Tag Archives: Dundurn Press

The Pitfalls of Life in Our Fast-Paced World | Review of “The Slip” by Mark Sampson (2017) Dundurn Press

9781459735750

There is a feeling among many that our society is moving too fast. The sense that nuances in the general discourses in our everyday life seem to be lost with the rapid speed that our technologies brings us information is common and causing concern. So it would be natural that a work of literature would document that fear present in the human condition. And that is what noted author Mark Sampson has done with his book The Slip, along with a dash of humour.

Page 33

Back in the CBC studio during the commercial break I was tremulous. As a stagehand came by to re-powder my brow – I was tacky with sweat by this point – my imagination began to corkscrew out of control over how my gaffe might be reverberating around the country. My heart raced as I looked over at Sal and Cheryl, who sat cool as breezes at the other end of the desk. Their poppies hovered over the breasts like beacons of respectability, while mine was probably fluttering somewhere among the eaves or gutters of Parliament Street.

I gestured to Sal to lean back in his chair with me, and spoke to him sotto voce when he did, even though Cheryl was sitting right between us. “Look, when we come back, can I have a chance to clarify what I just said?”

“Sorry, buddy,” he replied, “but that segment went way over. We only have about five minutes left, and I have several other points I want to cover.”

He sat back up and I reluctantly followed. The three of us waited in silence for the commercial break to run its course. Cheryl’s face held a patina of diplomacy, but I knew what she was thinking: that she had bested me, that by hijacking Sal’s role as interviewer she was able to cast me as the extremist and herself as the voice of moderation. With less than five minutes left, I would need all of my intellectual heft to turn things around. I the seconds before we came back , I looked up once more at Raj standing in the booth. His head was now bowed over his phone, his brow furrowed. Oh God – he was probably on Facebook or Twitter right then , watching the obloquy and snark over my blunder flood in. Was Grace there, too, gingerly defending my moment of indiscretion? Or was she still steaming over my fecklessness as a father (Phillip, your daughter scalded herself), or, worst of all, my complete ineptitude at keeping track of our social calendar? Oh, Jesus, why couldn’t I remember what we’re doing on Sunday?

Sampson is a talented writer who knows his craft well. There some serious reflections on our society in this at-times humorous story of Dr. Philip Sharpe, as readers follow his blundering attempts to salvage his reputation after a brutal slip of the tongue during a live television broadcast. But more importantly we see the profound academic realize the more important aspect of his life is not his career or his reputation but his family and as he tries to mend those broken relationships that are so important to him.

Page 175

Let us speak of weekend rituals. I will marvel, as you no doubt will, at the way children can sleep like Tut in his tomb all week long, ignoring the beseeches of parents pleading against the clock, only to swarm from their chambers on Saturday morning and fill an ungodly hour with frenetic clatter. But I’m up. I’m up and I’m there to provide assistance at the toilet, to find a lost Dora, to pour cereal and locate cartoons on TV. I’m there in bathrobe, in eye crust, in fuzzy slippers. I am there with spatula in hand, hunched over sizzling skillet, cooking my wife a hot, proper breakfast. I’m there on the porch, hauling in fat weekend papers (though not as fat as they used to be), which I will divvy up like a whale carcass after a hunt. To Grace go sections like Style and Living and Weekend. To me go sections like Focus and Argument. The kids get the funnies. We each have our perennial favourites: Grace got straight to Globe Style, which oddly, contains recipes: I, meanwhile, grouse over and increasingly etiolated Globe Books and then dive-bomb the Star’s op-ed section. And if things are good, if things are humming, my wife and I will speak to each in the idioglossia of our marriage, a nonsensical lexicon of love and domesticity. If things are good, we will cheer or heckle or debate what we read, aloud to each other our fingers gone black with newsprint ink.

But on this Saturday, things were not good. Not good at all. Four Metcalfe Street seemed full of gloom. I had brought the papers in but not bothered to divide them up; they sat in a segmented pile on the kitchen table, portending more column inches about my unconscionable gaffe from Monday. As for breakfast, I couldn’t bring myself to do much more than a couple of toasted bagels for Grace and me. The Bloody Joseph I mixed for myself tasted flat. The autumn light through our kitchen window held a faint grimness. Grace came downstairs, a Medusa of bed-head and frayed kimono, sat at the kitchen table, picked briefly at the papers, stared out the window. I sat across from her, slowly smearing my bagel with cream cheese.  We said nothing. We said nothing.

For the longest time, I have been looking for a book – a printed book – worthy of explaining my joy in reading at the moment. It was a joy for me to take a break from the hustle of the day, ( to turn off the computer and the television) and to quietly ponder the exploits of Philip Sharpe. And in those quiet moments that I forced myself to take, I pondered my own existence while followed the downward and at times funny-because-I-have-done-that-too exploits of Sharpe as he blindly attempts to redeem his purpose in life.

Page 212

How much are you interested, dear reader, in what transpired next? in one sense, it was a fairly typical domestic row, a bile-spewing stichomythia that orated the inanities of our marriage. On the other hand, you should probably know that Grace and I once again ignored the true catalyst of our fissure – that abominable slip of mine from Monday. One again we didn’t mention it, and ergo mentioned pretty much everything else.

Mark Sampson has given readers something truly to enjoy and think about in The Slip. He has documented the fears we all have in our too-fast, media-rich society and given us some good chuckles in the process as well. A great read and a great piece of literature.

*****

Link to Dundurn Press’ website for The Slip

Link to Mark Sampson’s blog  – Free Range Reading

Link to my Q&A with Mark Sampson – “As I grew more and more aware of the way social media can really amplify public gaffes, I began to see a comic story emerge about how a situation could really put this marriage on the ropes”

“As I grew more and more aware of the way social media can really amplify public gaffes, I began to see a comic story emerge about how a situation could really put this marriage on the ropes” | Q&A with writer Mark Sampson on his new novel “The Slip”

9781459735750

I don’t think I am alone in stating that the world that is now enveloping us feels a bit too fast-paced and artificial. So it may be time to take a step back and look what that realm is truly like. Writer Mark Sampson has given us a starting point for us readers for pondering and discussing our actions in the era of super-hyped-up mass media in his latest novel The Slip. Sampson was kind enough to answer a few questions for me about the new book.

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1) First off, could you give a bit of an outline of The Slip?

Sure. The novel is about a fictitious University of Toronto philosophy professor and public intellectual named Philip Sharpe who appears in a nationally televised debate with one of his fiercest rivals, a right-wing newspaper columnist named Cheryl Sneed. In the heat of the debate, Philip ends us saying something wildly inappropriate to her as a woman, which gets captured on live TV. His “slip” quickly goes viral on social media, and the fallout becomes a kind of catalyst to expose all the cracks and problems in Philip’s marriage to his much younger, stay-at-home feminist wife, Grace.

There is a somewhat off-kilter constraint on the story that complicates Philip’s situation. He actually says two inappropriate things during the TV debate – the sexist dig at Sneed, but also an earlier comment that is philosophically inconsistent with the beliefs and ideas which Philip has built his entire reputation on as an intellectual. Ever the “absent-minded professor,” Philip spends a large chunk of the novel thinking that the world is in a rage at him over the earlier remarks rather than his misogynous comment at Sneed. It’s a 200+-page obliviousness that is (at least I hope) played for comic effect; but I hope it also points to some heavier ideas about how our words can sometimes cause harm without us realizing it.    

2) Am I correct in assuming that this book is a bit of departure from your previous writing? If yes, how so? Was there anything specific that made you write this book?

It’s a departure insofar that The Slip is a straight-up comic novel in the tradition of, say, P.G. Wodehouse or Evelyn Waugh or Kingsley Amis. It doesn’t have the darker, heavier tones of my previous novel, Sad Peninsula, which was about (among other things) the legacy of sexual violence enacted against Korean girls and young women during World War Two. Still, I think The Slip does touch on some serious matters. It’s about gender dynamics; it’s about the division of labour in a modern-day marriage; it’s about the double-edged sword of social media; it’s a gentle ribbing of academic culture and media culture and Sunday brunch culture of well-off urban yuppies. I like to think that the novel casts a fairly wide satirical net.   

 

3) I know we have talked about The Slip in our last Q&A but how long did it take to write this book? Is there anything you are hoping this book will accomplish?

The characters of Philip and Grace, and their problematic marriage, have been rattling around in my head since at least 2007 or 2008. As I grew more and more aware of the way social media can really amplify public gaffes, I began to see a comic story emerge about how a situation could really put this marriage on the ropes. Once I committed to actually nutting out what happens and sitting down to write it, the book took about two years to complete.  

4) Is there a book/reading tour scheduled for The Slip? If yes, are there any events you are looking forward to participating?

 

Still very much (To Be Discussed) at this point. I do have the Toronto launch booked for the evening of May 31 at Ben McNally Books (come on out, Torontonians, if you’re reading this (Link to the Facebook page for this event)) and one other event planned for my hometown of Charlottetown. Hopefully other events will materialize in the near future.

5) Are you working on any new writing right now or are you taking a break for a bit?

 

Yes, I just finished a very rough first draft of a new book, a kind of a parody of a post-apocalyptic novel. It’s about overpopulation, set in an alternate version of Toronto where the subways are always packed and everyone lives in tiny, overpriced condos. Horrifying, terrifying stuff. I’ve also been working on a new poetry manuscript, as well as a lot of literary criticism. I don’t tend to take too many breaks from writing. I have so many ideas and a finite number of years to get them all out.

 

6) Many of the followers of my blog mention to me that they enjoy interacting with writers over social media. You hinted in the last Q&A you did with me that “The Slip” deals a bit with the darker side of social media but you also mentioned that things like Facebook and Twitter play only a small part in your writing. Do you still believe that?

 

Yes, absolutely – probably more so. There is no doubt that social media has its dark side, with the capacity to bring out the very worst in some people. Can we deny that this is the case, here in this Trumpian age?

7) I am curious about the dynamic that you and writer Rebecca Rosenblum have? I see that you both often post reviews/interviews of each other’s work on social media, but do you both read/discuss/critique each other’s work as well?

 

Indeed. For your readers who don’t know, Rebecca Rosenblum is my wife. (Link to my Q&A with Rebecca Rosenblum  –“(W)e have the privilege of listening to the worst crimes on the news for twenty minutes, then shutting it off and thinking about getting new shoes or what to make for dinner for the next hour. But shouldn’t fiction go deeper, explore the hard parts?” We do take a lot of pride in sharing around each other’s good news on various social media channels. We do read a lot of each other’s work in draft and offer feedback and support whenever we can. It’s pretty great, actually, to have a smart, talented fellow writer living under the same roof to offer a critique on something I’m writing. Sometimes what we can offer each other is a thorough, engaging edit on a story. And sometimes what we can offer is simply the most important thing any author can hear during the writing process: Keep going!    

*****

Link to Dundurn Press’ website for “The Slip”

Link to Mark Sampson’s Blogger site “Free Range Reading”

Jarred from One Scene to the Next |Review of “My White Planet” by Mark Anthony Jarman (2008) Thomas Allen Publishers

Planet

Reading a collection of short stories vaults a reader from one scene to the next and with it one emotion to another. It can be disconcerting for a reader but that is not necessarily a bad thing. If a reader is open to emphasizing with the protagonists in the stories, then the collection can be a personal enlightenment for the reader. And My White Planet by Mark Anthony Jarman is a great collection of short stories for doing just that.

Night March in the Territory – page 1

Post-battle march, stormy sky, no light. The weary surgeon pores over our bloody wounds, pours himself another drink. We hear our orders travel down the slope: Bury the officers, but not the enlisted men. A blunt message to us peons.

In this Territory there is too much light, then there is absolutely no light, then there is absolutely no light. The surgeon hides crates of brandy in his white tent. I would take a drink, some corn. We are bloodied and splayed like egrets on the oatgrass.

Where’s old Crabtree? I ask.

Stay here and you’re dead.

They shot Crabtree. They shot all of us.

Dead?

No answer from the yarb-doctor.

There is a brilliance in the way Jarman vaults us into deeply personal situations of anonymous characters in vague locations. We are pulled into each story and read on trying to found out more. But we are given more profound thoughts and deep emotions then the ending is upon us. The process is almost cleansing to read to the psyche and somewhat addictive to be wondering what more is involved in each story.

My White Planet – Page 26-27

We inhabit a line station secretly functioning after the accord, but something went dead after June 11. Our dishes and software seem without flaw, but our screens remain blank, thoughtless. No printouts. No officiant plies us with coded orders or fervent denials or demands our narrow circumspect data. Is everyone erased in a war or did a budget-conscious computer take us out in a bureaucratic oversight? We are paid puppets, but no one is pulling the strings and no cheque is in the mail.

The freezing girl is alive but unconscious, and our ungenerous God has delivered a delirious female to our ice garden where we look at each other in wonder, wondering about things, about our farm-girl concubine with drained lips, our charcoal-eyed dream girl, our homage, our stockpiled ohmage.

Peter the Preacher pulls out his blue-grey Czech pistol, says he’ll shoot us or kill her rather than let her be touched, and we know what he means, means our ugly paws on her lily-white flesh other than to save her, resurrect her, and I believe I once dreamed this part too, saw Peter the Preacher’s fine skull and fine rhetoric and his fine Czech pistol at our nostril hairs.

I was introduce to Jarman’s work via novelist William Kowalski. (Link to my Q&A with him) and read reviews of his work by Mark Sampson (Link to Sampson’s review of Jarman’s latest work Knife Party at the Hotel Europa.) One can see traits all these writers  have in common. It is almost evolutionary the way both explore the range of insecurities that their characters have and the situations they get themselves into.

Bear on a Chain– Page 57

Another bridge’s ethereal arches float to the southeast. His body fell from this bridge and passed under the exact middle of the second bridge, and when I look I feel I am looking down a gunsight. Trev came from the north side, ended up on the south side, had no lessons. And the course is pass-fail. He dropped out, they lost him on the radar.

A north-sider tells me that your lungs fill up with river water and you sink down with the new weight, lower and lower and gone.

How stunningly simple to leave our corner of the world, how fast, how easy – poof? Blink and you miss it. I demand more time, complications, pomp and circumstance, demand more pay dirt.

Walk along  the river, drive in a car over the river, see it every day for x number of years, mundane as an insurance office, an ordinary postcard, then one day you fall into the boring postcard and the boring postcard kills you.

My White Planet by Mark Anthony Jarman is an emotional yet enlightening collection of short stories. A reader that shouldn’t be rush and a read that should be pondered upon.

 

*****

Link to the University of New Brunswick’s biography page for Mark Anthony Jarman

Link to Dundurn Press’ page for My White Planet

 

 

Nowhere to Heal a Warrior’s Wounds | Review of “The Hundred Hearts” By William Kowalski (2013) Thomas Allen Publishers

hearts

A family unit is suppose to be one place where a member can go to experience love and healing.  It is suppose to be a place where members come together for nurturing and support. But when one or more members of the family unit themselves are seriously damaged, then that family unit itself becomes dysfunctional. And the pain and suffering quietly continues for each of the members. It is a more common reality than our mass-media induced society cares to show us but it is one that William Kowalski has skillfully crafted in his book The Hundred Hearts.

Page 9

A month after they’ve consigned the remains of his grandmother, Helen, to the flames of the crematorium, Jeremy sits in his car in the parking lot of Sam “The Patriot” Singh’s Fortress of America Motel, a crumpled note in his hand. The not had arrived today in his faculty mailbox. It’s written in pencil on a piece o ragged-edged notebook paper. The handwriting is decidedly feminine. He knows whose it is. In just a few weeks, he’s learned to discern the penmanship of most of his nearly forty students. He’s wrestled with himself over whether he should open it, sensing that whatever it said, it would get him into trouble. But in the battle between curiosity and discretion that took place in his mind, curiosity had discretion on the ropes.

Room 358. I need you, Jeremy.

You’re the only one who can help.

Help with what, he doesn’t know. Merely being in possession of this note makes Jeremy nervous. He’s already received a lecture from Peter Porteus, principal of Elysium High School on the importance of propriety: don’t let yourself be caught alone with a female student, for God’s sake, and if you do keep doors open, keep hands to self, et cetera. It is preferable to wrap yourself hermetically in plastic and stay on the other side of the room

Kowalski has a direct yet sincere writing style and this book is a perfect example of it. The story deals with Jeremy Merkin, a former soldier whose tour of duty in Afghanistan had traumatic events that  his body and mind have issues still dealing with. He has returned to his hometown of Elysium, California but the town has no  mythical or realistic hopes for him or its citizens for an ideal life. It is a fading community on the edge of the desert whose citizens merely exist in a state of shock, waiting for the results of a broken promise to come true. Jeremy lives in the basement of his grandparent’s home along with his mother and a mentally-challenged cousin and works as a high-school teacher. He is constantly self-medicating on marijuana to deal with the pain and anxiety he suffers from which in it self leads to interests results.

Page 67-68

Downstairs, he makes himself comfortable on his mattress and eats his double-frosted sugar bombs while watching the latest Japanimation classic Rico’s Dropboxed him. Then he pours himself a cup of tea. Now that he has a job, the guilty edge these mornings used to have has faded. He leans back against his pillow with a sense of pleasantly high contentment. Nowhere to go, nowhere to be, nothing to do. Monday is a light-year away. If he were a truly dedicated teacher, which he isn’t, he’d already be thinking about what he was going to teach next week. Tomorrow night he’ll hop on Google and see what lesson plans exist out there for him to steal.

The last three weeks have been a panicky time. He hasn’t been teaching; he’s been doing his best imitation of a teacher. Porteus knew he didn’t have any experience when he hired him, but he’d assured him he’d be fine, that he could tell he’d be a natural in the classroom. He can see this was a blatant lie; Porteus was desperate for a warm body.

In his naivete, Jeremy had believed he could simply engage his students in Socratic dialogues of the sort he and Smarty used to have, and together they would wing their way through the world of knowledge, delighting in the mysteries of the universe. Maybe he could even teach them about the Fibonacci sequence. He’d forgotten the crushing load of ennui that high school students carried with them everywhere, the blank stares, the hostile resistance to doing absolutely anything. He’d hoped to find out what interested them and build a curriculum of sorts around that, but he’d realized within about two minutes that they weren’t interested in anything, at least nothing he was allowed to discuss.

He’d also thought, for some insane reason, that the students would respect him because he was young. Instead, they seemed to think this meant they could get away with anything. On the first day of school they’d aligned themselves into groups, boys on one side, girls on the other, cool kids in the back, dweebs in the front, and had begun to talk amongst themselves as if he wasn’t even there. Engage them, Porteus had said; teaching is infotainment. But Jeremy was not an infotainer. In his vocabulary, to engage meant to lay down heavy fire, to shoot to kill. During his very first class he’d felt a panic attach coming on, and he’d only been able to prevent it by pretending that getting to the end of the period was an objective, and that his job was to attack and hold objective until reinforcements arrived. He’s still not sure how he’d made it this far. sometimes he looks at their glazed-over faces and thinks, If only you could see what I have seen. But he’d been trained to see those things so other people didn’t have to see them. That was the role of the army: not to fight for freedom, whatever that nonsense meant, but to see the unseeable, do the undoable, and later to try to forget the unforgettable. And to somehow try to fit back into a society that had no clue.

I usually hate using $50 psychological terms but Kowalski has written something here that reflects the zeitgeist – the spirit of the times. Jeremy is an adult trying to fit in someplace but it doesn’t happen. He is missing the guidance, the social network and simply the love to survive to be a positive member of society. He exists and that is it. He is like so many people in real life but one that rarely discussed or portrayed in mass media.

Page 95-96

Jeremy remembers that birthday party clearly. Abortive is a charitable way to describe it. Wilkins had appeared out of nowhere, uninvited, his presence unnerving everyone – most of all Rita. His birthday present to Jeremy had been a rock. Not a particularly pretty or interesting rock, just a rock like you might find anywhere, but which for Wilkins apparently had some sort of symbolic significance. He’d tried for several minutes to explain it to Jeremy, with no success. Then he’d wrapped himself in a bedsheet and spent the afternoon in a corner, glowering at the other partygoers, all boys who were tripping balls on sugar and making tremendous amounts of noise. When they’d asked who Wilkins was, Jeremy pretended not to know. The highlight of the party was when the police arrived. It transpired that they had been called by Al, and they led Wilkins away, sobbing. Jeremy had been very popular after that, because no one else had ever had a police birthday party before.

“It’s okay,” Jeremy says. “Hardly anybody has fathers anymore.”

“Sad but true. You’re not angry?”

“I guess I would be, except that so much other shi-stuff . . . has happened that  . . .well, it’s all relative, you know?”

“So you didn’t come here for a confrontation?”

“A confrontation? No. Why would I do that?’

“You know. Son accuses father of being a bad father. Of being absent, abusive, egocentric. All of which I’m guilty of. Father repents, begs forgiveness. Father and son hug. Emotional string music on the soundtrack. The audience sniffles and goes home feeling redeemed.”

Maybe in some other, forgotten era of his life, Jeremy has harbored such thoughts. Maybe there was a time when he was angry at his father for not being a father. But all this is so far in the past that he doesn’t even remember it. It all ceased to matter a long time ago.

William Kowalski has documented an unexplored yet common state of life in his book The Hundred Hearts. It is a touching and poignant read for our anxious and lonely times.

*****

Link to William Kowalski’s Website

Link to Dundurn Press’ page for The Hundred Hearts

Link to a Q&A William Kowalski did for me “Anything that isn’t writing is hindering my writing . . .”

 

 

 

“For me, this novel was born out of my frustration watching the news and reading the paper every day” | Q&A with writer Liam Card

Busy people sometimes make the best storytellers. Liam Card is one such person. Usually involved in the field of movie production, he does divide his time to allow for writing. As his new novel STOPGAP is about to be released, Card took a few minutes in an airport waiting area to answer a few questions for me.
1) First off, can you give a bit of an overview of  STOPGAP?
LOGLINE: In an attempt to rid the world of all violent crime, a recently deceased ghost becomes the most notorious killer in history.

SHORT SYNOPSIS: For Luke Stevenson, an otherwise simple afterlife has become catastrophic. He’s been paired to mentor Safia, an angry teenage girl who recently died a violent death. Safia can not only affect the living – unheard of among ghosts like them – but can actually end human lives. With the best intentions, Luke becomes ensnared in her operation to rid the world of all violent crime.

With Luke’s help, Safia prevents acts of violence before they occur, leaving the world in a state of joy, shock, panic, and looking for answers as the body count rises. Perhaps Safia has made the world a safer place. However, when her plan begins a terrifying evolution, Luke must find a way to derail it, as billions of lives hang in the balance. 

2) What inspired you to write STOPGAP? Was there any research involved with writing the book?
One of my creative writing professors at the University of North Carolina told me that writers should write about topics surrounding their frustrations with the world around them. For me, this novel was born out of my frustration watching the news and reading the paper every day. I find it disgusting how terribly we continue to treat one another on this planet, and the justice system in place doesn’t seem to deter violent criminals enough to see these horrible acts go away in the near future. So, as a writer, you sit in that anger. You sit in that frustration. You recognize how you feel about it and then start to run scenarios. I challenged myself to create a situation whereby acts of violent crime would cease to exist. That’s it. Enough. People can’t hurt each other anymore. Now, what does that look like?
After much trial and error, I realized that the imagined situation would have to be due to a higher form of policing. Said differently, I reached the conclusion that a world with no violent crime would only be possible if humans couldn’t follow through with the act, itself. What I required was something, or someone, to intercept these acts before they could take place. Once that was set in stone, the real work began. Honestly, I must have drawn up two or three dozen scenarios before landing on the one that is now in print. I was able to find my story and began constructing the rules of the afterlife (which the story would hinge on for my scenario to play out). This wasn’t a research-heavy novel, unlike my last one – whereby I was writing a first-person medical genius trapped in a plumbers career. This higher concept novel required running constant checks and balances to ensure that I hadn’t broken any of the rules I had created in giving birth to the idea. It was an entirely different process that I truly enjoyed.
 3) Are you planning to do a reading tour with this book? If yes, are there any dates/events that you are looking forward in doing?
I’m not sure if the publisher has a reading tour in the works. It would be a tremendous amount of fun, but I think the focus is to try and get the novel into several book festivals and hopefully ride a wave of momentum if there is one to ride. It’s difficult to plan whether a novel is going to be a success or not. That said, if it happens to catch fire, the publisher and I will be ready to get out there and take advantage of the momentum.
Like the last novel, I will be doing a number of Toronto-based bookstores, Toronto Library book signings and Q&A’s.
 4) Do you feel your writing is the same or has it changed since Exit Papers from Paradise?
Writing, like anything, is a process of improvement. I learned a lot from my first novel and carried those hard-learned lessons into STOPGAP. Where I feel like I have a strong sense of character, I spent a lot more time on ‘story’ for novel number two and making sure (like a screenplay) that the story followed a bit more of a classic path vs. something a bit more experimental.
 5) You mentioned in an earlier Q&A that Exit Papers from Paradise was in development for a feature film. Did that ever come to pass?
Exit Papers From Paradise is in development for a feature film. Over the past three years I have been working with a producer adapting it from the novel to a screenplay. It has been a very challenging experience, but I feel that we are closer than ever. The producer and I are now getting to the point where we are confident enough in the adaptation that we can enter the next phase of film development: Polish and Packaging. Here, we will seek to attach a noteworthy director and (if successful) polish the script based on the director’s notes. Film is an entirely different beast, but I love that medium of storytelling as much as writing novels. That is for sure. It would be one of life’s thrills to see the character of Isaac Sullivan come to life on screens across the country and beyond. Also, Exit Papers is a story that I think many people can connect and identify with. In short, Exit Papers explores the gap between the person you are and the person you think you should be.
 6) Are you working on anything new right now? If yes, are there details you care to share?
Right now, I am totally focused on the adaptation of Exit Papers from Paradise. I have a few ideas kicking around for novel number three that will only take shape once the screenplay is under control and I can give a new idea the time and focus that it deserves.
 7) In your last Q&A you mentioned you admired Kurt Vonnegut and Irvine Welsh. Are there any new writers or books that you have read recently that you admire?
I am a huge fan of Craig Davidson. I love Chuck Palahniuk and was blown away by (both) Damned and Doomed. These two writers are masters of the craft and I would love to be at their level someday.
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“I’ve reached this really happy place where I’m at peace with my desire to just be prolific” | Q&A with writer Mark Sampson

Mark Sampson certainly was the subject of a few conversations within my circles with his novel Sad Peninsula (Link to my review) He certainly enlightened a few people about the role of comfort women in Korea during the Second World War AND caused a few of us to look at our own interactions with different members of our own society. So it was exciting to see on his posts on Facebook recently announcing that he has a new book coming forward. And it was equally exciting for me to have him answer a few questions for my blog.
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1) So you have just released a book of poetry entitled Weathervane. Could you give a bit of an outline?
Weathervane collects the poems I’ve been writing and publishing over the last 15 years or so. The book is broken up into three main sections: the first looks at the various vicissitudes of weather and the changing seasons, and how they can be a metaphor for our relationships or emotional worlds; the second gathers poems that look at the consequences of action or inaction; and the third offers profiles of interesting people, places or things – some real, some fictional, some flattering, some critical. My poems run the gamut from formalist approaches (there is a sestina and a palinode included in the book, for example) to total free verse. A lot of it is lyrical or confessional. Some of it is funny (I hope). All of it tries to add some brief instance of illumination on an everyday moment.
2) You have written and published both fiction and poetry.  Do you enjoy writing both formats or is there one form you prefer other the other? 

Yes, I love writing in a number of forms: novels, short stories, poetry, book reviews and literary criticism. I think if I was forced to pick just one, it would have to be the novel, just because of its expansiveness, but poetry offers its own unique pleasures. I really love the concision of poetry, the way it allows you as a reader to leave gaps and breathing spaces for readers. I think a poem can be just as engrossing as a work of prose, but on its own terms.  
3) Who are you favourite writers? What are you reading right now? 

It’s so hard to pick a writer or group of writers as “favourites,” just because I try to read widely enough to expose myself to all sorts of forms, tones, voices and subject matters. But I guess I have my soft spots. Prose wise, I find myself returning over and over again to British writers Anthony Burgess, Martin Amis, Iris Murdoch, and the like. I’m really inspired by comic writing, and I try to infuse a lot of my own prose with it. As for poetry: I really love the verse of poets George Amabile, Jeffery Donaldson, Catherine Graham, and M. Travis Lane.

Right I’ve got a number of books on the go. I’ve been rereading The Iliad and The Odyssey, by Homer. I just published a review of a debut  novel, Bret Easton Ellis and Other Dogs, by Swedish writer Lina Wolff. And I finally got around to reading Patrick DeWitt’s The Sisters Brothers, which cleaned up at awards season when it was published back in 2011 and has been on my radar for quite a while. The nightstand stack of books is always out of control. I’ll probably still be reading 10 years after I die. 
4) Are you planning any public readings of  Weathervane? If yes, are there any dates or events that you are excited to partake in? 

I am indeed. March 23 in Windsor, Ontario; April 5 in Toronto; and April 28 in London, Ontario. There may be other events later in the year, but they haven’t been confirmed yet. 
5) It has been a little while since  Sad Peninsula has been released. How did you find the reaction to the novel? Was there a Korean version of the book released? 

I was really pleased with the reaction to Sad Peninsula after it came out in the fall of 2014. It got several reviews, including in some high-profile publications like Publishers Weekly, and I got to do a number of readings here in Ontario and in the Maritimes. Best of all, I received a lot of encouraging notes and emails from readers after it was published. It’s funny, because not all of the feedback was positive, and I didn’t necessarily have a problem with that. The book, as you may recall, was written from two alternating points of view: the first from a Korean woman who was a sex slave (“comfort woman” was the euphemism) for the Japanese military in World War Two; and the second from a young Canadian man teaching ESL in Seoul in the early 2000s. Some reviewers and readers really loved the comfort woman sections but hated the bits about the teacher. Others really thought I nailed the ESL teaching culture but were unimpressed by my rendering of the sexual slavery and its emotional aftermath. The fact that both parts got both negative and positive comments heartened me in a weird way. I felt that Sad Peninsula was, on several levels, a very difficult book, and I was glad there was such a multitude of responses to it.

The novel has not been released in South Korea. I know my publisher, Dundurn, has been pushing for a Korean version since it accepted the manuscript. But the world of foreign rights and foreign translations is incredibly complex and competitive, so I don’t know whether we’ll ever see that happen. I’m also not certain where narratives about the comfort women legacy really stand in Korea’s literary culture right now. I wonder if the reason the book hasn’t been picked up is because there have already been so many works of fiction over there exploring that history, and the country just doesn’t need yet another one (and one written by a waegookin, no less). Or maybe the opposite is true: maybe there are very few novels written in Korean about this history, and maybe the country isn’t quite ready to explore what happened to these women through fiction yet. It’s hard to say.

 6) Are you working on anything new right now? If yes, are there details you care to share? 

Yes, indeed. I’ll be back with Dundurn for my next novel. I submitted the completed manuscript to my editor about two weeks ago and it looks like the book – which is a comic novel about a university professor whose off-colour comments during a nationally televised debate go viral on social media; a VERY different book from Sad Peninsula, let’s just say – will be out sometime next year. I’m also back to writing some new poetry after a long stretch away from it (Weathervane has been in the can for a while now) and it feels really great. I’m also hoping to start a new novel at some point later this year. So I’d say I’m fairly busy.
7) You seem to partake a bit on social-media platforms like Facebook and Twitter? How do you like using those applications? Do they help you with your writing at all? 

Social media is good for staying connected with friends and colleagues in the writing community, and to help promote book launches and readings and such. And I’d definitely say the darker side of social media – the public shaming, the bun fights, the insidious attacks and trolling – certainly played a role in inspiring the new novel I just finished, mentioned above. But I think what you have to realize as a writer is that your social media audience isn’t necessarily the audience for your writing. The range of one’s social media presence is actually pretty small, even you have hundreds or even thousands of “followers.” And it’s important to remember that who you’re really trying to connect with is that individual reader standing in the bookshop or at the library, or hovering over your book’s entry on an online retailer’s website, and deciding whether to share their scarce free time with something you’ve written. Social media can only ever be an adjunct – and a very tenuous one at that – to that relationship with a reader.
8) So you have been writing for a little while now. Has your writing changed since you started out? If yes, how? 

Actually, it’s been a looooong while – 25 years as of this month. When I started out, I was halfway through Grade Ten in Charlottetown, PEI, and wanted to be Canada’s answer to Stephen King or Danielle Steel – basically a “commercial” writer. I wrote several “novels” (or, I suppose, novel-length pieces of fiction; it’s hard to call them proper novels, they were such garbage) over the next seven years, and by the late 1990s (I was in my early twenties by this point) I realized that literary fiction was where I really wanted to be. Then I went through a lengthy phase where I wanted to write big, chunky, “serious” novels that take seven years each to compose, a la John Irving or Wayne Johnston or Tom Wolfe. But in the last number of years, I’ve reached this really happy place where I’m at peace with my desire to just be prolific and write whatever the fuck I want, that I want to write a lot and in multiple genres and modes – novels and poetry, literary criticism and short stories, funny works and sad works and everything in between – and I’m just having a blast doing all that.
9) Your biographies have you listed as living in Toronto. How do you like living there? Does the city’s cultural scene give you any fuel for your writing?
Toronto’s cool. I moved here in 2007 after living abroad for a number of years and moving around in different places in Canada, and it eventually felt like home. I really do feel part of the cultural scene here. Despite what you might hear in other parts of Canada (especially back home in the Maritimes), Torontonians – or “Upper Canadians” as we call them – are actually very warm and welcoming. Toronto as a place is starting to creep its way into my fiction now, and I feel like this is the sort of city that can keep you stimulated while at the same time leave you alone, which is ideal for a writer. 
*******

‘Crime fiction is about the human struggle. . . It’s the perfect marriage between my love of psychology and fiction’ | Q&A with author Barbara Fradkin

There are many readers out there who are looking for a light story to read yet still want a bit of message about the human condition in the plot. Barbara Fradkin fits that bill. Her ‘Inspector Green’ series of crime novels do have thrills twists but also explore important issues of our time. As she was about to launch a new series of books – the Amanda Doucette series – she answered a few questions for me and allowing some insight into the person who holds the pen.
1) Your website states that you have been writing books since 1995. How did you get involved in writing fiction? How does your background as child psychologist help you in your writing?

I’ve always had stories spinning in my head. I daydreamed in school about adventures with exciting, imaginary friends, and as soon as I could spell, I started writing them down. I had a ton of first drafts and unfinished short stories, plays, TV scripts, and mainstream novels collecting dust in my basement, but it wasn’t until I tried crime fiction that I found my true niche. Crime fiction is about the human struggle, about conflict and dark choices, and about what people do when they’re desperate. It’s the perfect marriage between my love of psychology and fiction, and I think my years as a psychologist gave me not only insight into people’s struggles, but also lots of topics and themes to write about.

2) Has your writing changed over time? If, yes, how so?

I hope so! Each novel and story, however bad, teaches me more about character development, story structure, pacing, and balance. And when my first book, Do or Die, came out in 2000, I became much more serious about my writing. It wasn’t just a private venture and a creative outlet, it was a public story aimed at readers, and I wanted to make sure it was the best it could be. With each book, I have challenged myself further to make it better than the one before. My later stories are more layered, with more points of view, and historical stories woven into the narrative.

3) You have written three books for the Rapid Reads series at Orca Books. How did you like writing for that series? Was it easier or harder to write for Rapid Reads as compared to a regular novel?

I have written quite a few short stories, so I was familiar with tight story lines, minimalist writing, and singular focus. I find writing the Rapid Reads stories are halfway between short stories and novels. The guidelines require a linear plot with few characters and no subplots, all of which shape the story. The most difficult challenge is telling a complex, compelling story within these guidelines, while keeping the language simple.

(Link to my review of The Night Thief)

4) Who are you favourite writers? What are you reading right now?
I like the British crime tradition—for example, Kate Atkinson and Denise Mina. However, I like variety and read quite widely, but fairly slowly. With the demands of my own writing and research, I don’t get through as many books as I’d like. This year I had to read several non-fiction books on ISIS for my next book. During the holidays I read God Rest ye Murdered Gentlemen, a light romp by Eva Gates, who is actually my good friend Vicki Delany, and now I’ve just finished reading Fifteen Dogs.
5) How have your books been received by the public? Are there any memorable experiences you care to share?

The challenge for Canadian crime writers is getting exposure, particularly with the reduction in review sites and the dominance of international blockbusters. Much of the growth in my readership has been due to word of mouth, and for this I am very grateful to readers across Canada, and even in the US and UK, who have discovered my books and recommended them to others. People become hooked on the series because they grow to love the characters and want to know what happens to them next. Inspector Green, for all that he’s flawed and exasperating, is a mensch and has people rooting for him. People also care about the other characters and want a say in what I do to them next. Once at a reading, I mused about what I should do next to shake things up for Green, and a reader threatened “Don’t you dare kill off his father!”

Link to my review of The Whisper of Legends– A Inspector Green Mystery

6) You have partaken in public readings of your works in the past. Is that an activity you enjoy? Have any of your works been the subject of any book clubs? If yes, did you partake in the discussions of your books?

In twenty years, a writer can do a lot of readings! Yes, I’ve done readings at festivals, bookstores, libraries, and even at a museum in Yellowknife. I love readings, because I love meeting people who enjoy books. We writers toil alone in our little garret and we send our book out into the world, like bread cast upon the waters. It’s wonderful to find out what becomes of it. That’s the same reason I love going to book clubs, and I have done dozens of them. Most of the time I attend them in person, although occasionally via Skype. Book clubs are great social clubs, and it’s nice to be invited in to share the friendship for the evening. People are very curious about the writing process and what I have in store for Green, but they are always very kind and enthusiastic. If they rip the book apart when I’m not there, I don’t ever find out!

7) I am going to assume that you are doing some new writing and have some new books coming out soon. Are there details you care to share?

Yes, I am currently working on a new series. I have taken a trial separation from Inspector Green, much to the chagrin of some of his fans, in order to explore new characters, settings, and story structures. I don’t want to fall into a rut; I want to stay fresh and continue to grow, so that I enjoy the process of writing as much as those who are reading. The new series is not a police procedural. I’d say it’s a hybrid mystery thriller. The main character is a thirty-something international aid worker, Amanda Doucette, who is back in Canada to recover from a traumatic experience on her last assignment. But her passion for social justice and helping people leads her into tricky situations. The first in the series, Fire in the Stars, (Link to my review) is due out this September, and I am now writing the second one, entitled The Trickster’s Lullaby.

8) You seem to be active on the social-media fronts (Facebook and Twitter) How do you like using those platforms?

I don’t like Twitter, and haven’t figured out how to use it except for retweets and for very immediate notifications. Tweets are lost in a matter of minutes. Facebook, on the other hand, allows for much greater interaction with friends and readers, and I love the way it has allowed me to connect with old friends, family, new readers, and fellow writers. I feel as if I have truly made friends on Facebook, and should I meet them in real life, we would already have a base. I do have an author page, but tend to post only on my personal page, because readers have become friends and friends have become readers.

9) Do you have any advice for any want-to-be writers?

Read, read, and read the type of book you want to write. Don’t worry about trends or hot tips for the break-out novel. Write the story that excites you, because that excitement will shine through and make the story sparkle with life. Also make sure it’s the absolute best story you can make it before sending it out. Ask a few trusted, experienced book people to read it, and give their advice careful consideration.

*****

Link to Barbara Frankin’s website

Entering the Realm of Amanda Doucette | Review of “Fire in the Stars” by Barbara Fradkin (To be Released – Sept. 2016) Dundurn Press

I received an Advance Reading Copy of this book from the author and Dundurn Press.

A few months ago I was introduced to the writing of Barbara Fradkin. I was impressed with her style and her vivid descriptions that I became an immediate fan of her works. Recently,  I had the pleasure of of receive an advanced reading copy of newest work, Fire in the Stars. In it, Fradkin begins a new series of novels with the protagonist Amanda Doucette. Again I was completely impressed with the details of the story and I needed to mention the book here.

Letter from Barbara Fradkin to the Readers of Fire in the Stars

I’m very excited to spread my wings and introduce Fire in the Stars, the debut novel in the brand-new Amanda Doucette series. My Inspector Green series has been a critical success that has garnered several awards and, more importantly, many readers over the past fifteen years. I’m proud of how it has grown, but after spending ten books with Michael Green, I wanted to get out a little.

Literature is suppose to be about the human condition – allowing readers to grasp and understand what makes people think and act the way they do. And Fradkin has done that here. While the novel has all the trademarks of a mystery novel – a plot that twists and turns having a reader on edge of wondering what will happen next – Fradkin has characters that are believable yet confused with some deep flaws that we all can relate to in some way.

Letter from Barbara Fradkin to the Readers of Fire in the Stars

As a psychologist, I have always been interested in the dark side of humanity – ordinary people’s social, personal, and moral struggles. The mystery, suspense, and psychology that were Inspector Green’s trademarks will continue, but in this new series, I widen my lens to the broader canvas of world issues. It follows a cross-Canada path, from the east coast to the west. Each book will have a different iconic setting and explore a Canadian take on a global human issue. First up, Newfoundland and refugees.

This was a book I devoured in any free moment I had in the last couple of days since it’s arrival. The descriptions are vivid from the scenes to the meals the characters enjoy to the breath of emotions that Fradkin has each of her characters go through. A page turner from the beginning to the end.

Letter from Barbara Fradkin to the Readers of Fire in the Stars

Amanda Doucette is a woman to be reckoned with. Adventurous, resourceful, and caring, she has worked as an international aid worker in some of the poorest corners of the world. But a brutal experience in Africa left her shake, questioning her future. In Fire in the Stars, she has returned to Canada to regain her footing, only to find that her closes friend and fellow trauma survivor, Phil Cousins, has gone missing from his home in Newfoundland, taking his young son with him. As she follow his increasingly bizarre trail into the wilds of northern Newfoundland, she fears for his safety. Is he desperate? Suicidal? Or is there another motive at play? Does it have anything to do with the boat full of refugees adrift in the ocean?

Fire in the Stars by Barbara Fradkin is an exciting start to the world of Amanda Doucette. The descriptions are vivid, the characters are believable and the plot is well-organized. A must read for not just mystery fans but for readers interested in the human condition.

Link to Barbara Fradkin’s website

Link to Dundurn Press’ page for Fire in the Stars (to be released Sept. 2016)

 

Entering the World of Inspector Green | Review of “The Whisper of Legends” by Barbara Fradkin (2013) Dundurn Press

Whisper

What impresses me with a good story is not just the plot but the small details that surround the plot which engage me more to read the book. Usually this is a result of an author doing large amounts of research before even writing a word. I recently discovered Barbara Fradkin as a novelist and I suspect that her research skills are immense as I read and enjoyed The Whisper of Legends.

Page 12

For the tenth time in ten minutes, Ottawa Police Inspector Michael Green abandoned the dreary operations report and sneaked a peek at his BlackBerry. The time was inching toward noon. What time was that in the Yukon? Nine a.m? The start of their business day? Of course, he had no idea what time the owner of Nahanni River Adventures actually came to the office, nor even whether he had an office in the normal sense of the word. But Green figured nine a.m. was a respectable time to phone. It would sound like a reasonable request for an update, which it was, rather than a panicked call for reassurance.

Which it also was.

Hannah had told him very firmly that there were no cellphone towers or Internet signals in the Nahanni National Park Reserve. it was thirty thousand square kilometres of mountains, glaciers, canyons, and waterfalls along a wilderness river so spectacular that it had been named a UNESCO World Heritage Site. There was no communication, period. Cut off from the the outside world. That’s the point, Dad.

Fradkin has a great writing style. The story deals Inspector Michael Green trying to deal with his missing daughter Hannah. She was on a summer  trip deep in a park made up of ‘30,000 square kilometres of wilderness and 600 grizzlies.’ Green finds out that his daughter lied to him about the trip, it was organized by a boyfriend to explore the hinterland of the region, not a local tour group. Green becomes frustrated the lack of effort being done by the authorities to look for his daughter that he and his friend – Staff Sargent Brian Sullivan – travel to park to search for Hannah themselves.

Page 71-72

Green slept fitfully, disturbed not so much by the tandem snoring of the other two men nor by the eerie grey of the northern night, but by fragments of dreams lurking at the borders of his consciousness. Images of roiling rapids, plunging waterfalls, sheer cliffs, and endless, desolate mountains. Was Hannah wandering around at the mercy of Scott, and unwitting pawn in some scheme of his? Or had she been party to the devious plot from the start? Lying to her parents about her destination and her purpose? He didn’t know which possibility upset him more. That she was a hapless captive or a witting liar.

How well did Green know her anymore? She’d arrived on his doorstep an angry, untrusting teenager consumed with the need to punish him for his years of neglect. She’d lived a reckless life on the edge. Drugs, men, deception – she’d embraced them all in her quest for love, meaning, or just pure oblivion. Father and daughter had won each other over step by timid step, but all too soon she had slipped from his grasp again, back into that toxic swamp of guilt, narcissism, and manipulation that was her mother’s life. Scott had become her next great fascination, her next great answer to the meaning of it all.

In her eagerness to please Scott, what had she done to herself?

Fradkin also has a fantastic grasp of human fears and relationships. She gets into the minds of the characters here and tells the readers what they are thinking, even though those characters are fearful of sharing their emotions with others.

Page 158

Green held his tongue. In truth, he was terrified. He knew he was putting the other paddlers at risk as well as himself by insisting on starting at Moose Ponds, but there was no other place on the upper river wide enough to land the float place. The coordinates of the mining claim put the search area near the confluence of the South Nahanni and Little Nahanni, which was just below the terrifying sixty-kilometre stretch of whitewater. To land farther downstream at the next accessible place would be pointless.

Elliot steadied the two canoes and eased them up on the rocky riverbank. He looked thoughtful. “We’ll manage,” he said. “I know every twist and boil in this river, and we have a number of options. We’ll take each stretch slowly. Scout, discuss, plan the route ahead of time. On some of them we can make a canyon rig by lashing two canoes side by side. Other places Brian can solo and I will paddle with Mike. If we need to, we’ll portage or pull the canoes on ropes. We’ll get there.”

 

The Whispers of Legends by Barbara Fradkin is a detailed and well-researched mystery novel that is a pleasure to read. Not only is the plot engrossing but also very thoughtful. A great read for sure.

Link to Dundurn Press’ website for The Whisper of Legends

Link to Barbara Fradkin’s website

Pondering the Frustration in our Middle-aged Lives | Review of “Exit Papers from Paradise” by Liam Card (2012) Dundurn Press

We have all spend sleepless nights pondering what we have done in our lives. “What could we have become if opportunity X had only happened to us when we reached station Y.” We tossed and turned and looked ourselves in the mirror in the morning wondering if we still have time to do something with meaning or are we delusional in our dreams. That is the thought process Liam Card has his protagonist go through in his brilliant novel Exit Papers from Paradise.

Page 9-10

You are a plumber, Isaac.

A plumber in Paradise. That is an oxymoron. No, that is an oxymoron on steroids and, of those steroids, most likely Winstrol-V. That oxymoron is not passing a urine test. That oxymoron rebuilds damaged cells faster and can train harder than other oxymorons. That oxymoron suffers from rampant acne, increased aggression, and testicular atropy. Still, no matter how often that oxymoron sticks a needle in its ass, it remains both a tragic and accurate description of my role and location on this planet.

But the dozens of online IQ tests I’ve completed tell me that I, in fact, am quite capable of handling a college-level, pre-med curriculum. My SAT score placed me in the ninetieth percentile. What kind of loser takes the SATs in his thirties? Pathetic. I am, apparently. I’m the loser who took them in his thirties. Proud and ready to secure my notch on the SAT measuring stick, I sat with two hundred seventeen-year-olds battling oily skin who couldn’t give a shit about their scores and who lacked the capacity to appreciate their opportunity. Unable to understand what it felt like to take the test at my age or what it felt like to be on the receiving end of their confused dirty looks.

More resentment to add to my toxic pile.

Card has tapped into a universal feeling with his character Isaac Sullivan. He is a 35 year-old plumber living the small town of Paradise, Michigan. While he was forced to take over the family business at the end of high school, Isaac never really gave up on his dream to attend medical school. He has read every textbook on medical science available to him and practises “surgery” on the wildlife around his house.  But now Isaac has decided follow his heart and apply to school. He knows his decision will be unpopular with people around him but we learn through the narrative of the story, he doesn’t care what people think anymore.

Page 79-80

“Here’s what you do, Isaac,” he says. My father wipes his mouth with the sleeve of his plaid shirt after uttering the preamble to some sage advice. Tiny pieces of food are still caught in his salt-and-pepper beard, post-wipe. Tell him. No let him finish his thought. Dad pauses then takes a long pull from his can of Miller High Life. Obviously, the advice hadn’t completely hatched, and he is now in the process of editing it as he chugs. One of his oldest tricks.

He enjoys Saturday brunch with me. I think he does. I love it which is crazy. I shouldn’t. And the man has to be sick of eating the same thing every weekend. Prepare something different for him then. Try an omelette, for Christ sake. No. It’s tough to screw up bacon, scrambled eggs, sausage, and toast, and the punishment of his complaints are not worth the culinary risk of preparing something new. At least change up the dessert. Why? Because apple boats are boring as all hell and should not constitute dessert.

The chugging has ceased.

Here comes the advice, which historically has been the parental equivalent of an oil spill. Give him the benefit of a doubt.

I’m all ears.

Small droplets of beer have decided to hang out with the crumbs in his beard. It’s all I can focus on. Reach across with your napkin and clean them off. No, he will tell me that I am acting like a woman. Focus, advice is coming. Look interested. There they hang, like tiny beads of water on a spider’s web after a light rain.

“You need to find yourself a woman, Isaac . . . who doesn’t piss you off too much,” he says.  Wow. I wasn’t sure you could pull it off, but you have raised the bar with that gem, old man.

Card does an excellent job of having voices that are both intellectual and vernacular locked inside one man’s head. Readers are able to grasp the frustration of the man inside himself as he tries so hard to get through not only the day but to the next point of his life.

Page 115

November is flying by, like a car through a town without a stoplight, and the tail end of the month brings the first noticeably chilly air of the season. The lazy Indian summer must have enjoyed itself too much in Paradise and had been setting record temperatures late into fall. However, Paradise is partial to winter, and it was only a matter of time before the eviction notice was posted on the door of the tepid Fahrenheits. That sounds like the name of a rock band – the Tepid Fahrenheits. I should start a band. You can’t sing Isaac, and you have more pressing issues at hand. Fine, but when I’m a practising doctor, I will round up other practising doctors, and we be a Guns n’ Roses cover band called the Tepid Fahrenheits.

Exit Papers from Paradise by Liam Card  is an excellent book dealing with an element of the human condition. A must read for anybody who reads fiction and seeks to be enlightened. Hopefully not the last piece of work by this writer.

*****

Link to Dundurn’s  page for Exit Papers from Paradise