Friday, August 11, 2017

Who is What? Miscellaneous thoughts re: Joseph Boyden, identity

We are having a controversy up here in Canada -- Joseph Boyden, one of our brightest literary lights, is in some hot water.

In his fiction and non-fiction Boyden has applied himself exclusively to a deep exploration and excavation of Indigenous Canadian identity. He has also claimed that identity for himself -- a claim that, no matter how you parse it, appears to have been made in haste without the rigor of consideration he applies to his work.

This past weekend the Toronto Globe & Mail (Canada's self-proclaimed newspaper of note) published "The Making of Joseph Boyden" a lengthy investigative report by Eric Andrew-Gee. I thought the piece was impressively sourced and researched, yielding some unexpected insights into the affair. I also wondered what sort of piece might have been written had Andrew-Gee been given the time and space to meditate on why he was commissioned, and why he chose, to write this piece.

Newspapers run on deadlines, of course, and these days the deadlines are especially tight. If we disregard the fury and flurry of social media, this country still has established cross-platforms like Macleans, The Walrus, The Literary Review of Canada, etc., who without doubt have their own Boyden-related long-reads in the pipeline. "First to publish" means something in this environment, particularly when newspaper sales remain in a tailspin (our current elected leader doesn't conjure enough revulsion and horror to get us subscribing, it would seem).

Introspection was a luxury Andrew-Gee could ill-afford, in other words -- and I get that. So in that spirit here are a few non-mulled-over observations of my own on the matter.

First, the obvious: Boyden writes well. His characters are, in the main, explicable and empathetically rendered. He pays attention to the five senses and their effect on a person's thoughts, on the way a person is. His novels are immersive experiences that leave deep trails in the psyche -- people I've discussed his works with often tell me their dream-life is altered after reading him.

I do have some kvetches, mostly minor. Despite his years in Catholic school Boyden doesn't "get" Catholicism, and up until The Orenda I didn't see much effort applied to addressing that deficit. Consequently his portrait of the evil the Roman Catholic Church has inflicted on indigenous people occasionally slips into simplistic villainy -- a posture very much in tune with the current cultural temperament and certainly adequate for keeping the narrative engine chugging along, but less than satisfactory for readers holding out hope for the sort of insight that penetrates one's ideological bulwarks.

But his portrait of indigenous life prior to the colonial-religious assault is, for this pasty Protestant reader, a bit-torrent of continual discovery and awe.

As for this "pasty Protestant" business . . .

Mennonites have invested themselves in the quest for indigenous justice. It's not a "100% all-of-us, right across the board" deal, but it is significant enough to comment on (Google "mennonite indigenous" and you'll quickly get the gist). More pertinent to this conversation, it's an issue our literary aspirants take on board -- just about 100% all-of-us, in fact (including Yours Truly). If anybody has called-out Rudy Wiebe or David Bergen for appropriation of voice, I've yet to hear of it.

There is, of course, a difference of scale on these matters. So far as I know, neither Wiebe nor Bergen has claimed any indigenous connection deeper than acquaintance or possibly friendship. Boyden has claimed tribal affiliation, at times quite explicitly -- an understandably contentious issue.

So on that matter . . .

Tribes* don't produce novels, but they sure do produce novelists -- unintentionally, for the most part. If the novel is a métier you aspire to, be forewarned -- you cannot freaking win with your own people. There will be a bunch who will back you up -- the usual gentle agitators drawn, like you once were, to the losers and freaks among us -- and there will be a few who angrily call you out, but mostly you'll be shrugged out of town.

It's the shrugs that wound the deepest.They know the truth, these shruggers. You're not doing an honest day's work, for one thing. More to the point, you think you get us, but you really don't. You're of us, but you're not one of us. You're a pretender -- a fake, a fraud, and a phony.

The kicker is, this write-off is the truth, pretty much. In their zeal to capture the public imagination, fakery is a skill most young novelists are quick to adopt and hone as persuasively as they can. You're telling stories anyway, where exactly do you draw the line when called upon to make claims of earnest self-disclosure? If I think back to my lean and lonely SASE** days, had I been granted any sort of media spotlight at all there were precious few masks I would have had the inner fortitude to eschew. How else are you going to hit the jack-pot?

I am not suggesting Boyden's motivations are anywhere near as craven as, say, James Frey's.*** Boyden evidently identifies deeply with the fight to assert indigenous identity within an appropriated landscape. And if his claims of Anishinaabe identity are at best doubtful, the possibility he is from genuine Métis lineage is not at all out of the question.

But to my eyes this is the money-quote from Andrew-Gee's piece:
Lying at the heart of so much discomfort with the way Boyden has presented himself over the years, is a deep, basic gulf between the broad European and Indigenous notions of identity formation. The “Western” paradigm of self-actualization, of creating one’s identity through a process of lonely soulful questing, is to a certain extent incongruous with the North American Indigenous tradition of forging identity through community sanction and reciprocity.
For many Indigenous thinkers, the idea that someone would claim to feel Anishinaabe or Métis, and that others would put stock in that feeling, is nonsense.
Hm. More, please.
*"Tribes" -- a word I use in the Abrahamic sense, naturally.
** "Self-Addressed Stamped Envelope"
***Though Boyden's claims do strike me as somewhat akin to Michael Chabon's mischief.

Thursday, August 03, 2017

The Limits of Critique

I am feeling somewhat convicted after reading Michael West's appraisal of The Limits of Critique by Rita Felski. West's thoughts are short and to-the-point, so please read it for yourself. But here's a snippet that might suggest where I'm heading:
Felski shows that an exclusive commitment to critique can actually preclude recognition of one’s loves, of those things to which one is erotically attached (in the broadest sense of the term). “Why,” she asks, “are we so hyperarticulate about our adversaries and so excruciatingly tongue-tied about our loves?” 
[She] asks what might happen if we looked not “behind the text” but “in front of the text, reflecting on what it unfurls, calls forth, makes possible.” In doing so, she seeks to rehabilitate the validity and importance of what we might call “literary desire”: the force that drives you to reread your favorite book yet again; or to finish that work of genre fiction even when you know the ending; or to press a beloved book awkwardly into a distant acquaintance’s hands in hopes that she, too, will come to love what you love and might one day talk with you about it.
"Tongue-tied about our loves" -- hm.

Three years ago I bought the brand-new hardcover of Kem Nunn's latest novel, Chance. I read it, and I thought, Yeah, that's really good. That is really good! I pulled out a handful of passages that stuck to the ribs on the first go-through, scribbled a few tentative thoughts, read some of the other reviews, then finally thought, I'm not sure I've got what it takes to explain how I'm responding to this. [shrugs] Meh -- the reviews are good, that oughta be enough.

Yes, that is just the sort of prick I can be.

So consider this yet another promissory notice from Yours Truly. To be continued (and no, I won't be commenting on the Hulu show) . . .

Although I see no reason why I can't include a photo of co-star Gretchen Mol.

Saturday, July 29, 2017

RAW on RAW* -- Take 2

Take 1, generated by this artifact.

"Now then, we really only have two types of people anymore: those who divide people into two types, and all the rest" -- loose translation of a very old Plautdietsch Mennonite joke

Bear with me, as most of this is probably wrong -- dude wrote a lot, most of which I've not read. However:
"Don't say words you're gonna regret..."
Robert Anton Wilson made a variety of controversial claims, two of which I very much admire: 1) he asserted that agnosticism, properly understood, was the more honest and difficult intellectual stance -- much moreso than atheism. I gather he came to this conviction following another illumination, namely: 2) most either/or postulates are so fundamentally flawed as to be worthless.

From here, he and his wacky wacketeers proceeded with "Operation Mindfuck," sowing mischief where certainty -- particularly of the political variety -- abounded. Through the '90s and into the Aughts I thought I admired this, also (albeit with reservations). But as events in the past year have made quite plain to even his acolytes, people with motives more malign and pointed have adopted those very same strategies to wide success and devastating results. RAW's bunch are now scrambling to launch "Operation Mindfix" -- which . . . well, good luck to us all.

More anon, hopefully. If curious, here are some further RAW links:

Friday, July 21, 2017

RAW on RAW* -- Take 1

*"Ridiculous Anabaptist Wanker on Robert Anton Wilson"

Some ancient history from 1991, when I first started working in the bookstore:

The Receiver there was a slender guy who dressed entirely in black and listened to the Sisters of Mercy. His shelf of special orders was a small collection of Crowley titles. I steered as wide a berth as possible around him and his freaky books (I dug the Sisters, however).

He was in the habit of tying up the company fax machine and sending long, obscenity-filled screeds to the city's radio stations. On the day management finally showed him the door, he collected his books, loped past me, then stopped, turned around, shoved a chapbook of Crowley poems into my hands and left the building.

I never took the chapbook home, but then I never threw it away, either. For all I know it still rests in the basement of that building.

Needless to say I was a tad freaked out.
I mentioned the gift to a co-worker I was slowly befriending. He snickered. "A little worried, are you? You know, there's this form of White Magick...."

My cage now thoroughly rattled, I thanked him for his kindness but declined further involvement of the esoteric variety.

A couple of months later I bought this issue of Mondo 2000 while on lunch break. I left it on the staff-room table and got back to work.

When the afternoon coffee break rolled around I returned to the staff-room and was surprised to see my friend reading the magazine. When he wasn't devouring Jackie Collins, his literary tastes were considerably more refined than my own.

I asked him what he thought of the magazine. He sighed and flipped it back to me. "You do not want to go any further down this road," he said.

I took the magazine home and read it. Even after a thorough perusal I had no clue what he was warning me about. The Timothy Leary/William Burroughs exchange was akin to the Chomsky/Foucault meeting -- a concept more exciting to contemplate than to see in execution. Brian Eno was his usual pleasantly challenging self, the graphic layout was delicious, but the larger think-pieces were the bourgeois-gnostic variety of "counter-cultural" that I'd encountered in baby-sitters and friends with older siblings and a small handful of university mates who were taking a stab at free-thought.

I shrugged and stowed the magazine in my archives, not giving it any further consideration -- basically putting my friend's advice into practice. Or so I thought.

A quarter-century later, I can't open an internet browser without being completely immersed in the very environment he was telling me to steer clear of -- one that our former Receiver was already swimming (or drowning) in.

And neither can you.

Saturday, July 08, 2017

Post-Leonardian insight

We've made it to season 6 of Justified, a show that's generally been easy to watch. Right out of the gate it stayed true to originator Elmore Leonard's take on the heroic narrative -- Marshall Raylan Givens, played by Timothy Olyphant, is a man on the cusp of midlife, old enough to have amassed experience and a touch of deep wisdom, while still virile enough to attract the ladies and mete out violence.

A television series is a group project, of course, and so a departure from Leonard's template was inevitable -- and, from my POV, entirely welcome. Leonard's women tend to be cyphers whose behavior is either inexplicably impetuous or inscrutably calculated. If the novel doesn't break the 350 page mark, I don't mind giving this take on the female psyche a "pass" -- any longer, though, and credulity is strained to the breaking point.

Although Givens' ex-wife/love interest is the typical Leonardian "inexplicably impetuous" type, the series nevertheless produced female characters possessed of emotional depth and motivational nuance -- particularly Ava Crowder (Joelle Carter).
Ava is another ex of Givens, one who actually sees through the bad boy charm and thus dissipates some of the virility aura he is so pleased to exploit. She is present in all six seasons -- the contrast she brings to the Givens character becomes so persuasive the viewer is forced to concede something about Leonard's creation that Leonard, in all his years of writing, could never quite come around to: his "hero" is, in fact, an incredible asshole -- one who somehow, despite this character deficit, manages the heroic feat.

I haven't yet finished the series, so this is as far as the grand theories and profound insights go. But it's one I'm grateful for. I recently commented (to my wife, of all people) that a man who doesn't have at least one friend who knows what an incredible asshole he can be, and who calls him out on it, is a man who leads a profoundly lonely life. Story telling that tips its hat to this reality is, it seems to me, doing beholders of this particular historical moment a great favour.

Friday, July 07, 2017

All roads lead to RAW, initial scribblings

Here's an artifact from '91:
It was sitting beneath my Sega Genesis!
I've even got the drop-out subscription card:
This will all lead to some thoughts on Robert Anton Wilson. Unfortunately I am way behind on a million things, including stuff that actually pulls in money. I hope to get back to this so's I can put something up this weekend.

Friday, June 30, 2017

Aging guitar heroes

Continued from...

One observation made, somewhat obliquely, in Edgers' piece continues to have me brooding: ask kids who their guitar heroes are and you get names from the '70s or even the '60s -- Jimi, Jimmy, Eric, Jeff, etc. Kids are trotting out the same names their parents -- well, their fathers, for the most part -- did when they were kids.

On the one hand, I find it curious that neither Jack White nor his nemesis Dan Auerbach get name-dropped by kids these days -- both these guys tear it up and put on a terrific show. On the other hand, this surprises me not at all -- had I been magically exposed to their music when I was 13, I'd have given it a wide pass.

The fact that I listen to White and Auerbach in my dotage is less an indication of my fondness for their contributions to rock 'n' roll than it is a grudging testament to the raw virtuosity of their skills. The strange admixture of garage DIY with technical formalism with "These are the lyrics, so suck it" attitude tends to put me in mind of the Christian Rock I listened to as a kid -- not quite the genuine article, but close enough to get me on my feet.

I -- along with countless other dads, I imagine -- really only queue these acts up when I can't be arsed to listen to Moving Pictures for the bazillionth time. That has to register with the kids. I suppose it's one reason why kids are keen to play "The Spirit of Radio" and less so, say, that little ditty about a doorbell.

I suspect White and Auerbach receive what passes for prestige studio treatment because A&R spotted potential to market to dudes like myself -- 'cos who else is buying music? So it goes. Seems a bit of a shame, though, that our kids don't really have rock acts and a rock sound to call their own -- or am I missing something?
Darwyn Cooke, just because.