After a few years of alien parasites and “filigree cosmic horror” (I owe that designation to Julia August) I’ve gone back to The Paradise Engine. Not directly, but by association: “The High Lonesome Frontier” is a story about recording technologies, the strange vertiginous effect that music can have on us when we listen hard, the way a song can be found and lost again, but still hide out in the back of your mind, or on a mix tape in an old car, or a .flac on an external hard drive. It’s SF in the very broadest sense.
This is also the first story I wrote after I finished Clarion West last year. I wrote it last August, in a strange, exhausted haze between the six-week workshop and the defence of my dissertation. It’s the biography of a song called “Where Does That Water Run?” imaginary, but inspired by obsessive listenings to “I Wish I Was A Mole in the Ground,” tracked from its composition, through sheet music and player pianos, through performances and torrent files and broadcasts. Through– most importantly– the people who hear it, and remember.
Two relevant contexts (relevant to me as I wrote—possibly not to someone reading):
I like songs that only become folk music as they are repeated, gradually coming unstuck from their original authors. “Now is the Hour” was popularized by Gracie Fields after the Second World War—one of those songs of longing and separation that seemed so popular in those years. The melody was written by a theatre critic called Clement Scott and called “Swiss Cradle Song” until a Maori woman named Maewa Kaihau wrote the now-familiar words and renamed it “Po Atarau” and then “Haere Ra Waltz Song.” In the song’s global wandering it lost its original attribution, which is why Gracie Fields called it a “traditional Maori song” when she heard it in 1945.
“Wildwood Flower” started out as sheet music in 1860 with the title “I’ll Twine Mid The Ringlets,” but by the time the Carter Family recorded it in 1928, it was folk music—attributed only to “trad” until AP Carter got a writing credit when the work was republished after its success.
Ernest Seitz was a Canadian composer. He trained in Berlin before the First World War, but returned to Canada in 1914 for obvious reasons. While he devoted his life to teaching and concert performances, he’s probably most famous for a song that doesn’t have his name on it—“The World is Waiting for the Sunrise.” He was, according to some stories, embarrassed to have written a pop song. Nevertheless, it captured the imagination of so many performers: Fritz Kreisler to The Beatles, and Oscar Peterson to Neko Case.
Did he ever enjoy that remarkable accomplishment? Did he ever hear one of these versions on the radio and think that’s mine?
Lackington’s published a story of mine in their last issue. It’s called “The Glad Hosts” and is one of several stories and images Ranylt Richildis selected to explore “Skins” as a theme. It is, according to readers, a piece of parasite body-horror.
I say “according to readers” because while I wrote the story because I’m curious about parasites, I did not consider it body horror until I saw the responses. Yes, it describes the transformation of a woman’s bodies in multiple ways, but horror?
After the issue went live, a friend of mine posted a link to a metafilter discussion which included a series of insightful and amusing responses that indicated yes, I had written a horror story while I thought I was writing a story about transformation and distance and family.
(I particularly liked this one: “Are there parasites around that will remove this story from my brain because it was horrifying?” from jeather)
Since then other people have responded in equally interesting ways. At Marooned Off Vesta there’s an extensive and considered discussion about free indirect narration and what it does to storytelling, as well as some good points about the challenges of authorial self-consciousness. Charlotte Ashley over at Apex makes some interesting observations about what the story says about subjectivity. There are similar points over at Susan Hated Literature, which suggest it’s a story about the limits of such subjectivity, and where (exactly) we locate the self.
This is all less about “The Glad Hosts” than it is a reminder to me that while my writing life is spent mostly alone doing work that is invisible and unread, there are actually people out there who might catch a story at the right moment and read it and respond. This makes me very happy because it makes me part of a conversation. And it leaves me feeling lucky, too, that Lackington’s exists as a place for us to meet up.
I really didn’t want Where is Here? to turn into a Bunch of Links About That Book I Wrote, though that seems to be where it’s headed these days. Not forever, I hope. I went to the Bicentennial “celebrations” for the Battle of Fort York last weekend, and I had a lot of thoughts, but they’ve mostly bypassed the blogging stage and leapt straight into the chapter about The War of 1812.
So, instead of my peculiar “insights” into military commemoration in Canada, here are some links about that book I wrote! It was officially out yesterday (I confirmed this through a visit to the bookstore. It’s definitely and for realsies out now) and it has collected two reviews:
Laura Frey at Reading in Bed says some really smart things.
So does Kyla Neufeld at The Winnipeg Review.
In both cases I feel lucky that the readers approached the book so thoughtfully, and with such generosity.
So. Nearly four months away from this blog, which makes me sad, because I really like blogging. I spent most of the winter swamped in the innumerable, seemingly-unfinish-able tasks that dictate how and where I spend my time. That means either marking, or writing academic stuff. In happy news, I’ll be presenting a paper on Insurgency & Commemoration at Batoche for CACLALS this spring, at UVic. I haven’t presented a paper since 2011, so it’s about time.
I’m teaching an extra section of composition, too, for January – April, which means I have 70 students instead of the 30-something I had in the autumn. For the most part this is good news (for four months we’ve cracked the poverty line!) but it means I have no time. And so much to do. I try not to do the infernal mathematics: 70 students x 12ish assignments each = what was I thinking.
Of course, there are bright things, too, and pleasant news. One of them is that my novel is coming out in May. It has a cover! It’s very very pretty. I feel so lucky that the people at NeWest— editors, designers, marketers, managers– understand what I was trying to do, and have designed something that reflects & expands on the story. I’ve been thinking a lot about collaboration for the last couple of weeks, as I realize how many people have contributed to turning The Paradise Engine from a secret word document I kept squirreled away on my harddrive, to an actual, real book. That’s pretty exciting.