10/23/2007: "Young Canadian Writers"

Hi All,

I ran across this article the other day and, unsurprisingly, it's provoked a bit of an uproar:

www.thestar.com/sciencetech/Ideas/article/268644

The basic premise of the article being that Canadian readers are stodgy, Canadian literature is archaic and anti-youth. That's a poor man's (homeless man's, if you're a Bill Simmons fan) Coles notes. You should read it if you haven't already, if you plan on reading this post.

So it's been replied to more or less in the manner expected. Here's a sampling (in the comments section):

www.quillandquire.com/blog/index.php/2007/10/22/canlit-hates-youth-says-young-author

I'd say the commenters are all jag-asses but I happen to like Robert Wiersema both as a writer and as a fellow human being so he throws off the curve. The others commenters are not without validity insofar as their criticisms are concerned, but, in typical Internet backhand, they often overstate their points and take them into the realm of personal attack---which I suppose they see as clever, and I personally see as lily-livered (yes, I've watched a few Warner Bros cartoons lately). Then again, seeing as Stephen Marche takes a stab at Margaret Atwood and others, perhaps it's not entirely unfair that the knives are turned on him.

Anyway, while reading I thought two things:

#1: Stephen, you are going to get hammered for this.
#2: Stephen, I am in agreement. Mainly.

But then I had to stop and think why, exactly, I was in agreement. And for that I took ten minutes to search around on a "who is Stephen Marche" google expedition. Although, speaking truly, I knew who Stephen was: the last time I was in Toronto his book, Shining at the Bottom of the Sea, had recently been acquired by Penguin. So he's more or less my age---I'm a year older---he's had two books out with major publishers, he's seen in certain quarters as something of a wunderkind who fired off a first novel while in the midst of his PhD and was internationally published, he's written two books that make no attempt to fit into the Canadian cannon, etc. So, it's not as though our lives and careers are exact parallels but there are enough similarities that I can say we are, if not in the same boat, able to spy each others' ships on the horizon.

But this google search was the same one I sometimes do on myself: roam around amazon, etc, seeing how my books are faring (one of the most potentially depressing acts a writer can do; I recall Ethan Canin, who I studied with at Iowa, telling me how he'd set up his computer so he could not, under any circumstance, access his own books on amazon; not a bad idea), what, if anything, is being said around the blogosphere (also potentially injurious to one's fragile self-esteem), etc. By this means I found that again, Stephen and I have shared the same sort of career lifeline: that is to say, a great deal of promise (at least according to our publishers), high hopes ... and neither of us, to this stage, have realized that promise. Or not exactly.

Now I only mean to say that's what I can infer. Certainly we've had nice reviews. We've also had not-so-nice reviews. Some fans. But never, to this point, that career explosion. And when I read Stephen's article, that's what I felt most accutely and why I empathized with his sense of things.

The thing is this: you get a book accepted with a large press (this is not to say the same cannot happen with a small press, but it's a harder row to hoe). Your life, in a lot of ways, changes. At least for awhile, you can consider yourself a full-time working writer. Maybe your book sells internationally. Everyone is excited; editors and publicists and booksellers and everyone else is saying wonderful things about you and your writing---which, in time, you come to realize is as much an attempt to re-validate their faith and the expense they've laid out for you as it is anything else. Which is completely human and understandable but it can leave you with an inflated opinion of yourself before your book even comes out.

So then: the book comes out. It does how it does. If you're Douglas Coupland and that book is Generation X then okay, there, you're made in the shade. If you're say, Craig Davidson and your book is Rust and Bone, then, well, there's a lot of work still to be done. This is simply the way of it.

But when your book fails to do what you and others wanted or hoped it to do ... well, that's when certain self-defence mechanisms kick in. One---which both Stephen and I have access to, seeing as we write what we write---is the "Canada is too stodgy / packed with old writers writing about old subjects and stuck in the past" rationale. And I admit, at least in my head, I've played that card. But I realize as much as there is some truth to it, it is also ... at base level it exists as a way to frame and contextualize what I see as a failure without fully admitting my part in it. You see what I'm saying? It's a mental game you play to keep yourself on the beam, moving forward; keep your hope alive, in a sense. Passing the buck, even though there is some currency or validity in that opinion. Because so much of this job, if you want to call it that, is contextualizing your failures and just pressing on. And certainly nobody wants to hear Stephen or I carping, and I can get that: though we've worked hard we've been very fortunate as well, and for others to hear about a pair of lucky and (relatively) young guys bleating about their lots and who they suspect is responsible for it ... well, I don't imagine such caviling will fall on too many sympathetic ears. (caviling---my new word for the day! Or if you prefer, pettifogging). That said: to judge by my own experiences, the Canadian literary community often seems to enjoy cannibalizing its young. Fair enough. Not going to stop me from doing what I do or saying what I say.

And the thing is (I cannot speak for Stephen here, but I may be right) it's not just Canada for me. I mean, if my books were hugely successful in other countries and they shit the bed here in Canada, then okay, maybe I could say that Canadian readers are a bunch of fossilized blue-hairs who don't want to read books so much as blend them into a fine pulpy mush best eaten with a spoon. No, the honest goods is for me, the breakthrough is yet to come. In any country. With any demographic or nationality. If ever. 32-year-old skateboarding Brooklyn-ites are not buying my books in droves. It's the sad truth.

Which is not to say Canadian readers aren't a bit closeted in their reading choices. But railing against the Atwoods (as I've done, sort of) and Munroes and Davies and Lawrences and whoever else ... they put Canadian literature on the map. Before them there was really no international appreciation for our country as a literary entity. So all of us who got international sales owe that, partially, to the awareness those writers provided to the world.

But using this years' Giller list as an example, I must say it is difficult to swallow the idea of Ondaatje and Vassanji up for it again when Marche and Winter and some other young writers who could really use the push are left on the shelf. Granted, last year I wouldn't have had that same argumentative leverage.

But Lord God, what does Vassanji need another one for; how does it possibly benefit him? I mean, conceivably he mismanaged his money; maybe he bought a herd of shetland ponies in a distempered fit and they all perished of hoof and mouth disease so now he needs the scratch for horse coffins---well, screw that! Screw you and your dead horses, M.G.! Build those coffins your own damn self! Okay, sorry Mr. Vassanji, I know you didn't vote yourself onto the shortlist and I'm sure your book is wonderful, but us younger writers may look at it as you and Ondaatje like a couple of fat old lords saying, "Yes, more mutton! Yes, more mead! Ho ho ho, my gluttony knows no bounds!" while the rest of us serfs crawl around the castle moat looking for turnips to make gruel. I mean, not me personally---in all honesty, I reach a point in everything I've written where I say to myself, "Okay, there goes any hope I had of a Giller nomination---wheeeee!" and I write the hideous scene anyway---but yes, the idea that some writers who would make admirable nominees while you two fight it out for who wins an award neither of you draw true benefit from anymore is a little saddening.

One of the things that people seem to say to Stephen (and I've heard it myself) is: Wait your turn. And I cannot speak for Stephen, but for myself I can say that, yes, certainly, I'd be happy to wait my turn providing I had any proof my number would eventually be called. I understand the idea of paying dues, and I've even concocted a half-assed "dues paying" formula in my head: for example, the fact that I trained as a boxer for nearly a year and took two hellacious beatings in front of a grand total of some 700+ spectators seems to me to be the equivalent of, say, two years working a day job as a teacher or what-have-you and writing evenings. And a lot of the Canadian writers I admire did pay their dues: Wayne Johnston and David Adams Richards started with small presses, worked their way up, knuckled down and succeeded. So I appreciate that, truly. I appreciate the notion of dues.

The thing is, for people like Stephen and I ... well, it feels like the pressure is heightened (again, I can only speak for myself). But you get in with a major press right off (though in truth, my first few books were published in the small press; still, my first major shot came when I was in my late-20's), the expectations are there from the jump. You swim or you sink. Now I'm not expecting anyone to cry crocodile tears for me or anyone in my situation ... but there is a fair amount of fear in the notion that your best opportunites came at a time and age when you weren't quite up to embracing them. That's a long, slow, 50 year downslope.

So, unfortunately, you get this sense that you need to succeed now or you're fucked. There are not limitless opportunities; the publishing world is different now than 30 years ago, when John Irving was brought along until he hit success with his 4th book. There's much more a "Give this guy/gal a shot and if it doesn't pan out, well, good luck but we've got others waiting." And publishers do, and any first-time writer has that new-writer smell on them, that tabula rasa---and some editors share a lot in common with riverboat gamblers. Let's roll them bones one time, see what we can do. So a certain embitterment creeps in at the sight of these more established writers sucking up the accolades and readership while the rest of us, or many of us, flounder. Perhaps that's the way it's always been; I only know my own situation and the fears that situation engenders. It's not terribly rational, these feelings, but I probably became a writer because I was a touch, or perhaps a punch or a kick, irrational.

But then I say to myself, "Suck it up, buttercup." Richard B. Wright went 20+ years before he hit solid with Clara Callahan. Who am I to sit here crabbing, y'know? And what's the alternative---say no to the opportunities that come your way because you're freaked you're not ready to deal with them?

Anyway, I guess my point is: I get you, Stephen Marche. I think there is some fuddy-duddyness in Canadian publishing. I don't think there's a giant hive-mind out there trying to keep all young writers down, or else Vincent Lam and Heather O'Neill and others would never have achieved the accolades they recently have. And I certainly hope you don't doctor your writing style and start writing "Canadian" to fit in. I doubt you could, as I certainly cannot.

In the end, I (and Stephen?) would love to be accepted into the circle of Canadian literature. There's something about being appreciated in your own country by those who've got that communal experience to draw upon. Sure, you could be massive in Germany and that would be great, I'd love it, but it's somehow distant. Still, as writers you just have to write what you write---because in end tally that's all you can really do---and hope that, through a mix of talent and chutzpah and luck and forebearance and karma and whatever else, things eventually swing your way. And be able to deal with it equitably should that fail to happen. Because, yeah, there's always that possibility lurking and if you're unwilling to deal with the fact you could end up shipwrecked you shouldn't have set sail in the first place.

All that said: I hear where you're calling from, Mr. Stephen Marche. Maybe not in the exact terms of your expression, but the signal: yeah, it's coming in pretty clear.

All best, Craig.

Replies: 16 Comments

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on Wednesday, October 24th, Brett Alexander Savory said

Well said, brother. I, too (surprise, surprise), am in agreement with your points.