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Month: September 2016

The Archaeologists, Chapter 30: June – Thursday, June 26

This chapter is part of the ongoing serialization of The Archaeologists, the new novel by Hal Niedzviecki to be published by ARP Books in Fall 2016. The Archaeologists is being serialized in its entirety from April to October with chapters appearing on a rotating basis on the websites of five great magazines. To see the schedule with links to previous/upcoming chapters and find out more, please click HERE.

The Archeologists Front Cover

But I saw…

Doctor Solomon clasps his hands together as if in solidarity and prayer.

The mind plays tricks, June. We have to accept that. Your mind is tricking you. Showing you things that aren’t there. Accepting that is part of your healing.

June looks at the photograph on the wall over the Doctor’s head. They’re in his office. Apparently she’ll be seeing him three times a week now, part of some kind of agreement worked out between Norm, Christine, and whoever else cared to witness her scene, as they are collectively calling it, in the backyard. And Norm’s hired her a chaperone, the housekeeper, he’s calling her, a Filipino lady named Mary-Beth. She’s in her late twenties, just a few years younger than June, and according to Norm her job is to keep June from getting tired out. Mary-Beth’s to do the cooking and cleaning. But June knows that her main role is to keep an eye on her.

Do you need anything miss? Mary-Beth keeps asking. No thank you, Mary-Beth.

What does she need? Under Mary-Beth, the house has reverted to its normal state of cloaked quiet. He’s gone, June knows. If he was ever—

He was. She’s not supposed to say it. But he was, no matter what else happened.

Now that she’s barely leaving the house, June is actually missing the protestors. She found their constant chanting somehow calming. They reminded her of—

In college her roommate used to play a tape of ocean waves hitting the surf. June would close her eyes, lie back in her bed and contemplate the waves. June lets her eyes close and her head drop. Just for a minute. June feels herself detaching; she drifts away from herself, from her past and future, from what she did and didn’t do.

June? Ah, June?

She startles. Doctor Solomon sits in his leather chair, pondering June’s spaced-out hunch. So June, he says, a hint of a smile peering through his bushy brown-flecked-with-grey beard. When they searched the backyard, how did that make you feel?

Doctor Solomon’s voice is low, a cross between the famous mellow baritone of James Earl Jones and, June imagines, the Hebrew magic of some ancient rabbinical coven. He’s a skinny Jew who grew up in the city, wears tan slacks and polo shirts. June doesn’t know many Jewish people, has always imagined them as mysterious, attuned to spiritual forces only they can communicate with. June prefers to close her eyes when she talks with Doctor Solomon. Which Doctor Solomon says isn’t such a hot idea. He says she needs to focus, needs to stay in touch with the real world.

They didn’t have any right to—but we couldn’t stop them. They had a search warrant. Chris said it was better to—

Yes, but how did you feel about the search?

The doctor pushes horn-rimmed glasses up his nose. I…I felt bad for poor Norm. He doesn’t need all this.

Yes. Go on. Doctor Solomon runs a hand through close-cropped greying hair, a gesture of patient impatience, a character actor performing constancy of wisdom.

It’s like…it’s crazy. Like maybe I really did…I mean they’re taking it so seriously, when all I did was…

Was what? Dig a hole.

Is that all you did, June?

I—well, no…I mean, no. Obviously I…June sighs. I, uh, enabled my depressive sense of alienation, which lead to, uh, delusions that fostered further, uh, isolation and depression. She shrugs. Those are the Doctor’s words. June looks at him for approval.

He stares back at her: And?

June looks down at her knees. What she needs is a cup of good strong coffee. There’s no coffee in the house anymore. Bad for the baby. Norm’s doing the shopping now, loading up the cart with natural sundries—herbal teas that promise easy pregnancies and above average toddlers with bright eyes and pleasant dispositions.

And…anyway, June finally mutters under the Doctor’s gaze. They didn’t find anything. Of course they didn’t find anything, the Doctor assents comfortingly.

Norm’s been taking time off work, June says. He gets nervous if I go outside. He said maybe we should move. But I said I think we should—stay.

The Doctor nods approvingly. He’s a specialist in depressives.

That’s what I am, June thinks. That’s what he said I am. It’s better to stay, right? Why do you say that?

It’s an…opportunity to face my…my…June’s stomach gurgles organically, herbally, uncertainly.

You’re right June. You need to confront the source of your feelings of unhappiness and low self worth. June, I want you to focus on the real. I want you to ask yourself why you were digging the pit, what story you were trying to tell yourself and the people around you. I want you to keep focused, June. Stay focused on the person you were in that time, and how you are different, how you are becoming different now. Will you do that, June?

June nods blearily. Doctor Solomon, she senses, is not convinced.

June, I want you to get better. But to do that, you need to help yourself. You need to

accept that your perception of events is just that, June: a perception. You had a belief. You invested in that belief. You felt like that belief would make everything else matter, would infuse your nascent depression with meaning. You constructed a belief, June. You had to believe in it— even if it wasn’t true.

The picture over the doctor’s head: three brown women in brightly coloured wraps strolling along a lush tropical river balancing loads of provisions on their heads.

But, June protests, it wasn’t just a…I mean, I saw them. You believed you saw bones. You believed what you saw. But—

There were no charges. Isn’t that correct June?

Yes.

And that’s because they didn’t find any bones, did they June? But they found—

The forensic unit concluded that what they found in backyard were just bits of old stone, not bones at all. Isn’t that the truth, June?

But the stone was…the report said it wasn’t just…stone. It was fragments of some kind of ancient pottery. There was even a pattern.

June. Doctor?

June. Is what I’m saying true? You did see the report. There were no bones. Do you accept what you read in the report?

Yes. I saw the report. Norm and Chris showed it to me.

And you believe what the report says? Think carefully now. Are there any doubts about the report?

I just—

Yes? Or no?

—

June?

The women smile, their bundled burdens balanced so perfectly and precariously.

Doctor Solomon gets to his feet. I’ll see you again on Wednesday and we’ll continue this discussion.

Doctor? Can I just ask you—before you go—

Yes, June?

That’s one thing she likes about Doctor Solomon. He sticks to his timetable, but with the languid fluidity of a tropical citizen; he doesn’t give the impression of always hurrying off.

When did you move here? To Wississauga?

Oh, let’s see now…Let me see…I lived in the city when I started my practice, and moved out here about—the Doctor chuckles his appreciation of time’s speed—well almost fifteen years ago now.

But why move here? I mean, aren’t there more…more of your…patients—in the city?

Oh, You’d be surprised, June. Doctor Solomon smiles convincingly. You’d be surprised how many there are around these parts. The Doctor stands, looks down at June. You take it easy now, and get plenty of rest.

They move into the small waiting room area, Mary-Beth jumping up perkily, ready to drive her home.

In the elevator, June leans against the mirrored wall and closes her eyes. A brief burst of chanting—aye ya ya ya ya—surfs through her mind, and then the doors are opened into the lobby and Mary-Beth is leading her out.

Mary-Beth drives attentively. June lowers the passenger window open, lets spring air blow her bangs off her forehead. She needs a haircut. She needs to start taking care of herself. All of this, it must be bad for the—

The Doctor says she needs to accept what happened. She needs to come to terms with her actions.

But June doesn’t accept. She doesn’t believe that believing is all the Doctor says it is, the flick-of-a-switch it’s-all-in-your-head solution to explain how you can go from being nearly handcuffed and hauled off to jail and then you’re just—What? Exonerated? Free? You can go now, June. You don’t need to worry anymore, June. But it’s hard to believe—there’s that word again—that what she saw and felt and knew was just some kind of…delusion. The old Indian, the elder, silently mouthing prayers. She saw his face: stoic, but behind his eyes a still deep pool of knowing. He knew; he believed. Okay he wasn’t there. Not really. She made him up. June can accept that. They carried her into the house. Doctor Solomon appeared out of nowhere, gave her

a shot to calm her down. June remembers thinking about the baby, not wanting the shot, trying to pull away. It’s okay, Norm said, holding her hand. She fell asleep.

Is belief really so powerful? Can it really make the world change and change again? The whole world?

Her world, at least. Sunny breeze on her face. It feels good. Turn here, Mary-Beth.

Miss?

Make a right here.

But Miss? I take—home. Is no good way, turn.

It’s okay Mary-Beth. I just want to…drop in on a—friend. An old friend.

Mary-Beth bites her lower lip. Doctor Norman says to take you to home, Miss.

He’s not a doctor Mary-Beth. Yes Miss. But he says—

He’s a dentist, Mary-Beth. And we will go straight home. I promise. Right after. There, yes, turn here.

You won’t be long?

No Mary-Beth. I promise. I won’t be long. Gnawing her lower lip, Mary-Beth makes the turn.

Now a left onto the Parkway, June says encouragingly. Then you’re going to make a left turn at the second light there. You see that little road there, Mary-Beth? The one in between the two malls?

Yes Miss.

That’s where we’re going.

Okay Miss.

Just a quick visit, Mary-Beth.


June ascends to her assigned floor, breathes deeply, walks quickly down the hall hoping the ladies at the nurses’ station playing cards won’t notice her, won’t ask her where she’s been.

She’s gone to the hospital, one of the nurses calls after her. What? June turns around to face them.

Your friend. Rose. She’s in the hospital.

They stare at her malevolently. When?

Where have you been anyway? The old folks have been asking about you.

Is Rose okay? They shrug.


Now home miss, Mary-Beth says hopefully, putting the car in gear and preparing to pilot through the thickening shopping traffic.

No, Mary-Beth. One more stop. We have to go to the hospital. Miss, why? Miss are you sick? I will call—

June deftly snatches the cell from Mary-Beth’s lap.

Miss!

Mary-Beth, I’m not sick. It’s my friend. She’s sick. In the hospital. We have to go there. We won’t call anyone.

Miss. No! It’s not good for you, you can get sick at the hospital, so much sick—it’s bad for you and the baby, Miss. We go home. Doctor Norman—he says, I take you home.

Mary-Beth, I have to go. Just for a quick visit. No Miss, please! Let me—call.

Mary-Beth reaches for the cell. The car swerves. June dangles the cell out of the passenger window.

Mary-Beth, she says calmly. Take me to the hospital or else I’ll drop the phone out the window and you’ll be fired.


Belief is having a purpose. It’s doing something and knowing you are doing it for a reason. Because you believe. June doesn’t know how or why she believed what she believed. It seems so…ridiculous. Ancient Native explorers, first man to stumble into the lush abundance of the Wallet River valley. And he lead them: and it was good. A proud, strong man glowing like the summer sun, infused by the power of the tribe, of his doomed vision for the future—today, tomorrow. So who killed him? Who snuck behind him, crashed in his skull? And what belief did they have, what story did they tell themselves before and after doing what they did? Is everything just…stories?

No. Not everything.

A man standing on a ridge overlooking a river gully. A man surveying a territory resplendent with life’s eternal possibility, a human being so free and unencumbered, a first man with all the possibilities of becoming still ahead of him—in this June believes. She’s seen it. Nothing can change that. Even if it’s crazy.

She turns, takes the elevator, turns. Mary-Beth trails behind her, scowling. June enters ward 9B. The ward smells like Rose’s room—Meals on Wheels, flesh gone slack. June expected something more antiseptic, something clean and astringent. But the smell is old and dirty.

Behind the nurses’ station three ladies loll with a familiar air of disaffected nonchalance. May I help you? comes the predictable, eventual, opening.

Yes, I’m here to see Rose McCallion.

McCallion…McCallion. The nurse checks a list. Oh. Right. She’s in the ICU. You can only stay fifteen minutes. Are you family? You have to be family.

I’m her niece, June says.

The nurse points to an adjacent room laid bare by a long window. Through the window: huddled forms encumbered by sheets, snaked by tubes.

Please wait here, Mary-Beth, June says crisply before walking into the room, her boot heels clicking. This is where it ends, she thinks. Even for Rose. Dread is a sinking pit of imagined bones, the taste down there, the air in your lungs. June thinks of the elder praying in her backyard: a crumpled wizened warrior permanently clinging to a world that doesn’t want him. He wasn’t really there.

Rose is alone. Lying inert on the big hospital bed she looks more like a dried frog than a human being. Her machines are myriad, cables and connectors leading to and fro in cyborg-like array. June drags the curtain closed around the bed. At least give her some privacy. Jesus. She’s a hundred years old. Give her some dignity. The curtain does nothing to close out the coughs, groans, and mutters emitting from the other seven beds in the ICU. Stepping toward the head of Rose’s hospital bed, June hears the murmurs of anxious bedside relatives, barely uttered words she can’t quite make out.

Rose? she says quietly, mimicking the hushed cadence of the swirled sounds all around them. Can you hear me, Rose?

The old lady doesn’t stir.

What’s wrong with her? June can’t tell. Rose? June leans right over face to face. Is she—? Should she call the nurse? Rose?

The old lady’s eyes flip open. They widen and dart. Rose blinks.

It’s okay, June half whispers. You’re in the hospital. She squeezes then quickly releases the old lady’s hand. It’s like holding tissue paper. IV into a decrepit, hollowed-out blue vein. It’s June, Rose. June from—

Rose’s eyes narrow.

How are you feeling, Rose?

Stupid question. She can see it in the old lady’s face. How is it, dying? How is it wasting away all alone in a room full of sick strangers?

Well it’s what people say, isn’t it? At least she’s here. June takes a deep breath and flips down onto the uncomfortable orange chair wedged in beside Rose’s various machines and the side of the bed. What else can I say? Mary-Beth is probably freaking out. What if she calls

Norm? June’s put him through enough. She’ll just stay a few more minutes. Poor Rose, all alone.

It’s sad and all. But really, how else could it have ended?

Then, Rose’s lips start moving, the crusts of spit in the corners of her mouth cracking. Rose, June says. Don’t try to talk. You need to rest. It’s alright Rose.

Rose shudders, seems to be struggling to speak. Of course it isn’t alright. Rose is dying. Anyone can see that. The old lady is dying all alone, with no family, with nobody to be with her. But that’s not June’s fault. She has her own responsibilities. A husband. A—June folds her hands over her belly.

It’s…Rose suddenly croaks, her hawk eyes sharpening to focus.

Yes? Rose? I’m here. It’s what? June leans in. She can feel Rose’s ragged exhalation on her ear, her cheek. After this, I’ll go.

It’s…

Yes, Rose?

…not…your…fault…dear.

Not my fault. Of course it’s not my fault.

I don’t understand, June says reluctantly. What’s not my fault? Rose blinks, tosses her shrunken head.

He came…Rose whispers, brown bubbles popping in the dark gap between her lips. Who came?

Not…your…fault…

Rose? Who came?

Your…Rose closes her eyes. Machines beep in staccato imitation. Who came Rose?

The old woman’s eyes flutter open again, cloudy blue staring straight through. June can’t

look away, as much as she wants to.

What is it Rose? Who came? She hears her own voice, a panicked breaking whisper.

…ghost.

What we believe, what we don’t believe. June forces herself to arrange her face and smile comfortingly down at Rose.

I’m sorry, Rose. But I really have to go.


Hal NiedzvieckiHal Niedzviecki is a writer of fiction and nonfiction exploring post-millennial life. This was an excerpt from The Archaeologists, to be published by ARP books in Fall 2016.

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The Back Story

The New Quarterly is embarking on a two-year project to identify new, diverse literary voices we can support, and to build genuine and lasting diversity into the structure of the arts organization as a whole. 

Beginning in February, 2016, Pamela Mulloy and Susan Scott began meeting once a month with three emerging non-fiction writers, all former students of Ayelet Tsabari. You could call the five of us a focus group, although in fact we have become conversation partners and guides, helping one another find our footing in a rapidly changing literary landscape. 

Information circulates at these gatherings. But mostly there are stories and ideas, doubts and fears. There is food and drink and laughter. There’s some push-and-pull. Hard questions surface. Sometimes there are answers to these questions. Often there are not. 

Our role, as editors, has been to listen, and to open up a place for reflection.

Each writer has agreed to step into that space by blogging about her experience, trying to break into the literary world. Here is Tamara Jong’s story.

The Back Story

Ma was a poet and she loved to read. I can just see her reading to me in her belly. My imagination grew with my love of reading and I thank my mother for this gift. I used to drool all over the Scholastic Book forms sent home from grade school because I wanted to own all the books. Money was tight for my family growing up so I could not buy all that I wanted but I still had the school library. It was a regular thing for me to take out more books then I could possibly read by the dreaded Due Date.

Tamara Jong

I loved the adventures of Little Bear by Else Holmelund Minarik, and then came Pippi Longstocking by Astrid Lindgren that became dog-eared from me reading it so much. Another well-loved story for me was A Wrinkle in Time by Madeleine L’Engle, and then I would wonder about the existence of Bigfoot and UFOs by reading books that really did make me believe. My favourite superhero was Superman and my dad bought me Old Master Q comics from Chinatown because I liked how funny they were even though I could not read any Mandarin.

The first story I recall writing was when I was nine years old and in grade three. It was about a white boy who owned a horse and just wanted the approval of his father. I remember the dad saying, “I’m proud of you, Son.” I was a girl with an overworked Chinese father and a religiously bent white mother who had begun drinking heavily. I can see now that I needed to be someone else, a different gender, and a different color, really just anyone else. In grade four, Mrs. Sauriol would let me read some of my stories aloud in class even though it was not an assignment. I kept a red diary of my crushes, which ranged from boys in class to NHL hockey players. As a Jehovah’s Witness I spent lots of time reading the scriptures and bible aids, and became busier in the ministry.

Growing up in my community in Chomedey, Laval, in the 70s, there were not many mixed races or Chinese, and people were taking sides over the French and English language issue. Sometimes we made up teams that were the French kids versus the English. I did not realize that I was different until kids made fun of me and pointed out that my eyes were slanty. One Saturday we begged our tired father to take us to La Ronde. Later on that night, some kid called my dad a Chink. My father chased him and kicked him in the behind. The kid tried to retract what he said, claiming that he was calling out to the guy running the ride and not my father. This kid came with a huge family entourage and my dad pushed his dad sending his cigarettes flying. Ma got between them while my dad whipped off his shoes so he could use his karate skills but the other dad was not having any of this. My brother, sister and I were scared and embarrassed. This would not be the first time my mother had defended or protected my father. I heard her telling a friend that someone asked her what it was like for her to be the only white person in the house. When I was nine, I used to beg my father not to cut my hair with bangs and the dreaded bowl cut. It made me look Chinese, I told him. I would tell people that my father was Chinese and my mother was normal. It was not until I was twelve that my father stopped cutting our hair and by the beginning of high school, the bangs were gone and my hair was long past my shoulders.

I journaled in high school and kept up with writing bad poetry. One of my poems was published in a school board journal in my last year of high school because my creative writing teacher Mrs. Butler told me to submit. I aspired to be Jane Austen, Daphne Du Maurier, Charlotte Bronte, or Lucy Maud Montgomery. I used to think that I was living in the wrong time and wished I had been born back then. When I wrote, it never occurred to me that I was not writing in my own voice, not really.

Tamara Jong and Family

I wrote super sweet sappy stories that were bad imitations of stories I had grown up reading. I started writing some biographical fiction after a conversation with a colleague who said that I should write my story. It got off to a quick start but then I could not keep it going. Twelve years later, I left my religion and decided I wanted to attend the Humber School for Writers to get help with my story. I met a fellow writer Jack, who changed my view on writing. He suggested that I make the character unique, different. He wondered why the character could not be like me. I realized that I internalized that it was not okay to be me. I had hidden some of the layers of who I really was; a mixed race, Jehovah’s Witness. I was writing as a white protagonist. I grew up reading white writers and had never read anything written by someone who resembled me. I was editing myself out of the story.

***

Tamara Jong is an emerging writer originally from Montreal. She has taken creative writing at Humber, University of Guelph and the University of Toronto. Her work has appeared in Ricepaper.

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  • The Back Story
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“Road One”: An Interview with Sivan Slapak

Sivan Slapak won our Peter Hinchcliffe Award for Fiction in 2015 for “Road One.” Cultural and religious identity loom large in this story, a portrait of the relationship between a peace-keeping Israeli-Canadian and a Palestinian co-existence educator. In judging the contest, our adjudicators had the following to say:

“This is an ambitious story that feels fully realized and accomplished. The complex setting and political backdrop is sketched in a way that feels easy, and there’s a deceptively light touch to the storytelling and style.”

“Real emotion is being mined here, and real connection and relationship. Through each other’s eyes the characters gain depth, and their dialogue sings.”

Here we talked to Sivan about her writing and her inspiration for “Road One,” which can be read here.

—Pamela Mulloy

How did you begin writing? Do you have any writing rituals?

I started writing when I was young—I have a stack of diaries dating back to single-digit years, and the journal-writing practice stayed with me for a long time. In the last couple of years that’s morphed into a writing exchange I have with a friend abroad, where a few times a week we spend twenty minutes just writing associatively, sometimes with a prompt and sometimes without, and sending it as an email to the other. We call it our Wild Mind writing, after Natalie Goldberg’s book by the same name, where she promotes the idea of keeping your hand moving and turning off the inner editor. So it’s our chance to take some minutes to just write freely, and a great way to keep in touch in a meaningful way. In any case, that’s the kind of writing that’s been a thread through most of my life.

As far as crafting complete stories—that began more recently. Let’s see: I guess my rituals are to wait for a deadline and tap at the keyboard in a frantic rush through the hours leading up to it? Drink tons of coffee? I’m not methodical in my writing habits, I’ll admit. I read a quote, attributed to William Faulkner (among others), which said, “I wait for inspiration to strike. Fortunately it strikes at 9 am every morning.” I wish I could say the same, but I’m learning to make peace with my work style, which, though driven, is a bit more haphazard. Maybe that’s a technique that works for short stories more than novels, I don’t know. In the end, it gets done, even if it’s in fits and starts! But it’s hard to carve out time to write, and it’s my hope to build a sense of discipline, where ‘writing time’ is a consistent block in my schedule. I think it’s time for my sense of commitment to find a home in routine.

What authors do you like to read? What book or books have a strong influence on you or your writing?

This is always a hard question to answer, since there are so many. As for short story writers, there’s obviously the one and only Alice Munro. No one does it like her. I admire Grace Paley’s voice—she captures complicated feelings in simple terms, and she has a lot of empathy. And all of her stories seem to be simultaneously funny and tragic and socially engaged, and very vivid. Those are the kind of notes I’d like to hit, and hope I learn how to do that successfully. Kazuo Ishiguro’s Remains of the Day is a book that’s left long-term traces on me, and Anne Michaels’ Fugitive Pieces stands out, and is one I come back to periodically. (I would also call Michaels a literary hero of mine, just based on that book.) It’s beautifully written, and also about many of the themes that preoccupy me the most in my life, and now in my writing: traumatic memory, immigration, cultural displacement, the role of language in all of this—these are magnetic subjects for me.

The last novel I read was Israeli author David Grossman’s To the End of the Land, which was, I thought, a masterful reflection on the realities of life in Israel, multilayered and wrenching.

I’d say that the books I’m attracted to, are generally about extreme alienation and longing. But that’s what so many stories are about, aren’t they? In some sense, this is probably what drives so many to write.

What attracts you to the short fiction genre?

I wonder if I might see life as a series of short vignettes?

What I enjoy is seeing what can be packed into a few pages, testing how much a world can come alive. How much do we care about the characters, how many layers of meaning or associations are we left with by the end, and is a wider field created from the hints we’re shown? And in the stories I read—and am trying to write, it seems—I like feeling unsettled and yet satisfied by the final line, even if I was only in there for a few minutes.

Can you talk a bit about the major focus or themes in your piece and why they are important to you? What drew you to writing about this?

Well, clearly the setting of Jerusalem is important to the story, and important to me, more than I can effectively express here, I think. I’d say the city, in a way, is another character in the story, as it is in many of my stories. I lived in Jerusalem for a long time, and was shaped by the many different rich and complex worlds that inhabit this place, and the way they overlap and encounter one another. And often confront and come into conflict with one another.

I wanted to zoom in and write about a relationship, one that’s developing against this backdrop, and that is of course a product of it. A friendship that is nuanced and heartfelt but has the challenge of trying to build across a lot of boundaries, that aren’t usually crossed, and so is complicated. But the main theme is simple: it’s a story about a friendship.

As an emerging writer can you comment on your work and what drew you to the Peter Hinchcliffe Fiction contest in the first place?

I do feel very much like a beginner, or, “emerging.” When I moved back to Montreal two years ago, after twenty years away, I knew I wanted to try to write some pieces based on life in Jerusalem. So I started to do that, and now have a pile of unpolished stories and fragments that will hopefully find their shape soon, and ultimately fit together in an interwoven collection. Last year I had the chance to participate in the Quebec Writers Federation’s mentorship program, where beginning writers are paired with those at more advanced stages of their careers. They’re meant to advise you as you work through your material, and offer support in various ways. It’s a terrific program. My mentor was Alice Zorn—an author you’ve published—and towards the end of our time together she suggested that I submit something to The New Quarterly, that it might be a good fit. When I found TNQ online, I immediately appreciated the tone and the kind of writing that was being published. I noticed the deadline for the contest was approaching, so I sent this story in, as I’d just finished working on it. I’m grateful for Alice’s suggestion, because it seems it was a good fit! This is my first award (I call it that with hope, instead of “my only”), and receiving it and being published in The New Quarterly has been uplifting in every way. I feel honoured and lucky to be here.


Photo by Flickr user Emmanuel DYAN

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  • Pamela Mulloy
  • Sivan Slapak
  • The Peter Hinchcliffe Short Fiction Award
  • Writer Resources

Other Stories: The Back Story

The New Quarterly is embarking on a two-year project to identify new, diverse literary voices we can support, and to build genuine and lasting diversity into the structure of the arts organization as a whole. 

Beginning in February, 2016, Pamela Mulloy and Susan Scott began meeting once a month with three emerging non-fiction writers, all former students of Ayelet Tsabari. You could call the five of us a focus group, although in fact we have become conversation partners and guides, helping one another find our footing in a rapidly changing literary landscape. 

Information circulates at these gatherings. But mostly there are stories and ideas, doubts and fears. There is food and drink and laughter. There’s some push-and-pull. Hard questions surface. Sometimes there are answers to these questions. Often there are not. 

Our role, as editors, has been to listen, and to open up a place for reflection.

Each writer has agreed to step into that space by blogging about her experience, trying to break into the literary world. Here is Leonarda Carranza’s story.

Other Stories

1

I spend a weekend with TNQ, the summer 2014 issue which I recently received as a gift.  I gravitate towards the only author I know. It’s a hot spring day and I spend the morning sitting in my backyard hearing Ayelet Tsabari’s voice as she tells me of her journey towards writing in English. The next day I venture further inwards. Spend the morning withTwo Poems, Kristine Tortora, and feel I found something about the familiar and the faraway, something I still can’t language.

2

In my day job and work with the Pages on Fire Collective, I facilitate writing workshops for newcomers and youth. These terms are not mutually exclusive—some youth are also newcomers. The people that participate in my workshops are predominantly people of colour, mostly women and young girls. They arrive at community centres, elementary public schools and libraries, reluctantly.  Some come with an interest in writing, but most come out of loneliness, in an attempt to meet others facing the same isolation and disorientation that comes with leaving cultures, communities, parents and grandparents behind. Together we move through parts of the city people outside of these neighbourhoods rarely see. These are not the spaces imagined as the future of Canada’s literary scene but these are spaces filled with writers. They are spaces in Mississauga and Brampton, deep inside low income neighbourhoods, surrounded by low-rise buildings, and suburban homes.

At first, room after room of participants will introduce themselves as non-writers. As people who do not like to write, who do not enjoy writing, who can’t write, and sometimes, who fear writing. What brings them to these spaces is sometimes a hidden love of writing, a love of storytelling, and sometimes a curiosity about the possibility of writing in English.

In my workshops I tell participants to suspend their knowledge of grammar, spelling and punctuation and their valorization of these rules. If they don’t know the rules, I say, even better. I tell them we are going to write and share our stories. They do not have to write in English, but they can if they want to, and most of them do.

I have grown used to the hesitation to write, the fear of putting parts of ourselves on paper, and the fear of opening up and sharing our work with others. I understand it more as a fear of being shamed and mostly of being humiliated. Often I’ve heard from my writing instructors that fear is part of the DNA of writing, and while I agree, I know there is something different, sometimes more menacing about learning to write in English as a person of colour. Writing is especially terrifying when you have felt rejected or humiliated because of your race, accent or skin colour. The experience of racism and white supremacy has a way of impacting the body and often there is a deep feeling of fear associated with writing.

I know this from my own experience as a writer, as someone who came to Canada as a refugee, as someone who didn’t speak a word of English. Some of my first experiences of learning to speak in English are experiences of ridicule. The way I communicate in English is affected by the communities of colour that surrounded me throughout my childhood. My language practices, the way I stitch words together also reflects the variety of ways of communicating across languages.

3

Often co-workers, colleagues, brilliant women of colour will approach me and tell me they are also afraid of writing. Often, they speak of painful experiences of feeling shamed and silenced in classrooms. Often, they say they feel like they will never know enough or feel safe enough to write in English. Sometimes, these are people of colour who learned English as a second language. They are often people who speak with accents of lesser value, accents connected to Third World spaces and brown and black bodies. In workshops, the writers are the most surprised to find electrifying pieces of writing hidden deep inside of them, pieces that cut through the space, into our bodies, pieces that often leave us breathless.

4

A few weeks ago my co-worker produces one of the most beautiful pieces of poetry that I have ever read. The piece is so evocative that when we read it to people in our department, one woman nodded and held the emotion tightly in her jaw. Later, she tells me she had to force herself not to cry. The piece surprises my co-worker who has been writing for years and working on a memoire but who hesitates to see herself as a writer.

The ability to produce work with meaning that moves through and between bodies is powerful. It is a gift some of these women hold but have felt silenced from. And we are all poorer as a result of this silencing.

5

In a recent meeting with Pamela Mulloy editor of TNQ, I am not surprised to find she describes the writing published by TNQ as elevated and polished. I write these two words down in my notebook and spend the next two weeks thinking about them and how they produce and exclude the boundaries that determine what writing goes into TNQ and what is left out. I find the definition of polished particularly significant: naturally smooth and glossy as well as flawless; skillful; excellent. 

 I know it would be almost impossible for the participants in my workshops to describe their work as either polished or elevated. Most times, the work is peppered with creative spelling and missing prepositions, but it is in this work and with these stories of migration and loss that I feel most at home. The work is flawed in the same way that language is flawed, and always almost out of reach.

6

I tell participants, there is no one that can write like you. No one has your particular voice and experience, and this matters. The immediacy of their experiences with migration, loss and displacement comes alive in their pieces, and I know I am the one that is most indebted for having the opportunity to hear these stories. These pieces would not exist had we not arrived in these places and met week after week to write our stories.

That these stories are not being represented in our national literature is not surprising. How they come to be excluded is much more nuanced and confusing. Don’t we wake up every morning and consciously or unconsciously construct and maintain white heteronormative spaces? Granted some of us have more power in these decisions than others. And yet does the realization that stories from newcomers are out there, that Other stories are being written, does it lead publishers and editors to question and think about the multitude of ways that these stories come to be left out of their literary spaces?

That part of the ways we participate in constructing exclusionary white literary spaces is through self-censorship is surprising. Some of us are assuming that there is no place for us in TNQ and Canadian literature. Literature is elevated and the writing we produce is not above us but flows within us. We fear our syntax and writing practices will reveal our outsiderness and will exclude us from these spaces.

A Canadian literary magazine should be representative of Canada’s diversity yet, through often subtle practices, we not only learn to keep our stories out of these spaces, but also to identify as non-writers, to associate writing with elevation and privilege and power and to feel ourselves as not belonging to these spaces.

7

Recently, I trained participants to facilitate their own writing workshops. As we gathered to prepare for eight sessions of writing this piece emerged. It is now hanging on our writing board.

We are the most confused generation

And we are always wondering
why did we come here

We came for him and he doesn’t care about us
anymore
Respect is different         here
Bond between parents and grandparent is loose here

And old stories have lost their meaning

And we are always wondering
Why did we come here?

[1]


[1]

Collectively written piece, produced in collaboration with Jyotichhanda Dey, Moona Khan and Leonarda Carranza

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