Author Archives: Andrea
Skidmore tells story of child migration
Patricia Skidmore (left), who lives in Port Moody, British Columbia, has written a moving book about her mother’s experiences as a child migrant to Canada in 1937. Marjorie Arnison was from Whitley Bay in northeastern England. She lived in Birmingham for seven months before being sent to the Prince of Wales Fairbridge Farm School in the Cowichan Valley when she was just 10. She could never properly explain her past to her children. The “mystery” caused Skidmore to write Marjorie Too Afraid to Cry: A Home Child Experience, published by Dundurn (295 pages, $30). Coastal Spectator Editor Lynne Van Luven read Marjorie’s story with great interest since her own grandfather was also sent to Canada as a “Barnardo Boy.” Skidmore’s book will be launched at the University of Victoria Bookstore on March 14 at 7 p.m.
Can you remember the catalyst that set your mind to writing about your mother’s story?
After spending much of my childhood fighting my mother for her story, in an attempt to find out who she really was and why she was in Canada while most of her family was in England, I concluded that she was keeping some horrid dark secret from me. At 17, I gave up and left home.
It took another eight years before I faced the question again, when I was a mother myself and feeling overwhelmed. My father had died in 1957, leaving my mother with 5 children between the ages of three weeks and 8 years. My bout with one sick baby helped me realize that I was not stronger than my mother, as I had always thought. I began to see her in a different light and I wondered who was this “superwoman” who single-parented her little family and kept them together against all odds?
And I realized that I needed to find my way back to her–although I would still need to try to figure out who she was. I feared that I couldn’t be a good daughter without knowing her deeper, and if I couldn’t be a good daughter, then how could I be a good mother?
In June 1986, when I saw the Fairbridge Farm property for the first time, I was dumbfounded by the beautiful countryside. I had expected a gravel pit. It hit me that the stark image I had in my mind came from my mother’s emotional distress at feeling so alone and bleak when she was removed from her family and sent to a new country.
By this time, I had been single parenting my three sons for many years–so finding time to pursue this research was challenging. After my 2 older sons were through high school, I returned to Victoria in 1996 to complete a degree that I started there in 1969. And I found my way into Women’s Studies.
In 1999, Professor Christine St. Peter led us to the BC Archives, which opened an avenue for research that I had no previous knowledge of. And the archives are where I found my mother’s past (in the Prince of Wales Fairbridge Farm School records). I found a personal file for my mother, and together we discovered her immigration landing card, then her birth certificate, sent by her mother in 1948 when she wanted to get married, along with a couple of photographs. My mother seemed pleased as the research progressed: “Well they didn’t just throw me away, they kept records of me,” she said.
You have referred to your 20 years of exhaustive research on your book. What advice do you have for others who might be considering writing a family memoir?
For me, making my mother go back to that place she had buried all those years ago was a tricky business. I told myself I would stop if she became distressed. However my desire to understand the truth was so great, I wonder if I really would have.
My advice to anyone searching for a lost past is: don’t give up but don’t expect things to happen overnight. Patience is important.
A number of factors enabled me to rediscover my mother’s past, but the most important thing was that she was with me while I did this research. I wrote my mother’s story because it was important to me to know about my past.
I am working on a sequel, which takes Marjorie through her years at the Farm School until early 1943. She was removed from the Farm School at 16 and was placed as a domestic servant in a home in Victoria. The working title for this sequel is Marjorie: The War Years. Today, my mother is offering her memories. The door is open to her past. The shame has dissipated. Marjorie now feels strong and proud about how she navigated her life and survived.
Have you or your mother heard from many other child migrants since your book was published?
Yes. I keep in regular contact with a number of the Former Fairbridgians sent to Prince of Wales Fairbridge Farm School, as well as several from the Rhodesian (now Zimbabwe) Fairbridge Memorial College, which ran from 1946 until 1962, and I keep in touch with some of the Old Fairbridgians from the Australian Fairbridge Farm Schools.
Since the publication of my book, I have had numerous new contacts, which include email from offspring of former Canadian child migrants, now living in the United States and in Australia.
In a recent CBC interview, you said many of those transported as children, including your mother, felt “shame” about their history. Do you think Gordon Brown’s apology and the slow growth of books and stories about child migrants helps to dissipate that feeling?
Yes, but it may be that each personal journey differs – so I cannot speak for others. I saw my mother transform during her visit to England in 2010 for then-prime minister Gordon Brown’s apology. If you were not directly affected by the events that lead up to a formal apology, then that act would hold little meaning. But I will never again question the validity of a formal apology after witnessing the healing firsthand.
When Gordon Brown looked into my mother’s eyes and said, “I am truly sorry,” that formal recognition allowed for more healing than all my years of research. I believe a lot of the shame stemmed from an inability to talk about her past and what brought her to Canada. So much was hidden, she found difficult to speak openly.
Do you think Britons and North Americans have learned anything useful about child migration since the practice first started, even since your mother’s time?
Child migration went on for so long: Britain first started “transporting” children in 1618, and child migration to Australia continued until 1974. So many well-read people tell me that they have never heard of British Child Migration. I too was surprised to learn that child migration had a 350-year history, with the first group of children being sent to Richmond, Virginia, at the request of King James I.
I feel at a loss to understand why its history has not become better known. Perhaps the main reason is that the full history is not taught in the public schools. The Canadian government’s attitude may also be a factor. In 2009, Immigration Minister Jason Kenney said there was “no need” for Canada to apologize for abuse and exploitation suffered by thousands of poor children shipped here from Britain.
Fine Arts well represented in IdeaFest
Running March 4-15 in every corner of UVic campus, this free festival connects you to experts working on the kind of ideas that really can “make a difference.”
Here’s a quick breakdown of Fine Arts events:
•Enacting the Artist / Researcher / Educator: Six UVic applied theatre graduate students engaged in a theatre-based PhD research project will discuss utilizing playbuilding as qualitative research, as well as a variety of theatre conventions as a way to generate, interpret and (re)present data. 2-4 pm Monday, March 4, in room 109 of the Fine Arts building
• Jamie Cassels Undergraduate Research Awards: Celebrate some of the outstanding research produced by the 2012 Jamie Cassels Undergraduate Research Awards scholars at this day-long presentation of their work. Here’s a list of who’s representing Fine Arts: Sara Fruchtman, Alexandra Macdonald and Christine Oldridge (History in Art), Stewart Gibbs, Sarah Johnson and Jennifer Taylor (Theatre), Bronwyn McMillin and Willie Seo (Visual Arts), Claire Garneau and Liz Snell (Writing). 11am-3 pm in the SUB’s Cinecenta, Upper Lounge and Michele Pujol room
•Mini Film Fest: Join some of the Department of Writing’s emerging filmmakers for a screening and discussion of several recent, award-winning student films—including the Leo Award-winning web series Freshman’s Wharf, and Connor Gaston’s recent TIFF and VFF-screened short, Bardo Light, among others. 7:30 pm Thursday, March 7, in room 162 of the Visual Arts building• Sonic Lab: Join UVic’s contemporary music ensemble as they present two compositions that explore the sound itself as musical material. Imagine a brick wall with a human figure painted on it, which can be taken apart & rebuilt as a fence or a house—meaning the parts of painted body would show up in an unexpected context. 8 pm Friday, March 8, in the Phillip T Young Recital Hall
•“Have you ever had an idea?”Get in on this interactive, community-involving project aimed at enabling ideas to be more accessible and more attainable. Participants become part of Victoria’s biggest idea—a giant run-on sentence created by texting, calling or e-mailing in their ideas. 7-10 pm Friday, March 8, in room A111 of the Visual Arts building
•“Games Without Frontiers: The Social Power of Video Games”: Join professors, grad students, undergraduates, high-school students, local game designers and curious citizens of Victoria at this mini-conference to explore, discuss and marvel at the power of video-game technology to bring people together and improve the world. Faculty and students will give demonstrations and offer a Q&A about the innovative use of “gamification” techniques in their research, including games that help to improve the lives of children with autism, teach about First Nations treaties, combat obesity and explore the ocean floor, among others. Noon-6 pm Saturday, March 9, in room C103 of the David Strong building
•“Is There Still Potential for Human Creativity?” A good question which promises a lively back and forth at this Fine Arts discussion panel featuring Jennifer Stillwell (Visual Arts), George Tzanetakis (Computer Science-Music), Lee Henderson (Writing), Victoria Wyatt (History in Art), Jonathan Goldman (Music). Moderated by the Times Colonist‘s Dave Obee. 7:30 pm Monday, March 11, in B150 of the Bob Wright Centre
•Fine Arts PechaKucha: Get a sense of what’s happening in both History in Art and Visual Art with this exciting, fast-paced PechaKucha-style interdisciplinary visual presentation. Don’t know PechaKucha? It’s like a TED talk on speed! 5-7 pm Tuesday, March 12, in room 162 of the Visual Arts building.
•Intergenerational Theatre for Development in India: After being displaced by the 2006 tsunami, a new community in India is using Applied Theatre to reconnect its citizens. The creation of an intergenerational theatre company to perform the stories of seniors and rural youth of the Tamilnadu community has the potential to create lines of dialogue across generations by
Writers on Music: This album is the Bad Boy
It Might Take Long
Mindil Beach Markets (2013)
Produced and engineered by Sean McLean Carrie
Reviewed by Yasuko Thanh
Five guys. Energetic, solid, toe-tapping rhythms. This music swaggers.
If this CD were a person, he’d be the “bad boy.” Shock of hair covering one eye. Tough guy. But with something else about him, too. In the way he moves. Something that says, I drink alone. And when he does, he sometimes cries.
Fans who’ve come to appreciate this band’s diversity won’t be disappointed. Track 7 starts out like a lullaby. Almost as sweet as chocolate kisses with those little foil wrappers. But the band’s website accurately warns that “light-hearted danceable jams” are tempered by “dark rock” including “a song about the zombie apocalypse.”
I can imagine playing this CD while driving in my car with an elbow out the window. Hanging at the beach, sand in my toes. Or cleaning empties off the kitchen table while clouds roll by outside dirty panes of glass.
There’s some great guitar work here. An I-mean-business style of playing that forces the listener to sit up and pay attention. Do not be fooled by the feel-good innocence of some of these songs. Tracks like those of a roller coaster switch quickly and the next thing you know you’re being taken on a wild ride through other sounds. Good ol’ fashioned rock, sunshine-reggae, even glimmers of punk.The songs flow into each other. And as they do so, they inform each other. They add to the story to create a new whole.
In the past, I’ve stumbled by accident on great bands. Wandered into a gig, wet from the rain, looking more for shelter than music. This CD reminded me of those times when I’ve not anticipated much but discovered something unexpected.
Yasuko Thanh’s short story collection Floating Like the Dead (M&S) was a Quill & Quire Best Books of 2012 selection.
Rita Wong to read from new book at Open Word
Rita Wong
UVic, Fine Arts Building
Room 209
Monday, March 11 at 11 am
Open Space–with Tim Lilburn
Monday, March 11 at 7:30 pm
Open Space’s Open Word: Readings and Ideas literary series continues with two public readings by Vancouver’s Rita Wong. The first reading is scheduled at the University of Victoria, Fine Arts Building Room 209, on Monday March 11, at 11:00 a.m. Later on Monday, Wong will be reading from her book forage as well as new work at Open Space at 7:30 p.m. followed by an interview by Tim Lilburn. Open Word is jointly organized by the University of Victoria Department of Writing and Open Space.
Rita Wong’s poetry excavates the minefields of childhood, family, history, and desire. Her latest collection of poems, forage (Harbour Publishing 2007), explores how ecological crises relate to the injustices of our international political landscape. Querying the relations between writing and other forms of action, Wong seeks a shift in consciousness through poems that bespeak a range of responses to our world: anger, protest, anxiety, bewilderment, hope and love. In her words, “the next shift may be the biggest one yet, the union of the living, from mosquito to manatee to mom.” forage is accompanied by marginalia, Chinese characters and photos that give depth to the political context in which most of Wong’s poems are situated.
Rita is the author of three other collections: sybil unrest (co-written with Larissa Lai, Line Books, 2008), forage (Nightwood, 2007), and monkeypuzzle (Press Gang, 1998). She received the Asian Canadian Writers Workshop Emerging Writer Award in 1997 and the Dorothy Livesay Poetry Prize in 2008. Her poems have appeared in anthologies such as The Harbrace Anthology of Poetry; Regreen: New Canadian Ecological Poetry; A Verse Map of Vancouver; Rocksalt: an Anthology of Contemporary BC Poetry; Prismatic Publics: Innovative Canadian Women’s Poetry and Poetics; and more. Building from her doctoral dissertation that examined labour in Asian North American literature, her work investigates the relationships between contemporary poetics, social justice, ecology, and decolonization. Rita serves as Associate Professor in Critical and Cultural Studies at the Emily Carr University of Art and Design, where she is currently researching the poetics of water with the support of a SSHRC Research/Creation grant in a project entitled Downstream.
Award-winning folkies do it again . . . beautifully
Long Gone Out West Blues
By Pharis & Jason Romero (2013)
Recorded by Ivan Rosenberg; mixed and mastered by David Travers-Smith
Reviewed by Jessica Benini
Long Gone Out West Blues is an authentic folk, roots and bluegrass album uniting traditional classics alongside timeless songs written and performed by Pharis and Jason Romero. This down to earth duo has made a home in the wilderness near the hamlet of Horsefly, BC, home of Pharis’s family for five generations. Not only do they make beautiful music, they also work as a team custom building J. Romero Banjos, a company Jason started in Northern California where he originates. Their music reflects their hard working and organic lifestyle, welcoming you with a laid-back sound of blended harmonies combined with Jason’s smooth banjo licks and Pharis’s thoughtful lyrics.
Traditional songs such as “Across the Bridge,” “Wild Bill Jones,” “It Just Suits Me,” along with Jason’s banjo version of the classic fiddle tune, “Sally Goodin,” are gracefully honored with their renditions. Pharis and Jason’s own songs such as “Long Gone Out West Blues,” “Sad Old Song,” “Come On Home, The Little Things Are Hardest In The End,” acknowledges loneliness while finding inner strength when life brings you down and leaves you with a positive feel. Escaping the weight of the world, your own fears and prisons, and finding rest in the stillness where there is nothing else but you and your thoughts.
One of my favorites is “Lost Lula,” an instrumental and tribute to their dog Lula that never came home, lost to the wilderness on some unknown adventure. It echoes a haunting call into the sunset.
Their previous album A Passing Glimpse, won New/Emerging Artist of the Year at the 2012 Canadian Folk Music Awards, as well as Americana Album of the Year at the 2012 Independent Music Awards. Long Gone Out West Blues is just as strong and fantastic for any occasion–whether you are sipping on homemade iced tea on a hot summer afternoon or in a cozy cabin drinking whiskey in the middle of nowhere. And it will most likely inspire you to buy a J. Romero banjo in support of this genuine couple and their passion for music.
Jessica Benini is a West Coast Folk singer/songwriter and voice, guitar & harmonica teacher based in Victoria, BC.
Victoria author bares more than her soul
By Will Johnson
Yasuko Thanh is not afraid to take off her clothes.
The Journey Prize-winning Victoria author, who published her debut collection of short stories Floating Like the Dead last year, is slated to appear as Miss July in a calendar of nude Canadian authors due in 2014. The project, titled “Bare it For Books,” will raise funds for PEN Canada.
But Thanh may be the only author in the calendar who already has experience working as a nude model.
“I’m trying not to tie those two worlds together as a deliberate decision,” she said. “In my wild-child days, or whatever you want to call it, I did modeling and it was certainly of a different texture. That was working as a part of the sex industry. And that’s not necessarily something I want to relive.”
“I think I have a nudist streak in me,” she said. “Anaïs Nin has this wonderful line, in one of her stories or journals, I’m not sure. ‘As sexless as a child who thinks nothing of his nakedness’. I think of it kind of like that. It doesn’t need to be provocative in that sexual way.”
“When we do the photo shoot that’s coming up on March 3, we have some interesting ideas that are going to stay away from that. It’s going to be fun. It’s going to be tongue-in-cheek,” she said.
The project, which is the brainchild of author Amanda Leduc and classical music producer Allegra Young, will feature 12 nude authors and will raise financial support for PEN Canada.
When Thanh was contacted by Young and Leduc, she eagerly accepted the invitation to participate. Victoria photographer Anastasia Andrews volunteered to take the photos.
“I said any way I can help, I’m there. I think most people have heard of PEN, and I certainly support the work they do.”
Thanh enthusiastically agreed with author Vincent Lam, who will appear alongside her in the calendar and was quoted in a recent story in The National Post as saying that it’s much more personal to publish a book than to expose your body to the world.
“Putting a book, putting your soul out there, that’s way more personal,” she said.
But she also emphasized it’s important to keep her experiences in perspective.
“Yes, it’s a little soul-baring to have a book, to put it out there and to have people saying things about it. Oh, poor me. But there are places where you’re not just putting your soul out there, you’re actually putting your life on the line or you could be looking at a prison sentence,” she said.
This is why Thanh felt so strongly about supporting PEN Canada.
“The fact that there’s an organization out there, fighting for people’s freedom of speech, well that’s great. And I want to support that any way I can.”
When asked why she thought of Thanh for the calendar, which also features a diverse selection of authors such as Miranda Hill, Angie Abdou and Daniel MacIvor, Leduc’s answer was simple: “because she’s hot stuff.”
“The point of BIFB, in addition to raising funds for PEN, is to introduce Canadians to writers they might not have encountered,” said Leduc. “Yasuko is a great writer, a young writer, and maybe not as well known as some of the others in the calendar.”
When asked how she feels about appearing alongside Yann Martel, bestselling author of Life of Pi, Thanh beamed happily.
“It feels friggin’ awesome,” she said.
Writer Will Johnson is back in Victoria after stints in Vancouver and Nova Scotia.
VIMA’s eclectic scene ready to roll
The Vancouver Island Music Awards (VIMA) is gearing up for the 9th Annual Awards show on April 28th. Some of this year’s nominees include the Tequila Mockingbird Orchestra, Steph MacPherson, Woodsmen, Man Made Lake, and Carli and Julie Kennedy. Andrea Routley recently talked with James Kasper, the founder and producer of VIMA, about what to expect.
So, 9th Annual Vancouver Island Music Awards, and you’ve been there from the beginning. You must have heard hundreds of submissions by now, and across such diverse categories like rock/metal, jazz, pop, spoken word . . . Have you noticed any musical trends over the years, or recurring themes? Is there a way to describe “Vancouver Island Music”?
There is definitely an eclectic scene here on the Island, with everything from blues to metal. But probably what I hear most is a kind of vocal-based organic roots-rock sound. I think it’s been like that here for years, from what I’ve observed.
Is there a particular artist or group that stands out over the years? Why?
Any artist who works hard and doesn’t give up despite the challenges and adversity . . . Any artist who treats other artists and fans with respect and kindness no matter what level of success they achieve . . . Those are the artists who stand out to me.
The Awards show is a huge production. You’ve got 1,000 tickets for sale, up to dozens of performers, advertisers, media–camera crew, artist collaborations . . . So quick: Best VIMA show moment ever?
Oh wow, where to begin . . . I like the moments where the audience is so excited to hear the winner’s name that people begin screaming even before the presenter is finished reading the card . . . This happened in 2011 when Aegis Fang won for Male Vocalist, and in 2012 when Lindsay Bryan won for Song of the Year. And really, the whole event is just a rush. I spend 8 months of my year preparing for the main event, and it’s pretty exciting to see it all crystallize into a 3-hour show.
Now, Worst VIMA show moment ever:
Hm, well, the cue cards have presented some interesting challenges over the years, including the first awards presentation in 2011 when the cue cards weren’t ready, and the presenters were left to improvise until I sent the hosts out to do damage control, which they they did just fine. It was stressful at the time, but some people told me later they thought it was all part of the act. Ha. Also, several years back, when David Gogo and David Lennam were hosting, they were asked to give out a door prize and they somehow procured an actual honest-to-goodness door in the rubble backstage and brought it out as a “door prize.” At that point, I shook my head and thought to myself, “I have completely lost control of this show.”
James, you are also a prolific musician, both as a touring musician and a recording artist. What can awards do for a music career?
I always advise independent musicians to just take advantage of any opportunity they can to expose their work and build their network of contacts. A music awards show is one such opportunity. And the Island Music Awards have always been much less about competition and much more about community, celebrating the Island’s music scene, and a way for a diverse array of musicians and music industry representatives to come together on one night and network with each other.
Last summer, VIMA’s put out a call for community support, seeking donations from businesses in order to continue into 2013. The goal was $100 from 50 island businesses. What happened with that?
To be honest, it wasn’t the result we were hoping for. There were some donations from a couple of businesses and a couple of musicians, which we were very grateful to receive, but the event is still in dire need of financial sponsors in order to stay afloat. Any Island business wanting to support this event can reach me at info@jameskasper.com . . . because if we can stay afloat, it would be nice to have a 10th anniversary next year!
The 9th annual Vancouver Island Music Awards show takes place Sunday, April 28th at St. Andrew’s Presbyterian Church, downtown Victoria. Tickets are available now. Contact info@jameskasper.com.
For the full list of 2013 nominees, visit islandmusicawards.wordpress.com.
Monk’s personal commentary not the journey promised
A Year at River Mountain
by Michael Kenyon
Thistledown Press, 271 pages, $19.95.
Reviewed by Judy LeBlanc
The diary form in fiction invites us into the deepest chambers of the human psyche, a terrain to which I am drawn. However, it is not a form preferred by writers for good reason; it takes a compelling narrator to hold you that up close and personal for the length of a book. Cloister that narrator in a spiritual context in a faraway country and before I turn the first page, I am excited about the premise and what most certainly will be a serious grapple with metaphysical questions, insight into the human condition, a sprinkling of ah-ha moments.
In A Year at River Mountain seasoned author, Michael Kenyon (five novels, three books of poetry) takes the reader into the world of an aging actor turned monk from Vancouver who has spent the past twelve years sequestered in a monastery in China. A visit from an actress the year before and her anticipated return forms the skeletal backdrop of the narrative. The beguiling actress named Imogen–of Shakespearean allusion–serves as a ghostly representation of the life from which he has fled and drives the narrator into musings on desire, his childhood and failed marriage, an estranged son. Kenyon strikes a tone of melancholy and timelessness as he describes the changing seasons and the monastic routines: sweeping leaves from the path to the temple, laying out nests, meditation. Nature is imbued with the narrator’s emotions: “Like the weather with its succession of storms, each ripping then drenching the forest, stirring the river into a brown, hissing snake wider every day, I am unsettled.” A sense of disturbance to the old order is heightened by the eruption of images, stark and vividly drawn: a vulture perched on the body of a drowned child as he drifts down the river, a bear nosing the old master’s corpse, a rape scene. A threat of violence lurks just beyond the monastery where unrest in the village culminates in war.
Though the seasons provide a gauge for the passage of time, the plot is more kaleidoscopic than linear. Brief and often disparate episodes drive the story forward and contribute to the character’s increasing feeling of dislocation. It is unfortunate that Kenyon didn’t allow his talent for evocative imagery to carry the weight of the story. An excess of sentence fragments evince poetic pretension. Rhetorical questions are left to hang like so many hollow pieces of laundry. Too many cryptic assertions trip me out of what might otherwise be an absorbing panorama of this man’s psychic struggle. The narrator describes his own commentary: “The massive abstractions and universalities and anonymous figures arrive anyway . . .” It is as if the author, himself, is aware of his inclination to strain toward profundity, and in the end, to fail to deliver.
This book promised a journey through a challenging terrain with the reward of a wider view. Instead, I am left with the feeling that I have scrambled through underbrush and arrived not far enough from my point of departure.
Judy LeBlanc is a fiction writer and a recent grad of UVIC’s MFA program.
Cheryl Strayed finds her way in Wild
Wild: from Lost to Found on the Pacific Crest Trail
by Cheryl Strayed
Knopf, 336 pages, $29
By Lorne Daniel
“The experience of being a writer is a lot like a long walk in the wild,” Cheryl Strayed said early in her keynote address to an audience of 600 at the San Miguel Writers Conference in Mexico on February 13. The Oregon-based writer spoke of parallels between her search for new direction in her life and her literary pursuits.
Strayed’s memoir Wild: from Lost to Found on the Pacific Crest Trail, was an Oprah book club selection, spent weeks on top of the New York Times bestsellers list and is soon to be made into a movie starring Reese Witherspoon.
The book came about only after she hit “that bottom place in my life.” After her mother died, Strayed lost herself in promiscuous sex and heroin, destroying her marriage. Strayed, who grew up in rural Minnesota, says it was natural to go “looking for home in the wild” on the Pacific Crest Trail.
“I was just flinging myself in the direction of what is good.” In the process, “I got to feel part of the world again,” she says. “On the trail, I experienced all the consequences of my own actions.”
Even so, “experience doesn’t make a book,” she emphasizes. “Consciousness does. I didn’t have a story to tell until I started to write it.” The book was written years after the hike was completed.
“The next journey, after the hike, was becoming a writer,” she says. “I had to really, truly apprentice myself to the masters of the craft. And I did that.” She learned, in part, by “just typing out the work” of writers like Alice Munro, or writing paragraphs that tried to emulate the style of works she admired.
Strayed started writing Wild as an essay “but by page 75 of the draft we had come nowhere close to the [Pacific Crest] trail.” She realized she had to expand it into a book with a broader focus. “Structure is the toughest nut to crack,” she says of decisions about how to build the narrative and integrate events that occurred well before her trail trek.
Working from journals and her memory, Strayed also checked back in with some of the people she had met on the trail to verify her recollections. In many cases, though, Strayed was on her own in both the literal and literary sense.
In her keynote, Strayed read a scene from the book in which she is at the start of the trail but can’t budge, let alone lift and carry, her monstrous backpack. She plays the scene for considerable laughs but acknowledges a writer’s dual purposes of entertainment and engagement. “The deeper meaning of that scene is: how is it that we bear the unbearable?” As a writer, “you start to see yourself in terms of those larger questions.”
“I was wildly ambitious” in pouring herself into the book, Strayed says, but she also “embraced the fact that my book is probably going to fall short” of her literary ambitions. “I had absolutely no idea that one day my cell phone would ring and it would be Oprah Winfrey.” And for writers who might wonder, no, she says, she had no previous network of VIP connections. The book simply found–and continues to find–readers who identify with a lost person searching for her self.
Lorne Daniel is a Victoria-based writer of poetry and non-fiction. You can find him at www.lornedaniel.com, on Facebook and Twitter.
