Showing posts with label Michael Winter. Show all posts
Showing posts with label Michael Winter. Show all posts

Tuesday, February 28, 2012

The Last Good Year (a work-in-progress),

Michael Winter writes that death isn’t an event, but a process. The Death of Donna Whalen.

My mother died nearly two short months past her seventieth birthday, the night of August 19, 2010. These were milestones we hadn’t expected, although few might admit. Years her immune system battered, broken, shot to hell. After forty-three years of illness, her body wore down. She slipped so quick, there less a release than simply gone. Four days in the intensive care unit, Civic Hospital, her last three days on life support, unconscious, and medicated to deflect the pain of lung infections, arthritis, the pain of her failing kidney.

The fourth of George William Page and Della Marjorie Swain's seven children, she was their first born in hospital. Ironic, since she would spend so much of her life in hospitals. Weeks, or even months, at a time. Born at Ottawa’s former Grace on Wellington Street West, a building that stood, until relatively recently, in the Parkdale neighbourhood. Where I too arrived.

Burrowing into a Toronto housesit, I received an email from my sister’s cellphone: you need to come home, right now. I rode the Greyhound east, and called the farm once I landed in Ottawa. I asked my father, is it worth going in to see her, or waiting until tomorrow morning? It was already late. He couldn’t answer.

She’d already been in a coma for more than a day. Slipped.

A photograph among her possessions of a toddler, with the small scrawl on the back, “Joanne at 1, taking first steps.” What would have been June 30, 1941. Joanne Irene Page. The child who would grow up to become my mother. On the day this picture was taken, the infant who would become her husband was four days old.

Through photographs, we move at entirely different rates of speed. I feel my skin pulled at the contradictions of. I try to navigate, negotiate. I attempt to extricate.

My mother, rolling out through pictures I remember and some I’ve never known.

In the minutes before my mother died, my cousin Patti, leaning over mum’s bed in intensive care, telling me of my parents’ pre-wedding blood test, the one that gave her three months to two years to live. The news called Patti home, visiting an American cousin. Three months to two years, the result of babysitting a year or two earlier and catching scarlet fever from a neighbour girl, which started the process of calcifying her kidneys, eventually putting her through twenty-three years of dialysis and three transplants over the same period, the third of which happened only eight years before her body finally gave.

When someone close to us dies, we enter into a particular kind of dialogue, deep and rich and abstract. I imagine conversation. By her hospital bed before and after she died, or alone with her in the chapel before the wake began, whispering under my breath. Oh, mum. Just loud enough for her to hear.

We attach ourselves to a series of beginnings, rare endings. One door barricades, and a window latch opens. To live any differently would cause the body and heart to close down. It would be far too easy, too easy to fall from this point and succumb. There are always ways we could turn that we can never return from. Lines that can’t be uncrossed. The boy on the French side when we still in high school, a shotgun up to his lips in his mother’s bathtub.

Today, rereading a poem by Sandra Ridley, caught in the underpinning of her last two lines:
Yes. I am breathing on my own.
On my own.
[see here for links to other sections]

Friday, December 02, 2005

Brick: A Literary Journal, Toronto

Another of the few journals I try to pick up regularly is Toronto's BRICK: A LITERARY JOURNAL. If anyone asks, yes, the journal and the press were connected at one time, with the press founded by poet Don McKay (originally under Applegarth Follies (publisher of McKay's Long Sault) (I think there might have been another name in there too), which then merged with Nairn before it became Brick Books), and the journal (originally "a journal of reviews") by Jean McKay (Don's first wife) and Stan Dragland, where they eventually merged for a while, and eventually split again.

From writing in our time: Canada's Radical Poetries in English (1957-2003) : "Began as Nairn books, edited by Stan Dragland. Don McKay became an editor and co-publisher in 1977; Truus Dragland and Jean McKay also helped with editing and production. Became Brick books in 1981 'to foster interesting, ambitious, and compelling work by Canadian poets, both new and established.'" (p 10-11).

At some point, the reins of the journal were taken over by Linda Spalding, who has been running since with Michael Ondaatje (Linda's partner) along with more recent additions Esta Spalding (Linda's daughter) and current publisher Michael Redhill (no relation), along with the even more recent Michael Helm (they should just change the name of the magazine to Michael). The press, Brick Books, publishing poetry for thirty-some years, is still run by Dragland and Don McKay, with an editorial board made up of five or so regular readers, including the two of them, as well as Jan Zwicky, Gary Draper and Barry Dempster. The day-to-day aspects of the press are run out of London, Ontario by the most lovely Kitty Lewis, Don's sister. (There, are we all caught up now?) (Though I've probably got most of that wrong; I expect I'll get a number of emails correcting me, but at least you get a rough sense of it all.)

Working a journal of reviews international in scope, the most recent issue, #76 (winter 2005) is new in my mailbox over the past week, and includes pieces by Dionne Brand (The sweet science in Toronto), Esta Spalding (An interview with David Sedaris), David Sedaris, Oliver Sacks (A friendship with Thom Gunn), August Kleinzahler (The 2005 Griffin Poetry Prize speech), Geoff Dyer (W. S. Sebald and Thomas Bernhard), Maya Jaggi (An interview with Toni Morrison), Darren Wershler-Henry (A certain type of dog), William Faulkner (Unpublished advice from the master), Fanny Howe (For Robert Creeley), Damian Rogers (Four poems), Eleanor Wachtel (An interview with Tomás Eloy Martinez) and the late Norman Levine (A letter to Brick and an early short story). Brick magazine has always served as an intelligent journal of pieces on writing and writers, an almost general-interest (literary) publication, that holds standards of interesting and compelling writing over fame, and manages to take poetry as serious as it takes fiction. The pieces by Norman Levine are a particularly compelling tribute, as publisher Redhill explains in his introductory note:

"As readers, we always want to do what we can to make an underappreciated writer better know, preferably in his or her lifetime. Norman Levine, the Canadian short-story writer, had always been known as a "writer's writer" but deserved much more. Two issues ago, we published a tribute to him in the form of a couple of drawings by Michael Winter. The drawings lovingly depicted houses Norman had once lived in. We sent him a couple of copies of the magazine, and on June 8, he wrote to us directly saying he had an idea: Would we like to reprint the first short story he ever wrote, something called "A Sabbath Walk," which appeared in 1956 in an Indian literary magazine? We received this letter on June 20, six days after Norman Levine died.

With the co-operation of Levine's daughter Cassie Flint, we have done just what he suggested, and we present in this issue of Brick Norman Levine's first published short story, a work that has all the hallmarks of his later writing: his sense of time and place, his grasp of human nature, and his quiet, understated style. It was the first gesture in a luminous writing career, and we hope that it will inspire our readers to seek out Norman Levine's books ― such as Canada Made Me and Champagne Barn ― and pass them around. We could not write back to him, so this is our reply, with thanks to him for the suggestion." (p 8)

What I've always admired about Brick: A Literary Journal was not only its seriousness, but its range, and its not-so-seriousness, including strange drawings and photographs, and regular pieces by apologist Cecily Möös (real or imagined, she has now apparently moved on to Denmark). The previous issue, for example, had a moving tribute to the late American poet Robert Creeley, as well as one of those irregular but most brilliant personal essays by Toronto writer Kent Nussey (when will someone be brave enough to collect all of these essays, which have been appearing in Brick here and there for years, into a collection?).