“A country without a literature is not a country.” – Elaine Dewar
It seemed apt after musing yesterday on writing in Canada, that this morning I would hear an interview with Elaine Dewar, author of The Handover, which is published by Biblioasis. Her book is about the sale of McClelland & Stewart (aka The Canadian Publisher) to a German rival, years ago, when I was working at the National Post (so I have a dim memory of how it rocked the industry at the time). This subject may sound arcane, but it’s important to everyone who has an interest in Canadian culture, as distinct from other national cultures.
The Canadian book industry is contracting very rapidly, warns Elaine Dewar toward the end of her interview. This caught my attention. It sounded like news of the icebergs melting.
Of course, this is bad news for anyone who hopes to earn a living as a writer in Canada. [Side note: does anyone hope to earn a living as a writer in Canada anymore? Or do we all recognize that if we want to make a living as writers, we must sell into the exponentially larger American market?]
The discussion on publishing in Canada continued between the show’s host, and John Degen, executive director of the The Writers Union of Canada and someone with the Association of Canadian Publishers (could not find accurate info online to identify him, but his name is Glen). They dug into the issues raised by Elaine Dewar, and I’ve paraphrased the main points of their conversation, below.
Q: What is it like for writers in Canada, today, to get published?
A: This is really a global issue. There have been major changes in the industry. It’s a blockbuster culture that sees it being increasingly risky for a young writer to break into the industry—if you break into the industry and don’t make it right away, you have a greater chance of never making it at all.
What we really need is diversity. Canadian publishing wants to be playing on a level playing field. When we allow cultural policy to erode, at the federal level, it damages the playing field. We have 115 companies publishing in Canada [wow, is that true?], but very few of these are large enough to compete with international publishers [both in terms of purchasing rights to books, and in terms of purchasing assets that go up for sale]. For example, due to the sale of a major distribution company, decisions about book purchases for Canadian libraries are now made in the US. [think about that…]
There is government policy in place to keep Canadian cultural assets under Canadian control, but a long litany of decisions honours the policy in reverse, in secret. Canadians should have access to purchase the assets of these companies when they’re up for sale [a recent example is Harlequin, which sold to HarperCollins in the US]. If these assets are not purchased by Canadians, then the government should exercise its mandate to keep them in Canada.
Q: But shouldn’t publishers adapt to the market?
A: We’re just through on era where books were declared dead, and they’re now declared back to life again. Canadian publishers are prestigious. We punch above our weight. We’ve shown resilience in developing Canadian culture. We’re up against the border of the largest exporter of culture in the world. We publish in English. Without direct subsidies it’s very tough to compete with that.
It’s part of the Canadian project to decide whether we will be active in this medium in the years to come.
And there the interview ends.
So what do you think? If government is going to subsidize the creation, publication, and distribution of Canadian culture, including literature, how should it best direct its support to build a healthier, more resilient, more diverse system? Personally, I’ve found that the public grant system for artists offers spotty support that could never replace, even short-term, a steady income. Additionally, many of the opportunities for residencies, etc., are impractical for anyone raising kids, or working another job.
It’s precarious for all of us, publishers and writers alike.
The only reason I’ve had the luxury to develop as a writer is because my husband was able support us financially for the years (many years!) when I earned next to nothing; and he continues to provide the steady income that allows me to teach part-time and write part-time now. It takes a long time to develop, as a writer, and you need permission to experiment and fail, too. (In other words, it can be an unprofitable undertaking for long stretches of time, even after you’ve had some success.) Is it worth it? Depends on whether you’re measuring in terms of money, or in terms of something else—what’s a thriving culture worth?
I’m absolutely certain that important voices, necessary voices, are missing from the conversation because of financial limitations or lack of connections. If we can’t solve this, Canadian literature will represent only a small, mostly elite segment of this country’s voices. I want so much more from our literature. If you’ve read all the way to the end of this post, so do you.
The longer I teach, the more I learn.
If I were to write a dissertation, now, my subject would be the short story. I would take a scalpel to the form, carve three-dimensional paper sculptures to show how beautifully various the short story can be. My focus, as a reader and a writer, has long been on Canadian literature, but the more widely I read, the more I wonder what Canadian literature stands for. Where are we right now? What are we lacking? Are we constrained by our Canadian-ness, because our patron is the state? Our violence is secretive and shameful. We don’t dare feast or riot. We would never burn the house down, and if we did, we’d make sure no one knew it was us. Also, outwardly, we appear reasonably satisfied with this state of affairs.
I could be wrong. I could be entirely very very wrong. Generalizations are almost certainly wrong, at least to some degree.
But here’s what I’ve learned, from teaching. For the past five years, I’ve assigned Canadian short stories for my students to read and discuss, and my students’ complaint has been consistent: why are these stories so similar? At first, I was baffled: the differences between the stories were so clear to me; subtle, perhaps, but clear. But as I’ve started to read and assign stories from international writers, some in translation, I’ve come to understand that my students were more perceptive than I. This is not to dismiss my beloved Canadian stories. But I see, now, that there is a world of stories out there that are different and not just in subtle ways, but in juicy, technically audacious ways: stories that are ugly, ungainly, colourful, lawless, unconventional, impolite, rowdy, hungry. Imperfect. Stories that dare to be disfigured, furiously cryptic, ridiculous, structurally untidy, fascinating, open, broken, big. Stories that can take the criticism, because they’re out there doing the dirty work, and they’ve got more important things to worry about.
The world is waiting to be read.
I can’t pretend to know what Canadian literature stands for, nor what it lacks, nor what it needs. I think we are in troubled waters, troubled times, but I’ve been devoted to CanLit for my whole life, steeped in the stuff, and this is my trouble, too. Times of transition are always troubled times. I believe this. Transition is what gets us somewhere new. Truth and reconciliation: painful. It’s painful to be wrong, but how much more painful is it to be a child of 12 for whom suicide is the answer to their pain, how much more painful to be this child’s family, community. This is our country, right now. This is Canada. And somehow, I think it’s our literature, too. Now is not the time to turn more inward, to hide away, to ignore, not listen, not try. It feels imperative — to try. To pay attention.
I want to write stories like the ones I’ve been reading from around the world, and I can try. I may not be able to, but others will. If I’m a very fortunate teacher, maybe my students will. Meanwhile, I can keep learning, listening and reading.
School ended a week ago, and I would like to report on our free-range plan for the summer of 2017, but I keep being interrupted by the free-range children. Kevin has been working from home in his new “office,” on the upper deck of the front porch, but this morning he had to go to his office-office, so it’s just me and the kids and dogs, with no buffer in between. Since sitting down, I’ve fielded the following questions/observations: a) how do you turn the hose off in the back yard? b) where is my swim suit? c) do we have the third book of Amulet? I already looked on the upstairs shelf. d) hey, the NDP is having a leadership race [from the child reading the newspaper at the dining-room table behind me].
Could be worse. And I’m just blogging. If I were trying to write, my response would be ARGHH!!!
In fact, Kevin has been home because I have been trying to write this week, trying to shape my months of handwritten, circling narrative into novel-form, and I’m at the point in the project where, frankly, it all falls apart. My current philosophy (and by current, I mean, as of yesterday afternoon), can be summed up thusly: just finish it, including all of your bad (wild, implausible) ideas, and see what happens. As I counselled a student yesterday in my office: the perfect story you’re holding in your head has to get out of your head in order for others to read and experience it—and in order for that to happen, you have to accept that your perfect story will be wrecked in the process, at least to some degree. You can’t take that perfect story out of your head and place it on the page intact. No one can. But there isn’t another way to be a writer. Let your perfect imaginary story become an imperfect real story.
I’m trying to take my own advice.
Here. I present to you something that brings me joy every time I see it. [insert little arrow pointing up] You could call it a chore board, but that’s a rather pedestrian title given the magic it has created in our house this past week. Every morning, I write down chores that need doing, and the children sign up for them; the later you sleep, the less appealing your chore. Today, the last one out of bed got: “clean upstairs bathroom.” We’ve also banned video games or shows between the hours of 9am – 4pm. (Exception: older kids use their cellphones; I’m not great at monitoring this.) It’s still early days, but the chores are getting done with minimal fuss, perhaps because the assignment comes from the board, not from a nagging parent.
Other summer observations: I’m not waking up very early. This is the natural consequence of staying up too late! In addition to the kids running riot over regular bedtime hours, and soccer practices lasting (unofficially) till sundown, I’ve also been staying up late to watch feminist movies. Must explain. I’ve gotten myself, somewhat unofficially (?), onto the board of a locally run feminist film festival and my inbox is now full of films to view and consider. (Anyone out there with ideas for must-see recent feminist films, give me a shout!) But the only time I have to spare for movie-watching is rather late at night, post-soccer practice. Ergo, not waking up early. Ergo, early morning exercise-rate, somewhat reduced.
Oh, I want to mention one more lovely addition to the routine: a shared journal with my eldest daughter. We write back and forth to each other, or draw back and forth, or quote poetry back and forth. I’ve devised a quick summarizing list that is easy to complete, if we’re writing late at night, when we’re too tired for originality. Filling out the list has become something I look forward to, every day. My answers are sometimes long and rambling, sometimes brief. (Want to try answering the list in the comments, below? I would love that.)
- Something that surprised you today.
- Something you’re proud of today.
- Something silly.
- Something happy.
- Something sad.
- Something you’re thankful for today.
I will return with deeper thoughts (or not) as the free-range summer permits.
1. I am eleven years old and the stadium is enormous. The track is long and hard and black and very hot. I am wearing beat-up runners, the laces dirty, and I am sure that I am amazing. The sky opens around me. I could throw up. The white lines are chalked in. After the gun goes off, we stay in our lanes until we reach a certain mark, and then we funnel in together. The stands hum with kids, teachers, some parents (not mine), and underneath the stands the light filters in stripes and the ground is wet with spilled drinks. When I run I am not afraid, only that I won’t win; I must win. Afterward, under the stands, a teacher congratulates me in a teasing way, and I am offended by his tone. Why should he act surprised? Did he not see my brilliance? The way I ran down the tall girl in grade seven, the way I opened up a lead with 300 metres to go? The way I could not, thereafter, be caught.
2. It is going to rain. I park my bike and lock it. The underside of the stands is a sticky zone of concrete splashed with soda and dripping popsicles, spilled popcorn, children in pinnies darting, and I am too late. Rushing up from underneath and out into the seats, I see her bright yellow shirt at the finish line. The race just over. I did not see her run! I can’t stop telling people, even though it disappoints them unnecessarily, how I missed the moment. The moment was there and is gone.
3. She is sturdy and wonderful and fleet and strong. She runs so hard she will throw up, crawling off to the edge of the track, afterward. She has run faster than the girls a year old, faster than every girl on the track, and with an ease and power that I am certain I could never match, nor never did match. When she stops running, two years from now, what will I do? She waits in full sunlight beside the stands while I take her picture, her eyes squinting. “Wait,” I say. “Let me take another!” But she is impatient. She doesn’t care about pictures. She is unpinned in time.
4. Last year, in grade six, I was the fastest girl in the school. I won two red ribbons racing the 800 metres (harder for me) and the 1500 metres (I could have run forever, it felt like). What has changed? The stadium is the same, the same spilled drinks under the stands, the same open sky as I step out from under the stands and into the heart of this place–grass field and oval track, little black stones, white chalk lines. I will lose the pace in the 800 metres; I won’t even attempt the 1500 metres; and in my new speciality, the hurdles, I will hit several. I won’t fall, but I won’t win. Everything is the same except for me. I shouldn’t have cut my long, long hair. I shouldn’t have gotten older. I don’t know myself at all. My capacity for suffering is diminished and I will never again win a red ribbon at a track meet.
5. There is no last track meet. There will always be more. The light will always slant through the stadium seating, the canteen will always serve popcorn and icy sugar drinks, the teachers will always tell you where to stand and remain surprised at who you are and what you can do; or surprisingly disinterested, just as irritating. There will always be safety pins to attach the coloured ribbons to your shirt, fluttering, proof of your achievements. You will always feel sick before your race. You will fight the feeling that you can’t bear to lose. You will have to live with it, live with the possibility of losing. You will sublimate your competitiveness, you will try to bury it. You will become a nice person. You will miss the uncomplicated, greedy, gritty child whose cells you have shed, entirely.
Something rather odd about my life right now is how much time and energy I devote to doing things that are outside the realm of my natural inclinations (and, I might add, training and talents). As someone who could happily hole up for hours and days, reading, researching, thinking, writing, completely in my own head, alone, I find myself surrounded by people almost constantly, and often in a position of leadership, influence, or decision-making. Writing is almost about absence, about sublimating the self to the work, but teaching, coaching and parenting require presence — and not only that, they require a presence. I can’t merely observe and reflect, I have to express my observations verbally, often immediately, without time to weigh my words, in response to whatever is happening in the moment. It’s like doing improv. Some people are born to express themselves in this way. I’ve had to learn it. I’m still learning it. I will never stop learning it. I was a shy child, a tongue-tied adolescent, happy in the company of a best friend rather than a crowd, and I’ve always preferred the scripted scene to the unscripted one. I wish I were a bigger personality, sometimes. I wish I liked tap-dancing in the spotlight.
But what can I say? I’ll just have to go on being myself.
One of my favourite professors in undergrad was so painfully shy that you almost had to strain to hear him. He lectured to a spot on the floor, or gazing out the window over our heads, caught up in his train of thought. Yet I remember him well, his gentleness and humanity. So maybe being a presence is inconsequential in comparison to simply showing up, simply being present, being yourself. Why yearn endlessly to be who we are not? Why not, instead, accept, embrace, trust and marvel at who we are, and how even with our limited capacities we are able, nevertheless, to do and be more than we could have imagined?
You who let yourselves feel: enter the breathing that is more than your own.
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My name is Carrie Snyder. I'm mother of four, writer of fiction and non-, dreamer, planner, mid-life runner, soccer coach, teacher, taking time for a cup of coffee in front of this computer screen. My days are full, yet I keep asking: how can I fill them just a little bit more, with depth, with care, with light.
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