) primate anatomy, evolutionary survival, wide-eyed history, and brave honesty. In emphasizing that humans, our closest primate relatives, and proto-humans are physiologically hard-wired for polyamory, Ryan and Jethá make a historical and biological argument, not a revolutionary one. With fact after fact they demonstrate that we almost always have been polyamorous and are physically if not evolutionarily equipped to be so. Citing past precedent and current failure, their argument is much more palpable and significant than any proselytizing campaign. Sex at Dawn doesn’t argue that we should convert to polyamory; it argues that we almost always have been polyamorous and should be again given our current failure at monogamy. Their citation of Schopenhauer’s 1851 essay “On Women” gains additional relevance as we consider contemporary divorce rates, what American literature profs Carmine Sarracino and Kevin M. Scott call The Porning of America, and the global sex trade: “In London alone there are 80000 prostitutes [in 1851!]. Then what are these women who have come too quickly to this most terrible end but human sacrifices on the altar of monogamy?”

Ryan and Jethá’s attention to human sexual anatomy is crucial to their argument that if we want healthier bodies, relationships, and societies we should revert to polyamory. Their comparisons to other primate genitalia and sexual behaviour foreground that theirs is an argument from science, nothing faddish like ‘alternative lifestyles.’ A handy diagram summarizes their repeat and varied attention to the large penis and testicle size of polyamorous humans, bonobos, and chimps (where males aren’t too much bigger than females) compared to polygynous gorillas, where males tower over females to fight off other males then impregnate multiple females with their (relatively) miniscule penis and testicles [truck size joke anyone?]. Gibbons are monogamous and equally sized between the sexes, but they also don’t shag very often and don’t, unlike randy humans and bonobos, ever copulate facing each other. The testicle size issue is illuminating. Male gorillas fight to be the one inseminator of multiple females, so they have put their evolutionary work into arm and chest strength and have “kidney-bean sized” testicles buried up in their bodies. The primate playahs (humans, chimps and bonobos) have evolved sizeable testicles to frequently produce large volumes of ejaculate so their sperm, not their arms, compete within females who have multiple partners.

Vanessa Woods’s public image of the high-empathy bonobo.

Ryan and Jethá’s attention to male and female anatomy is illuminating [oh the back-pumping male penis; oh the attacking acids in the first spurt of male ejaculate], and they augment it with genuine curiosity and intellectual history. In a truly remarkable connection they observe the intellectual taint of biases and reception chronology shared between our current (misinformed) monogamy paradigm and the massive research preference for chimps over bonobos. Genetically, humans are equally similar to combative (and horny) chimps and cooperative (and really horny) bonobos. However, chimps were discovered and brought into comparative research earlier, and various lasting comparisons were cast. Their quotation of Frans de Waal’s Our Inner Ape is a cri de coeur for the social improvement, not just sexual adaptation, Ryan and Jethá advocate:

I sometimes try to imagine what would have happened if we’d known the bonobo first and chimpanzee only later or not at all. The discussion about human evolution might not revolve as much around violence, warfare, and male dominance, but rather around sexuality, empathy, caring, and cooperation. What a different intellectual landscape we would occupy!

As a (rational and compassionate) argument, Sex at Dawn draws as much evidence from history and anthropology as it does from anatomy. In a forthcoming book of poems about evolution, I use a corporeal dramatization of planetary evolution to illustrate the same evolutionary timeline so central to the Sex at Dawn argument. Stretch your arms wide and imagine the creation of Earth at your right fingertips. For the vast majority of planetary history, past your left shoulder, only bacteria existed. Sex didn’t evolve until past your left elbow, as complex plants began to reproduce sexually. Dinosaurs roamed around in the palm of your hand and humans arrived in just the end of your fingernail. Ryan and Jethá treat that fingernail paring forensically and anthropologically, stressing that the vast majority of proto-human and human evolution was spent pre-agriculturally in hunter-gatherer tribes. Nomads who needed to band together to survive were evolutionarily rewarded for cooperation and sharing. The vast majority of human history was spent sharing food, genes and child-rearing. Ryan and Jethá compare early humans and twentieth-century hunter-gatherer tribes in which rotating sexual partners meant any man could be the father of various children and therefore all men provided for all children. Later they contrast that cooperative child rearing with the high divorce rates and the very large fraction of single-parent families in contemporary America, citing studies which show that single-parent children under-perform on “every single significant outcome related to short-term well-being and long-term success.” As Ryan points out in one of his two stimulating appearances on Dan Savage’s sex-advice podcast, only with the very recent human switch to agriculture did humans shun cooperative, communal ownership (and polyamory) for private ownership of land, seeds and their heirs (through monogamous marriage).

How Reymont and Melusina were betrothed / And by the bishop were blessed in their bed on their wedlock. From the Melusine, 15th century.

While the thoroughness, variety and balance of Ryan and Jethá’s case are crucial to demonstrating what to many will still be a radical thesis, the abundance of evidence actually becomes a rhetorical challenge. Admittedly, logic and organizational ease do favour a loosely chronological development from proto-humans to (racier) later chapters on the West’s policing of the female orgasm. In general, the first half is more anthropological and the second, much more gripping half, is anatomical. Readers interested in—forgive me—hard persuasion may appreciate anthropological example after example, but there’s a risk of losing sight of the argumentative forest for its evidentiary trees. References to South American tribes, remote Chinese communities and enlightened Indian provinces are important reminders that divisions between sex and love are healthy and that human behaviour, not just anatomy and bonobos, favour multiple sexual partners. Nonetheless, chapter after chapter of anthropology may prevent readers from getting to the later, better chapters. Without Sex at Dawn, who would know that “By 1917, there were more vibrators than toasters in American homes”? The argumentative foreplay is great. For a while.

—Darryl Whetter

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Photo: Nicole Dixon

Darryl Whetter’s latest book is The Push & the Pull, a novel of bicycling and bisexuality. In April 2012, he will release a debut book of poems about evolution (including the evolution of sex). He’s also at work on a novel about polyamory.

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Mar 012011
 

David Levithan’s Argot of Arousal,

A review by Darryl Whetter

 

The Lover’s Dictionary
David Levithan
Farrar, Straus and Giroux
ISBN 9780374193683

Frontispiece, Frankenstein by Mary Shelley, Colburn and Bentley, London 1831

Mary Shelley and her progeny know that novels need more than just bone, muscle and skin; they also require that elusive spark of life. David Levithan’s interesting but patchy novel The Lover’s Dictionary definitely isn’t another atrophied non-story du jour. In places, the skin of prose also glows with ruddy life. Its familiar but relevant romantic trajectory gives it a strong, able skeleton with cheekbones of infatuation, flirting hands and a breadth of shoulder willing to take the weight of romantic cohabitation. Despite these strengths, however, the novel’s dictionary structure leaves the body of this story unfinished, as if constructed during fitful labour shortages. Between the islands of gleaming flesh, too much glaring white bone is left exposed to the air.

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Jan 302011
 

Jacques Callot's "The Seven Deadly Sins:Envy"

1. “When Writers Hate”

Morrissey is right, we hate it when our friends become successful. Gore Vidal is even more honest, confessing, “Whenever a friend succeeds, a little something in me dies.” Near the end of the film Sideways, the rivalrous friendship of Jack and Miles is echoed by the novel Miles has assigned one of his young pupils to read aloud, John Knowle’s 1959 A Separate Peace, a tale of envy, perhaps even murderous envy, between schoolboy friends. Shakespeare’s Iago is envy on two legs. Adrift in a life before talking cures, support groups or good yoga, Cain walked alone with envy.

A fifteenth-century image of Cain and Abel

In life and art, friendship often oscillates between admiration and envy. Two recent shows at New York’s Museum of Modern Art showcased the reciprocal rivalry between Picasso and Matisse, as well as Cézanne and Pissarro. The 2004 documentary DiG!, chronicles the not-so-friendly rivalry between the bands The Brian Jonestown Massacre and The Dandy Warhols. When envy worms its way into writing, particularly into the novel, subject and medium collide. Writing is envy’s preferred medium.

Hiroshighe's "Great Bridge, Sudden Shower at Atake" and Van Gogh's (Later) "The Bridge in the Rain""

Writing slides someone else’s thoughts through our brain, and those thoughts come through the public medium of language. In the incomplete neuroscience of thought, writers and visual artists can admire and envy each other: humans may think more quickly through images, but, some contend, we think more specifically through language. And when we do think visually, we don’t necessarily see another artist’s brushstrokes, another photographer’s composition. When we think verbally, however, we think through the shared property of words and the evolving codes of language.  Words are only made by humans, whereas the stuff of visual art—color, texture, scale, shape, line, etc.—partially pre-exist in the world. When this latent alterity of language is combined with the novel, which many regard as the ideal genre of the self, we hold in our laps the perfect testing ground for one of life’s dirty little secrets. We hate it when our friends become successful. We do, at least a little.

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Dec 182010
 

Darryl Whetter is a poet, story writer, essayist, novelist, scholar and book reviewer—a man of letters. He’s also a politician—ran as a Green Party candidate in the last Canadian federal election. He has published a story collection, A Sharp Tooth in the Fur, and a novel, The Push & the Pull, of which dg wrote: “Darryl Whetter’s The Push & the Pull is a brash, vibrant, melancholy, sexy, and finally uplifting book about a mesmerizing father, the son who can’t tear himself away, and the women who make them grow up. Whetter is intoxicated with language. He writes like a dream in a quick, urbane, and witty style. His women are gorgeous independent creatures; his men are large and infuriating; and when love happens it’s explosive, passionate, and grand. A lovely first novel.” These poems are from a new manuscript (others have been published, see links at the bottom) that orbits around the grand themes of evolution, plate tectonics, the slow rhythms of geological change, and the vast throw of history from the beginning of things.

—dg

 

Spiral Jetty

 

art lost, fed
into the land,
a basalt fiddlehead
curled into Utah’s ruddy
Great Salt Lake.
a whirlpool of rock stopped
in salt water so algae-dense,
the colour of blood one year,
rosé the next

a 1500’ coil of entropy,
nearly 7000 tons
of indifferent rock
laid in a drought.
loaders and dump trucks
the size of (brief) dinosaurs

then water levels rose again,
reclaimed your boiling
curve, made it a briny Brigadoon,
unseen Atlantis of the salts.
an intentional fossil

or John Cage’s
Organ2/ASLSP (as slow as possible)
a constant drone
half hum half
squeal in patient
German air. art
slid into the time capsule
now Joggins. with the wide
stage of your rock
beach and mud flats, the wet
curtain of your twice daily tides
you can offer
intertidal art to the world,
make a fossil
among the found


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