from issue 64

Books

A Good Death

Lily Gontard

Gil Courtemanche; Wayne Grady, trans.

Douglas & McIntyre

Gil Courtemanche, the author of A Good Death (trans­lated by Wayne Grady; Douglas & McIntyre), is best known for his first novel, A Sunday by the Pool in Kigali, on which the crit­i­cally acclaimed film A Sunday in Kigali was based. In this, his sec­ond novel, Courtemanche cre­ates a claus­tro­pho­bic atmos­phere within which the adult chil­dren of a fam­ily — whom their father iden­ti­fies by their pro­fes­sions, not their names (the Buddhist, the Tragedienne, the Homeopath, the Banker, the Geographer and the Actor) —deal with the slow and ugly death of the patri­arch from Parkinson’s dis­ease. Most of the novel takes place in the fam­ily home on Christmas Eve as the adult sib­lings and their own fam­i­lies con­gre­gate for the tra­di­tional feast with the yule log, expen­sive wine and favourite extrav­a­gant foods like orange mousse. Complex dynam­ics between the sib­lings sput­ter and explode through­out the day. The ques­tion “Are you try­ing to kill your father?” is repeated by dif­fer­ent fam­ily mem­bers at dif­fer­ent times as each sib­ling tries to con­vince the oth­ers what is best for their dying father to eat, drink, say and do. André, the pro­tag­o­nist and nar­ra­tor (“the Actor”) is nearly sixty years old. He is almost an old man, he is engaged to be mar­ried (to his mother’s relief) and, after five fruit­less years sent on his therapist’s couch, he is deter­mined to find answers to ques­tions about his father — whom he com­pares to Stalin — that have tor­mented him through­out his life. His father is still a beast of a man, but in a dif­fer­ent way than when he ruled over his fam­ily with an iron will and fist. Now the patri­arch is weak — he spills things, he makes a mess, he grunts instead of speak­ing — but even in this debil­i­tated state he still gets his way. And he has few, if any, answers for his son. The beauty of A Good Death is in Courtmanche’s deft explo­ration of André‘s love for his father, even as he denies to him­self that he feels this love. His quest for under­stand­ing, and the con­flict­ing needs of par­ents and chil­dren, make for an intense emo­tional jour­ney that is raw and honest.