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Love of language shines in poet’s fifth collection

House Made of Rain

By Pamela Porter

Ronsdale Press

98 pages, $15.95

Reviewed by Candace Fertile

House Made of Rain is Pamela Porter’s fifth collection of poetry for adults in five years, and the subject and style of most of the book will be familiar to her readers. Pervaded by religious imagery, these poems grapple with abandonment and absence. Sadness and emptiness are hallmarks of Porter’s works, and I was often overwhelmed by the sense of disconnect the speaker has in many of the poems about human relationships.

In Late Moon (2013), Porter, a Vancouver Island resident, dealt with the mystery of her father. In this new collection, that concern continues, and perhaps gets a bit repetitive. One can understand why Porter focuses on her paternity, but it’s not a concern most readers will share.

This latest collection has three parts: the first is a long sequence of 29 numbered poems under the title “Atonement.” These poems are replete with guilt and a religious fervour. The imagery is largely Christian, and Porter ties the question of a father with that of The Father. Readers with a strong connection to Christianity will find rewards although at times the language is forced: “when the angels cried their coyote cries,” for example, leaps off the page but not in a good way. The other imagery is typical of Porter’s work: animals, plants, and light. And while Porter is committed to the lyric, she breaks that approach with the twentieth piece, a prose narrative about a girl whose father abandons her. The switch in approach is disruptive; this piece may have been better placed at the beginning or the end of “Atonement.”

The second section of the book is comprised of 17 titled poems of a length between one and three pages. Sometimes the page breaks separate the poems into distinct parts although the white space at the bottom of the page often fooled me into thinking I was at the end of the poem; once I turned the page, I discovered the poem continued, a somewhat destabilizing experience. And the topic of fathers continues. “The Name I Carried,” for example, ends powerfully:

and God continued to pursue me
though I never saw him,
and I remain fatherless.

I was most engaged by the third part of the book, titled “The Book of Astonishment.” It’s an abcedarian poem that plays beautifully with the form. Porter moves through the alphabet and creates lists, and within the lists are shorter italicised lists beginning with the particular letter. The first mini-list is “annulet, anthem, antiphonal, aurora.” The poet’s sheer joy of words forms the basis of this long poem, along with the splendid images and the alliteration. Porter has a gift for imagery, and her intense appreciation of the natural world comes through on every page.

When Porter lets herself go, as she does in this final segment, wonderful things happen. There are gems in the rest of the book (“We’ll speak of the way we held/ forgiveness in our pockets”), but this third part absolutely creates astonishment.

Candace Fertile teaches English at Camosun College. 

Add Pen-in-Hand reading series to your calendar

Pen-in-Hand Poetry and Prose Reading Series

Featured Readers (Sept. 15): John Barton, with Chris Gudgeon, Lukas Bhandar, and Yusuf Saadi

Next reading: Oct. 20

Reviewed by Julian Gunn

The Pen-in-Hand Poetry/Prose Reading Series takes place on the third Monday of every month at the Serious Coffee in Cook Street Village. September’s lineup featured celebrated local poet John Barton, whose most recent collection, Polari, was released by Goose Lane Editions this spring. Reading with Barton (pictured) were Chris Gudgeon, multi-faceted author of the novel Song of Kosovo and nonfiction book The Naked Truth: The Untold Story of Sex in Canada, among many other works; Lukas Bhandar, whose essay “I Love My Hair, I Hate My Hair” is published in Issue 4 of Plenitude; and Yusuf Saadi, whose poem “Spacetime” appears in the recent “Speed” issue of Vallum.

At the playful instigation of Chris Gudgeon, the four scheduled readers performed in two short rounds – something like a literary debate, though without acrimony. As part of a series engaging historical Canadian homophobia, Gudgeon read “Fruit Machine,” about a grotesque real-life device once used in an attempt to weed out homosexuals from the Canadian civil service.

Yusuf Saadi, an MA student at UVic, told the audience that he had just arrived in town a month ago and was impressed with Victoria’s famously walkable proportions. His poems, often tightly bound by a single metaphor, spun metaphysical and astronomical images into meditations on distance and duration. His lines, in poems like “Spacetime,” were laden with rich verbal elaborations. Interested readers can also find his poem “Breaking Fast” in PRISM’s Summer 2014 issue.

To my ear, John Barton’s experiments with traditional form have brought a new playful tone to the poems of Polari. “Shirtsleeve Weather,” written in heroic couplets, showcased this recent interest. Speaking about the five-stanza glosa “Closing the Gate of Sorrow,” Barton explained that the glosa began with a quatrain from another poet’s work, then used the following stanzas to elaborate on the quatrain, each stanza finishing with a borrowed line. Barton chose a section from Stephen Mitchell’s translation of The Epic of Gilgamesh.

Lukas Bhandar, reading fourth, gave us an excerpt from his Plenitude essay, a personal and critical reflection about body hair, ethnicity, and, as Plenitude points out, “the racism of gay beauty standards.” In a vivid and intimate anecdote, he recounted the laborious process of attempting to shave his legs – and the sensation of waking up the next day. A journalism student at UVic, Bhandar is an intern at the Malahat Review. Readers may also have caught his performance at Pride and the Word 2013.

After a short break, the writers returned for a second round. Unfortunately, the coffee shop had to close precisely at nine o’clock, so that instead of a second act, their return became a coda. Each author read only one more poem or section of prose. Gudgeon made the most of his time, reading out “Canadian Tourister”, a caustic incantation of warped Canadiana – hypnotic, profane, and provocative. Bhandar’s essay was least well served by the cutoff, and several audience members called out their disappointment when he had to stop short. Hopefully, they were all driven to finish the essay in Plenitude.

I encourage readers and poets to attend the Oct. 20 Pen-in-Hand reading. The organizers, particularly host Amy Ainbinder, create an informal and welcoming environment.

5 Questions with Jon Middleton of Jon and Roy

Victoria folk band Jon and Roy have been busy making music since 2005. The two musicians independently released their eighth album, By My Side, in May, available for purchase online. The band has been touring extensively throughout Canada in support of the album, ending their tour at Rifflandia festival recently. Band Member Jon Middleton recently spoke with Emmett Robinson Smith about touring and different aspects of the album.

You’ve been touring pretty heavily in support of your new album, By My Side. Has this tour been different from others?

In some ways it has been. We are at a place now where we are confident with our live show and we are comfortable, and at home, performing on stage, so pretty much every performance has been an absolute pleasure this summer. Also, we flew in to most of our shows this summer which was nice. It allowed us to spend more time at home during the weekdays.

Was there a particular show where you felt an especially strong connection with the audience?

There were two, actually: one [was] in Edmonton at a small club. Usually we play bigger venues in Edmonton but we’d booked this show last minute and so we couldn’t get anything larger. But it turned out to be one of our best shows of the summer; it was an intimate crowd and everyone was right there in our face, surrounding us and singing loud and dancing along. It’s great to play tiny clubs like that once in a while, it feels like you are right there with the audience. Another highlight was our performance at Tall Tree Festival in Port Renfrew. It was a nice sized crowd, but the vibe was the same as the Edmonton show. The people were awesome and down for a good time.

Your new album has many references to both nature and love, sometimes simultaneously. For example, “I want to have fun in the sun with my daughter” on the title track, and “Here in the desert, I need your water” on “Take Me By Surprise.” Were these motifs deliberate?

Kind of, I suppose. I love nature, I love being outdoors and going to the ocean and going hiking and watching the moon. All that and more. I feel at home in nature so it comes out my lyrical content. As for love, well, love is amazing. And not just the idea of being in love, but love for everything. I’m becoming more at peace with what love is and so perhaps I’m singing about it more.

The standout track for me on By My Side is “Every Night”. Musically it’s quite different from most of the album. Was the creative process different for this song?

Mmm, not really. The only difference to me is that there is a bit of a different feel to it and the electric guitar is more prominent. Also, Roy’s drum beat is really an integral part of the song and it takes the song from a simple folk tune to something more interesting.

You ended your tour here in Victoria. What’s the plan now?

Well, we will be hitting the road again in November to tour some places in Canada we didn’t get to in the summer. And then back in the studio! The music is flowing steadily. Then we shall see what 2015 brings.

Emmett Robinson Smith is a classical pianist at UVic and a member of the band Modest Nudist.

My Rabbi makes for riveting drama

My Rabbi

A play co-created by Joel Bernbaum and Kayvon Kelly

Directed by Julie McIsaac

The Belfry Theatre, Sept. 16-28, 2014

Reviewed by Joy Fisher

When a Jew and a Muslim walk into a bar in My Rabbi, two old friends rediscover each other. But can they revive and maintain their friendship in a time when Palestinians and Israelis are locked in conflict? That’s the central question of the play. Their struggle makes for riveting drama.

Co-created and acted by Joel Bernbaum (Jake) and Kayvon Kelly (Arya), the play races along as it explores the question in a series of short scenes. The two actors capably take on other roles to advance the narrative. In one scene, Bernbaum plays a brutal interrogator; the snap of Arya’s broken finger is audible and convincing. Character changes were clear and convincing, testament to the talent of both of these actors.

The setting is spare—a table, a couple of chairs—a classic set-up for great theatre. And, in this play, that’s exactly what emerges.

My Rabbi is described as a comedic drama, and humour (too often sexist humour) leavens the drama. But I had tears streaming down my face for much of the 60-minute show, as the two characters struggled with increasing difficulty to be supportive of one another as they each faced life’s trials. In a monologue near the end of the play, Jake, by then a rabbi, questions how hate can be resisted in this polarized and polarizing world.

The play offers no easy answers, but the playwrights wisely disrupt the chronology to leave the audience with a glimpse of a happier time. The final scene is a flashback to a moment just before Arya is to leave on a cultural exploration of his father’s homeland, Syria. Jake celebrates with him. They clink drinks and salute each other. “L’Chaim,” they say—to life!

Kelly and Bernbaum, collector and editor of last season’s popular verbatim theatre presentation Home is a Beautiful Word, sketched out a first draft of the scenes in a pub after graduating from the Canadian College of Performing Arts in Victoria in 2008. The characters were initially based on themselves (Bernbaum is of Jewish descent and Kelly, whose last name was formerly Khoskan, Iranian). But the play developed over the next six years into an exploration of what might happen if two formerly non-religious friends embarked on very different journeys of religious discovery in a world where adherents to their respective faiths are locked in mortal combat.

In 2009, the play had its first reading as part of Puente Theatre’s WorkPlay series, and, in 2011, it was featured at the Belfry’s Spark! Festival. The finished work was well-received in its world premiere at the Edinburgh Fringe Festival in August during the height of the most recent Israeli-Palestinian conflict in Gaza. The current run at the Belfry is the Canadian premiere. After it closes in Victoria, it will play at Vancouver’s Firehall Arts Centre from Oct. 7-18.

Do yourself a favour and go see this play before it closes in Victoria on Sunday (Sept. 28). You’ll be glad you did.

Sharp and quizzical look at human experience

The Pull of the Moon

by Julie Paul

Brindle & Glass, 2014

$19.95; 184 pages

Reviewed by Margaret Thompson

If fiction serves to map what makes us human, the short story may represent those small regions, shown in contrasting colour to demonstrate their position vis à vis the larger country or continent, and magnified to reveal their complexities in more detail. In her second collection of short stories, Julie Paul surveys the minutiae of human relationships with a sharp and quizzical eye.

Her characters are what would be called ordinary people: married couples and single parents, friends and colleagues, family members and complete strangers. We observe them in their separate landscapes, coping with separation and parenting duties, going on holiday, irritated by their neighbours and apartment living, resentful of family demands—all very much the stuff of daily life until we hear the details. Then we see the old secret behind the cottage holiday that has frozen a family in denial and guilt in “The King is Dead,” the psychic distortion caused by the accidental killing of a baby rescued from a car wreck in “Damage,” the grief and loneliness of a brother and sister, “each with a country to themselves,” in “Crossing Over.”

Many of the characters yearn for love and connection, but there is not a single straightforward path for any of them. In “Flip,” the main character seems at first to be a caricature of a librarian: Claudia is timid, socially awkward and has a talent for self-deprecation. She has also had very few sexual experiences apart from an early collision with fellatio and a short-lived relationship with Clark which ended with a text to say he’d gone to Alberta.

Rodger’s courtship transforms Claudia, who “feels like another person has entered her body,” and she finds herself whisked off to Cuba, where she sees, “Women with gigantic cigars in their mouths, looking like they’re enjoying themselves immensely.” This is sex as fun, but Andrew’s experience in “Weeping Camperdown” is alarmingly different. He is a single parent dipping his toe in the dating pool once again. He seems to find a soulmate in Joni. Lying under the Weeping Camperdown in the Ross Bay cemetery is idyllic, but subsequent events quickly bring far more than he bargains for, Joni’s ideas of love being as freakish a mutation as the tree.

Guilt and responsibility for others run like underground rivers in many of the stories. The narrator in “Adios” struggles with her part in Fred Poole’s death, having ignored her neighbour, the victim of a stroke, when she saw him wandering down the street. Even this guilt has its complications, for the Pooles resist medical intervention for religious reasons, and there is a delicious irony in the end to the narrator going to Mrs Poole’s rescue when she has a fall, and becoming “the answer to a prayer.” Angela in “Her Full Name was Beatrice” frets over her role in the tragedy of her friend Erica murdering her child, Beany, tormenting herself with “what ifs,” dreaming of alternative scenarios, addressing herself as “You.”

This is not to say that the tone is unrelievedly serious. There is a delightful sense of humour at work here, and even the most serious stories are leavened by wit, by captivating throwaway lines, by hilarious, incongruous detail. It is a reminder that we are dealing with humans and human behaviour seen up close: funny, sad, inadequate, tragic, venal, conflicted, desperate, sometimes even noble. This particular cartography is often entertaining, frequently disturbing, and always illuminating.

Julie Paul will launch The Pull of the Moon on Sept. 28 at 7.30 p.m. at Munro’s Books in Victoria.

Margaret Thompson’s new novel is The Cuckoo’s Child.

Rifflandia: Death Cab for Cutie worth the 17-year wait

Day 3 of Rifflandia 2014,

Royal Athletic Park,

Reviewed by Chris Ho

The hot sun beat down as swarms of  people waited in a massive line that  veered down Cook Street. Luckily, I  wasn’t wearing my banana-suit costume  like the brave men in front of me, but part  of me wished I had. I already felt carefree  energy in the air. Royal Athletic Park was  decked out with two stages, one on either end, and a plethora of vendors and activity tents.

As I walked through the entrance, a giant banner popped out from above: Rifflandia. To my left were black wooden Artlandia panels and a big main stage. To the right, aisles of local vendors led the way to the side stage tent, fast-food trucks, and then, of course, to beer and cider taps.

I was impressed by the musical choices: indie rock, dubstep, Celtic dance-pop, 70s influenced pop-punk and hip-hop. I hadn’t encountered anything like the fiddle-infused dance-pop that is Kytami: the high-energy fiddler hardly missed a beat, even as she danced around, stirring up the crowd, her arms and fingers moving furiously to the notes.

While the main stage sound quality and setup was successful, I had a love-hate relationship with the Rifftop Tent side stage. Everyone appreciated the much-needed shade of the big tent, but unfortunately the sound was muddy trapped under the tent roof. In the end, I put it out of my mind while listening to the Dum Dum Girls.

An all female line-up, the Dum Dum Girls had one guy fill in on lead guitar. He too had awesome long hair and matched the well-coordinated black outfits of the trendy rock trio. The initial impression I had from their video Bedroom Eyes was that they overplayed the gorgeous girls with guitars shtick. But their live performance was more about heartfelt lyrics backed up by Blondie-inspired harmonies and dream-pop guitar licks.

Even though it’s predictable to say so, the highlight of day three was the headlining act, Death Cab For Cutie. As I first discovered at the group’s Pacific Coliseum performance in 2009, there is something special about a band that has played the music it loves for almost two decades. Their on-stage chemistry and energy was infectious. The crowd roared with excitement after the opening song as Ben Gibbard (lead vocals) announced this was their first show in Victoria since the band formed in 1997.

“Wow, they’re old,” I heard a young woman say.

She sounded disappointed. But to me, that was incredibly exciting: the last time Death Cab performed in Victoria, they were just starting out. Seventeen years later they’re back, an international success, still flawlessly performing some of the very first songs they wrote.

After the encore, Ben Gibbard gave a heartfelt thanks to the multi-instrumentalist and co-founder of the band, Chris Walla, who had just played his last show with the band. It was a moment to remember. The drums built up and crashed on the closing note of Marching Bands Of Manhattan and the band put aside their instruments for a group hug. A flurry of camera phones reached up to capture the occasion.

We finally made our way to the exit lights with huge smiles, plastic beer cups crunching underfoot.

Chris Ho is a Victoria musician and writer.

Memoir melds crime with domestic reality

Victoria resident Alicia Priest’s new memoir, A Rock Fell on the Moon: Dad and the Great Yukon Silver Ore Heist (Harbour Publishing, 251 Pages, $32.95) is both exciting and informative. She will be launching the book on Wednesday, Sept. 17 at 7:30 p.m. at the Bard and Banker, 1022 Government Street. Priest recently talked to Lynne Van Luven about the research that went into her move from short-form journalism to the book format.   Most readers will have seen Priest’s frequent byline in publications such as The Globe and Mail, The Georgia Strait and Vancouver Magazine, but she’s risen to the challenge of a book with her usual professionalism.

You have so much experience as a newspaper, radio and magazine reporter — over 25 years — and the gratification that comes with constant publication.  Was it difficult to “settle down” and focus on one topic for a book?  

At first it was, not the topic so much as the organization and stamina. But once I’d completed the first three or four chapters, the book had me by the throat. I was possessed and couldn’t stop writing. The chapters just flowed. But, as always, writing is re-writing. I was grateful for the extended time.

Alicia, I found your memoir really engrossing, and I am glad you were able to tell this family story.  In the process of doing so, how did your emotional connection to or assessment of your father change?

If anything, it confirmed my suspicions that my dad was a deeply troubled man well before the silver heist. He likely was an unhappy boy. What I saw as a child was his affectionate, playful and clever nature, which was part of him too. He suffered as well but the wounds were self-inflicted and made at our expense. I always loved him.

Memoir requires the interplay of both research and memory.  Can you talk a little about how that worked for A Rock Fell on the Moon?

A lot of research went into the book, both delving into historical, forensic and legal archives and research through interviews.  I had more than 900 pages of the official RCMP file to go through, about a third of it redacted. As well, I had more than 300 personal letters to read. And several books and articles. My plan was to do all the research first and then concentrate on weaving my memories in and out with the documented facts. I took creative license in relating certain scenes that I knew about but for which I was not present. For the most part ,that is how the book came together but not completely, do check here and read the whole case. Not surprisingly, there were hiccups, stalls, and last minute discoveries. For instance, well into the writing I learned that the lawyer who represented my father at the 1963 preliminary hearing was living in Vancouver and recollected him and the event clearly. Of course, he had to be interviewed.

I have to confess that as I read your memoir, I found my sympathies shifting between your parents, but in the end, I felt your mother put up with a lot and that your father was one of those dangerous charismatic men whose constitution might not be suited to domesticity.  Is it unduly intrusive to ask how you ended up feeling about the marriage, once you had the book finished?

They never should have married. They were inherently mismatched. But I understand why they did. For my mother, it was a form of rebellion against her Mennonite upbringing and for my father, well, she was a dream come true. And, hell, they were infatuated with each other, which we know is a form of temporary insanity.   My dad put out many red flags  – his brooding, anti-social nature, his antipathy for cities, the fact that not one of his friends or relatives attended their wedding – which my mother ignored. She had a naïve belief that her love would bring out his better qualities and suppress his bad. Many women did during that era. And they did not know each other well – only six months through correspondence and four months in person.

I learned a great deal about Keno Hill, the Yukon Territory and silver mining from your memoir. So few Canadians have the background you have.   Looking back, how do you think your northern childhood shaped you as a person?

My childhood gave me so much: a passion for the natural world, for animals, for reading and writing, for music, for stillness, and the ability to amuse myself without TV, radio or telephone. I was and am never bored.

How to flunk out of gender into something better

Gender Failure

Ivan E. Coyote and Rae Spoon

Arsenal Pulp Press

265 pages, $17.95

Reviewed by Julian Gunn

And what a gorgeous failure it is.

Gender Failure is the new book by performers, authors and musicians Ivan E. Coyote and Rae Spoon. Under its wry title, it succeeds on any terms you care to apply: as a work of art, a collection of autobiographical essays, the record of a stage show, and a gentle but firm declaration that if we do not honour each other’s authentic, struggling, and contradictory relationships to gender, then we fail each other.

Is this a brave book? Sure it is, but I don’t like using that word brave. We mean something good by it, but we also sometimes mean, “Brave, not like me.” We use it to create a little bit of distance between the brave person and our ordinary selves. When people called me “brave” after my own transition, I thought, “That’s not what it felt like at all.” Instead, I want to say that this is a powerfully vulnerable book, and that the more vulnerable the book gets, the more powerful it becomes, because it invites readers to take the same risk.

Fittingly, Gender Failure is a book that can’t be reduced to simple categories. It is based on the collaborators’ live show, and incorporates photos, illustrations, and song lyrics. There are no simple, fixed narratives of gender identity here. There are stories about gender transitions, yes, in the sense of transitions in how each author felt and thought about living gender. Yet Gender Failure is about transition in all kinds of other senses, too. A big part of Rae Spoon’s story is their transition from folk/country to electronic/indie musician, and beyond. Ivan Coyote transitions out of writing a long-term newspaper column. The authors describe physical and social transformations, transformations of wardrobes and pronouns, but ultimately the transition that matters is the one towards self-determination and self-celebration. It’s not a complete journey. How could it be, especially while gendered norms are violently enforced, even in spaces where we expect better? Spoon writes wrenchingly of finding that “the freedom that is part of the rhetoric about indie music . . .  is reserved only for certain people.”

In a section entitled “Do I Still Call Myself a Butch?” Coyote writes, simply: “Yes. Of course I still do.” It’s a reminder that these words—Butch, trans*, Spoon’s playful-yet-serious coining “gender-retired” – are supposed to make space in the world for people to live as their whole selves, not create new ways to exclude and shame each other’s difference. Part of what’s inspiring about this book is the way these two, as collaborators and friends, make loving mirrors of themselves for each other.

Here’s what I hope most of all: that Gender Failure marks the beginning of a new wave of declarations from gender dropouts and gender retirees, gender inventors and gender artists. May we all fail at everything that is wounding and constricting us. May we fail together into something better.

Reviewer’s Note: As good as Gender Failure is, it’s not the same as a live show with Spoon and Coyote. If you get a chance to see one or both of them, go. Meanwhile, clips are available on YouTube.

Julian Gunn is a Victoria poet and essayist.  

Axiatrix can’t escape genre

Blackbirds, 225 pages, $19.95

Blackbirds Two, 226 pages, $19.95

By Garry Ryan

NeWest Press

Reviewed by Judy LeBlanc

Garry Ryan has eight novels to his name, a following for his Detective Lane series, a Lambda award and a great premise in Blackbirds and Blackbirds Two. In these first two of the trilogy he draws attention to women pilots in the Second World War, and unearths little known historical facts such as the eleven black POWs who were tortured and murdered by the SS in Wereth, Belgium.

Sharon Lacey, a young Canadian who goes to England in 1940 to fly for the Air Transport Auxiliary (ATA), is also looking for her estranged father and soon becomes entangled in sordid family dynamics. Much happens to her in the first book, including brawls with Messerschmitts and discovering she has a half brother. Blackbird Two follows her through war, where she evolves into a hard-nosed senior commander with a passion for social justice. Like all fictional war heroes, she kills, suffers moral conflict, and amidst the carnage performs good deeds. Sharon is a woman tucked squarely into the war story canon. The ATA, not typically engaged in combat, served without fighting– a dichotomy that might be explored in a more literary book. However, such story telling would require a nuance that is not demonstrated in these books.

Not hours before reading myself into the cockpit of a spitfire with Sharon, I raced across the Nevada salt flats with a female motorcyclist in Rachel Kushner’s The Flamethrowers. Though both books involve women engaged in high-speed atypical behavior, the irresistible comparison settles more on genre than gender. Ryan’s books are about an aviatrix while Kushner’s is not about a female motorcyclist, though on that bike, you get how “nothing mattered except the milliseconds of life at that speed.” There are no lines so fine in the Blackbird trilogy, and this makes The Flamethrowers a work of literary fiction while the two Blackbirds are fair to middling plot-gobblers.

Graduate school teaches that it matters less what a book is about than how it is written. The formula is simple: there is good writing and bad writing, and plot-driven writing is bad. Furthermore, one should avoid the “expected.” I see little in Blackbirds that is unexpected other than gender and a sprinkling of historical facts.

When I think of the genre wars I want to lie down, and though I’m over MFA school, I grow even more weary when, while happily fantasizing myself into the character of a Second World War pilot, I encounter yet another head of  “slicked back” hair, or I’m meant to feel the character’s “tingling thrill.” This ejects me out of my fictional dream.

And yet, there were brief moments while reading Ryan’s books when I was able to slide into the cockpit of a spitfire face to face with the firmament and nothing stopping me, neither gender nor Nazi plane. Maybe at the end of the genre wars there’s only this, the simple pleasure of an image.

Judy LeBlanc is a writer who lives in Fanny Bay and organizes the Fat Oyster Reading Series.

Simpson’s spirited stories shift perceptions

Islands of Decolonial Love

By Leanne Simpson

ARP, 143 pp., $14.95

Reviewed by Tyler Gabrysh

Leanne Simpson’s latest work, Islands of Decolonial Love, is an impressive collection of short stories. Simpson’s book includes poems and brief vignettes, as well as audio downloads for select stories to round out the reader’s experience.

Simpson’s writing concerns Indigenous Peoples– particularly those of her own Nishnaabeg nation.  Her work conveys heartache, sensitivity, and innocence, sometimes at odds with circumstance, blemished truth, and awkwardness.  Readers are introduced to this collection through the narrator’s unsettling (and implied) account of a relationship incident.

Throughout the book, many words (and chapter titles) replicate the language of the Nishnaabeg with an according translation given at each chapter’s end. While this is admirable, a single index would have been helpful.

“waaseyaaban” opens with the narrator describing the single shower all four family members take as mother “instructed us to wash ourselves and our five pairs of dirty underwear.” Then, “binesiwag” tells of an eight-year-old’s resistance to staying with relatives for the first time. Next, “it takes an ocean not to break” reveals disdain for an ignorant white therapist who uses the word “aboriginal” too frequently.

Simpson jolts us with jarring content, including the following from the narrator’s friend: “lucy says that i made a critical mistake on my first day of therapy. ‘you have to lay all of your indian shit out on the first day, drug abuse, suicide attempts, all the times you got beat up, all of that shit. then you sit back and watch how they react. then you’ll know if they can deal or not.’ ”

As effectively as Simpson jolts us here, she finesses elsewhere. “Caged” concerns a spotted lynx and a male bear, along with  “nozhem,” a female bear spirit. The tone is warm, reaching for compassion. “She told him 10,000 years of everything” is rich in atmosphere as a thirty-something waits at a music gig to interview the lead singer before a timely romantic encounter. “For asinykwe” is tender prose about a woman healer. Although not a central focus, humour pops up now and again, too.

Overall, Simpson provides a host of rarely heard characters and various means of travel and experience. The language is woven with spirit, symbolism and metaphor. Phrases strike a chord and readers are made to re-examine presuppositions they may have held about Indigenous Peoples in Canada.

Tyler Gabrysh (www.tylergabrysh.com) is a writer who lives in Victoria.