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A.L. Kennedy (on rewriting and joy and justice)

Wendy-joon, who doesn’t Tweet – who doesn’t even write much, that I know of – is nonetheless a chronically well-read haunter of libraries. If you see her driving ‘round town, you may see a slightly open-mouthed look of attention on her face, an intense calm, if she’s listening to one of the books-on-CD that is among the 7 or 27 that she’s borrowed from her local branch. (Libraries! What pillars of civilized living they are!) And now that I’m officially an Automobile Owner again, she even has me hooked on the habit of listening to books. Yesterday, a 20-minute stick-shift errand turned into a two-hour drive because of Marilynne Robinson’s novel Home, but that’s not what this post is about.

I like this person. This photo courtesy of The Guardian, where I think her blog appeared. (Or appears.)

I like this person. This photo courtesy of The Guardian, where I think her blog appeared. (Or appears.)

My Wendyful friend wouldn’t let me leave her home the other month without A.L. Kennedy’s On Writing. Stephen King’s same-titled look at the scribbling life was great, and I was up for another even if I’d never heard of Ms. Kennedy. She’s a wordsmith and often a funny one, but her artistic aim is true. Much of the book is simply a collection of her blogs on the writing life over a few years. They’re short, witty, wise, and not infrequently they draw blood.

So now I’m a Kennedy fan, though I’ve never read any of her six collections of short stories or half-a-dozen novels. She also teaches creative writing, an activity about which she is amusingly and reasonably doubtful. Yet as she went back to start a new term at Warwick University, she focussed on the delights of the job. One of those deep pleasures, in the midst of the general deafening solitude of her writing life, was the mere collegiality of the thing, the fellow-feeling, being among others for whom word-spinning is also bread and hearth and home.

The second great delight, she says, is in re-writing.

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Bahiyyih Nakhjavani (on the burning itch to do something about it)

Hear voices? Maybe I do, but it’s banal: they’re all mine, or snippets of this song or that. (Recent visits: Bobbie Gentry’s “Ode to Billy Joe”, and “Frosty the Snowman”. No explanation.) I’m as egotistical as the selfie-ing man-boy next door, but I don’t think everything refers back to me. This was happenstance. I know that Bahiyyih Nakhjavani wasn’t writing to me, personally, and even if you’ve been hauling around some weighty notion that you burn to DO something about, she might not have been talking to you, either.

"So, get on with it, then!" she might have been saying to us in this Guardian newspaper photo from 2015.

“So, get on with it, then!” she might have been saying to us in this Guardian newspaper photo from 2015.

Nakhjavani is a prose writer with the heart of a poet, and while her short book Four on an Island purports to be about 19th-century political prisoners in Cyprus, it’s more like meditative non-fiction, to coin a genre, than historical biography. She muses elegantly about Earth and Water, Air and Fire, and returns continually to these elemental themes. She teases the reader, occasionally, and finally admits on page 55 that she’s been somewhat coy, offering a kind of pseudo-confession at the halfway point about what the book is actually about. I don’t know whether this was genuine discovery, one of these mysterious cases in which writers claim that the book they are writing, or characters in it, taught them how to write it and what to say. I suspect Ms. Nakhjavani knew where she was going from the start, her twisting and mystical route notwithstanding. (Twistical!)

I was struck by how she prepared the ground for Four on an Island’s change in direction on page 55. Oh, it’s elegant, mildly amusing, and skilfully disguises its sharpness until the point sinks in. But it’s as if she was writing, say, of a book I haven’t finished writing. (It exists.)

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Pat Paulsen (on America’s problems)

ON and ON, and over and over, it’s Hil and Bernie Marching as to (what?), but it’s mainly Trump and More Trump and All Those Other Guys. I’m grateful for the ability to occasionally enjoy the theatre of it, or else my seriousness/desperation/fear/loathing might get the best of me. (Besides, it’s Only The Old World Order, folks.) And sometimes it does, get the best of me, that is, my worry for the American future, I mean.

'68 or '72, I'm guessing.

’68 or ’72, I’m guessing.

And then random @CitizenWald tweeted a Pat Paulsen quote. Remember him? (Pat Paulsen, I mean, not CitizenWald.) Hangdog expression and a dryer-than-California monotone delivery. Comedian, best known for appearances on The Smothers Brothers show – and that’s going back a year or 40 – and then for quadrennial mock runs at the U.S. Presidency. AtCitizenWald tweeted one of his campaign slogans:

“I’ve Upped My Standards. Now UP YOURS.”

Paulsen died in ’97, having “run” in every Presidential election from ’68 to ’96. He got over 10,000 votes one time. Other slogans of his seriously ridiculous campaigns:

“If elected, I will win”

and

“We have nothing to fear but fear itself – and, of course, the boogieman.”

His campaign supporters (there were some) would chant thusly their longing for change:

“We can’t stand Pat!”

Most of it was silliness, and fairly gentle but still pointed mockery of the grand seriousness of what is essentially a popularity contest, not much different than elections for Prom King. Yet there was smart sociopolitical commentary there, too;

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Elie Fares (on terror and relativity)

This makes me squirm. It makes me angry. I wish I could say that I was NOT like most people in the so-called developed world, but I was. Bombs in a Beirut street, scores dead, families and communities devastated, made far less impact on me than did the subsequent massacre in Paris. Media attention? Sure, I could blame the media, but as somebody who’s allegedly a world citizen — a Canadian guy trying to learn how to see all human beings as I’d regard my own family — I was stung by the truth of what Mr. Fares wrote, as reported in a challenging New York Times article. Are lives in a context that I somehow feel is closer to mine, in a city where I’ve visited, worth more to me than west Asian ones? Searing question, dangerous times. Apparently, the sufferings of a divided and confused humanity will not be confined to “those parts of the world”…

“When my people died, no country bothered to light up its landmarks in the colors of their flag. When my people died, they did not send the world into mourning. Their death was but an irrelevant fleck along the international news cycle, something that happens in those parts of the world.”

Elie Fares is a young Lebanese doctor and writer. This is only a small piece of his thoughtful, angry, truthful observations in a November 14 blog post. He’s not demeaning the pain of Paris, but challenging its exclusivity.

Sheesh. Gotta love a little global consciousness in NFL stadia. "French Lives Matter", I guess, is better than if they *don't*, but if even SportsCorp is doing it, there's obviously something missing...

Sheesh. Gotta love a little global consciousness in NFL stadia, right?. “French Lives Matter”, I guess, is better than if they *don’t*, but if even SportsCorp is doing it, there’s obviously something missing…

 

Salman Rushdie (on whether we circle the drain)

In Canada, we have (steadily more meagre and occasionally even contemptuous) government-funded radio. Alarmists – unlike the always-judicious, ever-moderate me – might call the Canadian Broadcasting Corporation an endangered species. Last Chance to Hear! Broadcasters, Artists and Thinkers in Their Natural Habitat! It’s a pretty pale safari, but I’m on it. The CBC’s a national treasure.

Yesterday I listened to Q, Radio One’s flagship weekday arts ‘n’ culture show. It’s hosted by a grandson of Rwanda, a Canadian-as-socially-conscious-rap MC known as Shad. (By night, he’s a bouncy, smiling hip-hop groove-ster with a real band. By day, he talks to Salman Rushdie and Margaret Atwood and Darryl McDaniels, the DMC in rap/rockstar band Run DMC. In between, he’s Shadrach Kabango.) Actually, I was re-listening to an extended podcast recording of a conversation I’d heard part of earlier in the week. (I think I was sweeping. Or washing dishes?)

They were talking dystopias, especially regarding Rushdie’s new novel Two Years, Eight Months, and Twenty-Eight Nights. It’s full of malevolent genies, time travel, a corruption-exposing baby and a whole lot of thinly-disguised Now. It’s also apparently very funny, as Rushdie is no permanent pessimist and wanted to explore the “strangenesses” of our time with some inventive and comic strangeness of his own. He wasn’t trying to outgrim Margaret Atwood, in other words. (Though it must be said that her MaddAddam trilogy is nastily, wryly funny if you can suspend despairing recognition, at least for a moment.)

*Certainly* no pessimist! (This is not his daughter.) Padma Lakshmi was Mr. Rushdie's 4th wife.

*Certainly* no pessimist! (This is not his daughter.) Padma Lakshmi was Mr. Rushdie’s 4th wife.

This was only the first (and then second) time I’d heard Rushdie interviewed, surprisingly, and I found him an engaging and generous interviewee.

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Jerome K. Jerome (on love and time)

My bride and I don’t think of ourselves as old. (Well, not old old.) I run around with athletic teens and 20-somethings, and that can make me feel a tad creaky and lardaceous by comparison, but still. We did celebrate (and celebrate) a significant anniversary last month, which compels us to accept that, while we can still find some giddy in our good coupling luck, we’re not exactly newlyweds. We felt like it at certain August moments, which for me was like dozens of non-fattening banana splits in one hand-delivered magic box.

Days back, during my ongoing organizing and an attempted material purge, I ran across the quote below from writer Jerome K. Jerome. I had long ago photocopied it (and its accompanying sentimental snapshot of an elderly couple) from somewhere onto coloured sheets of paper I used to use for something that we dinosaurs used to call “letter writing”. I have a whole stack of them. It makes me want to write letters to people! (Confession: I even have stamps.) With a little new-fashioned research, I easily found that Jerome’s comments on love and marriage – I hadn’t known the source – came from an early 20th-century play of his.

It’s the sort of play whose subtitle has a subtitle, whose dramatis personae includes “Mrs. Sharpe”, “Miss Kite”, “Mrs. Tompkins”, and The Major (“Troublesome creatures, these girls! Troublesome creatures!”). There is a mysterious Stranger, who quickly becomes everyone’s confidante. A young man is described as a “cheerful bounder” – now there’s a word we’ve lost, if we ever really had it in the Colonies – and another is said to speak with “gallant jauntiness”. (Jaunty! Don’t you think we should be, in general, more — and more frequently — jaunty?)

Enough preamble to the prologue:

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Murray Sinclair (on Aboriginal justice)

This is not news, but it, too, is reality. (A tip o’ the cap to Peter Trueman – and how’s that for the name of a news reporter? – who finished off his nightly Global TV newscasts way back when with a commentary, which always ended with a similar line.) I’m thinking, again, this morning of Canada’s Truth and Reconciliation Commission. Its work is done. Its recommendations are out there. Many a heart-tugging reminiscence has been aired, stories of the often-bitter legacy of Canada’s residential schools for Aboriginal children and youth. And as is the way of modern life, we are on to other things, most of us.

Just for this quotable minute, let’s remember. First, while I’m tipping my invisible fedora, I want to remember Desmond Tutu. As I understand it, he was the key mind behind South Africa’s origination of the “Truth and Reconciliation” concept, which has built into it not only the idea of an unblinkered and fearless gaze at the rancid facts of his country’s racialist history, but also this notion: look, we all have to live here together, and we’ll stay sick, slaves to the past, if we don’t forgive. That’s what the congregation of the Charleston Emmanuel church have (again) taught us in the aftermath of murder: that forgiveness is not some spineless absolution of another’s evil, but a courageous and hard-won insistence on clearing one’s heart of the barnacles of vengeance and the chains of hate. Tutu was a churchman. He knew and preached that Christ’s call to forgive must harmonize with the cry for justice. I’m glad we had the wisdom, however imitative, to call the Canadian investigation into our earlier policies of de-culturalization the Truth and Reconciliation Commission. It’s a mighty marriage of mutually reinforcing principles. Hurray for us.

Many truths have been told. However, I’m not sure that reconciliation has been advanced much. There is greater awareness. Awareness is good. There is greater understanding and real sympathy, but it won’t take too many Aboriginal protests that infringe on suburban Canadian complacency to erode that. (I’m from Caledonia. Uneasy lie the heads of those on opposite sides of racially stained land disputes.) Still, I’m hopeful that the work of Justice Murray Sinclair and his Commission is a watershed moment in the history of Canada’s movement toward greater harmony and equality among our founding peoples and all the boat people, wagon people, car and airplane people that have joined them on this favoured hunk of Earth.

In a June 6 interview that bears re-reading, Justice Sinclair made a point that still echoes. Speaking to writer John Ibbitson, but through him to all Canadians of Anglo-French and other European backgrounds, he offered a particular and ominous reason for getting right the relationship with the Aboriginal peoples of Canada.

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Eduardo Galeano & Dave Zirin (on FIFA)

In a frankly celebratory column at The Nation, its resident sports-and-social-justice scribe Dave Zirin wrote, in his usual blunt and acerbic style, of the arrests of the FIFA 14. The Federation Internationale de Football Association has long been accused of the most egregious forms of authoritarianism and corruption, and its slogan, “For the Good of the Game”, feels like satire in the wake of this sudden yet seemingly inevitable clampdown. (Having described FIFA’s leadership as “cartoonishly evil”, the satirist John Oliver nods his head vigourously.) Zirin is not waving pom-poms for the United States Justice Department — he’d be among those who also see a satiric tint in the name of that organization — but he has been calling for action on sporting corruption of many kinds for years. He wrote the book on Brazilian activism against global giga-events that you may have heard of.

Another writer to know better, who knew better than you and me about many things. Including the wearing of blue berets. (Photograph: Pablo Porciuncula/AFP/Getty Images)

Another writer to know better, who knew better than you and me about many things. Including the wearing of blue berets. (Photograph: Pablo Porciuncula/AFP/Getty Images)

Fittingly, Zirin invokes the late great Uruguayan journalist and histori-contrarian Eduardo Galeano. His Memory of Fire series of books on the colonization of South and Central America is a landmark of “people’s history”, and before that came the monumental Open Veins of Latin America: Five Centuries of the Pillage of a Continent. For many, though, his football opus Soccer in Sun and Shadow was his greatest literary gift. It’s among the most important and eloquent books on any sport, ever. Early in Zirin’s column, he quotes Galeano,

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Henry Miller (on interest, beauty, forgetfulness)

We were about a dozen, and we were trying to work out the places where discipline, artistry, ends, practice, spirit, livelihood, beginnings and joy intersect. (My submission: all over the place!) We got quiet, and then we talked, and then we ate. I contributed this apparently velvety and colourful, but finally stone-cold prescription from the writer Henry Miller:

“Develop interest in life as you see it; in people, things, literature, music – the world is so rich, simply throbbing with rich treasures, beautiful souls and interesting people. Forget yourself.”

Henry Miller (1891-1980) was best known as a writer of frankly sexual and otherwise unconventional novels which were long banned in his American homeland. He wearied of his reputation as that naughty writer; he was a rather good one. This passage is cited in Julia Cameron’s The Sound of Paper. While it is good counsel for writers, it’s an even better idea for pret’near everybody.

Dorothy Parker (nastily, on writing and action)

I was writing a blog post, prompted by a prodding sense of injustice (and by

Check out the (apocryphal?) story of her being able to crack wise even with a bland word like "horticulture".

Check out the (apocryphal?) story of her being able to crack wise even with a bland word like “horticulture”.

the jabbing forefingers of two friends). It was about the ongoing imprisonment of seven Baha’is in Tehran jails for the most lunatic of perceived crimes. It felt good to do something, but I was plagued by a looming appreciation of the void between the high sincerity of my action and the narrow scope of my influence. I felt a little like the acid-penned lit-wit Dorothy Parker, who wrote this “Song of Perfect Propriety” as a roaring declaration of desire, followed immediately by a meek admission of the narrow confines of female possibility in her time. It’s funny, smart and more than a little laugh-so-you-don’t-cry. This was going to be my readers’ Hey, You Read the Whole Bloody Thing! reward for getting to the end of the piece on the Quietly Magnificent Seven, but it didn’t fit no matter which way I turned it.

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