As an adult who both reads young adult literature, and who has a dear friend who is writing a young adult novel, Ann-Marie MacDonald’s event was a natural draw for me. With little familiarity with MacDonald’s style, however, I didn’t realize how entertaining and insightful this event would be. MacDonald is truly an excellent writer and also an excellent verbal storyteller. Interestingly enough, this is MacDonald’s first time participating at the Writers Festival (although she was around for Westfest in 2006). As host Lucy CBC's Lucy van Oldenbarneveld commented, I’m sure that once I get around to reading Adult Onset, it will have been worth the 11-year-wait since her last book was published.
One thing in particular to note about this novel is that there is a great blurring of the lines between fiction and non-fiction, which is what I anticipate will be its greatest service. In the same way that Dave Eggers’ A Heartbreaking Work of Staggering Genius feels like fiction when it is really real life, Ann-Marie MacDonald’s most recent work feels like real life when it is—technically—fiction.
MacDonald’s event opened with a various readings from her most recent publication, which skillfully makes indistinct the lives of Mary Rose McKinnon and Ann-Marie MacDonald’s. When talking about her process of crafting stories, MacDonald pointed out that she wrote Adult Onset from what she already had—that unlike her other works, this book didn’t require the same depth of research. Ultimately, as MacDonald happily admits, Adult Onset is a story about things that wouldn’t make the news.
For example, the first page of this novel begins with Mary Rose checking her much-neglected email on a Monday morning, an experience to which I think many of us can relate to all too well. MacDonald goes on to read another section of her novel, in which Mary Rose’s catastrophic thinking leads her to believe that a ringing phone heralds the death of not one but both of her parents. At least for myself, both of these samples prove that Ann-Marie MacDonald both knows the intimate stuff of real life and is able to articulate it on paper. She even manages to accurately capture the sound of snipping scissors—for those who are interested, that sound is “roush.”
Adult Onset takes place over the course of a week, and will give the reader a clear picture of what “the toddler trenches” are like, and what it is like to feel real anger in the midst of attempting forgiveness. Overall, this novel makes a concerted (albeit perhaps unintentional) attempt to break through the “lavender ceiling” of literature, which I think it does so quite successfully.
Ultimately, attending this event confirmed for me that, should I find myself in a Stranger Than Fiction sort of situation, I want Ann-Marie MacDonald to follow me around and narrate my life. Nonetheless, I hope we aren’t waiting another 11 years before MacDonald publishes her next novel. In the mean time, however, keep your eye out for MacDonald’s forthcoming work on an adaptation of Shakespeare’s Hamlet with Canadian band Stars to be featured at the Stratford Festival.