A Writer's Life: The Margaret Laurence Lectures

Blurb:

For anyone who loves great literature -- or aspires to write it -- this is an essential collection, full of insight, wisdom, humour, and candour from Canada's most important and beloved literary figures.

For the past twenty-five years, the Writers' Trust of Canada's annual lecture series, the Margaret Laurence Memorial Lecture, has invited some of Canada's most prominent authors to discuss the theme of "A Writer's Life" in front of their peers. Hugh MacLennan, Mavis Gallant, Timothy Findley, W.O. Mitchell, Pierre Berton, P.K. Page, Dorothy Livesay, Alistair MacLeod, and Margaret Atwood, among others, have shared the personal challenges they faced in forging their own paths as writers, at a time when such a career was still unusual in this country. 

Intimate, frank, and revealing in tone, their lectures -- collected for the first time in celebration of the series' twenty-fifth anniversary -- provide a unique account of a period when a national writing community was just being formed, and give us unprecedented access to the heroes and heroines of Canadian literature as they share their insights into their work, the profession of writing, the growing canon of our literature, and the cultural history of our country.

Thoughts:

I had never given a thought to Canadian writers until I found the website Canadian Poetry Online. Until then, I had viewed poems by them and American writers as one category.
When I posted her poem on my blog, the Canadian poet Karen Shenfield commented on it. She mentioned her colleagues in that comment. Ever since I have tried to learn more about the writers in Canada.
I started reading about writers' lives this year because I wanted to improve my writing schedule. I did not deliberately choose A Writer’s Life: The Margaret Laurence Lectures. I came to know of this anthology during my search for books about writers.
It contains the experiences and insights of many Canadian writers. While some have stayed strictly on topic, some have veered off tangent. However, every one of them has something relevant to say.
Some have talked a lot about Canadian history. In those parts, my interest flagged and my reading slowed down. However, I liked the book and will read it again in the future.

Background information:

The Writers' Trust of Canada, founded in 1976 by five notable Canadian authors - Margaret Atwood, Pierre Berton, Graeme Gibson, Margaret Laurence, and David Young – supports the writing community in Canada.
Pierre Berton proposed creating a lecture series to have Canadian writers contemplate their lives and share insights about their work and their community. Accordingly, since 1987, the Trust has commissioned a senior Canadian author to deliver a lecture on the topic "A Writer's Life."
Named in honour of Margaret Laurence, one of Canada's most esteemed and beloved authors, the lectures are presented at the Writers' Union of Canada's Annual General Meeting.
This anthology was published by McClelland & Stewart on the occasion of the 25th anniversary of the lecture series.

Unbound

Blurb:

Unbound is a collection of some of the most significant writing by Indian women over the past two thousand years. Divided into eleven sections, it encompasses writing on various aspects of life: spirituality, love, marriage, children, food, work, social and individual identity, battles, myths and fables, travel, and death. While many of the pieces are commentaries on the struggle that women undergo to overcome obstacles—social and political—all of them showcase the remarkable creative ability of the writers.

Selected from hundreds of novels, memoirs, essays, short story collections and volumes of poetry that were either written in English or that have been translated into English, the pieces in this collection include the most distinctive and powerful voices from every era.

There are verses from the Therigatha, written by Buddhist nuns (circa 300 BCE), and writing by poet-saints like Andal, Avvaiyar, Lal Ded, Mirabai; modern classics by writers like Ajeet Cour, Amrita Pritam, Arundhati Roy, Attia Hosian, Bama, Bulbul Sharma, Irawati Karve, Ismat Chughtai, Kamala Das, Krishna Sobti, Mahasweta Devi, Manju Kapur, Mannu Bhandari, Mrinal Pande, Nayantara Sahgal, Pinki Virani, Qurratulain Hyder, Rashid Jahan, Romila Thapar, Sarojini Naidu, Saudamini Devi, Shivani; and powerful new voices from our time like Arundhathi Subramaniam, Nilanjana Roy, Nivedita Menon.

Profound, exhilarating, haunting, angry and meditative, Unbound is a collection that will shatter stereotypes about women's writing in India.

Thoughts:

‘Unbound: 2,000 Years of Indian Women’s Writing’ is a great compilation of writings of Indian women writers, some of whom are quite famous, some contemporary, and some neither (and hence were unknown to me).

The book is a small window into the vast volume of work of Indian women writers. In the excellent introduction to the collection, the editor Annie Zaidi says that the work was daunting and she worked under a severe space constraint. There are over a hundred individual pieces of writing (including fiction, non-fiction, and poetry) in all.

She has divided them into eleven categories. At the beginning of each category, she mentions whose works have been included and why. There is also a detailed list of the writers and translators at the end of the book. She admits that the choices were subjective and that the collection is not comprehensive.

Zaidi has researched far and wide, collected information, and given it a logical structure, with clear rationale. From whichever angle you look at it, her work is commendable. Researching, reading, categorizing, and selecting works for this anthology, spanning 2000 years and so many languages, must have been a mammoth task. 

Besides, even now, women’s writing is a topic of debate and controversy—many don’t recognize it as a category and some regard it with disdain.  

I admit that I did not like some parts of the book. The styles, times, themes, and genres are so varied that it is sometimes hard to understand the logic behind the inclusion of certain pieces. 

I put the book away many times but always returned to it. This is one of the reasons why it took me over ten months to complete it. Another reason is the small printing, which made reading quite difficult.

However, I am sure there is something for everyone in the book. It introduced me to so many writers and books. As an Indian woman, I could relate to some of the writings. Some of the short extracts are lovely. Some are inadequate and dissatisfying.

Either way, they can make you curious enough to find the books and read them in full. Overall, I enjoyed the book and recommend it wholeheartedly.

Daily Rituals: Women at Work

Blurb:

More of Mason Currey's irresistible Daily Rituals, this time exploring the daily obstacles and rituals of women who are artists--painters, composers, sculptors, scientists, filmmakers, and performers. We see how these brilliant minds get to work, the choices they have to make: rebuffing convention, stealing (or secreting away) time from the pull of husbands, wives, children, obligations, in order to create their creations.

From those who are the masters of their craft (Eudora Welty, Lynn Fontanne, Penelope Fitzgerald, Marie Curie) to those who were recognized in a burst of acclaim (Lorraine Hansberry, Zadie Smith) . . . from Clara Schumann and Shirley Jackson, carving out small amounts of time from family life, to Isadora Duncan and Agnes Martin, rejecting the demands of domesticity, Currey shows us the large and small (and abiding) choices these women made--and continue to make--for their art: Isak Dinesen, "I promised the Devil my soul, and in return he promised me that everything I was going to experience would be turned into tales," Dinesen subsisting on oysters and Champagne but also amphetamines, which gave her the overdrive she required . . . And the rituals (daily and otherwise) that guide these artists: Isabel Allende starting a new book only on January 8th . . . Hilary Mantel taking a shower to combat writers' block ("I am the cleanest person I know") . . . Tallulah Bankhead coping with her three phobias (hating to go to bed, hating to get up, and hating to be alone), which, could she "mute them," would make her life "as slick as a sonnet, but as dull as ditch water" . . . Lillian Hellman chain-smoking three packs of cigarettes and drinking twenty cups of coffee a day--and, after milking the cow and cleaning the barn, writing out of "elation, depression, hope" ("That is the exact order. Hope sets in toward nightfall. That's when you tell yourself that you're going to be better the next time, so help you God.") . . . Diane Arbus, doing what "gnaws at" her . . . Colette, locked in her writing room by her first husband, Henry Gauthier-Villars (nom de plume: Willy) and not being "let out" until completing her daily quota (she wrote five pages a day and threw away the fifth). Colette later said, "A prison is one of the best workshops" . . . Jessye Norman disdaining routines or rituals of any kind, seeing them as "a crutch" . . . and Octavia Butler writing every day no matter what ("screw inspiration").

Germaine de Staël . . . Elizabeth Barrett Browning . . . George Eliot . . . Edith Wharton . . . Virginia Woolf . . . Edna Ferber . . . Doris Lessing . . . Pina Bausch . . . Frida Kahlo . . . Marguerite Duras . . . Helen Frankenthaler . . . Patti Smith, and 131 more--on their daily routines, superstitions, fears, eating (and drinking) habits, and other finely (and not so finely) calibrated rituals that help summon up willpower and self-discipline, keeping themselves afloat with optimism and fight, as they create (and avoid creating) their creations.

Thoughts:

This book is a collection of many fascinating vignettes about the kind of obstacles that female artists had to overcome. Currey wrote this when he realized how few women there were in his first book. Of course, it is not exhaustive: many more women artists, especially from Asia and Africa, have greatly captivating stories, but this is a start.

I read books on routines, schedules, and rituals to learn from them. Most of them say the same: prioritize your art/work, but the practical how-to is missing from many. This book is also not a guide to help you form effective habits. 

It reiterates that there is no perfect routine; you have to do what works for you. However, it has 143 examples from which you can choose what suits your needs. 

The book shows you that many artists resort to strange practices, such as waking up or going to sleep at odd hours, smoking, drinking, isolating themselves, etc. It was reassuring to know that even great artists struggled with their routines and their creative process.

The stories may seem repetitive. The information about the 143 artists is inconsistent in quantity and quality, which is understandable because the details available may have been sparse in many cases.

Currey has provided an introduction to each artist. This was helpful because I didn’t know many of them. It took me quite a long time to finish the book, as I went off tangent researching them.

 

Overall, a good book that I may return to from time to time.

Tell Her She Can't

Blurb:

Who says you can’t?

Tell Her She Can’t is the manifesto for every woman who has been told she isn’t strong enough, smart enough, or capable enough to excel—and the motivational anthem for those who have succeeded despite doubt. Your vision of change is possible, with the right guides to light your way.

Entrepreneur Kelly Lewis shares the true stories of 35 inspirational women who overcame the naysayers to achieve “impossible” dreams. Learn from trailblazers who tackled outdated typecasts in Hollywood and champions who advocate for greater representation of Indigenous cultures.

Tell Her She Can’t is packed with motivational stories of adventurers, changemakers, and prevailers who have taken on the world to become pioneers in their fields or challenged gender stereotypes to build million-dollar businesses.

These inspiring women transformed adversity into a springboard for empowerment and success—and you can too.

You’ll discover:

• How to reframe life’s challenges into unique opportunities with Tools to Triumph.

• Key strategies to boldly turn negativity into resilient fuel and break boundaries holding you back.

• Why others say you can’t—and what they really mean when they do.

• A celebration of defiance, resilience and feminine strength.

• Inspiration from women at all stages of life who prove that nothing is off-limits.

A powerhouse guide for every modern woman and girl, Tell Her She Can’t invites you to blast past the gatekeepers of “can’t” and become unstoppable.

Thoughts:

This book is a non-fiction anthology of 35 stories of women who were told they can’t accomplish what they wanted but proved otherwise in style. The stories are not uniform in length or tone but are bound together in various sections by the common attitude/characteristic/ability of the women they feature.

In between these stories, Lewis shares her insight on the particular attitude/characteristic/ability on which a section focuses. This makes the book a cohesive whole despite the diversity of the women and the stories featured.

The book has some errors: for example, at one point in Stephanie Plymale’s story, it is given “They have now been married for over 35 years” and at another, “… has been married to her high school sweetheart for 30 years.” Such errors could have been avoided had the book been proofread well.

I like stories of second chances, of empowerment, of success after years of failure and disappointment. My life story can be summarized as ‘She got back up after each fall, however severe the injuries were.’ So, it was only natural that I liked Tell Her She Can’t.

Note:

I received an advance review copy from BookSirens in exchange for an honest review.

Folk Songs for Trauma Surgeons

Blurb:

With Folk Songs for Trauma Surgeons, award-winning author Keith Rosson once again delves into notions of family, identity, indebtedness, loss, and hope, with the surefooted merging of literary fiction and magical realism he’s explored in previous novels. In “Dunsmuir,” a newly sober husband buys a hearse to help his wife spread her sister’s ashes, while “The Lesser Horsemen” illustrates what happens when God instructs the Four Horsemen of the Apocalypse to go on a team-building cruise as a way of boosting their frayed morale. In “Brad Benske and the Hand of Light,” an estranged husband seeks his wife’s whereabouts through a fortuneteller after she absconds with a cult, and the returning soldier in “Homecoming” navigates the strange and ghostly confines of his hometown, as well as the boundaries of his own grief. With grace, imagination, and a brazen gallows humor, Folk Songs for Trauma Surgeons merges the fantastic and the everyday, and includes new work as well as award-winning favorites.

Thoughts:

This book is a collection of short stories. I do not like short stories because I view them as parts sheared off a novel. 

For someone who keeps wondering about characters even after finishing full-length novels, short stories can be downright painful. You’d think that would automatically make me not read it.

However, this is also the first time I have come across a Keith Rosson book. So, I thought I should read some and then decide. 

As I mentioned earlier, short stories leave me wondering what happened next. Rosson takes it to the next level and leaves them with non-traditional endings. I forgave him only because somehow they made sense to me and because some parts of the book reminded me of Philip Pullman, Neil Gaiman, and even Terry Pratchett!

I am always intrigued by the different angles from which people view things. Rosson has a different lens altogether. His stories have this wacky sense of fun mixed with dark, twisted sense of misery. Shades of dystopia, apocalypse, a slice of the underbelly of the world, and sometimes, a touch of tenderness and hope...

Two asides:

• He has not mentioned the title anywhere else. So, I never got to know which folk songs trauma surgeons listen to. However, here’s what he told Paul Semel about the title.
• I did not read ‘Their Souls Climb the Room’, which is about a hog-slaughtering plant and a man who works there.

To sum up, an interesting book with something to smile at and something to despair about.

Note:

I received a free copy of the book from Tricia Reeks at Meerkat Press. I reviewed it voluntarily.

Scratch

Description:

Scratch is an interesting collection of personal essays and interviews on the financial aspect of writing put together by Manjula Martin. The contributors discuss money and success in their unique ways. 

The book's first section Early Days does not have a common thread of advice, except maybe to imply that good timing and having great contacts help you. Kiese Laymon points out the danger in confusing literature and publishing and portrays a tortuous relationship with a terrible editor. 

Alexander Chee describes his writing career. Cari Luna talks about the importance of having a great agent. Caille Millner's conversation with Richard Rodriguez addresses the solitude in writers' lives and the need to interact with others to be noticed. In her interview with Martin, Yiyun Li talks of working hard and shunning social media. Robert Lennon quotes Vladimir Nabokov's words only to disagree with them. 

There is a lot of honesty in Daily Grind, the middle section. Here, Roxane Gay talks about her remuneration and the ambition to win a Pulitzer or to write something worthy of it. Emily Gould talks of women in publishing, Sari Botton of ghostwriting, Choire Sicha of advertising writing, Nell Boeschenstein of reluctantly accepting a teaching job, and Sarah Smarsh of quitting one without another job in sight. 

Then there is the brilliant, startling Harmony Holiday essay, which discusses Amiri Baraka and his selling of books in the context of taxation, reparation, and his grandfather's lynching. 

The final section Someday has YA author Malinda Lo talking of seemingly successful authors struggling in private to get by. It also has interviews with Austin Kleon, Nick Hornby, and Jonathan Franzen. It has a frank essay by Jennifer Weiner on not being taken seriously by critics, despite being a commercial success. 

The book ends with a delightful essay by Laura Goode about producing an indie film, crowdfunding, direct distribution. This is a strange addition because there is no mention of self-publishing or small press publishers anywhere else. 

Thoughts:

Scratch is meant for those who write or aspire to become writers. It discusses writers trying to earn money while dealing with race, class, and privilege issues. It has many behind-the-scene stories of writing, getting published, and earning money and fame. 

The contributors are largely published literary fiction authors—the so-called Iowa-NYC-MFA crowd. When they aren't writing their books, most teach, receive research grants, or write long essays in august publications. 

The book features very few genre fiction writers who make money in the publishing business. There are no indie authors of Amazon Kindle bestsellers. There is also nothing on writers outside the United States. 

Neither is there any mention of the majority of paid writers who work in business-related fields, such as content development, transcription, advertising, marketing, and sales. There is only one ghostwriter, Sari Botton, who is not a great representation as she is also a much-appreciated editor and essay writer. 

Although the prevailing scheme seems to be not quitting day jobs, there are no straightforward discussions on it. While Cheryl Strayed and Roxane Gay are candid about the money they earned, most others do not write about their financial situations. Nobody among them discusses academic writing or related issues. 

Many veer away from the subject of money towards discovering their selves, following their dreams, and building their reputation and persona. Some of them equate success with being published and gaining public recognition. 

Most writers do not know how others in their profession earn their living and whether they can do so comfortably. Almost all of the book's contributors rely on other professions, such as teaching, to survive. The irony is that they teach writing, even as they fare badly at supporting themselves by writing alone. 

There are also no thoughts on whether an MFA is necessary to learn to be a good or successful writer, does self-promotion help, or how current issues, such as digital publishing, affect the profession. 

However, there are a few frank essays that mention the struggles of writers and how they can make ends meet by relying on multiple income streams. Also, all essays/interviews were interesting and informative in one way or the other. 

For example, you learn many things about advances, agent percentages, and different outlets to write for. You also learn about sad realities, such as how luck, race, and privilege, can influence your career, even if you are extremely talented. 

As Susie Cagle writes in her essay, it can be hard to know how much your writing should be worth. What makes it double hard to demand a certain price is that the world believes and propagates the idea that art is a labor of love and is not for profit. 

Scratch raises many questions but does not necessarily answer them. This is good because it helps evaluate the purpose of your writing. Its relevance and worth to you depend on what your purpose is as a writer and where you are in your journey towards achieving it.

Christmas with a Billionaire

Summary:

Billionaire under the Mistletoe
This is Sophie’s first Christmas since her mother’s death following a long illness. She overhears Max tell his PA, her cousin Sally, to have ‘Christmas Delivered’" for his visiting sister and niece. A horrified Sophie persuades Sally to let her be the deliverer and sets out to make a wonderful Christmas for Max and his family. She and Max do not get along well in the beginning. As they spend time together, Sophie finds out why Max avoids Christmas celebrations and Max understands why Sophie does not spend Christmas with her family and friends.
This story by Carole Mortimer is about how two sad souls help each other to reclaim joy during Christmas.

Snowed in with Her Boss
Luc Chevalier drags his PA, Amelia, along with him on a last-minute business trip to buy a property just before Christmas. He does not celebrate Christmas and is not close to his family because of his troubled past. Amelia is engaged to a man who has serious issues of his own. She continues with the farce of an engagement because she doesn’t want to disappoint her family.
The owner of the property thinks Amelia is engaged to Luc because he notices her engagement ring. Luc, who is attracted to Amelia, does not correct him and they are forced to spend time at close quarters when they are snowed in.
This story by Maisey Yates is about how Luc and Amelia help each other to realize what is really important in their lives.

A Diamond for Christmas
Riley and James Moreau, her best friend’s brother, were an item ten years ago. However, Riley’s father convinces her that at nineteen she was too young and inexperienced to be in a committed relationship. She is scared and runs. When she gets back, James is engaged to someone else.
She starts working for hium. Although his engagement doesn't last, Riley and James do not get back together. They sleep together a couple of tmes, which James tells her was a mistake. Riley is upset because she cannot continue like this. She wants to leave after Christmas.
This story by Joss Wood is about how Riley and James understand how much they mean to each other and resolve their issues.

My thoughts: I enjoyed the book.

All three stories were different and believable.They had great characters, good story lines, and were true to the Christmas theme.

Overall, a good festive anthology that delivers what it promises.

Note: The publishers, Harlequin, gave this book to me in exchange for an honest review. I thank them for that.