Saturday 27 July 2024

Dear Life

by Alice Munro

In my previous post on Alice Munro’s book (7 February 2024), I called her “arguably the greatest living short story master”.

Munro died on 13 May.

Dear Life, published in 2012, was her last book. Most of the stories there were published before. Yet I’ve noticed that the author changed them for this collection. For example, In Sight of the Lake differs significantly from the Granta version.

There are common threads: loss (Gravel, Leaving Maverley, Train), betrayal — real or imagined — by a lover (Amundsen, Corrie, Dolly), aging (Dolly, In Sight of the Lake, Pride), echoes of the WW2 (many). Several stories feature trains: Amundsen, To Reach Japan and, as could have been expected, Train. Too Much Happiness had them too. I like that. Trains are cool.

I love the way Munro’s humour shines through even in the saddest and darkest of the stories here. Such as In Sight of the Lake, a frightening premonition of the author’s own slippage into dementia.

The final four stories, according to Munro, “are not quite stories”:

I believe they are the first and the last — and the closest — things I have to say about my own life.

Autobiographical or not, they still are stories. Beautiful stories. Thank you, Alice, for telling them.

There was a burst of shouting from across the street and the doors of a dark-shingled flat roofed building opened, letting loose several men who were jamming caps on their heads and banging lunch buckets against their thighs. By the noise they were making you would think the car was going to run away from them at any minute. But when they settled on board nothing happened. The car sat while they counted each other and said who was missing and told the driver he couldn’t go yet. Then somebody remembered that it was the missing man’s day off. The car started, though you couldn’t tell if the driver had been listening to any of this, or cared.
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I’m not sure about the order in which they were mentioned except that her husband was the final one and he was dead.
“Last year. Except he wasn’t my husband officially. You know.”
“Mine wasn’t either,” I said. “Isn’t, I mean.”
“Is that right? There’s so many doing that now, isn’t there? It used to be, oh my, isn’t it awful, and now it’s just, what the hell? And then there’s the ones that live together year after year and finally it’s, oh, we’re getting married. You think then, whatever for? For the presents, is it, or just the thought of getting dolled up in the white dress. Makes you laugh, I could die.”
She said she had a daughter who went through the whole fancy-dancy that way and much good it did her because she was now in jail for trafficking. Stupid.
Dolly
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Then one day, on the street in Toronto, he ran into a friend who was on his way to try out for a summer job with a new small-town theater company. He went along, having nothing better to do, and ended up getting the job, while the other fellow didn’t. He would play Banquo. Sometimes they make Banquo’s Ghost visible, sometimes not. This time they wanted a visible version and Neal was the right size.
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My uncle started off by teasing me about grace. About not saying grace. I was thirteen years old, living with him and my aunt for the year that my parents were in Africa. I had never bowed my head over a plate of food in my life.
“Lord bless this food to our use and us to thy service,” Uncle Jasper said, while I held my fork in midair and refrained from chewing the meat and potatoes that were already in my mouth.
“Surprised?” he said, after “for Jesus’ sake. Amen.” He wanted to know if my parents said a different prayer, perhaps at the end of the meal.
“They don’t say anything,” I told him.
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Another idea. Isn’t it quite possible that this person — the crazy-doctor, as she has chosen to call him in her head — isn’t it quite possible that he (or she — like most people of her age she does not automatically allow for that possibility) that he or she does operate out of a house? It would make sense and be cheaper. You don’t need a lot of apparatus for the crazy doctoring.
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Ray had joined up for the war as soon as he was eighteen. He chose the Air Force, which promised, as was said, the most adventure and the quickest death. He had been a mid-upper gunner — a position that Isabel could never get straight in her head — and he had survived. Close to the end of the war, he’d been transferred to a new crew, and within a couple of weeks his old crew, the men he’d flown with so many times, were shot down and lost. He came home with a vague idea that he had to do something meaningful with the life that had so inexplicably been left to him, but he didn’t know what.
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So I lay, minus my appendix, for some days, looking out a hospital window at the snow sifting in a somber way through some evergreens.
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When I was five years old my parents all of a sudden produced a baby boy, which my mother said was what I had always wanted. Where she got this idea I did not know. She did quite a bit of elaborating on it, all fictitious but hard to counter.
The Eye
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She looked for the more important man to help her, but he wasn’t there. Now she remembered what he’d written. A play about Doukhobors that had caused a big row because the Doukhobors were going to have to be naked. Of course they weren’t real Doukhobors, they were actors. And they were not allowed to be naked after all.
To Reach Japan
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An exception was the young couple named Candace and Quincy, who never settled their rent and skipped out in the middle of the night. The owner happened to have been in charge when they came looking for a room, and he excused himself for his bad choice by saying that a fresh face was needed around the place. Candace’s face, not the boyfriend’s. The boyfriend was a jerk.

Wednesday 24 July 2024

路上の霊魂

a film by Minoru Murata

A curious 1921 silent film said to be in part based on Gorky’s На дне (The Lower Depths) although I failed to see that part. At 91 minutes, Rojō no Reikon is way too long for the message but it has its lovely and even comic moments.

Souls on the Road was an opening feature of this year’s Week of Japanese Cinema in Casa de Colón and the only one I’ve seen this time.

Sunday 21 July 2024

Cuaderno de agua & Las Hijas

Two Latin American films screened in Casa de Colón last week.

Cuaderno de agua

a film by Felipe Rodríguez Cerda

The notebook of a political prisoner during the Pinochet dictatorship is found 35 years later by his niece.

Las Hijas

a film by Kattia G. Zúñiga

In this not particularly deep but warm and touching coming-of-age film, two teenage sisters travel from Costa Rica to Panama in search of their absentee father. While the meeting with him proves to be anticlimactic, the girls encounter new friends and love(r)s and discover skating. What more do you want?

Tuesday 9 July 2024

39 very short films

Thirty-nine? You must be kidding me. Not ten, not fifteen, but 39 short films selected from, wait for it, 58 submitted to the competition. The competition in question is called Visionaria, but I’m afraid this year’s jury had a very vague idea what “selection” is. Judging from what I’ve seen yesterday, the remaining 19 films (33%) must have been pretty unimpressive. The screening was held in Teatro Guiniguada which was packed — with Rabbit’s friends and relations, I suppose. Short films are not that popular otherwise.

The complete programme is available here — I can’t be bothered to list all films in this post. I liked Femme by Javier González and Still Live by María Sanz Esteve. My favourite, however, and the one I voted for, was Agatha Christie estuvo aquí by Cayetana H. Cuyás which, to my delight, has won the first prize.

All the films are available at YouTube.

Wednesday 3 July 2024

Monday 1 July 2024

La vida anterior de los delfines

by Kirmen Uribe
translated by Kirmen Uribe and José María Isasi Urdangarín

This is the case of a book where I liked the opening paragraphs a hundred times more than the rest of it.

Según las creencias de los primeros vascos, quienes se enamoraban de las lamias, seres mitológicos de aspecto similar al de las sirenas, se convertían en delfines. Ese era el precio que debían pagar los amantes de las lamias por su atrevimiento: su transformación en una criatura marina de una apariencia opuesta a la humana, tan diferente como cabe imaginar e inmersa en un hábitat desconocido y alejado de la superficie terrestre. Un cambio radical que acontecía de la noche a la mañana, como el inicio de un viaje, quizá una odisea adversa, quizá una aventura favorable, en todo caso un viaje ajeno a cualquier rutina, como una expedición a un destino incierto. Lo que aguardaba a las personas reencarnadas en delfines nadie lo sabía, pero, fuera felicidad o melancolía, lo importante es que no había marcha atrás. El cambio era definitivo e irremediable.
Según me contó Nora, las lamias sabían comunicarse en su propio idioma. Naturalmente conocían el euskera, pero les gustaba inventarse palabras, convertir la lengua en un juego, como hacen los niños y niñas demasiado inteligentes cuando no encuentran en los diccionarios las palabras que reflejan lo que imaginan o lo que les sucede y crean su propio vocabulario. Así, llamaban izurdau («adelfinar») a enamorar a alguien; la definición de una metamorfosis — castigo o bendición — que convertía a hombres y mujeres en sus amantes marinos.

I read them and instantly got hooked. (Izurdau = adelfinar = “to dolphinise”, meaning “to fall in love with somebody”, how cool is that?) Upon reaching the end though, I felt disappointed, even deceived.

If the author confined himself to writing a novel about Rosika Schwimmer — that’s what he’s got a grant for! — that would be fine. If he wrote a book of short stories about his youth in the Basque Country, that would be fine too. Even describing his not-that-exciting but sometimes amusing adventures in New York would do. Making a mishmash of these things, however, or perhaps just commiting to paper a mishmash in his head, is not fine at all. Drawing parallels between Schwimmer and certain Kirmen Uribe... well... a bit ridiculous really. And nothing more was said about dolphins.