New & newly discovered

Politics Times Two

Daniel Francis

True Patriot Love feels like it began life as a seri­ous project that was sub­verted by the author’s need to estab­lish his bona fides as a car­ing Canadian.

Mini Teaser: 

Samuel Johnson once said, “patri­o­tism is the last refuge of the scoundrel.”


 

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While watch­ing the acclaimed film Frost/Nixon on video, I was struck by how lit­tle of those his­toric events I recalled, even though I had lived through them. I had no mem­ory of the famous inter­views; cer­tainly didn’t watch them on tele­vi­sion at the time. (“The kids were lit­tle,” my wife sug­gested. “We were too busy chang­ing dia­pers.”) I decided to rem­edy my mem­ory lapse by pick­ing up Rick Perlstein’s recent book, Nixonland (Simon & Schuster), and sud­denly I was asail on a sea of nos­tal­gia. The 1960s reap­peared in all their con­fu­sion (I am tempted to say “like an acid flash­back,” but of course I never inhaled): the peace marches, the assas­si­na­tions, the riots, the show tri­als. And, cen­tral to it all, that ghastly man Nixon. Then I under­stood why I did not remem­ber his con­ver­sa­tions with Frost. By the time they aired on tele­vi­sion, in 1977, I had turned away in dis­gust from the world of U.S. pol­i­tics and was doing my best not to pay atten­tion. While Nixonland is full of inci­dent, the reader must wade through a lot of bad prose to find it. Perlstein, a con­trib­u­tor to Newsweek mag­a­zine, suf­fers from a mal­ady com­mon to many jour­nal­ists who write books: he thinks that telling a story is just a mat­ter of lin­ing up the facts in chrono­log­i­cal order. As a result, he is a reli­able chron­i­cler of the era, but a hope­less guide. His book feels like he has just emp­tied his note­books onto the blank page. My attempt to stay inter­ested in spite of this implaca­ble “one damn thing after another” finally failed round about 1970. But Nixonland will remain on the shelf as a use­ful ref­er­ence to the period and a reminder, if I need one, of just how crazy America went in the ’60s.

As a gen­eral rule I avoid read­ing polit­i­cal pam­phlets, but Michael Ignatieff, the leader of Canada’s Liberal Party and our would-be prime min­is­ter, claims that his lat­est book, True Patriot Love (Viking Canada), is noth­ing of the sort and I thought I’d give him the ben­e­fit of the doubt. I shouldn’t have. Ignatieff is an ele­gant writer who has pro­duced sev­eral admirable books, but this time his back­ground as scholar and intel­lec­tual is over­come by his obvi­ous desire to ingra­ti­ate him­self with the vot­ing pub­lic. The title recalls — inad­ver­tently, I assume — Samuel Johnson’s obser­va­tion that patri­o­tism is the last refuge of the scoundrel. Ignatieff is no scoundrel, but he does seem to be some­one who is try­ing too hard to be liked. A mix­ture of super­fi­cial fam­ily his­tory and trite hom­i­lies about Canada, True Patriot Love feels like it began life as a seri­ous project that was sub­verted by the author’s need to estab­lish his bona fides as a car­ing Canadian. “I may have spent most of my adult life liv­ing out­side the coun­try,” he seems to be say­ing, “but with such an impres­sive fam­ily tree how can I be any­thing else but 100 per­cent Canuck?” It is an unusual approach to pol­i­tics: if you can’t vote for me, vote for my rel­a­tives. The most enter­tain­ing part of the book is watch­ing Ignatieff turn inside out try­ing to dis­tance him­self from his cur­mud­geonly Uncle George, a.k.a. George Grant, author of the clas­sic Lament for a Nation. Grant’s fatal­is­tic views about the death of a dis­tinct Canadian iden­tity are no longer fash­ion­able, at least in the precincts of the Liberal Party, and so Ignatieff must dis­own them. Grant was wrong, his nephew writes. And who has proved him wrong? Why, the Liberal Party, of course, whose wise poli­cies (bilin­gual­ism, the flag, mul­ti­cul­tur­al­ism, Expo 67, to name just a few) res­cued Canada from doom­say­ers like his uncle. Eventually the vot­ers will decide for them­selves whether they agree with Ignatieff’s ver­sion of his­tory, or whether, as the Tories would pre­fer, they resent being preached at by some­one whose adult life until recently was spent in the ser­vice of other goals in other places. Meanwhile, I can’t think that his lat­est book will win him many con­verts.
 

Black is Back

Todd Coyne

In the begin­ning there was black, and good Christians have had it out for this trou­ble­some colour ever since. At times syn­ony­mous with death and the devil, at oth­ers with fer­til­ity, pagan­ism and power, black has suf­fered a dubi­ous his­tory on the colour wheel — occa­sion­ally even get­ting ban­ished to the pecu­liar fringe of the “non-colour.” In Black: The History of a Color (Princeton University Press), Michel Pastoureau charts a European social his­tory of the most sym­bolic and evoca­tive colour Black: The History of Color by Michel Pastoureauon earth, invit­ing black back into its right­ful place in the chro­matic palette and inter­ro­gat­ing the super­sti­tions that Western civ­i­liza­tion has erected around the colour of sleep, bur­ial and dan­ger­ous night. But despite the cam­paigns waged against it, black has always had its dusky devo­tees. This book cat­a­logues some of the most fanat­i­cal black-backers and uncom­pro­mis­ing chro­mo­phobes who ever lived: from a pair of shad­owy fashion-forward fifteenth-century dukes named “the Fearless” and “the Rash,” to Henry Ford, who to his dying day was puri­tan­i­cally opposed to pro­duc­ing auto­mo­biles in any colour but black. Drawing on archae­ol­ogy, art his­tory, reli­gion and sci­ence, Pastoureau illus­trates just how much sub­jec­tive lee­way informs our per­cep­tions of colours and their shift­ing cul­tural mean­ings. He reveals that in Europe and the Middle East, the “oppo­site” of white was long con­sid­ered to be red — early chess­boards reflect this — and that dur­ing the Middle Ages, red and green were con­sid­ered so alike as to be essen­tially inter­change­able. One of the book’s more sweep­ing claims is that the rel­a­tively modern­ black-and-white­ media of print and pho­tog­ra­phy have been so promi­nent in our cul­ture that our ten­dency to think in these binary terms dis­tin­guishes us from civ­i­liza­tions past. For some­one like me, who still has dif­fi­culty believ­ing that the world didn’t actu­ally used to be sepia-toned, as it is in early pho­tographs, this lit­tle psy­chol­ogy les­son will strike a chord that res­onates long after the book is read and put away.

Zombie Movies: The Ultimate Guide

Glenn
Kay

Jill Mandrake

Glenn Kay, Zombie Movies: The Ultimate Guide

A passionate and (nearly) complete compendium from an emotionally invested fanatic.

Zombie Movies: The Ultimate Guide (Chicago Review Press) works as a chan­nel to bring like-minded enthu­si­asts together. You can read between the lines to dis­cern that the author, Glenn Kay, had an emo­tion­ally charged time spend­ing red-eyed nights review­ing almost every zom­bie film in exis­tence. He gives spe­cial credit to Night of the Living Dead (1968) for reviv­ing ­zom­bie films in gen­eral, and mid­night hor­ror shows in par­tic­u­lar, to this day. The author also cred­its the book The Serpent and the Rainbow (1988) as “a much needed reminder of where the Zombie came from.” What he means is that the ear­li­est zom­bie movies of the 1930s were his­tor­i­cally accu­rate, at least in that they took place in Haiti and their prin­ci­pal char­ac­ters were exploited on the cof­fee or sugar plan­ta­tions. By the 1960s, the def­i­n­i­tion of zom­bie came to mean a more generic living-dead, some­times flesh-eating, some­times pos­sess­ing other stomach-turning traits, but sel­dom viewed within a larger social con­text. I missed the film ver­sion of The Serpent and the Rainbow, but I did read the mem­oir by Wade Davis, who was dis­gusted by the way his book was por­trayed onscreen and retreated to Borneo, mortified. I’m not sure what he expected, as Wes Craven was the film’s director. In all fair­ness, a non-fiction work like The Serpent and the Rainbow would be chal­leng­ing to trans­late to screen, espe­cially when sen­sa­tion­al­ism is the thing that sells. There’s no ques­tion that by the 1990s, zom­bie films were once again being given a more thought-provoking treatment. This renewed sen­si­bil­ity, in the words of Steve Newton, writ­ing in the Georgia Straight, deserves credit “for bring­ing brain­i­ness to the zom­bie genre — as opposed to just brain eat­ing.” Two films that did not make it to Kay’s check­list are Ubaldo Ragona’s Last Man on Earth with Vincent Price (1964) and Herk Harvey’s Carnival of Souls with Candace Hilligoss (1962). These two mas­ter­pieces must have influ­enced the author’s hero, George Romero. Both films include chill­ing scenes in which the undead pur­sue and sur­round the main char­ac­ter — Romero repeat­edly paid homage to these in Night of the Living Dead. Less sub­jec­tively, I noted three fac­tual errors on Kay’s part, which I’ll men­tion for other afi­ciona­dos. First, in his men­tion of Robot Monster (1953), he says the monster’s getup is a gorilla suit and a robot head, but upon closer inspec­tion, it’s a gorilla suit and a diver’s hel­met, an observ­able dis­tinc­tion. Second, he says William Castle’s last film was Shanks (1974), but in fact Castle made one more film, Bug (1975). (That’s a shame, too, for Castle’s oeu­vre may have been more impec­ca­ble had he stopped at Shanks.) Finally, he says Rabid was David Cronenberg’s sec­ond film, after Frissons, but Cronenberg com­pletists out there will know that Rabid was actu­ally his fourth film (Stereo and Crimes of the Future were the first two). Apart from these hyper­crit­i­cal points, Zombie Movies, with its con­ta­gious pas­sion and exten­sive research, is enti­tled to top rating.

Renovating Heaven

Andreas
Schroeder

Sarah Maitland

Andreas Schroeder, Renovating Heaven

Fact and fiction are intermingled in this "novel" about growing up Mennonite in the Fraser Valley.

Although the cover and title of Renovating Heaven by Andreas Schroeder (Oolichan Books) give the impres­sion that the book is about the his­tory of Mennonite barn rais­ing in St. Jacobs, Ontario (and indeed the cover photo of men fram­ing a barn-like struc­ture is cour­tesy of the Mennonite Archives of Ontario in Waterloo), the book is actu­ally a semi-autobiographical novel about Schroeder — sorry, about “Peter Niebuhr” — growing up as a Mennonite in Vancouver and the Fraser Valley. My fam­ily never plowed a field with a dilap­i­dated ’36 Chevy, built a boat out of parts from the dump, milked cows at mid­night, won an island in a con­test or lost a par­ent in a car crash, but read­ing about the Niebuhr family’s expe­ri­ences gave me the same com­fort­ing feel­ing that I get when I’m back home with my own — even though I read most of it while stand­ing on pub­lic tran­sit. The only thing that took me out of the story was the note on the book jacket that “In more for­giv­ing times, these sto­ries might have been described as largely autobio­graphical” but now the book is labelled a “novel” because of today’s non-fiction stan­dards — I became pre­oc­cu­pied with try­ing to spot the fic­tion­al­ized bits through­out. I hope the scene where Peter’s par­ents inter­rupt his first sex­ual expe­ri­ence and the girl jumps out the win­dow to hide isn’t true, but it’s just so awk­ward that I think it must be.

Going Ashore

Mavis
Gallant

Stephen Osborne

Mavis Gallant, Going Ashore

Newly collected stories and memoirs from the great Mavis Gallant.

Among the ques­tions that inevitably fol­low a sat­is­fy­ing first day in Paris, accord­ing to the Revised Guide to that city included in Mavis Gallant’s new book, Going Ashore (McClelland & Stewart), are: “How can I get on the Anglo-American vol­ley­ball team?” and “When are the Ana­baptist Church sing­ alongs held?” The same book con­tains the full text of the Republic of France Toothbrush Tax Form, and the fol­low­ing won­der­ful pas­sage from a lit­er­ary mem­oir: “I decided to sell the inkpot to H.G. Wells. Many young writ­ers were doing this.” Other excurses com­posed by Gallant in the 1980s and col­lected for the first time in Going Ashore include a note on General Achille Stifflet, who, hav­ing sub­ju­gated America, observed that “a lit­tle crenel­la­tion won’t hurt them now,” a remark that con­fused some of the women, who, “not know­ing what crenel­la­tion was for, wore it in their hair.” A pas­sage from Sieg­fried’s Memoirs pro­vides the tem­plate for windy mem­oiristes of all times: “For a long time I used to go to bed early won­der­ing if Siegfried von Handelskammern would ever com­plete his long-awaited mem­oirs of Saint-Germain-des-Prés, where from June, 1940, when he made his first, much remarked appear­ance in Café Flore, until August, 1944, when he departed with­out hav­ing fin­ished his glass of fine (patiently dis­tilled from sal­vaged boot tops), he was the hub of an unpar­al­leled intel­lec­tual revival.”

The Posthuman Dada Guide: Tzara & Lenin Play Chess

Andrei
Codrescu

Michal Kozlowski

The Posthuman Dada Guide: Tzara & Lenin Play Chess by Andrei Codrescu

“Adopt a reading pseudonym” is but one piece of advice offered in this essential guide.

The Posthuman Dada Guide: Tzara & Lenin Play Chess by Andrei Codrescu (Princeton University Press) begins with a long essay on the life of the Dada art move­ment. Some of the lan­guage is a bit obscure, but Codrescu writes well enough that you want to keep read­ing. The real joy of the book comes in what fol­lows the text: a 150-page glos­sary of terms related to Dada, such as (the) American woman (Peggy Guggen­heim), audi­ences and how Dadaists and com­mu­nists viewed them, Baroness Elsa von Freytag-Loringhoven, Lenin and Tzara, and Zurich, the Swiss town where Dada was born. Zurich is also the his­tor­i­cal anchor of the book: there, between 1915 and 1917, Lenin, the daddy of Communism, wrote polit­i­cal essays at the quiet library; and Tzara, the daddy of Dada, wrote poetry and hung around cafés with his artist friends. The glos­sary con­tains an entry on pseudo­nyms, the names adopted by writ­ers, artists, rev­o­lu­tion­ar­ies, tyrants. Codrescu sug­gests that this priv­i­lege of adopt­ing names, which has belonged to artists for so long, should be taken up by the read­ers of his book. Reading will become much more inter­est­ing, he pro­claims, once you adopt a read­ing pseu­do­nym and shed the intel­lec­tual bag­gage car­ried by your name. “A pseu­do­ny­mous reader just might slip like a spy through the net and lose herm­self in the words.” And who won this fig­u­ra­tive chess match between Lenin and Tzara? The Soviet Union col­lapsed almost twenty years ago; Dada is present in fash­ion, in design, in music and art, in aes­thetic trends — every­where, all the time. The cover of The Posthuman Dada Guide is appeal­ing in a (care­fully) slapped together kind of way, and the size — 4x8” or 8x4” — lends empha­sis to the “guide” aspect.

 

Kahn & Engelmann

Hans
Eichner

Stephen Osborne

Kahn & Engelmann by Hans Eichner

Eichner’s novel is a masterpiece of Holocaust literature.

At the age of seventy-nine, Hans Eichner, a pro­fes­sor of German lan­guage and lit­er­a­ture at the University of Toronto, pub­lished his first novel, Kahn & Engelmann, in German; it was hailed as a mas­ter­piece in Europe. In April 2009, a mas­ter­ful English trans­lation by Jean M. Snook appeared in Canada, pub­lished by Biblioasis, three days after the death of Hans Eichner at the age of eighty-seven. The pub­lish­ers call the novel a “major work of Holocaust lit­er­a­ture,” a fair enough eval­u­a­tion. But read­ers in North America will find it first to be a novel of Europe in the twen­ti­eth cen­tury: the story will be famil­iar in bits and pieces to any­one hav­ing read or heard of Musil, Kafka, Kraus and other lumi­nar­ies of Vienna before the Nazi storm. Eichner’s nar­ra­tive impli­cates con­tem­po­rary read­ers as none of the oth­ers can do today by remain­ing a fam­ily saga, com­pli­cated by fam­ily busi­nesses, messy divorces, rival­ries, dis­putes, sui­cides, suc­cess and fail­ure, all of it com­pelling to any­one with a fam­ily. This saga, how­ever, is dri­ven not by “char­ac­ter” but by his­tory, by the neces­si­ties of the “trav­el­ling life” thrust upon Jews over the cen­turies and of the grow­ing spec­tre of the Nazi hor­ror mate­ri­al­iz­ing finally with the explo­sion into Austria and then all of Europe. Members of the narrator’s fam­ily (like the author’s fam­ily) escape the Holocaust by sev­eral routes, to live as sur­vivors always with an infected after­taste of his­tory in their mouths. Eichner’s nar­ra­tive power is unsur­passed in any lan­guage. His sparse dia­logue car­ries the story with­out effort: we move eas­ily (and uneasily) from present (the last year of the twen­ti­eth cen­tury) to past, wind­ing in and out of the decades. The mun­dane processes of life pro­vide the sinews of epic. Eichner can quote Goethe, rhap­sodize upon Beethoven and tell folksy tales of wan­der­ing rab­bis. He is un­afraid of the ridicu­lous, the low­brow, the sting in the tail. At the end he writes of the rabbi of Radsin: “When the corpses had been taken out, the rabbi still heard a sound in the car. He climbed in and looked: God was cow­er­ing in a cor­ner of the car, cry­ing. The rabbi refused to com­fort him.”

The Discovery of France

Graham
Robb

Michael Hayward

The Discovery of France

A scholarly but entertaining history of France’s emergence in the modern era.

Every Francophile worth their sel de Guérande will enjoy The Discovery of France (Norton), Graham Robb’s fas­ci­nat­ing exam­i­na­tion of the processes by which the France of two cen­turies ago became the France of mod­ern times. At the Revolution, much of provin­cial France was unknown and effec­tively inac­ces­si­ble to the cit­i­zens and admin­is­tra­tors of Paris. Those who ven­tured out of the major urban cen­tres — Paris, Lyons, Marseilles, Bordeaux — and into the country’s inte­rior had great dif­fi­culty under­stand­ing the local dialects; strangers were greeted with sus­pi­cion and some­times with vio­lence. Robb, a biog­ra­pher and his­to­rian, makes excel­lent use of both pri­mary and sec­ondary sources, and knows how to bal­ance the schol­arly with the anec­do­tal (you can detect a novelist’s plea­sure in his account of how, on “a summer’s day in the early 1740s … a young geome­ter on the Cassini expe­di­tion [to pro­duce the first accu­rate map of France] was hacked to death by natives”). Robb is also an enthu­si­as­tic cyclist and claims that this book “is the result of four­teen thou­sand miles in the sad­dle and four years in the library.” In a lyri­cal pas­sage near the begin­ning of the book, he extols the many virtues of the bicy­cle, includ­ing its abil­ity to re-create, “as if by chance, much older jour­neys: tran­shu­mance trails, Gallo-Roman trade routes, pil­grim paths, river con­flu­ences that have dis­ap­peared in indus­trial waste­land, val­leys and ridge roads that used to be busy with pedlars.”

Saudade

Anik
See

Michael Hayward

Saudade

These essays plunge you deep into the meanings of travel and place.

One evening dur­ing a stay at the Hollyhock retreat cen­tre on Cortes Island, B.C., while we waited for the din­ner gong to ring, each guest was doing a lit­tle “show and tell” on the books that we’d been read­ing. I passed around my copy of Anik See’s Saudade (Coach House), a col­lec­tion of ten essays on “The Possibilities of Place,” and before any­one had read a sin­gle word of it, the book was a hit for its cover design alone: French flaps, deep pur­ple cover stock printed with sil­ver ink, embossed title. A colophon points out that Saudade’s design is also the work of See, which makes sense once you learn that she has oper­ated a small let­ter­press for many years, and that one of the book’s essays,  “Squeezing a Spiral into a Square Hole,” dis­cusses the work of the mas­ter typog­ra­pher Robert Bringhurst. Most of these essays are rooted in See’s trav­els — to Sri Lanka and Tbilisi, to Amsterdam (where she now lives) and the moun­tains of B.C. — but they are not trav­el­ogue; they express a per­sis­tent desire to get beneath the sur­face of a place. The title is a Portuguese word that describes “a feel­ing of long­ing for some­thing that is now gone.” That long­ing is evi­dent in the read­ing of Saudade, for in each of the book’s var­ied locales we sense See as a thought­ful, keen-eyed observer, but one who is always aware that there is so much more to see.

Edward Lear in Albania

Bejtullah Destani and Robert Elsie (Eds.)

Michael Hayward

Edward Lear in Albania

Travel advice from a “hard sketcher” in the time of cholera.

A first edi­tion of Baedeker’s guide to Paris can be just as effec­tive as a Flaubert novel in re-creating that long-vanished, pre­mod­ern city. Tourism in the nine­teenth cen­tury had not yet become the culture-distorting enter­prise it is today; apart from a few well-travelled routes between the cen­tres of cul­ture, each trip abroad required exten­sive prepa­ra­tion and an iron con­sti­tu­tion. Today we think of Edward Lear as a writer of non­sense verse, but in his day he was also con­sid­ered an “artist of great promise,” a cel­e­brated English land­scape painter who lived in Rome for more than a decade. Edward Lear in Albania, edited by Bejtullah Destani and Robert Elsie  (I.B. Tauris), is Lear’s account of his trav­els through the Balkans begin­ning in 1848, the first stage of what was to be a ­fifteen-month explo­ration of the coun­tries around the Mediterranean prior to his return home. In the intro­duc­tion to the book, Lear offers this advice to any who might be con­sid­er­ing a sim­i­lar under­tak­ing: “Previous to start­ing, a cer­tain sup­ply of cook­ing uten­sils, tin plates, knives and forks, a basin &c., must absolutely be pur­chased, the stronger and plainer the bet­ter; for you go into lands where pots and pans are unknown, and all culi­nary processes are to be per­formed in strange local­i­ties, inno­cent of arti­fi­cial means.” In addi­tion, “a good sup­ply of capotes and plaids should not be neglected; two or three books; some rice, curry-powder, and cayenne; [and] a world of draw­ing mate­ri­als if you be a hard sketcher.” Lear began his trip dur­ing an out­break of cholera — which explains his insis­tence on “some qui­nine made into pills (rather leave all behind than this).” Poor Edward, to have missed out on all our mod­ern travel con­ve­niences: the fuel sur­charge and the one-suitcase lug­gage allowance, the com­pact hair dryer and the GPS.

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