Arnason, David. A Girl’s Story. From Bowering, Hutcheon, editors. Likely Stories. Coach House Press, 1992. Originally published in The Circus Performers’ Bar. Vancouver: Talon Books Limited, 1984.
http://www.docstoc.com/docs/83487488/A-Girls-Story-227

Michael Ondaajte. The Collected Works of Billy the Kid. Anansi, 1993.
http://books.google.ca/books/reader?id=cJ9su54FA3UC&printsec=frontcover&output=reader&source=gbs_atb_hover

Understanding history for a post modernist point of view

What is history?

• How so we know the past?
• How do we make sense of it?
• Traditional response is to make stories about it
• E.g. historical fiction, history textbooks
• Yes, the past once existed
• We learn about it through documents and other artifacts that have been left behind
• Traces of the past
• Based on those
• We construct or reconstruct the past

History vs. Truth

• What is fact?
• What is truth?
• Who decides?
• Not easy to decide from post-modern
• Novel, 1984
• Winston’s job at the Ministry of Truth
• Rewrites history to reflect current view
• Now have technology to manipulate pictures as well
• Is there a single meaning to the past?
• Who is telling the story?
• Different people see things in different ways
• E.g. Five blind men and an elephant

Billy the Kid

• Book is not about the real Billy the Kid
• MO exposed to American popular culture after WWWII
• Movies with Roy Rodgers and Gene Autry
• Read American comic books
• Became fascinated with Billy by the age of eight
• Legend and truth woven together
• In late 1960’s, discovered a series of paintings about Ned Kelly
• Read books, newspaper articles, Royal Commission Report
• Listened to recorded ballads about Kelly’s exploits
• Showed author how he might create his own picture
• Had already written some poems using Billy’s voice
• Legend of Billy emerged
• With his memories of playing Cowboys and Indians as a child
• Wrote the book over two years
• Took another year to edit and rearrange the manuscript
• Never interested in the real Billy
• Instead, saw him as an alter ego
• Author looked for links between
• Mythology
• History
• Biography
• Created a collage of photographs, lyrics, ballads, short prose pieces, interviews, tall tales and found poems

Putting the book together

• The photographs and layout of the book
• Two important elements
• Many of the photographs staged
• Used family and friends
• Worked with an editor
• Dennis Lee

The Real Billy the Kid

• Born New York City
• November 23, 1859
• Real name: Henry McCarthy
• Mother remarried William H. Antrim
• 1873
• Source of alias?
• Moved to New Mexico
• Used William H. Bonney as an alias
• Committed first murder
• At the age of 12
• Knifed a man who insulted his mother
• By 18 years of age
• Charged with 12 murders
• Captured and sentenced to death
• After his gang killed a sheriff and deputy
• Escaped by killing two guards
• Eventually trapped and shot to death
• By former friend, Pat Garrett

How the author plays with traditional conventions

• Who was Billy the Kid?
• Facts? Myth or fiction?
• MO used some post modern techniques

Post modern literature: some characteristics

As readers we think historical fiction authors have done their research

• Questions role of author
• One single, authorial voice
• Who decides that work has one single meaning
• Meaning of work is not fixed
• Shifting point of view
• Other voices include
• Pat Garrett
• Paulita Maxwell
• Sally Chishum
• Mostly Billy’s voice but
• He is killed on page 6
• His list of dead includes himself
• So is the book written after he is dead?

Discontinuous narrative

• Storyline does not proceed in a linear fashion
• “television” writing
• In fragments
• In present tense
• Has a cinematic feeling to it

Other techniques

• Paradox
• Billy
• “gentleman”
• Pat Garnett
• “sane assassin”
• “sociopath”
• Layering
• How many times is Billy’s death mentioned throughout the story?
• Building on death, may feel like travelling in circles
• Makes writing feel dense
• Used a variety of sources
• To recombine elements of the past
• To create a new work of art

Postmodernism

There are no eternal facts, as there are no eternal truths.
There are no facts, only interpretations.

-Friedrich Nietzche 1844-1900
German philosopher

Postmodernism: a definition

• There is no fixed definition
• Reaction against modernism?
• Evolution on a path to?
• Some characteristics
• General agreement

Postmodernist

• Post WWII
• Later in North America (1960-1970)
• Reaction to war and its aftermath
• Reaction to devastation
• Modernists
• Words no longer adequate
• Continued experiments with form
• Questioned everything
• What is going on?

Postmodernism and capitalism

• Market capitalism
• 18th-19th centuries
• Technology
• Stream driven motor
• Literature
• Realism
• Jane Austen

Second stage...

• Late 19th century to mid 20th century
• Monopoly – capitalism
• Technology
• Electric and internal combustion engine (car)
• Literature
• Modernism

Third stage...

• Multinational or consumer capitalism
• Emphasis on marketing, selling and consuming goods
• Not on producing them
• Technologies
• Nuclear and electronic
• Literature
• Postmodernism

This is where we are now. No one knows what comes next because there are no rules.

Realism

• Characters
• Recognizable
• Stress on character development
• Plot
• Structured, conventional, linear
• Point of view
• Established techniques
• Understandable
• Language
• Does not question the ability of language to communicate ideas
• “Grand narratives”
• Assumes there is meaning in world
• Interest in political extremes

Modernist

• Break with 19th century
• Key year: 1922
• Ulysses by James Joyce
• The Wasteland by T.S. Eliot
• Jacob’s Room by Virginia Woolf
• Joyce and Woolf imploys streams of consciousness in their work
• Key event: World War I
• Writers could no longer write realistically because of how the world had changed

Modernism

• Traditional literary models
• Could not adequately represent the post war world
• The futility and anarchy that followed
• Britain
• Russia
• Often suspicious of science and technology used in war
• First technical war
• Writers viewed the world as fragmented and decayed
• World may be understood
• But only in small pieces
• Visual arts:
• Expressionism
• Abstract
• interpretive
• Surrealism
• based on dreams

Modernism & literature

• Literary characters
• Not as “real”
• Use of outsiders
• Fewer traditional heroes
• Story may not be told from omniscient point of view
• Multiple points of view in one story
• Turn from external reality of inner states of consciousness
• E.g. Stream of consciousness writing
• Character’s thoughts
• Plot
• Less structured or “planned”
• May be no “neat” conclusion
• Use of unconventional techniques to advance plot:
• E.g. Songs, newspaper articles
• Popular culture elements

Modernism & language

• Language
• Skepticism
• Language’s ability to reflect reality
• Author’s ability to reflect reality
• “Language exists to conceal thought” –T. S. Eliot

Postmodernism & literature

• Develops and extends style of modernist literature
• Both modernism and postmodernism reject 19th century realism
• Literature becomes more open-ended, fragmented
• Aristotle (350 BC)
• Beginning, middle and end
• May be no clear cut ending, or,
• May return to beginning
• Consciously disorient the reader
• Not what we expect
• Not chronological, straightforward storytelling

High versus Low Culture

• Blurs the line between
• “high” and “low” culture
• E.g. Billy The Kid
• Fiction and non-fiction
• E.g. film and books
• Who decides?
• E.g. postmodern artist: Andy Warhol
• E.g. photos of Marilyn Monroe

Postmodernism & the interpretation of literature

• Who decides what a poem/story/novel means?
• Ask the author?
• May not be totally aware
• Ask the reader?
• Everyone brings their own set of assumptions
• The text itself?
• Does reader require knowledge of an external source or event?

Modern thinking vs. Postmodern thinking

Structure	Anarchy
Theory	Anti-theory
Authoritative interpretation	No final interpretation
Search for underlying meaning	No underlying meaning
Encyclopaedic knowledge (contained)	Web of understanding

Postmodernism

• Distrust towards universal claims about
• Truth
• Ethics
• beauty
• Instead
• Based on individual perception
• Provisional
• No fixed knowledge
• The way you view the world

Modernism & grand narratives

• Stories on how we see the world define ourselves
• Every belief system based on “grand narratives”
• Canada
• What do we believe about our country?
• United States

The Grand narrative of Marxism

• Basic belief
• Capitalism will collapse on itself
• A utopian socialist will happen
• What really happened?
• Feudal systems collapsed
• Replaced by totalitarian regimes
• Narrative fell apart, there was nothing at the core

Post modernism and grand narratives

• Critiques these stories
• beliefs
• Points out that they serve to hide the contradictions
• Occur in any social organization
• Every attempt to create “order”
• Also demands the creation of a equal amount of “disorder”

Grand narratives

• Rejected by post modernism
• Replaced with “mini-narratives”
• About local events
• Not large scale or global
• Provisional, based on situation
• Make not claim to universally true

Modernism & education

• Why are we educated?
• What is the purpose of gaining knowledge?
• To become an “educated” person
• Ideal:
• Liberal arts education

Postmodernism & education

• Knowledge is functional
• You learn things
• Not to know them
• But to use that knowledge
• Emphasis on skills and training
• Much more accepting of modern world
• May use technology to produce art
• May sample other works of art to produce new work
• What is an original?
• E.g. music recordings

Postmodernism & philosophy

• Desire to return to pre-post modern era
• Associated with conservative political and religious groups
• Postmodernism
• Attracts liberals, radicals, feminists

Postmodernism

• Focus thinking about action/social reforms as local/limited
• E.g. improved day care centres in your own community
• Focus on specific local goals
• “think globally, act locally”
• Offers an alternative
• To global culture of consumption
• Celebrates a variety of voices
• Interested in differences and diversity

Literary awards and prizes

Canadian

Governor General’s Literary Awards

• Established 1937
• Longest running Canadian literary awards
• Launched by Canadian Authors’ Association
• Administered by CAA until 1971
• Began with nonmonetary prizes
• No entry fee
• First cash award
• $250 in 1951
• Canadian Council assumed responsibility in 1959
• Added prizes for works in French
• Current prize: $15,000
• Specially bound copy of winning work
• Reception and gala at Rideau Hall
• Reading sponsored by National Library
• Publisher receives $3,000 grant
• Categories: English & French
• Children’s literature
• Text and literature
• Drama
• Fiction
• Poetry
• Literary nonfiction
• Translation
• Eligibility
• First edition trade books
• Written, translated or illustrated by a Canadian citizen or permanent resident
• Published in previous year
• September to September
• Short list: October
• Winners: November
• Not eligible: non fiction
• Textbooks, instruction guides
• Illustrated books (Coffee table books)
• How to books, guide books
• Cookbooks
• Major sponsor: Bank of Montreal
• Frequency: annual
• Judges: peer assessment committee
• writers
• Books nominated by publishers
• The Canada Council for the Arts – Governor General’s Literary Awards http://canadacouncil.ca/prizes/ggla/default.htm

The Giller Prize

• Established: 1994
• By Jack Rabinvitch
• To honor his wife, Doris Giller
• Prize: $25,000
• Eligibility:
• Novels or short story collections published in English
• Shortlist: early October
• Winner: early November
• Publisher must spend “appropriate sum” on publicity for winner
• Frequency: annual
• Judges: peer committee
• Publisher must pay $1,250 for shortlist advertising
• Not called an entry fee
• The Giller Prize – http://www.scotiabankgillerprize.ca/

Writer’s trust of Canada

• Founded in 1976
• By Margaret Atwood, Pierre Berton, Graeme Gibson, David Young and Margaret Laurence
• “to nurture the growing community of Canadian writers”
• Run a variety of programs
• Margaret Laurence Memorial Lecture
• Fundraisers
• Great Literary Dinner Party
• George Woodcock Fund
• Supported 103 writers
• Donated $380,000
• Administers 11 awards
• Novels, poetry
• Biography, other non-fiction writers
• http://www.writerstrust.com

Poetry

• Gerald Lampton Memorial Award
• Best first book of poetry published by a Canadian
• Cash award of $1,000
• Pat Lowther Memorial Award
• Best book of poetry published by a Canadian woman
• Cash award of $1,000
• The League of Canadians – http://poets.ca/wordpress/

Manitoba

• Manitoba writing and publishing awards
• 14 awards
• More than $30,000 in prizes
• Open to
• Books published in Manitoba
• Books written by Manitobans but written elsewhere
• Frequency: annual
• Co-sponsored by Manitoba Writers’ Guild and Association of Manitoba Book Publishers
• McNally Robinson Book of the Year
• $5,000
• Manitoba Writing and Publishing Awards http://www.mbwriter.mb.ca/book-awards/

Ontario

• Trillium Award
• For writing excellence in English and French
• Established in 1987
• Extended in 1994 to include separate prize for francophone writers and publishers
• Extended in 2001 to include poetry
• Awards for
• Fiction, non-fiction, drama, children’s books and poetry
• Award for all but poetry
• $25,000 plus $2,500 to publisher
• Poetry: $10,000 plus $2,500 to publisher
• Organization of Book Publishers in Ontario http://www.obpo.ca/

 

Saskatchewan

• Saskatchewan Book Awards
• Established in 1993
• Founded by
• Saskatchewan Writers’ Guild, Saskatchewan Publishers’ Group, Saskatchewan Library Awards
• 12 awards
• Book of the Year, First Book Award, Fiction Award
• Cash awards
• Eligible:
• Residents of Saskatchewan for the last 12 months or 4 out of last 5 years
• The Saskatchewan Book Awards http://www.bookawards.sk.ca/index.php

 

British

• Man Booker Prize
• Established in 1968
• One award
• Best novel of the year
• By a citizen of the Commonwealth or Republic of Ireland
• Anyone writing in English
• Cash award of £5,000
• Frequency: annual
• Judges: critics, writers and academics
• Most recent Canadian winner
• Life of Pi by Yann Martel in 2002
• http://www.themanbookerprize.com/
• The Orange Prize
• Established in 1995
• Best full length novel written by a woman in English
• In response to all male Man Booker list in 1995
• Celebrate women’s critical views as well as their writing
• Cash award of £30,000 plus bronze figurine
• Frequency: annual
• Judges:
• Five women from the UK:
• Book trade, media/library trade/book publisher
• At least one novelist
• One academic
• High-achieving role model
• Orange Prize for fiction http://www.orangeprize.co.uk/

Canadian/International: Griffin Poetry Prize

• Established in 2000
• By Scott Griffin, chair, Margaret Atwood, Michael Ondaatje, Robin Robertson, David Young
• To serve and encourage excellence in poetry written in English anywhere else in the world
• Books published between January 1 and December 31 previous year
• Two annual prizes of $40,000 each
• One prize to living Canadian
• One to a poet from any other country including Canada
• Also publish a poetry anthology
• http://www.griffinpoetryprize.com/

International: Commonwealth Writers Prize

• Sponsored by Commonwealth Foundation
• Intergovernmental organization
• Established 1996
• Supports exchanges and training opportunities
• Funded by Commonwealth countries (54)
• Prize for best book
• Announced in April
• Frequency: annual
• http://www.commonwealthwriters.org/prizes/commonwealth-book-prize/2013-prize/

 

American: Pulitzer prize

• Established in 1904
• 21 awards
• Journalism, literature, music and drama
• “for distinguished fiction by an American author”
• Won by Carol Shields in 1995
• Preferably dealing with American life
• Cash award of $30,000
• Open to American citizens only

What is real?

Gary Geddes (Editor). The art of Short Fiction. Harper Collins, 1993.
ALICE MUNRO. What is real?

Whenever people get an opportunity to ask me questions about my writing, I can be sure that some of the questions asked will be these:

“Do you write about real people?”

“Did those things really happen?”

“When you write about a small town are you really writing about Wingham?” (Wingham is the small town in Ontario where I was born and grew up, and it has often been assumed, by people who should know better, that I have simply “fictionalized” this place in my work. Indeed, the local newspaper has taken me to task for making it the “butt of a soured and cruel introspection.”)

The usual thing, for writers, is to regard these either as naive questions, asked by people who don’t really understand the difference between autobiography and fiction, who can’t recognize the device of the first-person narrator, or else as catch-you-out questions posed by journalists who hope to stir up exactly the sort of dreary (and to outsiders, slightly comic) indignation voiced by my hometown paper. Writers answer such questions patiently or crossly according to temperament and the mood they’re in. They say, no, you must understand my characters are composites; no, those things didn’t happen the way I wrote about them; no, of course not, that isn’t Wingham (or whatever other place it may be that has had the queer unsought-after distinction of hatching a writer). Or the writer may, riskily, ask the questioners what is real, anyway? None of this seems to be very satisfactory. People go on asking these same questions because the subject really does interest and bewilder them. It would seem to be quite true that they don’t know what fiction is.

And how could they know, when what it is, changing all the time, and we differ among ourselves, and we don’t really try to explain because it is too difficult?

What I would like to do here is what I can’t do in two or three sentences at the end of a reading. I won’t explain what fiction is, and what short stories are (assuming, which we can’t, that there is any fixed thing that it is and they are), but what short stories are to me, and how I write them, and how I use things that are “real”. I will start by explaining how I read stories written by other people. For one thing, I can start reading them anywhere; from any point in between in either direction. So obviously I don’t take up a story and follow it as if it were a road, taking me somewhere, with views and neat diversions along the way. I go into it, and move back and forth and settle here and there, stay in it for a while. It’s more like a house. Everybody knows what a house does, how it encloses space and makes connections between one enclosed space and another and presents what is outside in a new way. This is the nearest I can come to explaining what a story does for me, and what I want my stories to do for other people.

So when I write a story I want to make a certain kind of structure, and I know the feeling I want to get from being inside that structure. This is the hard part of the explanation, where I have to use a word like “feeling,” which is not very precise, because if I attempt to be more intellectually respectable I will have to be dishonest. “Feeling” will have to do.

There is no blueprint for the structure. It’s not a question of, “I’ll make this kind of house because if I do it right it will have this effect.” I’ve got to make, I’ve got to build up, a house, a story, to fit around the indescribable “feeling” that is like the soul of the story, and which I must insist upon in a dogged, embarrassed way, as being no more definable than that. And I don’t know where it comes from. It seems to already be there, and some unlikely clue, such as a shop window or a bit of conversation, makes me aware of it. Then I start accumulating the material and putting it together. Some of the material I have lying around already, in memories and observations, and some I invent, and some I have to go diligently looking for (factual details), while some is dumped in my lap (anecdotes, bits of speech). I see how this material might go together to make the shape I need, and I try it. I keep trying and seeing where I went wrong and trying again.

I suppose this is the place where I should talk about technical problems and how I solve them. The main reason I can’t is that I’m never sure I do solve anything. Even when I say that I see where I went wrong, I’m being misleading. I never figure out how I’m going to change things, I never say to myself, “That page is heavy going, that paragraph’s clumsy, I need some dialogue and shorter sentences.” I feel a part that’s wrong, like a soggy weight; then I pay attention to the story, as if it were really happening somewhere, not just in my head, and in its own way, not mine. As a result, the sentences may indeed get shorter, there may be more dialogue, and so on. But though I’ve tried to pay attention to the story, I may not have got it right; those shorter sentences may be an evasion, a mistake. Every final draft, every published story, is still only an attempt, an approach, to the story.

I did promise to talk about using reality. “Why, if Jubilee isn’t Wingham, has it got Shutter Street in it?” people want to know. Why have I described somebody’s real ceramic elephant sitting on the mantelpiece? I could say I get momentum from doing things like this. The fictional room, town, world, needs a bit of starter dough from the real world. It’s a device to help the writer – at least it helps me – but it arouses a certain baulked fury in the people who really do live on Shutter Street and the lady who owns the ceramic elephant. “Why do you put in something true and then go on and tell lies?” they say, and anybody who has been on the receiving end of this kind of thing knows how they feel.

“I do it for the sake of my art and to make this structure which encloses the soul of my story, that I’ve been telling you about,” says the writer. “That is more important than anything.”

Not to everybody, it isn’t.

So I can see there might be a case, once you’ve written the story and got the momentum, for going back and changing the elephant to a camel (though there’s always a chance the lady might complain that you made a nasty camel out of a beautiful elephant), and changing Shutter Street to Blank Street. But what about the big chunks of reality, without which your story can’t exist? In the story Royal Beatings, I use a big chunk of reality: the story of a butcher, and of the young men who may have been egged on to “get” him. This is a story out of an old newspaper; it really did happen in a town I know. There is no legal difficulty about using it because it has been printed in a newspaper, and besides, the people who figure in it are all long dead. But there is a difficulty in offending people in that town who would feel that use of this story is a deliberate exposure, taunt and insult. Other people who have no connection with the real happening would say, “Why write about anything so hideous?” And lest you think that such an objection could be raised by simple folk who read nothing but Harlequin Romances, let me tell you that one of the questions most frequently asked at universities is, “Why do you write about things that are so depressing?” People can accept almost any amount of ugliness if it is contained in a familiar formula, as it is on television, but when they come closer to their own place, their own lives, they are much offended by a lack of editing.

There are ways I can defend myself against such objections. I can say, “I do it in the interests of historical reality. That is what the old days are like.” Or, “I do it to show the dark side of human nature, the beast let loose, the evil we can run up against in communities and families.” In certain countries I could say, “I do it to show how bad things were under the old system when there were prosperous butchers and young fellows hanging around livery stables and nobody thought about building a new society.” But the fact is, the minute I say to show I am telling a lie. I don’t do it to show anything. I put this story at the heart of my story because I need it there and it belongs there. It is the black room at the centre of the house will all other rooms leading to and away from it. That is all. A strange defence. Who told me to write this story? Who feels any need of it before it is written? I do. I do, so that I might grab off this piece of horrid reality and install it where I see fit, even if Nat Hettleton and his friends were still around to make me sorry.

The answer seems to be as confusing as ever. Lots of true answers are. Yes and no. Yes, I use bits of what is real, in the sense of really being there and really happening, in the world, as most people see it, and I transform it into something that is really there and really happening, in my story. No, I am not concerned with using what is real to make any sort of record or prove any sort of point, and I am not concerned with any methods of selection but my own, which I can’t fully explain. This is quite presumptuous, and if writers are not allowed to be so – and quite often, in many places, they are not – I see no point in the writing of fiction.

Thanks for the ride

Thanks for the ride
Alice Munro

My cousin George and I were sitting in a restaurant called Pop’s Cafe, in a little town close to the Lake. It was getting dark in there, and they had not turned the lights on, but you could still read the signs plastered against the mirror between the fly-speckled and slightly yellowed cutouts of strawberry sundaes and tomato sandwiches.

“Don’t ask for information,” George read. “If we knew anything we wouldn’t be here” and “If you’ve got nothing to do, you picked a hell of a good place to do it in.” George always read everything out loud – posters, billboards, Burma-Shave signs, “Mission Creek. Population 1700. Gateway to the Bruce. We love our children.”

I was wondering whose sense of humour provided us with the signs. I thought it would be the man behind the cash register. Pop? Chewing on a match, looking out at the street, not watching for anything except for somebody to trip over a crack in the sidewalk or have a blowout or make a fool of himself in some way that Pop, rooted behind the cash register, huge and cynical and incurious, was never likely to do. Maybe not even that; maybe just by walking up and down, going places, the rest of the world proved its absurdity. You see that judgment on the faces of people looking out of windows, sitting on front steps in some little towns; so deeply, deeply uncaring they are, as if they had sources of disillusionment which they would keep, with some satisfaction, in the dark.

There was only the one waitress, a pudgy girl who leaned over the counter and scraped at the polish on her fingernails. When she had flaked most of the polish off her thumbnail she put the thumb against her teeth and rubbed the nail back and forth absorbedly. We asked her what her name was and she didn’t answer. Two or three minutes later the thumb came out of her mouth and she said, inspecting it: “That’s for me to know and you to find out.”

“All right,” George said. “Okay if I call you Mickey?”

“I don’t care.”

“Because you remind me of Mickey Rooney,” George said. “Hey, where’s everybody go in this town? Where’s everybody go?” Mickey had turned her back and begun to drain out the coffee. It looked as if she didn’t mean to talk any more, so George got a little jumpy, as he did when he was threatened with having to be quiet or be by himself. “Hey, aren’t there any girls or dances or anything? We’re strangers in town,” he said. “Don’t you want to help us out?”

“Dance hall down on the beach closed up Labour Day,” Mickey said coldly.

“There any other dance halls?”

“There’s a dance tonight out at Wilson’s school,” Mickey said.

“That old time? No, no, I don’t go for that old-time. All-a-man left and that, used to have that down in the basement of the church. Yeah, ever’body swing – I don’t go for that. Inna basement of the church,” George said, obscurely angered. “You don’t remember that,” he said to me. “Too young.”

I was just out of high-school at this time, and George had been working for three years in the Men’s Shoes in a downtown department store, so there was that difference. But we had never bothered with each other back in the city. We were together now because we had met unexpectedly in a strange place and because I had a little money, while George was broke. Also I had my father’s car, and George was in one of his periods between cars, which made him always a little touchy and dissatisfied. But he would have to rearrange these facts a bit, they made him uneasy. I could feel him manufacturing a sufficiency of good feeling, old-pal feeling, and dressing me up as Old Dick, good kid, real character – which did not matter one way or the other, though I did not think, looking at his tender blond piggish handsomeness, the nudity of his pink mouth, and the surprised, angry creases that frequent puzzlement was beginning to put into his forehead, that I would be able to work up an Old George.

I had driven up to the Lake to bring my mother home from a beach resort for women, a place where they had fruit juice and cottage cheese for reducing, and early-morning swims in the Lake, and some religion, apparently, for there was a little chapel attached. My aunt, George’s mother, was staying there at the same time, and George arrived about an hour after I did, not to take his mother home, but to get some money out of her. He did not get along well with his father, and he did not make much money in the shoe department, so he was very often broke. His mother said he could have a loan if he would stay over with her and got to church with her the next day. George said he would. Then George and I got away and drove half a mile along the lake to this little town neither of us had seen before, which George said would be full of bootleggers and girls.

It was a town of unpaved, wide, sandy streets and bare yards. Only the hardy things like red and yellow nasturtiums, or a lilac bush with brown curled leaves, grew out of that cracked earth. The houses were set wide apart, with their own pumps and sheds and privies out behind; most of them were built of wood and painted green or grey or yellow. The trees that grew there were big willows or poplars, their fine leaves greyed with the dust. There were no trees along the main street, but spaces of tall grass and dandelions and blowing thistles – open country between the store buildings. The town hall was surprisingly large, with a great bell in a tower, the red brick rather glaring in the midst of the town’s walls of faded, pale-painted wood. The sign beside the door said that it was a memorial to the shoulders who had died in the First World War. We had a drink out of the fountain in front.


We drove up and down the main street for a while, with George saying: “What a dump! Jesus, what a dump!” and “Hey, look at that! Aw, not so good either.” The people on the street went home to supper, the shadows of the store buildings lay solid across the street, and we went into Pop’s.

“Hey,” George said, “is there any other restaurant in this town? Did you see any other restaurant?”

“No,” I said.

“Any other town I ever been,” George said, “pigs hangin’ out the windows, practically hangin’ off the trees. Not here. Jesus! I guess it’s late in the season,” he said.
“You want to go to a show?”

The door opened. A girl came in, walked up and sat on a stool, with most of her skirt bunched up underneath her. She had a long somnolent face, no bust, frizzy hair; she was pale, almost ugly, but she had that inexplicable aura of sexuality. George brightened, though not a great deal. “Never mind,” he said. “This’ll do. This’ll do in a pinch, eh? In a pinch.”

He went to the end of the counter and sat down beside her and started to talk. In about five minutes they came back to me, the girl drinking a bottle of orange pop.

“This is Adelaide,” George said. “Adelaide, Adeline – Sweet Adeline. I’m going to call her Sweet A, Sweet A.”

Adelaide sucked at her straw, paying not much attention.

“Doesn’t hear half what you say to her,” George said. “Adelaide, Sweet A, have you got any friends? Have you got any nice, young little girl friend to go out with Dickie? You and me and her and Dickie?”

“Depends,” said Adelaide. “Where do you want to go?”

“Anywhere you say. Go for a drive. Drive up to Owen Sound, maybe.”

“You got a car?”

“Yeah, yeah, we got a car. C’mon, you must have some nice little friend for Dickie.” He put his arm around this girl, spreading his fingers over her blouse. “C’mon out and I’ll show you the car.”

Adelaide said: “I know one girl might come. The guy she goes around with, he’s engaged, and his girl came up and she’s staying at his place up at the beach, his mother and dad’s place, and –“

“Well, that is certainly int-er-esting,” George said. “What’s her name? Come on, let’s go round and get her. You want to sit around drinking pop all night?”

“I’m finished,” Adelaide said. “She might not come. I don’t know.”

We went out and got into the car, George and Adelaide in the back. On the main street about a block from the cafe we passed a thin, fair-haired girl in slacks and Adelaide cried: “Hey stop! That’s her! That’s Lois!”

I pulled in and George stuck his head out the window, whistling. Adelaide yelled, and the girl came unhesitatingly, unhurriedly to the car. She smiled, rather coldly and politely, when Adelaide explained to her. All the time George kept saying: “Hurry up, come on, get in! We can talk in the car.” The girl smiled, did not really look at any of us, and in a few moments, to my surprise, she opened the door and slid into the car.

“I don’t have anything to do,” she said. “My boy friend’s away.”

“That so?” said George, and I saw Adelaide, in the rear-vision mirror, make a cross warning face. Lois did not seem to have heard him.

“We better drive around to my house,” she said. “I was just going down to get some Cokes, that’s why I only have my slacks on. We better drive around to my house and I’ll put on something else.”

“Where are we going to go,” she said, “so I know what to put on?”

I said: “Where do you want to go?”

“Okay, okay,” George said. “First things first. We gotta get a bottle, then we’ll decide. You know where to get one?” Adelaide and Lois both said yes, and then Lois said to me: “You can come in the house and wait while I change, if you want to.” I glanced in the rear mirror and thought that there was probably some agreement she had with Adelaide.

Lois’s house had an old couch on the porch and some rugs hanging down over the railing. She walked ahead of me across the yard. She had her long pale hair tied at the back of her neck; her skin was dustily freckled, but not tanned; even her eyes were light-coloured. She was cold and narrow and pale. There was derision, and also great gravity, about her mouth. I thought she was about my age or a little older.

She opened the front door and said in a clear, stilted voice: “I would like you to meet my family.”

The little front room had linoleum on the floor and flowered paper curtains at the windows. There was a glossy chesterfield with a Niagara Falls and a To Mother cushion on it, and there was a little black stove with a screen around it for summer, and a big vase of paper apple blossoms. A tall, frail woman came into the room drying her hands on a dishtowel, which she flung into a chair. Her mouth was full of blue-white china teeth, the long cords trembled in her neck. I said how-do-you-do to her, embarrassed by Lois’s announcement, so suddenly and purposefully conventional. I wondered if she had any misconceptions about this date, engineered by George for such specific purposes. I did not think so. Her face had no innocence in it that I could see; it was knowledgeable, calm, and hostile. She might have done it then, to mock me, to make me into this caricature of The D ate, the boy who grins and shuffles in the front hall and waits to be presented to the nice girl’s family. But that was a little far-fetched. Why should she want to embarrass me when she had agreed to go out with me without even looking at my face? Why should she care enough?

Lois’s mother and I sat down on the chesterfield. She began to make conversation, giving this the Date interpretation. I noticed the smell of stale small rooms, bedclothes, frying, washing, and medicated ointments. And dirt, though it did not look dirty. Lois’s mother said: “That’s a nice car you got out front. Is that your car?”

“My father’s.”

“Isn’t that lovely! Your father has such a nice car. I always think it’s lovely for people to have things. I’ve got no time for these people that’s just eaten up with malice ‘n envy. I say it’s lovely. I bet your mother, every time she wants anything, she just goes down to the store and buys it – new coat, bedspread, pots and pans. What does your father do? Is he a lawyer or doctor or something like that?”

“He’s a chartered accountant.”

“Oh. That’s in an office, is it?”

“Yes.”

“My brother, Lois’s uncle, he’s in the office of the CPR in London. He’s quite high up there, I understand.”

She began to tell me about how Lois’s father had been killed in an accident at the mill. I noticed an old woman, the grandmother probably, standing in the doorway of the room. She was not thin like the others, but as soft and shapeless as a collapsed pudding, pale brown spots melting together on her face and arms, bristles of hairs in the moisture around her mouth. Some of the smell in the house seemed to have come from her. It was a smell of hidden decay, such as there is when some obscure little animal has died under the verandah. The smell, the slovenly, confiding voice – something about this life I had not known, something about these people. I thought: my mother, George’s mother, they are innocent. Even George, George is innocent. But these others are born sly and sad and knowing.

I did not hear much about Lois’s father except that his head was cut off.

“Clean off, imagine, and rolled on the floor! Couldn’t open the coffin. It was June, the hot weather. And everybody in town just stripped their gardens, stripped them for the funeral. Stripped their spirea bushes and peenies and climbin’ clemantis. I guess it was the worst accident ever took place in this town.

“Lois had a nice boy friend this summer,” she said. “Used to take her out and sometimes stay here overnight when his folks weren’t up at the cottage and he didn’t feel like passin’ his time there all alone. He’d bring the kids candy and even me he’d bring presents. That china elephant up there, you can plant flowers in it, he brought me that. He fixed the radio for me and I never had to take it into the shop. Do your folks have a summer cottage up here?”

I said no, and Lois came in, wearing a dress of yellow-green stuff – stiff and shiny like Christmas wrappings – high-heeled shoes, rhinestones, and a lot of dark powder over her freckles. Her mother was excited.

“You like that dress?” she said. “She went all the way to London and brought that dress, didn’t get it anywhere round here!”

We had to pass by the old woman as we went out. She looked up at us with sudden recognition, a steadying of her pale, jellied eyes. Her mouth trembled open, she stuck her face out at me.

“You can do what you like with my gran’daughter,” she said in her old, strong voice, the rough voice of a country woman. “But you be careful. And you know what I mean!”
Lois’ mother pushed the old woman behind her, smiling tightly, eyebrows lifted, skin straining over her temples. “Never mind,” she mouthed at me, grimacing distractedly. “Never mind. Second childhood.” The smile stayed on her face; the skin pulled back from it. She seemed to be listening all the time to a perpetual din and racket in her head. She grabbed my hand as I followed Lois out. “Lois is a nice girl,” she whispered. “You have a nice time, don’t let her mope!” There was a quick, grotesque, and, I suppose, originally flirtatious, flickering of brows and lids. “Night!”

Lois walked stiffly ahead of me, rustling her papery skirt. I said: “Did you want to go to a dance or something?”

“No,” she said. “I don’t care.”

“Well you got all dressed up –“

“I always get dressed up on Saturday night,” Lois said, her voice floating back to me, low and scornful. Then she began to laugh, and I had a glimpse of her mother in her, that jaggedness and hysteria. “Oh, my God!” she whispered. I knew she meant what had happened in the house, and I laughed too, not knowing what else to do. So we went back to the car laughing as if we were friends, but we were not.

We drove out of town to a farmhouse where a woman sold us a whisky bottle full of muddy-looking homemade liquor, something George and I had never had before. Adelaide had said that this woman would probably let us use her front room, but it turned out she would not, and that was because of Lois. When the woman peered up at me from under the man’s cap she had on her head and said to Lois, “Change’s as good as a rest, eh?” Lois did not answer, kept a cold face. Then later the woman said if we were so stuck-up tonight her front room wouldn’t be good enough for us and we better go back to the bush. All the way back down the lane Adelaide kept saying: “Some people can’t take a joke, can they? Yeah, stuck-up is right-“ until I passed her the bottle to keep her quiet. I saw George did not mind, thinking this had taken her mind off driving to Owen Sound.

We parked at the end of the lane and sat in the car drinking. George and Adelaide drank more than we did. They did not talk, just reached for the bottle and then passed it back. This stuff was different from anything I had tasted before; it was heavy and sickening in my stomach. There was no other effect, and I began to have the depressing feeling that I was not going to get drunk. Each time Lois handed the bottle back to me she said “Thank you” in a mannerly and subtly contemptuous way. I put my arm around her, not much wanting to. I was wondering what was the matter. This girl lay against my arm, scornful, acquiescent, angry, inarticulate and out-of-reach. I wanted to talk to her then more than to touch her, and that was out of the question; talk was not so little a thing to her as touching. Meanwhile I was aware that I should be beyond this, beyond the first stage and well into the second (for I had a knowledge, though it was not very comprehensive, of the orderly progression of stages, the ritual of back- and front-seat seduction). Almost I wished I was with Adelaide.

“Do you want to go for a walk?” I said.

“That’s the first bright idea you’ve had all night,” George told me from the back seat. “Don’t hurry,” he said as we got out. He and Adelaide were muffled and laughing together. “Don’t hurry back!”

Lois and I walked along a wagon track close to the bush. The fields were moonlit, chilly and blowing. Now I felt vengeful, and I said softly, “I had quite a talk with your mother.”

“I can imagine,” said Lois.

“She told me about that guy you went out with last summer.”

“This summer.”

“It’s last summer now. He was engaged or something, wasn’t he?”

“Yes.”

I was not going to let her go. “Did he like you better?” I said. “Was that it? Did he like you better?”

“No, I wouldn’t say he liked me,” Lois said. I thought, by some thickening of the sarcasm in her voice, that she was beginning to be drunk. “He liked Momma and the kids okay but he didn’t like me. Like me,” she said. “What’s that?”

“Well, he went out with you –“

“He just went around with me for the summer. That’s what those guys from up the beach always do. They come down here to the dances and get a girl to go around with. For the summer. They always do.

“How I know he didn’t like me,” she said, “he said I was always bitching. You have to act grateful to those guys, you know, or they say you’re bitching.”

I was a little startled at having loosed all this. I said: “Did you like him?”

“Oh, sure! I should, shouldn’t I? I should just get down on my knees and thank him. That’s what my mother does. He brings her a cheap old spotted elephant-“

“Was this guy the first?” I said.

“The first steady. Is that what you mean?”

It wasn’t. “How old are you?”

She considered. “I’m almost seventeen. I can pass for eighteen or nineteen. I can pass in a beer parlour. I did once.”

“What grade are you in school?’

She looked at me, rather amazed. “Did you think I still went to school? I quit that two years ago. I’ve got a job at the glove-works in town.”

“That must have been against the law. When you quit.”

“Oh, you can get a permit if your father’s dead or something.”

“What do you do at the glove-works?” I said.

“Oh, I run a machine. It’s like a sewing machine. I’ll be getting on piecework soon. You make more money.”

“Do you like it?”

“Oh, I wouldn’t say I loved it. It’s a job – you ask a lot of questions,” she said.

“Do you mind?”

“I don’t have to answer you,” she said, her voice flat and small again. “Only if I like.” She picked up her skirt and spread it out in her hands. “I’ve got burrs on my skirt,” she said. She bent over, pulling them one by one. “I’ve got burrs on my dress,” she said. “It’s my good dress. Will they leave a mark? If I pull them all – slowly – I won’t pull any threads.”

“You shouldn’t have worn that dress,” I said. “What’d you wear that dress for?”

She shook the skirt, tossing a burr loose. “I don’t know,” she said. She held it out, the stiff, shining stiff, with faintly drunken satisfaction. “I wanted to show you guys!” she said, with a sudden small explosion of viciousness. The drunken, nose-thumbing, toe-twirling satisfaction could not now be mistaken as she stood there foolishly, tauntingly, with her skirt spread out. “I’ve got an imitation cashmere sweater at home. It cost me twelve dollars,” she said. “I’ve got a fur coat I’m paying on, paying on for next winter. I’ve got a fur coat-“

“That’s nice,” I said. “I think it’s lovely for people to have things.”

She dropped the skirt and struck the flat of her hand on my face. This was a relief to me, to both of us. We felt a fight had been building in us all along. We faced each other as warily as we could, considering we were both a little drunk, she tensing to slap me again and I to grab her or slap her back. We would have it out, what we had against each other. But the moment of this keenness passed. We let out our breath; we had not moved in time. And the next moment, not bothering to shake off our enmity, not thinking how the one thing could give way to the other, we kissed. It was the first time, for me, that a kiss was accomplished without premeditation, or hesitancy, or over-haste, or the usual vague ensuing disappointment. And laughing shakily against me, she began to talk again, going back to the earlier part of our conversation as if nothing had come between.

“Isn’t it funny?” she said. “You know, all winter all those girls do is talk about last summer, talk and talk about those guys, and I bet those guys have forgotten even what their names were-“

But I did not want to talk any more, having discovered another force in her that lay side by side with her hostility, that was, in fact, just as enveloping and impersonal. After a while I whispered: “Isn’t there some place we can go?”

And she answered: “There’s a barn in the next field.”

She knew the countryside; she had been there before.

We drove back into town after midnight. George and Adelaide were asleep in the back seat. I did not think Lois was asleep, though she had kept her eyes closed and did not say anything. I had read somewhere about Omne animal, and I was going to tell her, but then I thought she would not know Latin words and would think I was being – oh, pretentious and superior. Afterwards I wished I had told her. She would have known what it meant.

Afterwards the lassitude of the body, and the cold; the separation. To brush away the bits of hay and tidy ourselves with heavy unconnected movements, to come out of the barn and find the moon gone down, but the flat stubble fields still there, and the poplar trees, and the stars. To find our same selves, chilled and shaken, who had gone that headlong journey and were here still. To go back to the car and find the others sprawled asleep. That is what it is: triste. Triste est.

That headlong journey. Was it like that because it was the first time, because I was a little, strangely drunk? No. It was because of Lois. There are some people who can go only a little way with the act of love, and some others who can go very far, who can make a great surrender, like the mystics. And Lois, this mystic of love, sat now on the far side of the car-seat, looking cold and rumpled, and utterly closed up in herself. All the things I wanted to say to her went clattering emptily through my head. Come and see you again – Remember – Love – I could not say any of these things. They would not even seem even half-true across the space that had come between us. I thought: I will say something to her before the next tree, the next telephone pole. But I did not. I only drove faster, too fast, making the town come nearer.

The street lights bloomed out of the dark streets ahead; there were stirrings in the back seat.

“What time is it?” George said.

“Twenty past twelve.”

“We musta finished that bottle. I don’t feel so good. Oh, Christ, I don’t feel so good. How do you feel?”

“Fine.”

“Fine, eh? Feel like you finished your education tonight, eh? That how you feel? Is yours asleep? Mine is.”

“I am not,” said Adelaide drowsily. “Where’s my belt? George – oh. Now where’s my other shoe? It’s early for Saturday night, isn’t it? We could go and get something to eat.”

“I don’t feel like food,” George said. “I gotta get some sleep. Gotta get up early tomorrow and go to church with my mother.”

“Yeah, I know,” said Adelaide, disbelieving, though not too ill-humoured. “You could’ve anyways bought me a hamburger!”

I had driven around to Lois’s house. Lois did not open her eyes until the car stopped.
She sat still a moment, and then pressed her hands down over the skirt of her dress, flattening it out. She did not look at me. I moved to kiss her, but she seemed to draw slightly away, and I felt that there had after all been something fraudulent and theatrical about this final gesture. She was not like that.

George said to Adelaide: “Where do you live? You live near here?”

“Yeah. Half a block down.”

“Okay. How be you get out here too? We gotta get home sometime tonight.”

He kissed her and both the girls got out.

I started the car. We began to pull away, George settling down on the back seat to sleep. And then we heard the female voice calling after us, the loud, crude, female voice, abusive and forlorn:

“Thanks for the ride!”

It was not Adelaide calling; it was Lois.