evening reading

deep hollow creek

We began reading together in the evenings last winter, stopped for the summer, and then continued again this winter. Our first book together was Robert Pinsky’s translation of Dante’s Inferno. This winter we read Emily Wilson’s translation of the Odyssey, followed by Volume One of the Tales of Chekhov. Then Seeing Things, by Seamus Heaney, followed by Outside History by Eavan Boland. We pass the books back and forth, bringing to each our own reading styles, our own cadences. We talk a little about what we’re reading but mostly one of us reads, the other listens. I’ve grown to love this.

Two nights ago, the day after we finished Outside History, we were wondering what we’d read next. For some reason we were talking about my recently published novella, The Weight of the Heart, and I was explaining about the notes at the back, how I wanted to include reference to Sheila Watson’s Deep Hollow Creek, her first work of fiction, written about her first teaching job at Dog Creek in 1934 but not published until 1992*. I wanted to reference it because I think it is a small perfect gem but the protagonist of my book wouldn’t have known about it in 1976 or 1977 when she was searching for traces of the fiction of Ethel Wilson and Sheila Watson in the landscapes of British Columbia. Anyway, I was explaining this and then I asked John if he’d read it. No, he hadn’t. So let’s make that the book we read over the next few weeks. Sure, he said.

When you read aloud, you hear a text that you don’t necessarily find on the page. You hear what I think of as the undercurrents of the language. In this book, about a small community in the Cariboo, you hear the laconic voices of some of the characters (the dour hardscrabble farmers), the more voluble chatter of the woman who owns the store and who is so self-referential that I think I might have tuned her out when reading to myself (but it’s impossible to do that reading aloud!), and you also hear the heightened language framing the narrative. You realize just a few sentences in that it won’t be an ordinary story.

She had come into the valley to find life for herself. It is not difficult, she thought, to recall all the fine things which have been written about life. She could summon to witness Taylor’s rose, Browne’s frame, and Harvey’s microcosmic sun, the palpitating radiance of the life-streak seen with the naked eye in the egg of a barnyard fowl.

The shift between metaphysics and the quotidian detail of life in houses of rough boards, fenced by weathered poles, surrounded by trees filled with fool hens—this is characteristic of Watson’s work of course but reading aloud you are taken by how her language accommodates these shifts. It’s so exhilarating. Is this what it’s like, asked John, meaning all the gossip as the characters are introduced. Yes, I said, but of course there’s so much more. And there is! After a sad description of Rose Flower’s terrible bread (“cold and grey and sour”), which the narrator Stella realizes is Rose’s “peculiar emblem”, there is this paragraph:

Can the validity of this emblem—or of any other emblem—she wondered, be assessed. I see the hand, the compass, the dragon when the book falls open. The hand reaches over the ledge spilling one knows not what of essence or substance into the narrow cleft. Through Sassetta’s eyes or Edmund Spenser’s I see in the shadow of Limbo the red cross—and they see it because the light glances off and reflects from the fire which warms their shoulders as they work. I have always taken the compass as a thing to be held. Yet the hand falters measuring the fleeting body of flame.

The ledge of Stella’s window overlooks the narrow cleft where the house is built against a hill but somehow it is also an aperture. This is a book to take your time with and reading aloud will allow us to do just that.

The cover of this New Canadian Library edition features a painting of Lynn Valley, North Vancouver, by Frederick Varley. But it could have featured a painting by another member of the Group of Seven: A.Y. Jackson. In the 1950s, he stayed at the stopping house in Dog Creek, owned by the Place family, and painted what he saw around him. Hilary Place, grandson of the original Place of Dog Creek, wrote a book about his family and his community. Sheila Watson has a cameo in the book—as Sheila Doherty, she was his grade 8 teacher. On the cover of Dog Creek: A Place in the Cariboo is a beautiful view of the deep hollow threaded through by a blue creek, painted by A.Y. Jackson and given to his hosts.

*Deep Hollow Creek was nominated for the Governor General’s Award for Fiction that year but it didn’t win. The English Patient did…

 

redux: “I have always taken the compass as a thing to be held.”

This was written on March 31, 2014. 6 years later I am anticipating the publication (in a month or so) of a novella written in homage to the novellas of Sheila Watson and Ethel Wilson. They were the compass and the maps I had in my mind and on my desk as I wrote The Weight of the Heart.

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I’ve never been to Dog Creek though I’ve thought of it many times as we’ve driven Highway 97 from Cache Creek north. In 1934 (one account says 1935) the young Sheila Doherty went to teach school in Dog Creek, then (as now) a remote community on the west side of the Fraser River. She lived in Dog Creek for two years and wrote of this time in her first novel, Deep Hollow Creek, though it was published much later in her life, after she’d achieved a kind of fame after the publication of her second novel, The Double Hook, in 1959. By then she’d married Wilfred Watson and taken his surname.

I read The Double Hook as many of us did, as an undergraduate (in the last century), and it changed the way I thought about novels. Its language, both lean and mythic, led the reader into a hermetic world from which one emerged, dazed and somehow enlightened. Its structure was (is) perfectly balanced between darkness and illumination, between violence and redemption. As Sheila Watson wrote in The Double Hook, “…when you fish for the glory you catch the darkness too.”

But it was many years later before I found Deep Hollow Creek — and no surprise there because it wasn’t published until 1992. I read it later in the 1990s, a chance discovery on the shelves of the Sechelt Public Library. It’s a brief perfect book. 111 pages in the New Canadian Library edition I bought at Russell Books in early March. I’d call it a novella, that enigmatic form beloved by maybe too few of us these days (or so the publishing world would have us believe. We can’t market them, they say. We can’t sell them!). Every word counts in Deep Hollow Creek and there are just enough of them for the young school teacher Stella to enter the place  that is Dog Creek and tangle herself in the dense stories of the few who live there.  “If I hadn’t come here, I doubt whether I should ever have seen through the shroud of printers’ ink, through to the embalmed silence. The word is a flame burning in a dark glass.”

Deep Hollow Creek anticipates The Double Hook but to my mind it’s more satisfying. This is personal, of course. I think both books are works of sheer genius but somehow the symbolism of The Double Hook is used with a lighter hand in the earlier book. The place — Dog Creek — seems first of all to be a real place. Stella unravels the water-rights, the systems of hay crops, the genealogies of horses and dogs, the bitter disputes between families. And it all rings so true, even those grouse among the jack-pines: “…red-eyed, speckle-coated fool-hens…unconcerned, waiting for their necks to be wrung without the trouble of a shot.”

I am trying to find a way to write lean essential stories myself and it’s a gift to have this book to serve as a talisman, a compass. “I have always taken the compass as a thing to be held. Yet the hand falters measuring the fleeting body of flame.”

redux: “I have always taken the compass as a thing to be held.”

5A

Note: This post is from March, 2014. I was thinking my way into a novella and I was reading, in some cases re-reading, the novels (and novellas) of Ethel Wilson and Sheila Watson. They are the muses of the novella I eventually wrote, The Marriage of Rivers, and I am so delighted to tell you that Palimpsest Press will publish it next spring (2020). The contract has been signed, sealed, and delivered! This press, like Mother Tongue Publishing, is devoted to “…poetry, fiction, and select nonfiction titles that deal with poetics, the writing life, aesthetics, cultural criticism, and literary biography.” And their books are objects of beauty in themselves.

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I’ve never been to Dog Creek though I’ve thought of it many times as we’ve driven Highway 97 from Cache Creek north. In 1934 (one account says 1935) the young Sheila Doherty went to teach school in Dog Creek, then (as now) a remote community on the west side of the Fraser River. She lived in Dog Creek for two years and wrote of this time in her first novel, Deep Hollow Creek, though it was published much later in her life, after she’d achieved a kind of fame after the publication of her second novel, The Double Hook, in 1959. By then she’d married Wilfred Watson and taken his surname.

I read The Double Hook as many of us did, as an undergraduate (in the last century), and it changed the way I thought about novels. Its language, both lean and mythic, led the reader into a hermetic world from which one emerged, dazed and somehow enlightened. Its structure was (is) perfectly balanced between darkness and illumination, between violence and redemption. As Sheila Watson wrote in The Double Hook, “…when you fish for the glory you catch the darkness too.”

But it was many years later before I found Deep Hollow Creek — and no surprise there because it wasn’t published until 1992. I read it later in the 1990s, a chance discovery on the shelves of the Sechelt Public Library. It’s a brief perfect book. 111 pages in the New Canadian Library edition I bought at Russell Books in early March. I’d call it a novella, that enigmatic form beloved by maybe too few of us these days (or so the publishing world would have us believe. We can’t market them, they say. We can’t sell them!). Every word counts in Deep Hollow Creek and there are just enough of them for the young school teacher Stella to enter the place  that is Dog Creek and tangle herself in the dense stories of the few who live there.  “If I hadn’t come here, I doubt whether I should ever have seen through the shroud of printers’ ink, through to the embalmed silence. The word is a flame burning in a dark glass.”

Deep Hollow Creek anticipates The Double Hook but to my mind it’s more satisfying. This is personal, of course. I think both books are works of sheer genius but somehow the symbolism of The Double Hook is used with a lighter hand in the earlier book. The place — Dog Creek — seems first of all to be a real place. Stella unravels the water-rights, the systems of hay crops, the genealogies of horses and dogs, the bitter disputes between families. And it all rings so true, even those grouse among the jack-pines: “…red-eyed, speckle-coated fool-hens…unconcerned, waiting for their necks to be wrung without the trouble of a shot.”

I am trying to find a way to write lean essential stories myself and it’s a gift to have this book to serve as a talisman, a compass. “I have always taken the compass as a thing to be held. Yet the hand falters measuring the fleeting body of flame.”

night writing

sweet peas

These days it’s too hot to do much but keep up with the watering, the general chores around the house, some reading in the afternoon when the sun is right overhead and everything outside is quietly frying. Radio news always ends with heat warnings, how important it is to stay hydrated, and updates about fires. Last year we lost many young cedars. It took 6 months for it to be clear they were dead—they lost fronds last summer and then seemed a bit more lively in the fall. But now we can see they’re dead and we’re waiting for B.C. Hydro crews to clear the ones close to the power lines (a guy came and identified 7 that he said were a potential hazard and those were ones Hydro crews would cut down because of their proximity to wires). Some of the others are more difficult. And right now we wouldn’t use a chain saw in the dry woods in any case.

What is lovely though: the small hours of coolness, after midnight but before dawn. I’ve been getting up most nights to make use of them. I come down the dark stairs, feeling my way with my toes. There’s moonlight in the living room, enough to help me find my way to my study without turning on any lights. By feel again, I turn the switch on my little desk lamp. Cool air comes in the big window that my desk faces.

I have two works-in-progress: my [unpublishable] novella about a young woman looking for traces of Sheila Watson and Ethel Wilson in the dry Interior of B.C., mapping their works in an attempt to create a feminine (or feminist) cartography; and a sequence of linked essays exploring (again) family history. I am trying to figure out stuff about my grandfather’s early years in Bukovina and in North America, reading social histories of Ukrainian immigrants as well as Anne Applebaum’s extraordinary Red Famine: Stalin’s War on Ukraine, to understand something of the place he left and what might have been the fate of those family members who remained.

In the night, so much seems possible. That knowing a few names and a place of origin might miraculously produce a long-lost family or that following a young woman in her beat-up truck along the road up the Deadman River or north-west of Clinton to Dog Creek will reveal contours and wildflowers equivalent to a woman’s body, her apprehension of a landscape both peopled and barren.

And what I also do in the night is remember wonderful meals and how the details of a dinner in Prague are also the details of family history. By writing the table, I hope to find everything.

What wine would you recommend, we asked the waiter, who was friendly, using American idioms in his greeting (“How you guys doing? Take a load off, my friend.”) which fooled us into thinking his English was better than it was. Wine, he answered (or echoed), and brought us a bottle of Modry Portugal, pouring it with a flourish as we ordered our meal. The delicious česnečka for me –garlic broth, soft potato, with cubes of fried bread and grated cheese. John ordered chicken livers with almonds and was surprised to be presented with a plate of prawns. The waiter’s obvious pride in the dish and our growing suspicion that his English was illusory (as indeed was our Czech, and we were in his city after all) stopped John from making any fuss, though we were so far from any ocean. And then a wonderful gulas, which reminded me of an aunt’s recipe passed along to my mother, one I always assumed was Hungarian, from my uncle’s side of the family, not realizing that it probably came from my grandmother. (Those porous borders, that history.)The guláš was served with houskový knedlik, bread dumplings that soaked up the copious gravy.

And the wine? Beautiful. Ruby coloured, light, and perfect with the food. Later, in Brno, we were told that “modry” means blue. And Portugal, I asked? Well, just Portugal. (There’s a story that an Austrian brought the grape from Oporto to his estate near Vienna in the late-18th century but ampelographers, who use genetic fingerprinting to pinpoint the identity and origins of vines, dispute this provenance.)

I think now of the difficulties in my search for my own origins – the pruned shoots of my mother’s family tree, the tangled roots of my father’s, with grafts and sports on every limb. And drinking a wine like Blue Portugal seems the perfect accompaniment to both the search and the failure.

—from “Blue Portugal”, an essay-in-progressN

“I have always taken the compass as a thing to be held.”

I’ve never been to Dog Creek though I’ve thought of it many times as we’ve driven Highway 97 from Cache Creek north. In 1934 (one account says 1935) the young Sheila Doherty went to teach school in Dog Creek, then (as now) a remote community on the west side of the Fraser River. She lived in Dog Creek for two years and wrote of this time in her first novel, Deep Hollow Creek, though it was published much later in her life, after she’d achieved a kind of fame after the publication of her second novel, The Double Hook, in 1959. By then she’d married Wilfred Watson and taken his surname.

I read The Double Hook as many of us did, as an undergraduate (in the last century), and it changed the way I thought about novels. Its language, both lean and mythic, led the reader into a hermetic world from which one emerged, dazed and somehow enlightened. Its structure was (is) perfectly balanced between darkness and illumination, between violence and redemption. As Sheila Watson wrote in The Double Hook, “…when you fish for the glory you catch the darkness too.”

But it was many years later before I found Deep Hollow Creek — and no surprise there because it wasn’t published until 1992. I read it later in the 1990s, a chance discovery on the shelves of the Sechelt Public Library. It’s a brief perfect book. 111 pages in the New Canadian Library edition I bought at Russell Books in early March. I’d call it a novella, that enigmatic form beloved by maybe too few of us these days (or so the publishing world would have us believe. We can’t market them, they say. We can’t sell them!). Every word counts in Deep Hollow Creek and there are just enough of them for the young school teacher Stella to enter the place  that is Dog Creek and tangle herself in the dense stories of the few who live there.  “If I hadn’t come here, I doubt whether I should ever have seen through the shroud of printers’ ink, through to the embalmed silence. The word is a flame burning in a dark glass.”

Deep Hollow Creek anticipates The Double Hook but to my mind it’s more satisfying. This is personal, of course. I think both books are works of sheer genius but somehow the symbolism of The Double Hook is used with a lighter hand in the earlier book. The place — Dog Creek — seems first of all to be a real place. Stella unravels the water-rights, the systems of hay crops, the genealogies of horses and dogs, the bitter disputes between families. And it all rings so true, even those grouse among the jack-pines: “…red-eyed, speckle-coated fool-hens…unconcerned, waiting for their necks to be wrung without the trouble of a shot.”

I am trying to find a way to write lean essential stories myself and it’s a gift to have this book to serve as a talisman, a compass. “I have always taken the compass as a thing to be held. Yet the hand falters measuring the fleeting body of flame.”