Thoughts on writing about The Surrender by Scott Esposito for Minor Literature(s)

The moment I heard that this book was on the horizon last year, I knew it was one that I had to read. But I could never have anticipated how tightly the release of The Surrender would intersect with my own fledgling efforts to put a voice to my own journey. The precipitous timing coloured not only how I read, but how I would go on to write about this book.

surrI entered Scott Esposito’s sensitive and intelligent three part essay into the heart of his own gendered identity armed with two notebooks. In one I catalogued my observations about the essays themselves–the structure, the form, and the content–while the other captured the flow of emotion, the moments of recognition, the ideas that spoke to my soul. One could say that I surrendered to this book. But I could only review it by putting my deepest personal reactions to one side and allowing Scott and his accounting centre stage. To do anything else would have been self indulgent, unprofessional. At the same time I simply wanted to open the work to the point that other readers would be drawn to enter in. One deserves to hear a story like Scott’s directly.

For my part, writing about The Surrender was an absolute joy. Thank you to Tomoé Hill at the wonderful Minor Literature(s) for entertaining my review.

You can read my review and see the original photograph I created to accompany it here.

Personal reflections on identity, for better or worse, on Canada Day

Today, July 1, is Canada Day.

Exactly one year ago I was in Cape Town. I arrived back in the city that day at 5:30 in the morning after seventeen hours on a bus from East London. Dragging my luggage with its maple leaf ID tags I encountered many who would note the flag and say “Ah, Canada, that’s just about the perfect country, isn’t it?” Invariably I was hearing this from black or coloured South Africans and, I have to confess, at that time in my country’s recent political history I was feeling most despondent, embarrassed even, to be Canadian. For the very first time in my life.

What a difference a year makes.

canada-159585_960_720Hard to measure the shifting sands in the glass but while our Federal election last year brought home to the ruling Conservative Party the cost of divisive politics, the limits of denial and disrespect, and the risk of stoking xenophobia to sway sympathies; we now seem more and more like an island in a sea of unrest. And, I don’t pretend that we are immune to hatred, or that we don’t have a legacy of shame four “our” treatment of the First Nations on this land, but this is a huge and vastly underpopulated place so there is greater room to breathe.

At least for now.

As Canadians we also have another advantage: an identity that is relatively amorphous, ambiguous, sometimes even apologetic. A contest held in 1972 on the CBC Radio program, This Country in Morning, famously invited listeners to finish the statement: As Canadian as ________. The winning entry?

As Canadian as possible under the circumstances. And proudly so, I say.

Which leads me to wonder about identity, a question that has been troubling me of late.

There is a series of advertisements running on the television for a company that, for a fee, will analyze your DNA and tell you what your ancestry is, in percentages, no doubt with colourful pie charts to justify the cost. Perhaps you’ve seen them or something similar. You know, there is, for example, a man who always believed he was of German heritage but thanks to a little DNA sleuthing he discovers he is Scottish. He promptly trades his lederhosen for a kilt. And there are other variations but you get the drift.

How can your DNA define your cultural and ethnic identity? It might and then again it might not. Peoples migrate, borders shift, cultures evolve. An aboriginal survivor of the 60’s Scoop that literally pulled First Nations youth out of their homes and communities and deposited them in white foster homes may justifiably have a need for healing and reconnection with their heritage, but a DNA test that simply reflects possible ancestral bloodlines going back centuries or longer does not tell you who you are. Cultural and ethnic identity are complex and cannot be understood divorced from lived experience.

As I find myself, midway upon my life’s journey, to paraphrase Dante, I carry two questions of identity that, to some degree, offer an understanding of myself that reaches back into childhood and adolescence. But even if they are grounded in some understanding of a genetic/epigenetic heritage I own, the degree to which they can and do form part of my identity is troublesome. Identity is, as far as I am concerned, a choice. That is not to say it is not grounded in fact and reality at some level, but what does it mean to say “I identify”? And how is that to be differentiated from “I am”?

I have bipolar disorder (I touch on this in some of my earliest blog posts) and I was born with a pervasive sense of a gendered self that was at odds with the sex/gender that I appeared to be (I address this most explicitly here). I did not begin to understand either of these facts until I was in my mid-30’s. But they are inextricable from my experience of myself in the world, they are formative and I have no idea what it would be like to have existed without either although I have learned, with greater or lesser success, to live with each one. Both are treated, neither is cured. I have written about both, but I would be hard pressed to say that I identify as either bipolar or transgender. Would someone identify as a diabetic? Would you say you identify as brown-eyed?

I know people who do hold a mental health diagnosis or a gender identity with pride. Perhaps I did too at one time. Perhaps I still do even though I don’t want to admit it.

Recently my psychiatrist suggested, having reviewed the only records she had from my past—the report of an inpatient stay during acute psychosis almost twenty years ago, the turning point at which I finally began to unravel the fractured and unhappy state against which I had raged for several years—that she did not believe I was bipolar. That cheerful announcement set off weeks of rumination in which I replayed all of the episodes of depression and hypomania I had surfed for so many years, blaming myself for a failure to commit to any single course of study or employment. I began to appreciate how my understanding of the place I find myself at this point is contingent on having an explanation, an illness to blame. Combined with acute gender dysphoria I can assuage the sense of failure that haunts me. Justify all the paths I took or did not take.

Or, as my therapist challenged me yesterday, have I been using bipolar as an excuse to avoid grieving the losses I have experienced?

I don’t even know how to begin to grieve and the thought terrifies me. And, if I find my way through it all, perhaps I will write about it. But I do believe it may be the one path I have not yet dared to take.

Finally, what of gender? That is a topic for many essays I’m afraid. My differently gendered existence is essential to who I am, but again, it is not my identity. If forced, I “identify” as male, but prefer to understand myself simply as a man, and every time I qualify myself by appending trans* I feel reduced, dehumanized. One only has to exist within the LGBTQ community, such as it is, as a man attracted to men, to feel the full force of transphobia from within. And to have transitioned when I did, before it was fashionable and trendy to be trans, other transgender men were often exceptionally homophobic toward anyone who identified as gay. For everyone who claims to defy gender binaries there is a whole cast of characters propping them back up. I’m probably in there myself.

pride-flag-meaningSo, although I tick three out of the five basic boxes in LGBTQ, I have no Pride. But then I have no shame either. And identify? Well, here I stand I can be no other. Even if I don’t feel I belong. June is always tough for me. This month with all the difficult emotions stirred by the Orlando shootings has been especially hard.

I actually do belong to an LGBTQ community and have good friends there. My very closest friends are all queer. And yet I always feel like I am on the outside looking in. An impostor. But in what way? And who decides who belongs and who does not? Even apparently marginalized groups seem to find a way to splinter and divide.

Which brings me full circle to the angry racist, xenophobic, sexist and homophobic aggression and violence that threatens us all, at a time and in a world in which we should know better.

At least, for now, and on this day, the one thing I can say is: I identify as a proud Canadian.

Surfacing: Some reflections on the general messiness of life

I have been quiet these last few days. Not entirely absent, but definitely lying low. I’ve needed to claim a little cleansing time, hold social media at arms length for a while and, you know what? It feels really good. My life has taken on a fine shade of hell lately–at the least serious end a recalcitrant major household appliance, and at the most serious, an alcoholic adult child who confessed to making active suicidal plans. And since this is real life, there have been a few more critical pressure points in between, familial and financial.

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With the worst of the most critical crises calmed, but of course not “over,” I thought I would emerge a little and take a deep breath.

Today I submitted my latest outside review and I am looking forward to spending a little time reading simply for the sake of reading. I may write about what I read, I may even write reviews, but I am keen to lose myself in words and ideas for a while without the pressure of dragging a notebook along. Fortunately I have no reservations against marginalia, love a book with a few blank pages at the end for notes, and never read without a pencil handy.

I have recently acquired a number of collections of short stories and essays that I am anxious to explore, I realize that I am almost a year from my trip to South Africa and I have barely touched the stacks of books I dragged home, and I am presently making my way through some works that I hope will contribute to my own writing. So I will not be at a loss for reading material, which is a good thing because my book budget has just been ruthlessly slashed by unexpected expenses.

CounternarrativesBut first and foremost I am caught in the absolute brilliance that is John Keene’s Counternarratives. This collection of short stories and novellas has me captivated. After noting it in my peripheral vision for months I finally bought a hardcover copy just before the paperback was released. Now that I am into it, I take it everywhere on the chance that I might have even a few minutes to slip back into it. I can’t remember the last time a book had me in it’s thrall like this one.

And when I am finished I might even write about it. But for now I just want to read.

 

PS. Warm thanks to DC, MM and JT for supportive words over the past few days. Who says you can’t meet some fine folks on Twitter?

Reading into writing: Two years of roughghosts

Beyond the ear there is a sound, at the far end of sight there is a view, at the tips of the fingers an object—that’s where I’m going.

At the tip of the pencil the line.

Where a thought expires is an idea, at the final breath of joy another joy, at the point of the sword magic—that’s where I’m going.

– Clarice Lispector, “That’s Where I’m Going”

Today is the second anniversary of the rather haphazard and ill-defined birth of roughghosts. The evolution of this space that I tend has far exceeded my expectations. When I look back at my very first post, a quick note to self, I talk about having long put aside the desire to write so as to live a little first, acknowledging that life had given me more material than I was comfortable addressing–a theme I’ve revisited since. My first year of blogging saw a collection of random observations and occasional book related posts develop into increasingly structured book reviews interspersed with the occasional reflective essay. Looking ahead to my second year I had hoped to broaden my reading while privately I was more actively playing with ideas that I hoped would eventually lead to a serious creative effort of some measure. But as much as I had been filling notebooks, I was writing more about wanting to write as if wishing could make it so, rather than believing that I would ever offer something beyond the confines of this blog.

For me, my blog, no matter how seriously I consider every word I offer here, no matter how many hours I spend constructing essays or reviews, has always been a twilight place. It belongs to neither the day nor the night but sits at the intersection of the two: a place where I can imagine that I am not quite exposed to the full light of day, a place where the darkest truths remain unspoken. For that is the realm of real writing and what am I, editing my efforts and posting them myself, but pretending to the art?

I know, of course, that this is not true.

The past twelve months have changed everything, and in more ways than I might ever have imagined.

Writing is the conscious attempt by the human to participate in his fate, that ‘story’ written from birth to death. Casting spells, exorcising, whistling in the dark, inventing the textures and structures of consciousness, keeping a backdoor open to memory, getting to know who or what we are, both reflecting what is and shaping the new. Memory is nothing but dead time, but death seeds the soil: from forgetting new shapes sprout. . .

For writing is a means to transformation: using words and their interacting combinations—the meanings, the feel, the sounds and the shadows—to broaden our scope of apprehending and understanding ourselves and others, and in the process creating new spaces and references. Sometimes looking down into hell.

– Breyten Breytenbach, Intimate Stranger

Last year, on July 7 to be exact, with the majestic Table Mountain rising in the background, I started to write the essay I had been toying with for over a year. It was my last full day in South Africa and looking back over the preceding year I envisioned this grand narrative that would guide my writing, shape the story I wanted to tell. On July 27 a pulmonary embolism caused me to go into cardiac arrest. I stared into the abyss, metaphorically speaking, that is, because I have no memory of the event or of the days immediately before or after, but I do know that if my son had not been home that night I would not be here.

And I know that every idle word to page before that moment was precious more than wishful scribbling. To write, honestly and openly, was now critical.

My path from the confines of my blog to the publication of my first piece of essay/memoir writing earlier this month has been quite remarkable. Doors have opened, starting with Douglas Glover at Numéro Cinq where I am proud to be on the masthead. I have since published reviews for several other sites or publications and have more forthcoming, and I have another piece of creative writing that will be in the Seagull Books Catalogue this fall. It does mean that my attention is necessarily diverted from my blog at times but I will link to new pieces as they appear and have created a page of links to outside writing. I never would have dared to dream that I would need such a page at this time last year. Nor did I imagine that I would now call myself a writer.

I derive a great deal of satisfaction from the challenge of writing longer critical reviews. To read and engage with a text at a deeper level opens an entirely new appreciation of language and literature. It fuels and, I hope, enhances my own ability to write. And over the past year I have been fortunate to become acquainted with some truly gifted thinkers and writers who inspire and encourage me, as well as building stronger intellectual and readerly camaraderie with fellow bloggers.

Copyright JM Schreiber
Copyright JM Schreiber

I don’t know where fiction is born, but I am certain that the best essay/memoir writing does not have its roots on our brightest days. Rather, it emerges from the shadows, when we are wounded, grieving, shaken to the core. We write to make sense of pain, of confusion, of loss. We write out of the darkness toward the light. We write in the in-between spaces—daybreak, twilight—find the patterns, themes, edit, shape, refine and edit again, careful to leave room for tension, friction, the beating heart.

And, of course, we write because we have to.

Here’s to a new year, so to speak.

Beginning to find my voice: Reflections on publishing a piece of essay/memoir writing

We should only believe in our feelings, after the soul has been at rest from them; and express ourselves, not as we feel, but as we remember.
– Joseph Joubert, Pensées

Late last month I wrote about voice, about how I have recently been focusing more attention on voice; not only in literature, but as it pertains to meaning, sounds, and silences. I was, at that time, anticipating the publication of my first piece of non-review writing–not the first that I have written, there is a related piece, a parable, that will appear later this year–but rather the first to be published.

I was extremely anxious in advance of the release. I knew that I would be laying forth an aspect of my experience of being in the world that few people were aware of. I am not talking about my queer identity, that is something I have spoken of from time to time although it rarely impacts the books I chose to read and write about. I am referring to the fact that this short essay addresses my complicated relationship with my body in very bold terms.

It can be found here. (The journal that published my piece is under reconstruction so I have reproduced the essay below.)

Now that the piece is out there, granting me the necessary distance, I am extremely pleased with the results. It is raw and honest, but I feel comfortable that I have touched the heart of my experiences while maintaining a healthy and comfortable boundary. I am not a fan of confessional memoir/autobiographical fiction that tends to the revelation of excessive, unguarded intimate information. It is a delicate balance to measure vulnerability and self respect when writing about the personal details of one’s life. And, I would argue, it is essential to remember that there are limits to what we can ever really know about ourselves and if we remember that we can more honestly write from the heart.

Solitary daisyI have found that I am most comfortable leaning toward a more spare prose the closer I come to the self in my writing. I am hoping that it is a style, a voice if you like, that I can build on. But a detailed account of my life is not my goal in writing–my interest is more philosophical in nature.

I have to say that I am overwhelmed by the positive response to this piece. It is far beyond anything I could have hoped for. And I feel very excited about where I can go from here with further explorations. So much of my reading and the conversations that I’m having in the virtual sphere seem to be converging at this moment. Or perhaps I am simply in a fertile state of mind. It is not, however, an overnight phenomenon, these ideas have been growing for a long time, knocking around in awkward, unfinished form. I am grateful to everyone who has offered inspiration, support and encouragement to this point. I trust they know who they are.

May the conversations continue.

As published on Minor Literature[s], May 6, 2016.

Your Body Will Betray You — Joseph Schreiber

“From the inside out, but from which inside to which outside?”—Róbert Gál, On Wing

This is not the story of my life but the story of my living it, of my being in it.

And that’s a different story altogether.

I am, for lack of a better term, a differently gendered man. No, maybe there are better terms, more common terms—transgender, or queer, perhaps. I use these too. At least, when it’s expedient to do so or when I choose to take my place under a larger umbrella. But by their very inclusiveness, these terms are rendered senseless. Defining the self for one’s self requires an explicit ownership of the language employed. The words I embrace are mutable, evolving, even in the act of committing them to paper or speaking them aloud. Labels can only take us so far.

History is subjective. We can only know what we think we know.

And that isn’t very much at all.

This is what I do know:

I lived, for almost four decades, defined by the parameters of the body in which I was born. I recall the sensation of harbouring a fugitive being—an early social memory (at four? Five? Six?) This someone inside me was not with me, he was me. I saw him in my eyes and I wanted him gone. I wanted to be the girl my mother longed for—the one whose gender mattered solely because her first child, the sister I never knew, was stillborn.

I was not a tomboy. I did not wish to be a boy. I wanted to be the girl I confronted in the mirror, the one whose authenticity no one else questioned. I imagined that feeling female was something you learned, like tying your shoes or riding a bicycle. Yet, although I passed in the world of girls and women, this passing was a measured performance. The rules remained opaque.

The company of boys and men became a refuge—the space where my otherness was validated, where no one would ever question whether I was really female. Sexual attraction to men was a precious counterpoint to my persistent gender insecurity. Never mind that the romantic encounters between men in Mary Renault’s historical fiction held a far more desperate appeal that anything encountered in the pages of a typical boy-girl romance.  I reasoned that if I had a boyfriend, I must truly be female after all.

I married young and disappeared.

You have to understand, when I was growing up, in the 1960s and 70s in rural Canada, no one talked about ‘gender identity’ at all. And they certainly never suggested that it could differ from biological sex. Even now many choke on the concept, quote Bible and verse. My upbringing was liberal, neither fundamentalist nor homophobic, but still, my ‘out of placeness’ was my own, the faint light in the dark room. An old story, but I had no idea that there were others like me.

Self-defined gender insecurity continued to haunt me. It prescribed my path. Twice I walked away from graduate studies, turned down admission to law school, all because the more I exercised my intellect, the less energy I had to devote to maintaining the fragile equilibrium of being female in the world. I retreated to the most unequivocally female spaces I could imagine. Eventually, against my natural instincts, I decided to have children, and that was the beginning of the end—the beginning of the end of my ability to hang on to any reconciliation of my internal identity with the life I had constructed.

I fell apart.

Only in cobbling myself back together, in the aftermath of a breakdown, could I finally openly face the two fundamental notions that had driven me into mania—sexuality and gender. I realized that they were not going away, and that one could not make sense without the other.

Please note, in today’s world where trans* is appended to all manner of identities, where sexuality is no longer narrowly delineated and gender is something to defy, it may seem impossible to imagine that I could crack my head against the wall for so long before the light broke through. But mine was a different time.

I found myself in the library with a copy of Transgender Warriors and learned, for the very first time, what a few years of testosterone could do to transform the outside and fuel the inside of a female-born man. I understood, in that instant, that there was no other option. I finally had a name, a label for myself, and everything else started to fall into place.

I am not reckless. I knew there would be compromises. I knew what surgery could offer and what, at best, it could only approximate. I knew that the scalpel exacts more than its pound of flesh, that healing well is not the best revenge, and that there would be limits to the choices I would make. But none of that was on my mind as I waited for my first injection of the right hormones, the ones I had been craving, body and spirit, for so long.

That was fifteen years ago now. I was forty years old. And in puberty—even when you are old enough to know better—everything seems possible.

Today: 

On the street, I am invisible.

To see me, you would never suspect the truth of my history, the convoluted path to the dream of my genesis. Even those who do know, if they didn’t know me before, don’t ever think of me as any different from any other man.

I just am.

And yet I am not.

I am at once more, and less, than the sum of my parts.

Always have been. Always will be.

For a long time I believed that what I had rendered visible was the true me, the authentic self made flesh, but it’s not that simple. There is an inherent groundlessness, an embodied inauthenticity at play.

I am always in the process of coming into being.

The (meta)physicality of it all: 

I hold a life contained within a life—a life disjointed and hybridized, receding and resurfacing against the passage of time. That other life never leaves me, but with distance I can touch it less and less, as if it never was mine. Now it feels as if it belongs to someone else. It belongs to those who hold it in their memories—my parents, my siblings, my children—but what, if anything, does it mean to me?

It’s as if I own the inside, but not the outside, of the first forty years of my life.

So what do I have now? A more coherent existence, absolutely, but with the knowledge that a fully whole experience is not something I will ever have. My body is disfigured; not by choice or wilful design—it is simply the best I can achieve. And in the end as in the beginning, the body is only an echo of what I am, a reminder of what I have been.

You can change your face but your body will betray you.

The further I proceed, the more I realize that I will never arrive. Transition is an experience that is always in the reframing and redefining of boundaries.

Borderless, I am forever a migrant—endlessly coming into being.

Being cannot be measured.

Being cannot be reduced to the change of a marker on a passport.

On the street I am invisible.

And here lies the crux of the matter. Invisibility, once achieved, is deemed to be a mark of success. That’s what a person in transition means when they say: I pass. To pass is to be seen, without question, at one with a gender identity that feels true. And it is more than an ability to disappear in a crowd. There is an internal completeness that comes with the hormones and the pronouns and the new name—a levelling, a sense of peace.

But the body, the body is another matter. Only now, the axis of discord has shifted.

For those of us who traverse the visible lifeline from female to male, there is a sacrifice. The journey is forever written on the body, no matter how far one is able or chooses to travel. We are at once dramatically transformed and decidedly unfinished or differently designed. Scarred. I accepted that cost, assumed it would not matter.

Fifteen years on, it matters. At least, it does for me.

Don’t get me wrong. I made no mistake. This is the only path I could have taken once I found it on the map. I am infinitely happier, more settled than I might ever have imagined I could be. But if I long for anything, it’s the life I never had, the boy’s life—or any life, male or female—that might have been coherent, sex and gender, gender and sex. As much as the two are divided, the physical and the psychological, they are not separate in the living, in the experience of being. We exist as embodied minds, or if you prefer, embodied spirits, in the world.

Pre-transition, there was an internal fracturing of being. I struggled to align the outside world with the inside space I inhabited. I was an awkward misfit. Nothing made sense. Even the glam rock and punk of my teen years offered little more than a glimmer of hope before fading away. For years I fancied myself a Cartesian dualist. The ontological reality I experienced was akin to being tethered to a body that could never be a home. Over the years I began to talk about this body, to describe it as a distinct entity. I would catch myself at moments feeling like I was consciously moving my hips and propelling my legs forward, like an injured person re-learning how to walk. I floundered in pregnant form. By then I was at a complete loss.

Recognizing myself as transgender, that is, understanding that the real me was the male identity inside and learning that the outside could be modified to conform, was sufficient to see me through a divorce and launch me on my way into a new life. In the early years there was so much to look forward to, so many changes, and so much random strangeness. Puberty at forty is intense and wild and weird. For years I threw myself into work, measuring my worth by the title on my business cards, and finding validation in the sole corner of my life in which no one knew my past.

My transition was a textbook success. Or so it seemed.

I made no close friends, took no lovers, dared not risk the delicate balance of finally existing as a man in society. I sacrificed newfound authenticity for another superficial truth—one coherent with an implied history that would not threaten to expose me. The wall I had once constructed on the inside, I reconstructed on the outside.

Now I have dismantled and deconstructed it again.

But I still find myself troubled by a restless inauthenticity of being. It worries its way into the tension between my desire to blend and my need to be true to a life lived against the grain. It is looking for a voice.

On the street I am invisible.

I am. And I am not.

I am at once more, and less, than the sum of my parts.

Always have been. Always will be.

Here I am writing about my life, opening up the veins of the story without fleshing out the details. I have offered scraps and fragments, just enough to begin to frame a question, to try to begin to articulate my hybridized experience of living—then and now.

This is a sketch. That is all.

I am forever in the process of writing myself into being.

Postscript:

If the apex of manhood is to stand to pee, the nadir of manhood is to be gay and to understand that you will always arrive short-handed.

The bride stripped bare by his bachelors. Even.

 

Meditation on a poetic meditation: To Duration by Peter Handke

In a month during which reading proved to be a slow, at times disjointed enterprise, I feel it would be shortsighted to let January come to a close without calling attention to one of the simplest, most precious reading experiences I enjoyed over the past 31 days. It arrived, courtesy of the translator, on a morning when I was rushing out of the house on my way to an appointment across town. A slender, pocket sized volume, it proved perfect company for a busy day. Only 40 pages long I read it several times before the week was out. I am speaking of Peter Handke’s poetic meditation To Duration, translated from the German by Scott Abbott.

The author tells us in the opening stanza, that he has long wished to engage in the following personal quest, the exploration of a topic that he feels is best suited to the poetic medium. Perhaps it is only with a poem that language can circle around and come close to touching on a subject that is, by its very nature, difficult to pin down and describe. Words are almost too solid to capture an experience that dissolves as quickly as it arrives:

Time and again I have experienced duration,
in early spring at Fontaine Sainte-Marie,
in the night wind at the Porte d’Auteuil,
in the summer sun of the Karst,
on the way home before dawn after love.

This duration, what was it?
Was it an interval of time?
Something measurable? A certitude?
No duration was a feeling, the most fleeting of all feelings,
more swiftly past than the blink of an eye,
unpredictable, uncontrollable,
impalpable, immeasurable.

Duration, Handke tells us, is not fixed or prescribed; it cannot be scheduled or delayed. It can be approached, but it cannot be forced or guaranteed. I would wager that as our lives grow more stretched, weary, and fraught with the disillusion of time, duration becomes ever more elusive. I also wonder if, when we try to grasp at it through our memory of those moments when it seems we once met duration in passing, the more impossible it seems. And then, one day, when we are not expecting it, the feeling taps us on the shoulder, washes over us and moves on but leaves its trace, like frost on a bare branch or the hint of dew on the grass. One of the true gifts of this book, is that it inspires the reader to explore his or her own experience of duration. What is it for me,when is it, when was it, where? These are the questions that the reader is encouraged to meditate upon, as Handke reflects back upon his relationship with duration in his own life. His calm, measured, and sensitive introspection invites you to engage in the same.

At one point he talks about travel and journey as opportunities to open oneself to encounters with this feeling. There was a time when I was able to regularly visit certain parks and pathways in my hometown, typically with my camera in hand, focused on nature framed through the lens – a dried leaf here, a glimpse of a meandering stream there, the shifting pattern of clouds in the wide blue sky. At home, processing the files, I could almost revisit the moment – it was not the photograph that fixed the moment, in and of itself, it was rather an ability of the image to contain, for me alone, the experience of being in the moment. Is that duration? A variation on the theme? And why don’t I visit local parks as much as I used to?

In truth, I need a greater distance, at least right now.

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Sea Point Promenade at sunset, July 2015 – Copyright JM Schreiber

Last summer I spent three weeks in South Africa. After a visit with a close friend in the Eastern Cape, I returned to Cape Town for a week on my own. I traveled on foot and by city bus, eschewing most of the tourist sites. I wanted to be in the city. I stayed in a small B&B in Sea Point and every day I walked the Promenade along the Atlantic. A popular pathway, no doubt, but there was, for me, an essential necessity to be close to the ocean. Sometimes I would stand at the salt-corroded railings and look out over the waves and find a deep peace at being so far from home and all of the complications left behind there. I could turn around and ground myself with the unmistakable landmarks of Signal Hill and Lion’s Head. It was the moment experienced and re-experienced each day that became the fulcrum of my stay in the city. No day was complete without it. If I lived in Cape Town I don’t think I could have touched duration like that, so intentionally. The measure of seven short days, coloured by an intention to be less a tourist than a presence in a city, not having to actually attempt to fit in like I do at home, I touched a peace of place I rarely experience. Travel can do that.

But physical travel,
the annual journeying and pilgrimages
for the jolt of duration,
the thrilling supplement,
is that really still necessary for me?

Handke acknowledges increasingly finding more instances of duration closer to home, even in his own garden. Restless as I am in my house and home, I likely frighten off duration, so fragile and fleeting a guest. Yet just the other night it caught me unaware. My elderly father, still seriously weakened and disoriented following his stroke, insisted on returning home from the hospital on Thursday against the recommendations of his doctors and the wishes of his family. I quickly gathered some clothing and personal items in one bag and tossed a handful of books from my priority pile into another and headed out the door for the two hour drive to the remote location where they live. That first evening, once my exhausted parents were safely tucked into bed, I sat in the delicious silence with my collection of books. I wasn’t actually expecting to have time to even start reading any of them – I just wanted to spend time with these relatively new acquisitions. Get to know them a little. Read a few pages. This unexpected moment, borne of a collision of unwelcome circumstances, opened the door to duration, inviting that unpredictable, immeasurable sensation, to wash over me, leaving a sense of contentment I hardly imagined I would encounter when I had headed for the highway only a few short hours earlier.

Perhaps then, if you watch for it, open yourself to it, maybe duration is not quite as elusive as it may seem.

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To Duration, Cannon Magazine No. 4, is published by The Last Books.

With infinite thanks to Scott Abbot.

January 2016: A slow start to my reading year (and why does that bother me?)

The first month of 2016 has almost slipped away and I am feeling overloaded. Too many stressors have collided to take a curious toll on my ability to read and blog. My reading continues to be fractured. Books are not the same refuge they were a few months ago. Not that they don’t keep arriving (or rather following me home) and haunting me as the stacks pile up, staring at me, daring me to read faster. But my reading is slow, and the books I had expected to venture into by month’s end have not yet been cracked.

And then there is life, the one that doesn’t exist in books, the one that can’t be shelved or put aside for a later date or, as much as I would love it sometimes, be tossed into a pile to go out to the next charity sale. It is hardly a surprise. Over the past month I have had to face some extraordinary challenges on the home front – some new, some long standing, and others simply arising from the financial reality of owning a car and a house, both of which are well past their prime. Some matters have been resolved – one mechanic and two plumbers later – I just have to figure out how to pay for them; others are less concrete, more emotionally corrosive and resolution is not in sight. If another well meaning person says, “This too shall pass,” my reaction may be less than generous.

Copyright JM Schreiber, 2013 The last time I had a month with two separate plumbing calls I took this shot to celebrate the joy of a clear drain that had been blocked for more than four weeks.
Copyright JM Schreiber, 2013
The last time I had a month with two separate plumbing calls I took this shot to celebrate the joy of a clear drain that had been blocked for more than four weeks.

Through it all I have been reading but by some weird twist of logic my attention has been drawn toward much more intensive review projects. Blogging is fine but for each review I write I spend 4-6 hours, so when I encounter an ambitious, complex, postmodern novel like Klaus Hoffer’s Among the Bieresch, forthcoming from Seagull Books; I can’t resist the desire to read into the varied subtextual materials, especially the works that I don’t know well and – with luck – explore the novel in a space with greater critical elbow room and a much wider audience than my blog commands. There’s a voice in my head that says “Are you out of your mind?” and, maybe I am but, at this moment, I seem to be most comfortable burying myself in demanding critical projects, losing myself I suppose. At the same time, I am also spending more time on my own writing: a personal essay I hope to enter in a contest and a piece of experimental prose.

Tell me then, what is with this book blogging pressure I feel? It’s not a numbers game. No one is going to disown me if I don’t read and review two books a week. Reading and writing about books is supposed to be fun. And, heaven knows, the spaces I that want to write for, on or off my blog, are literary acts of love and, as such, there’s typically no money involved.

So blog posts may be slower for a while. I am reading. I am writing. And I am dealing with all the messy business of living.

Writing to make sense of loss: Stammered Songbook by Erwin Mortier & further thoughts

As a man watches his mother, once so vital and full of life and charm, steadily losing her grasp on the spoken word – fumbling, scratching at the air for the names of people, places, and things – what can he do maintain the fragile flow of words? As uncertain laughter and tears of frustration become the increasingly fragile threads holding a woman, just 65 years-old, to the web of anxious family members spreading out around her – her husband, daughters, sons and grandchildren – is there any way to make sense of the inexorable dissolution of this person who is disappearing, fading, before their eyes? If the man in question is Flemish author Erwin Mortier, the only way to find comfort is to write:

“I realize that I only write to hear sentences dancing without interruption through my head. To make rhythm, acceleration, rallentando, to make pauses sing. Just to be able to hang from the dashes – the trapezes of syntax – weightlessly for a moment from the roof beam of a sentence, I let the words loose.”

songbookMortier’s passionate, insightful record of his mother’s decent into the unforgiving spiral of fragmentation and decline that marks early onset dementia, is at once a loving memoir and a writer’s thoughtful reflection on the vital role that words play in his own ability to make sense of and cope with the most painful and difficult process of letting go or, as he puts it: “constantly saying goodbye to someone who is still there, yet not.” But the pages of Stammered Songbook: A Mother’s Book of Hours contain much more than a portrait of one woman’s steady regression from independent and vivacious to prematurely helpless, frightened, and lost; it offers an honest, sometimes brutal, account of the challenges of negotiating the surge of conflicting emotions that batter and buffer the individual and the family in mourning. He tracks her illness, from the earliest missteps through to the recognition, so painful for his father, that her needs can no longer be met by her loving husband, or by juggling responsibilities between her five children and their spouses. Even a large, closely knit family cannot provide the support and care she requires in the end – it is too difficult, too draining, and far too painful – especially when the person who once inhabited the emaciated frame of the body that remains has been slowly fretted away into the space of memories and dreams.

Mortier’s writing has frequently drawn comparisons to Proust; powerfully, and I would argue rightly, reinforced by his elegant, sprawling epic set in Flanders during the First World War, While the Gods Were Sleeping. Smaller, more immediate, and intensely personal, Stammered Songbook turns – as his mother in the present recedes into the distance – into a lyrical, poetic sketch of the woman as he remembers her, and a moving reflection on the complexity of our relationships with those we love. Yet as he captures his experiences and emotions, he is aware that, as a writer, it is essential that he is able to fine tune the words he employs so that he may strike the exact note. That is, he is not only writing about his mother, he is writing about the process of writing about his mother.

“Time does not unite us in oblivion but unravels us into memories. I only started writing properly, I suspect, when I began to realize that words are at their best when I can make them vibrate like minute compass needles in response to those elusive magnetic fields that constitute someone’s whole “being” – rather like iron filings form patterns on a sheet of paper under which a magnet is held. From the cloud that my mother is becoming and that in fact she already is, slivers of images will shoot out unexpectedly, strangely sharp – the way she laughed, the gesture with which she arranged a lock of hair behind her ear… And then we will say: yes, that’s how she was.”

Stammered Songbook is a lyrical farewell to a woman lost too young to a cruel relentless thief; but even more powerfully it is a personal meditation on death, mourning, memory, and the myriad emotions – sadness, confusion, anger – that confront those left behind. Yet in reading it I could not help but think about two other books that traverse similar grounds and have informed some of my own thoughts about the project that I am attempting to write into being, so to speak. Both are powerful works that approach difficult emotional experiences arising from the authors’ own lives, each from a different angle.

The first is a novel, This Is Paradise, by UK writer Will Eaves. Here the narrator begins back at a time before his own birth and moves through a childhood account of the unique dynamics that shape and define his family. Then, in the second part of the book, our protagonist is grown and his mother, now increasingly incapacitated by dementia, must be moved into a care facility. The account of the complicated emotions and tensions that pull at the family throughout the painful process of watching their loved one die – especially in the grips of such an unforgiving, emotionally paralyzing disease – was so striking that I kept thinking: There is an authenticity beyond careful research here. And, sure enough, after finishing the book I found an personal essay Eaves wrote for The Guardian chronicling his mother’s battle with Alzheimer’s. Clearly, much of his own experiences were embedded in the novel, but he chose to approach the subject mediated through the curtain of fiction – whether for distance, freedom or stylistic comfort, it doesn’t matter – it works beautifully.

The other book is a memoir, this time a son’s effort to honour his mother in the light of her suicide at the age of 51: Peter Handke’s A Sorrow Beyond Dreams. On the surface it might appear that suicide is the polar opposite of dementia in that it is sudden, but the impact is no less devastating because it raises questions, so often unanswerable, that linger long after death and complicate the mourning process. Like Mortier, Handke is deeply conscious of the importance of writing and the efficacy of adequately capturing a life by spilling words onto a page. However, rather than placing himself at the heart of the memories he is trying to capture, he attempts to step back and maintain an intentional emotional distance. He wants to see his mother, in part, as an exemplar of the rural Austrian women of her generation; to place her life in a broader context to make sense of the very intimate act of her decision to take her own life. And the result is a spare, elegant meditation; but in the end, he cannot help but break the wall between his accounting – which was written within two months of her death – and his own emotions which are still very raw.

These three books do seem to me to fit together, to form a triangle at the centre of which is the attempt, by a writer, to capture the essence of his relationship with his mother, in life and in death. What is of specific interest to me is not the exact nature of the subject at the centre, rather it is the question of the best way to approach writing about a deeply personal experience drawn from one’s own life – memoir from within, memoir with a degree of distance, or memoir turned into fiction. It seems to me that each can be powerful and effective, the challenge, I suppose, is to find out what works best for the writer and his or her circumstances, that is, to find the intersection where the story comes alive.

Stammered Songbook by Erwin Mortier is translated from the Dutch by Paul Vincent and published by Pushkin Press.

In the dark days of winter, searching for words

Normally January and February are my favourite months. The days are growing longer, minute by minute; the days cold and crisp, the ground a snow-covered white, the sky a bright clear blue. A perfect time for reading.

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Copyright JM Schreiber, 2014

More than one week into the new year, I have a strange sensation akin to trying to make my way on one of those moving sidewalks that traverse the passageways of major airports. However, because the direction of the sidewalk and I are at odds, I’m making little progress. Lately my weeks have been punctuated by trips to visit my father, 1 1/2 to 3 hours each way, depending on whether or not we pick up my mother. Weather dictates travel, scrambling the best laid plans, and now that my father has moved on to the rehabilitation unit his stubborn determination has returned – for better and, sadly, for worse. Through it all, my mother, now so tiny in her old winter coat, is entertaining the thought that he might someday return home – home to a setting that neither one of them is really well enough to live in anymore. The potential challenges that lie ahead are fraying the less than stellar relationships between myself and my brothers, and these are still the early days. Meanwhile I have dealt with car repairs and a burst hot water pipe. And I don’t even want to venture into the messy, potentially violent eruptions that have threatened peace in my own house as my son struggles with an addiction to alcohol.

To say that my reading has been scattered would be an understatement.

I am afraid that, anxiety and exhaustion aside, I seem to be responding to an internalized sense of guilt that reading, and writing about reading, has no value if it does not generate an income. If your life does not presently include income generating activity – a circumstance that was not by my design but has afforded me the time and energy to read and write – then my literary pastime is even more self-indulgent. Or at least that is what my family members (and their voices that echo in my head) are telling me.

Of course I have been reading, but my focus is off.

I have just emerged from Rafael Chirbes’ forthcoming On the Edge, a testament to internalized guilt, regret and resentment if ever there was one; fuel for my abiding mid-life angst. I’m preparing a review for Numéro Cinq. Otherwise most of what I have read lately is not quite carrying me through. I find myself distracted and picking at pieces, reading on line journals and stabbing aimlessly at collections. As I said, my focus is off.

§ Finish Your Thought!

As in death, we are equalized in thought when we think that every mind in its effort to comprehend the world must come upon the unthinkable.

§ Think for Yourself…

…not others. There is no such thing as thought to spare, only to share.

Matches_Cover_Front_Mockup_07182015-216x346That said, I find that I do have an appetite for aphorisms and fragments. Perhaps that is the ideal antidote for a scattered new year. I am dipping in and out of S.D. Chrostowska’s MATCHES: A Light Book, over 500 pages of illuminating meditative thoughts about the contemporary quality of thinking, reading, and writing. This is not a work intended to be read from cover to cover over a few sittings, rather it is ideal for slow, thoughtful engagement. Light the match, let it burn for a moment, reflect for a while – return again and again, over time. The perfect companion I hope, to lead me back into reading when I feel I am straying and, more critically direct me to writing when fear I am losing my way.

§ New Line of Thought

Every new line of thought is a departure.
Or a new way of arriving where one already is.

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Copyright JM Schreiber, 2013

MATCHES: A Light Book is available from Punctum Books.

My father’s library: A very personal reflection

Originally published in December, 2015, I have updated this essay with an addendum.

I was standing in my father’s library last night, looking for a book I could not find, but as I scanned the titles I began to read the shelves as life lines, like the lines that always creased his forehead and fanned out from the corners of his eyes as he squinted through the windshield or glanced up into the rearview mirror of the car. For as long as I can remember, my father never drove without a grimace. The shelf lines are deep and distinct. His love of classic literature represented in tattered hardcover volumes with faded lettering on the spines. His life long obsession with Russia marked with rows of history books, discourses on Stalin and Marxism taking up more space than I’d remembered. And the Soviet literature, of course. Then his more recent forays into western American literature, Ivan Doig, Wallace Stegner. I wonder when he ever took the time to read. When other men might have eased into a life of retirement, my father resisted. Retirement is, like false teeth or hearing aids, for old men. He is 87.

My father is one of those men who, living by Dylan Thomas’ dictum not to go gentle into that good night, has spent his life fighting death with massive doses of mega-vitamins, a deep-seated distrust of doctors, and the belief that if one keeps on working, dedicating oneself to physical labour day after day after day, the Grim Reaper will never get a foothold. Ever. That means continuing to struggle with wheelbarrows full of wet cement, devising new projects, and never turning his back on a beloved old Mercedes that has broken his heart and nearly cost his life a few times. No matter how bent and weary, despite occasionally falling into the wood stove (“it’s nothing”), my father shuffled on defiantly until last Sunday morning when he fell and suffered a massive stroke in the simple human act of putting his pants on, as we all do, one leg at a time.

Yesterday, Christmas Day, was my first opportunity to get up to see him. Fate was not conspiring to make it easy – unless I am reading it wrong – but my car collapsed before I even made it out of town. For better or worse, we were across the street from an established mechanic shop and outside the house of a family who kindly took us in out of the -21c weather until we could make arrangements to get up to my parent’s house, a little cottage in the woods outside a village about 2 hours north of the city I live in. Long story short but one of my brothers was able to drive us, when attempting to rent a car proved impossible. From there I drove my mother, in her car, to Red Deer where my father is hospitalized – a further hour each way.

My first reaction to seeing my father helpless and restrained to his bed was, naturally, heartbreaking. But as my daughter and I took turns holding his hand, stroking his now smooth forehead, witnessing the genuine joy in his eyes – so pleased to see us even if he won’t remember – I realized that I have never, in my life, felt closer to this complicated and difficult man. Meanwhile, my son, hung over and fighting a panic attack, held back, not ready yet to come close. And that’s okay. They have had their own challenges over the years (the long hair and beard chief among them), but he and my father are, in their way, remarkably close. They have gone to the opera together and Thomas has already been given some of his grandfather’s most precious books.

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A childhood favourite of my father’s. My son keeps it safely in a plastic bag.

My father has never been an easy man, but as I grew older I was able to appreciate how harsh his own upbringing was, and to recognize in him the mood disorder we both share, even if he denies its existence. I learned to leave him space, to meet his outbursts without taking them too deeply. After all, how could I, the intellectually inclined, queer black sheep of the family, not love a man who worked in construction camps in remote Ontario, learning the electrical trade organically, until he could save enough to money to do what his family always discouraged – move to New York City and enroll at Columbia in his late twenties. He studied engineering, but he should have been an academic if he could have justified the path. His greatest thrill was reviewing opera and classical music performances for the student newspaper. His love of all things Russian also stems from this era – I am not entirely certain of the exact genesis, but seem to think it may have involved a woman. Hard to imagine,as my father never struck me as the romantic type but he did, in his younger years, bear a striking resemblance to Humphrey Bogart. Maybe there was smoky Russian woman in his past.

As it turned out, he never finished his degree, in those days it wasn’t necessary for an engineering designation. When he met and married my mother in 1957, school was abandoned for full-time employment and, over time, they would move to rural western Canada where he would pine for the New York of the 1950’s while simultaneously looking for more and more remote locations in which to settle. These last few years, working away in defiance of death in a cottage outside of Caroline, Alberta, have probably been some of his happiest. And now we don’t know what the future holds. In the months ahead as my brothers and I seek to find accommodations for our parents, I want to make sure I can look after the library, because unlike the countless carefully labelled jars of salvaged nut and bolts that insulate his workshop, for me, this is where his heart lies.

I want to curate it for him. Whether or not he is ever able to read again, I know he would want the company of some of his books if possible in the future. And I want to trace and record those shelf lines in his honour.

Update: My father did recover to return home, against his doctor’s orders and, for a time managed better than expected. On July 5, 2016 he suffered a stroke and was involved in a head-on collision (as to which came first it will never be known). Remarkably he survived the initial trauma and the stroke, but further complications continued to arise in hospital and he passed away on July 20.

In the midst of all this, my mother was taken to the hospital on July 6 due to infected sores on her feet. When she arrived her oxygen levels were less than 60%. Her lungs had been so restricted by long term effects of osteoporosis that the exchange of CO2 was severely impacted. A respirator failed to reverse the situation, and she passed away on July 9, 2016.

Within two weeks, we lost them both.