Probably most well-known as the editor and founder of (the alas, soon to be former) Bookslut.com and of Spoliamag.com, Jessa Crispin also reads tarot cards for artists of all sorts. In this book, she provides a very useful history on the practice and goes through the deck in a way similar to most volumes on tarot, explaining the significance of the cards individually and offering suggestions for how to read them when put in play with others.
But she gears her reading of the cards specifically toward navigating the trials and tribulations that come with creative projects. Writer’s block, boredom, lack of focus, structural difficulty, finishing a project, going public with work, the list goes on. (Because there are infinite problems with creative projects…)
“Wait. Tarot?” you say. “But isn’t that a bunch of spooky weird psychic fortunetelling incense-candle-crystal type stuff? How does that apply to creative work?”
Well, okay, I see your point. Tarot readings do seem to be favored by the incense-candle-crystal set. That is a thing. But you know who should really favor tarot? Really? Literary theorists.
If you have ever done any kind of literary interpretation and thought “Gee, this is fun” then get yourself a deck of tarot cards. Really. It’s like hermeneutics poker.
Set in the world of violent conflict arising from divisive attempts by sectarian splinter groups to define and put into practice a fundamentalist form of Islam, Elnathan John’s Born on a Tuesday (Grove Press) can feel all too familiar at times. It echoes the news of kidnapped schoolgirls and the profiles of young men who leave their homes to join in jihad. The political events it refers to – the rigged elections, the coups, the police state – hearken back to recent years when Africa’s terrorist groups were a focal point of the major media outlets, before they ceded their place to the devastating conflict in Syria. Yet this is not a piece of journalism, despite the author’s most famous role in Nigeria being that of scathing political satirist (most prominently with a column in the Daily Trust. In this novel, told through the eyes of a child (then teenager, then young man) who attends Quaranic school in the Northern region of Nigeria, John portrays the rising of Islamic fundamentalism in the Sokoto state, and frighteningly shows how religious idealism and sectarianism lead to violence.
While I have not seen a ton of press about it in the past months leading up to its publication, I do think that it will prove to be an important work. The few reviews I have seen compare it to Chinua Achebe’s Things Fall Apart (and, indeed, it deserves this distinction perhaps more so than most books compared to the canonical text). Yet I found the characterization of Dantala and the tension and confusion of the rising conflict between forms of Islam much more similar in tone and content to Ahmadou Kourouma’s Allah n’est pas obligé (2000) or Allah Is Not Obliged (2007). While Kourouma’s novel explores the plight of child soldiers in West Africa in stark detail, John’s novel very convincingly deals with the rise of religious sectarianism leading to violence. The effective use of multilingualism and of oral/written forms of communication is a particularly striking similarity between the two, as is the voice of a fearless but woeful young man who is swept along in a conflict over which he has no control. A notable difference, of course, is that Kourouma’s Birahima is forced to join the fighting, whereas John’s Dantala tries to stay away from it.
It is jarring to read violence that is so normalized in the eyes of a child. After he has left school, Dantala takes up with a local group of boys who smoke the ever-present “wee-wee” and work as thugs and promoters for the “Small Party” during election time. They also enforce a kind of street justice among their small community of Bayan Layi. When a boy in their community attempts to steal a jug of groundnut oil, he is severely punished by the group. Dantala recalls: “I like using sharp objects when beating a thief. I like the way the blood spurts when you punch.” It sounds like the observation of a psychopathic killer. Yet it is rather a raw personal detail in the life of a child whose only example is violence.
Rebecca Solnit’s prolific and varied career as a woman of letters is remarkable in its scope. Though I believe she is most often thought of as an essayist, she is in fact many different people, depending on who you ask. To feminists and women in general she is the brilliant champion who introduced the concept of mansplaining in her Men Explain Things to Me. To art historians she is the author of As Eve Said to the Serpent, a meditation on harsh landscapes and the feminine sublime. Sociologists read her reflections on disaster areas, most particularly Hurricane Katrina, in her Hope in the Dark and A Paradise Built in Hell.
To me, she is one of those rare souls who not only understands but is also able to explain the strange and wondrous existence of those of us who live most of our lives inside fictional worlds. That is the thing I have notes about: the way in which The Faraway Nearby so wonderfully captures the inseparability of our own stories from those gained through literature and other arts.
It begins: “What’s your story? It’s all in the telling.” It continues: “We tell ourselves stories in order to live…tell ourselves stories that save us and stories that are quicksand in which we thrash and the well in which we drown, stories of justification, of accursedness, of luck and star-crossed love, or versions clad in the cynicism that is at times a very elegant garment.”
Erika Swyler’s first novel The Book of Speculation has a lot of things to recommend it: a reclusive archivist, mysterious tomes, a jolly antiquarian bookkeeper, mermaids, tarot cards, beach scenes, sibling rivalry, extramarital affairs, and the strange and delicious insanity that comes from loss of employment.
There’s a bit of romance too. Also some love. But those bits are relatively beside the point. The focus is more so on the ties that bind family members through the centuries and the ways in which those ties may be disguised, hidden, or lost along the way.
When librarian Simon Watson receives a mysterious logbook detailing the exploits of a carnival that travels up and down the East Coast of North America during the late 18th and early 19th centuries, he finds himself on a dangerous quest into his family’s past. His discovery that the women in his family tend to commit suicide, all by the same means – drowning – and all on the same day of the year – late in July with the rising of a red tide – is made more disturbing by his sister Enola’s increasingly erratic behavior. When Enola, an expert tarot reader, comes to visit, bringing along her carnival sideshow of a tattooed boyfriend Doyle, Simon is pushed to discover the hidden meaning behind a string of tragic deaths and to their underlying mechanism before it is too late to save either of the Watson siblings.
The Surrender, Scott Esposito, Anomolous Press 2016
It is nearly too perfect that the French word genre denotes both literary genre and gender. For if Scott Esposito’s quietly powerful essays found in The Surrender do not defy genre, they certainly do reveal the plasticity of memoir and then stretch the form to its limits. Somewhat the same could be said for the author’s own exploration of gender.
In this book, the acclaimed critic sets before the reader a “collection of facts” concerning his lifelong desire to inhabit the clothing, the actions, the spaces, and the identity of a woman. Yet instead of forming these facts into a chronological narrative, he rejects the constraints of beginnings, middles, and endings, and bravely allows for the openness of his own story.
There are both fiction and non-fiction books that recount the experiences of trans women. And you should read them. But I have trouble finding resonances between those books and this. The slowly softspoken prose, with its ebb and flow of emotional tides, is something I would be more likely to associate with music or poetry or a certain kind of literary theory. I was reminded less of Juliet Jacques’s Trans and more of Anohni’s (of Antony and the Johnsons) album I Am Bird Girl, or Barthes’s Discours amoureux.
Rivka Galchen: Canadian-born, Oklahoma-raised, New York City-dwelling author of a novel (Atmospheric Disturbances), a collection of stories (American Innovations) and the forthcoming Little Labors (New Directions, 17 May 2016). Her style is something of the whimsically eerie and she is one of those great writer’s writers who likes to be fairly clear (while also a bit mysterious) about what literary influences are swimming around up there in her imaginary.
Here are my notes on a thing – the toilette – in Rivka Galchen’s American Innovations.
The way that Galchen describes the “toilette” – or, what most people think of as getting dressed and making oneself look as presentable as possible – has to be the most perceptive and true depiction I’ve ever come across. There are a few passages in the collection about looking in the mirror or about scaling the odd bumps and curves of feminine territory with the trappings of contemporary style that I read over, and over, and over again. I read them aloud to my husband saying, “Honey! This is IT! This right here. This is what it’s liiiiiike!”
The sun is shining, the snow has melted, and Blue Metropolis just announced their 2016 program. Spring has come to Montreal!
For those not familiar, Blue Met is the annual literary festival of the Blue Metropolis Foundation, which has been bringing people together in Montreal since 1997 to promote reading, writing, and education, focusing on a diverse range of authors and creators from Canada and around the world. While they spotlight Canadian authors, with five languages represented, the scope is undoubtedly international.
Blue Met’s commitment to linguistic and cultural diversity is seen foremost in the literary prizes they bestow. The Grand Prix littéraire is often given to a major Canadian writer – names like Margaret Atwood and Dany Laferrière – but also to international writers like Amitav Ghosh and Maryse Condé. This year’s winner is Anne Carson, which is very exciting particularly given the rarity of her public appearances.
The Mots Pour Changer/Words to Change Prize is presented to an author whose work particularly espouses intercultural understanding, and this year’s winner is Ivoirian Abdourahman Waberi, best known for his novel Les Etats-Unis d’Afrique. I’m perhaps most excited about seeing the winner of the Premio Metropolis Azul, Valeria Luiselli, author of the everyone’s-talking-about-it novel The Story of My Teeth.
This year’s First Nations Literary Prize goes to Thomas King, a Canadian author of Greek and Cherokee descent. And finally, the festival has instituted this year the Literary Diversity Prize for a First Publication, to be given to an “écrivain issu de l’immigration” (which is the French turn of phrase for “immigrant writer”) who lives in Montreal, and this year it will be the Ghayas Hacham for his novel Play Boys.