This Cabaret was intellectual and fruitful in nature. It was different from the cabaret you had in mind – you know, the one where actors prance and other characters sport super glue haircuts. There was no stage or heavy lighting, just the corner of a pub with a microphone stand. Ray Robertson said he’s been here about nine times, but he may have been over exaggerating. He is a fiction writer, after all.
It was hot and muggy in the Manx basement, but it rained a chill outside. CBC Journalists and professors from local universities collected themselves on stools to hear what Ray Robertson and Harry Karlinsky had to read. Two polar opposite authors brought forth an abundance of kind ears, ones which encouraged laughter and scientific intrigue, all within the hour.
Harry Karlinsky politicized the discussion surrounding literary awards in a world where some vote themselves in or are pushed to the top by inner circles. “What about Sigmund Freud?” he questioned, and expanded on his disappointment with the history of the Nobel Prize. Curated words and a research-based novel awakens the senses of the mature intellects; luckily there were many of them. I learned that Freud philosophized by saying that it is “from air to air that one discovers truth”; a path of righteousness that few dare to travel. If Freud were still around, I’d give him props.
Ray Robertson read with the aura of a Beat era poet and questioned the difference between published and self-published. This let out a few warm giggles because the festival’s attendees understand this dilemma quite well. He made us consider the advantages and disadvantages of being born rich, which immediately made me think, rich or self-rich? Someone who is having an inner battle with these questions, would surely argue “Google me! I’ve got my own website and I’m only one click away” (WINK) – which is something Ray read during his performance.
Just before Ray sat down to devour some edible delicacies, which out of chivalry prevented me from asking him a few questions, he left a lasting impression by sharing that, “sometimes, broken hearts sound like an attractive option.”
I’ll ask you about that on the tenth time you’re around, Mr. Robertson, as I'm sure you'll be coming back.
The April showers didn’t stop the crowd from gathering at the Knox Presbyterian Church on Saturday evening. I was one of a handful of folks purchasing books before the panel even began, so I clearly wasn’t the only one expecting a line-up afterwards! It’s always fun to hang out around the book displays once the festival is in full swing, anyway, to hear the chatter about the authors people have already seen and the ones that they’re excited to read. The chatter had already turned toward the authors we were about to see.
The panel kicked off with introductions from moderator Mark Medley. Each author read from his or her latest book, but Sean Michaels was the only one to put on a musical performance! His novel, Us Conductors , is inspired by the true life and loves of the Russian scientist, inventor and spy Lev Termen, who was also the creator of the theremin. Sean gave us a demonstration of playing the theremin, which is quite a thing so see since the theremin is controlled without physical contact by the performer. (Sadly, Steven Galloway, whose novel is inspired by the life and death of Harry Houdini, did not perform any magic tricks to go with his reading.)
Once the readings were complete and everyone was settled on stage, Mark Medley started the discussion by asking why the authors chose to write about the historical figures that they did. The range of answers on the panel was quite interesting—and, as my husband pointed out when we were on our way home, the seating order of the authors was also intriguing. Eva Stachniak, who was sitting next to the moderator, is likely the only one of the authors who writes “old school” historical fiction (in terms of genre, but also technique). On the other end of the panel was Sean Michaels, who said that his work is not like Eva’s: he used the story of these real-life characters as a silhouette and “filled it with fictions to let the silhouette convey things I was grappling with.” Steven Galloway, who was right smack in the middle (seating-wise), also seemed to fit somewhere between what Eva and Sean were doing with their historical characters, albeit with closer leanings to Sean.
Their answers, then, ranged from Eva’s fascination with Catherine the Great (“I want to imagine myself in this world; I want to stand by and watch her live”) to Steven’s simple answer about his interest in Houdini (“I think Houdini is neat, but I wanted to use a magician, and if Houdini didn’t work, I would have found someone else”) to Sean’s rather eloquent take on a writer’s inspiration (“Writers walk around with bulging pockets; you pick up bits and pieces that interest you or that you’re curious about—and Lev’s story was one of those bits that I had tucked away”).
The discussion then turned to invention in historical fiction, and Steven made the interesting point that the difference between historical fiction and creative non-fiction is the agreement with the reader that the novel in their hands is a work of fiction. It isn’t a biography, so they should be prepared to suspend their disbelief. In other words, there should be room for invention. Eva, who tries not to invent details, brilliantly compared her own (more traditional historical fiction) work to that of a sonnet writer: the form is already there (i.e., the historical figures, events, and facts), but she can write whatever she wants within that form. The motivations of characters and their thoughts are what she invented, but she had done so much research ahead of time that she is “confident in that world.”
All of the authors did quite a bit of research to write their books, actually. Mark mentioned the shelf full of books about Houdini in Steven’s office, and Steven explained that he didn’t reference the books while he was writing, but doing the research ahead of time makes things easier. He could have made up how Houdini did his tricks, or he could look it up. “There’s quite a lot to make up already,” he explained. He also went on to joke about the (disappointed) reactions he gets when someone asks him if a scene was real or made up. “It’s way harder to make it up!” he laughed.
Sean’s father built his theremin for him as part of his research, but he also travelled to Russia. “The main thing a writer does is conjure a continuous dream,” he said. “The vividness and continuousness of that dream takes [lots of writing] practice.” He said that his trip to Russia was a subtler aspect of research, one that helped him with the vividness and continuousness that he was seeking in his writing. He noted that he could have looked up famous landmarks and other photos in books or online, but “to describe the sunset or how it feels on the streets, I wanted [to go to Russia myself] to be able to trust my own instincts in writing this.”
Before things wrapped up and the floor was open to the audience for questions, Mark asked the panel how they would want to be fictionalized by another writer, possibly decades or hundreds of years from now. All of the authors would be happy to be fictionalized themselves. Eva made the point that by writing, you give that character another chance at life—who wouldn’t want that?—and that there might be something in your own story that you might not even realize is important. Sean would be perfectly happy with a completely fictional version of himself gracing the pages of a future book. “If a made-up version sings an interesting song, then that’s fine,” he said. Steven joked that the real version wouldn’t be very interesting (“guy goes into room alone and types for years on end”), so he declared that his fictionalized self should be “taller, handsomer, funnier, and more dramatic.”
I like the way they think.
Overall, this panel was put together quite well and the discussion gave me a lot to chew on about the relationship between history and fiction and where the author’s responsibility lies. It’s a topic that I’d like to see come up at future festival panels, too, because it can be a fascinating discussion. Each author was charismatic, and I’d be happy to see any one of them again, as well. Now, on to delve into their books…
With recent debates over the Prime Minister’s powers to prorogue parliament, Senators’ accountability, and the “Fair ” Elections Act galvanizing public conscience, one could forgive Canadians for holding a jaded view of Parliament and the people ‘we’ elect — or ‘they’ appoint — to operate within its musty chambers. But I think many of us would be surprised to learn that departing Members of Parliament (MPs) — regardless of gender, party, or status within their party — would espouse similar skepticism, and at times even apathy, when reflecting on their years on the Hill. Yet that is just what Alison Loat and Michael MacMillan, founders of Samara have uncovered by interviewing 80 former MPs; 35 of whom had held cabinet positions.
Loat and MacMillan joined an enthusiastic, full house at the Ottawa International Writers Festival to discuss, along with Kate Heartfield of the Ottawa Citizen, the process of writing Tragedy in the Commons , a book which weaves together the findings from these interviews.
Although the MPs were mostly frank and forthcoming, the interviews are equally fascinating when one considers what topics were not raised. Relationships with the public service, and with the media? Although always of interest to the Ottawa audience, most of the MPs did not discuss these issues. Nor did any particularly imaginative recommendations for improving the health of our political system emerge from the interviews.
But let’s get to what the MPs did say. And do keep in mind that all except Jay Hill, a Reform Party MP who served as Prime Minister Stephen Harper’s House Leader from 2008-2010, spoke to Loat and MacMillan on the record. Here are some golden nuggets straight from the MPs-turned-pensioners:
A majority of interviewees acknowledged that most Canadians have an unfavourable view of politicians, and quickly sought to distance themselves from the ‘typical MP.’ For instance, many claimed to have ‘stumbled into politics’ or even been ‘dragged’ into the political arena from careers as social workers, educators, lawyers, and community activists. Many said that nothing in their pre-political careers prepared them to succeed in Ottawa. Furthermore, once they arrived on Parliament Hill — following a gruelling nomination process and campaign — a large number noted they felt unsupported, and even that some of their caucus colleagues were hesitant to point them in the right direction, not wanting to position the rookie to outshine him or her within the party.
In spite of the fact that Canadian MPs vote in line with their party positions the vast majority of the time, most of the interviewees were quick to elaborate on the instances in which they fundamentally disagreed with their parties. That ‘whipping votes’ is effectively silencing elected officials is well established as the current status quo. A number of MPs criticized their parties’ “opaque” and “black box” processes, and many had some unpleasant things to say about their experience obtaining the nomination in their riding to run as a candidate — and these were the voices of the winners of those intra-party contests!
When asked if they had any advice to offer future parliamentarians, many MPs suggested that they try to become experts in ‘something,’ so that when their issue comes up on the agenda, they will be their party’s ‘go-to.’ Liberal MP Kirsty Duncan’s expertise in environmental science comes to mind. Yet Loat and MacMillan are right to question how this modus operandi might challenge traditional views of the role of the MP as a faithful representative of, or trustee for, constituents and their policy preferences.
I’m a theatre person myself, so I was interested that the authors described MPs as ‘playing a role’ in a piece of parliamentary theatre, rather than being the scriptwriter and director of their own career. At the extreme end of this tension was an MP who said, “I didn’t leave my wife and children and move across the country to Ottawa to be told what to do,” presumably by ‘teenage PMO staffers in short pants,’ as the saying goes.
Many MPs claim the ‘real work’ takes place not in the House of Commons, but in parliamentary committees. Yet they point out that the thoughtfulness of committee work vanishes as soon as the agenda becomes tinted in partisanship and the media rushes in. As Loat and MacMillan wonder, why is it that MPs are on their worst behaviour in front of the cameras, and their most constructive behaviour when left to their own deliberations?
Though they themselves had few ideas for improving parliamentary processes and practises (except for electronic voting to speed things up in the House of Commons), a number of MPs from all parties expressed support for ‘dissident’ MP and former Conservative cabinet minister Michael Chong’s private members bill, which would give caucuses the ability to demand leadership reviews, and would erode the discretion of party leaders in local nomination contests.
Tragedy in the Commons is a riff of Garrett Hardin’s economic theory “tragedy of the commons,” which examines the short-run incentive to exploit common resources, such as common grazing fields, in spite of the long-run, collective advantages of prudence and moderation. Indeed many of the MPs expressed frustration over the extent to which the Canadian political machine forced them to sacrifice the long-run social good for short-term partisan gains. It would certainly be interesting to compare perspectives by interviewing retired MPs in various other Westminster parliaments, especially New Zealand and Australia.
For Loat and MacMillan — whose day jobs see them dreaming up ways to increase public participation in political affairs during the years between elections — the key question raised in Tragedy in the Commons is as follows: how can we expect Canadians, particularly young people, to be energized about participating in politics if their own departing MPs offer such a sour and stagnant view of the very system they devoted their lives to navigating?
A Saturday evening of poetry in the capital, what more could you ask for? Forget your nightclubs and bars; poetry cabaret is where the weekend fun is to be had. The Saturday evening in question brought together three exciting, contemporary poets: Rob Winger, Adam Sol and Sina Queyras, to share readings of their most recent work with an attentive audience.
First up to the podium was Rob Winger, an Ontario native whose most recent book Old Hat aims to subvert the clichés of poetry - or, depending on the cliché, reveal them to be inevitable to any poet. My personal highlight from his readings was “In this poem”, a poem about another, imaginary poem and the many complicated, pseudo-intellectual meanings and allusions hidden within it that the reader would be required to understand in order to fully appreciate the poem; meta-poetry at its finest.
While Winger was a hard act to follow, Adam Sol took to the task admirably, not least through his banter between poems which was almost as entertaining as the poetry itself. His newest collection Complicity seeks to understand how we can reconcile ourselves with our identities while comprehending the violent undercurrents in society; a deep and dark concept which yet gives rise to entertaining, if thought-provoking, poetry.
Finally we were treated to readings by Sina Queyras, whose latest book MxT is about loss and grief. Her work often combines poetry with non-lyrical writing; whether that be in the form of an instruction manual or with mathematical symbols, giving her poems a specific structure without losing the heart of the poetry. Her performance was more sombre in style than the preceding poets, unsurprising given the nature of her poetry, and the contrast in styles was interesting to see, especially during an evening in which the concept of “Canadian Poetry” as a movement was discussed.
Our host for the evening, Stephen Brockwell, estimated the audience to be made up of roughly 90% poets; a demographic inclined to enjoy an evening of poetry reading. However, as someone to whom the poetic muse hasn’t spoken since I was in the midst of those angst-ridden teenage years, I still very much enjoyed the event.
It is always fantastic to hear a poet perform their own work; to hear the inflections, emphasis and speed that the poet envisioned for their words, which are so often confined to the paper, and this particular evening was no exception. From Winger’s brilliant comedic delivery, to Sol’s rambling – but very entertaining – introductions to his poems and Queyras’ more sombre reading of her beautiful, grief-drenched poetry, hearing the poems the way they were intended to be read was a rare treat.
The discussion that followed the readings touched on the significance of events and discourse for modern poetry, an importance that was underlined by the evening itself. While poetry cannot be written with the sole aim of pulling in an audience, it is wonderful to have an occasion to experience live poetry readings. Adam Sol referred to poetry as a “quasi-religious experience,” and on a night such as yesterday, in a fabulous venue such as Knox Presbyterian Church, it is an easy statement with which to agree.
What is it about a small, spry, spunky nonagenarian that captures our attention and leads us to examine our habits and lifestyle choices? For starters, there aren’t many of us that will make it over 90 so encountering a healthy, happy one inevitably invokes a bit of curiosity. But even the healthy, happy ones we would presume to be confined to a senior’s home, most likely losing lucidity and agility at a rapid rate. The last place we’d expect to find a ninety year-old would be the medal ceremony of a 100-metre dash at a Masters Track competition. But ninety-five year-old Olga Kotelko isn’t interested in meeting our or any expectations. She defies the rules of aging, and her story as told by writer and author Bruce Grierson, naturally compels us to question what it is that makes her live so long (and so well) and how we might get in on that good fortune. It amazes and baffles us that as the rest of humanity slowly succumbs to the irrepressible powers of gravity and time, Olga marches on indomitably and zestfully through her tenth decade of life.
Her story alone is compelling enough to make us drop our frozen dinners and take note. But Grierson’s lighthearted delivery and endearing self-deprecation invite us to explore the mystery of Olga in a way that is approachable, engaging, and fun. While there are few on this earth who can personally relate to an outlier like Olga, we can all relate to someone who wants to be more like her. Grierson begins his exploration with questions any of us might have: “What makes Olga different?”, “Can I be like Olga?” His five-year journey of observing, learning, and writing about what we could easily try to classify as a “freak of nature” reveals the confounding complexities of the science, the theories, and the mystery behind aging.
Like any good exploration of life’s perplexing realities, Grierson’s talk at the Writers’ Festival left the audience with deeper and more nuanced questions than easy and straightforward answers. Olga’s “secret to success” (the number one thing people hope to learn in reading Grierson’s book or speaking to him in person) is both mundanely simple and bewilderingly complex, all at once.
As Grierson says, it’s a complicated combination of “genes, lifestyle, temperament, and luck.”
Ask Olga what her secret is, or better yet, watch her in action and you won’t find her following a fad diet or applying some special skin cream. It’s as basic as this: she lives in balanced moderation, determined positivity, and constant movement. In a society where being deskbound for hours on end is the norm and grabbing pre-made meals is the rule rather than the exception, this timeless recipe for healthy living is now once again, as rediscoveries often are, novel. In the amnesia of modern life, the lifestyle our bodies and minds were made for has somehow become a “secret elixir” to living long and well.
Obviously, it goes farther and deeper than that. Grierson is quick to point out how many different variables are involved, some of which are controllable (diet, attitude, physical movement that goes beyond 30 minutes of vigorous “exercise”); others that are harder if not impossible to control (genes, environment, upbringing.) The way nature melds this all together in a person, and peppers it with (or without) a good dose of luck, will likely remain a mystery to us mortals. Our desperate need to quantify the unquantifiable makes this conclusion maddeningly unsatisfactory. But it also makes Olga’s story and Grierson’s interpretation of it one of the most gripping life narratives of our day. She may not have found the Elixir of Life but she’s discovered many ways to help her live well and after hearing from Grierson, I’m willing to give it a try. Though I don’t know if I’d bet my life on it.
Sometimes, I am a bit dim-witted. I am especially dim-witted on Fridays. In my state of aforementioned dim-wittedness, I failed to process that Rae and Ivan’s event at Writers Fest would be so much more than a reading and Q&A session. Gender Failure, a collaborative multi-media show that Rae and Ivan have toured across North America, was both heart-breaking and hilarious. It is no wonder that this event was not only sold out but also had a waitlist for tickets.
Throughout the course of the evening, Rae and Ivan alternated between sharing their personal narratives and experiences of gender, and performing songs. I was blown away by Rae Spoon’s phenomenal vocals, and by Rae and Ivan’s excellent grasp of how to tell a story.
Theirs is an excellent collaboration.
Not many musical experiences literally make me shiver. Perhaps that Basia Bulat show a few years ago at First Baptist Church, where she played a strange instrument in total darkness. Or maybe even the nostalgia-for-adolescence-in-the-90s flashback known as the Backstreet Boys 20th year tour. You can most certainly add Rae Spoon and Ivan Coyote’s performance to that very short (and diverse) list.
Gender Failure was both accessible and intimate. One minute, Rae and Ivan had the audience singing along to gender confused YouTube comments; the next, we were aching with the recognition that none of us feel fully attached to (and thus comfortable with) our physical bodies.
I’m certain that many of Rae and Ivan’s experiences were all too relatable. Perhaps some of us were heartlessly abandoned by our BFF Janine, whose breasts and interest in cheerleading appeared overnight. Or perhaps we experienced a middle school gymnastic dancing nightmare, during which we heard a mysterious voice that prompted us to flee from the gymnasium.
These are, of course, two of many heartfelt and humourous anecdotes shared during the evening, all of which allowed us a fascinating glimpse into Rae and Ivan’s lives.
It is clear to me that the collaborative work—both music and prose—between Rae and Ivan is not just entertaining but also extremely important: Gender Failure ultimately speaks to the desire to be known, and points out that a name is not the same thing as a person. And, as Ivan pointed out, he is a writer; he knows where words fail us.
I’d be hard pressed to single out one reading from all of Gender Failure that was most revelatory or influential, as the entire performance was such a cohesive yet diverse experience. Were last night’s event not the last on Rae and Ivan’s tour, I would be urging you to buy tickets to their next show immediately. Instead, I’m urging you to pick up a copy of their book, and to hope that the show tours again the future.
What is language? We use it every day, but rarely stop to consider it. Language is a critical part of life in a society, providing the ability to communicate by allowing individuals to share information, ideas and experiences across physical space and time through sounds or written forms that represent sounds. Each sound can be combined with others into recognizable patterns which we identify with words. We then combine those words into phrases to communicate more and more complex things. But all of this is based around a shared set of understood meanings that those who make dictionaries earn their livelihoods from (or used to anyway). What happens when this process of defining meaning gets undermined through the disruption of the source information or worse, through the disruption of the understanding of the individual? These are the questions that each author of Friday night’s book panel wrestled with. Yet, while each book took a similar starting point, they are all unique interpretations of the answers.
Peter Norman was the first author up. He shared three readings from his novel Emberton. Emberton is a gothic style novel, based in an old office building housing a dictionary publisher. The readings illustrated the style, and Norman used the excessive descriptive passages well to either comic effect or building tension. Norman shared later that part of the inspiration behind the structure of the office building had been from seeing the movie Titanic , where the ship was envisioned as a microcosm of society, with the captain and the upper-class people on the top of the ship, while the working class people were deep within the structure operating the motors. In Emberton, the crumbling office tower is that microcosm, with the editors in the glass penthouse and the printers buried down in the basement. Norman used the gothic elements of medieval buildings and magical elements with a threatening sense of mystery in a modern way.
Alena Graedon shared next, from her novel The Word Exchange . After hearing Emberton’s style, it was apparent that The Word Exchange was more relaxed in tone, and listening to Graedon read felt like listening to a friend share a story. Graedon read the opening section, where we meet the protagonist who is experiencing her world crumble. First, she is questioning her identity (having been working on a portfolio to apply to an MFA program for several years, but never being quite “ready”), and then losing her boyfriend (figuratively) of many years, and then her father disappears (literally). Graydon’s use of language in her writing was equally strong as Norman’s, and the “near-future” science fiction style works perfectly for this story. Her description of the world around the characters seems fully plausible yet has an element of a dystopian future to keep the audience on edge.
The third author of the evening was Ghalib Islam, who shared from his book Fire in the Unnameable Country. While the other two authors had strong reading voices, Islam unfortunately seemed uncomfortable reading out loud from his book. Initially I had thought this might be for effect, increasing the discomfort that you could sense from the text, but it eventually became clear this wasn’t the case. Much of the audience was visibly straining to hear him speak. Despite the difficulty in listening to the reading, there was no doubt in the strength of the writing, with Fire in the Unnameable Country being a dense satirical fantasy based in the world of the War on Terror, and confusion over collective and personal history from the severing of language from identity.
The host for the evening was Stephen Brockwell, a Canadian poet living in Ottawa. Brockwell had read all three books before the event and was well prepared, asking good questions of each of the authors. The questions raised varied from asking about the origin of the ideas for each of the novels, to exploring the unique forms each author used, to the transition of text from print to digital forms and how is this changing society. Each novel had an interesting origin story, and two of the three were marred with personal hardship and tragedy.
Emberton actually was based around an idea the Norman had as a young child. He was reading the dictionary and came across the page with the many names of people who contribute to the dictionary. His eight year-old mind envisioned all these people working in the same building, sitting side-by-side. During the process of writing the novel, his research found that the organizations that made dictionaries were not as fanciful as he originally imagined, encouraging the novel into further fantasy.
The idea that sparked The Word Exchange came from reading a dictionary she had received as a graduation gift upon completion of her MFA in creative writing. Shortly before finishing her MFA, she had a house fire, and all her books and everything had been burned. Her parents bought her the dictionary as a gift to replace the one she had lost in the fire. As she was reading the new dictionary she came across entries for people such as Sylvia Plath, and wondered what it would be like if one of these entries just disappeared. This idea was the starting point of her novel (where the father of the protagonist disappears from the dictionary, and from the world).
Islam’s origin story is much more difficult. He explained that he had worked for a year on a precursor to what has become Fire in the Unnameable Country, and then was hit by a drunk driver and was nearly killed. In his time in the hospital and during rehab he started revising, editing and reworking, and that process has taken its time to eventually become what is now published. As Islam shared this story, he was calm, sharing details such as seeing the photos of the accident scene where there was more blood than he could imagine coming out of his body and feeling a strong sense of fragmentation from the question of “where am I in this image”. But, Islam got visibly upset when he shared that the person who had hit him (and subsequently ran from the accident) was only charged with Drunk Driving, and not with anything more severe despite the fact that she had nearly killed him. This sense of disrupted justice has also been something that was clearly an influence on elements of his book which he alluded to, but didn’t have time to expand upon.
What I love about the Ottawa International Writers Festival is the opportunity to be exposed to new books, ideas and authors. This event introduced me to three new authors, and their first books. Each of these authors are clearly talented, and I’m excited about picking each of these books up to read. I love looking at philosophical questions, and the philosophy of language and its influence on individuals and society has so much room for exploration. Each author here has started with similar questions but has used their artistry and personality to create three unique books.
There are no answers to questions like these, but sometimes in the experience of thinking more deeply about the importance of something like language, we can learn how to be more mindful in our use and valuation of it as the use of language drastically keeps transforming through new technology.
Most people with severe food allergies haven’t stopped to reflect on how their ancestors’ diets and behaviours got them to the point where they can enjoy a milkshake without severe physical repercussions.
But Dr. Sharon Moalem has.
The award-winning physician and New York Times best-selling author has spent years examining how our genes are in a state of constant change, and that while you may be preprogrammed for either failure or success with respect to specific circumstances, your biological wiring doesn’t necessarily determine your fate.
At a kickoff event for the spring edition of the Ottawa International Writers Festival, we had a full house to hear Dr. Moalem’s talk. While some might find it surprising that literary enthusiasts would rush to get a good seat for a speaker focusing heavily on science, that just means they aren’t familiar with Moalem’s approachable demeanour. Similar to his writing style, Moalem speaks without jargon, cracks plenty of jokes, and uses anecdotal evidence to support his studies and theories.
In short, Moalem is a university student’s dream professor.
Informative and entertaining, Moalem explained that the human genome is not as rigidly pre-set as the scientific community once thought. Mutants do not simply develop from cosmic radiation; and yet it may surprise you to learn that many of us are indeed mutants.
Make you nervous? It’s not so scary. A specific, evolutionary mutation is actually the reason why many humans can break down and digest milk into adulthood. Does that sound like you? Welcome to the club. (And no, the club is not the X-Men. If only.)
As Moalem explained from in his new book, Inheritance: How Our Genes Change Our Lives and Our Lives Change Our Genes , mutations, environmental factors, and lived experiences all have an impact on what kind of person we will ultimately become.
Human genes are able to support what Moalem refers to as, “annotations in the margins.” That means there is enough room for your genes to make notes about important events in your life that strongly impacted you, and to prepare you should they ever occur again.
After reading an excerpt of his book to the attendees, Moalem and event host Sean Wilson conducted a Q&A session with the audience. Among the diverse subtleties of genetics explored during the discussion, Moalem explained to the audience how traumatic events like experiencing severe bullying as a child, or a soldier developing post-traumatic stress disorder (PTSD) from combat are currently being studied to see whether the resulting certain genetic markers, or “annotations,” can be passed down from one generation to the next.
Studies with mice have shown that traumatic events can change the way mice behave. Moalem explained a study in which baby mice that were taken away from their mother on a regular basis experienced a form of PTSD and were more timid and less exploratory than mice that matured in a more stable environment.
A basic knowledge of psychology and many societal issues would indicate that such behaviour holds true for humans as well.
What remains to be revealed, is whether humans pass down certain behaviours to their children like the mice do: subsequent generations of the affected offspring exhibited similar timid behaviours as well. However scientists were able to avoid causing apprehension in the next generation of mice by administering a neutralizing drug in time.
Scientists want to know whether this could be done for traumatized humans as well, though since the amount of time between our generations is significantly longer, we’re left on a scientific cliffhanger until the next chapter is researched and written. We may have to wait longer to find out what happens next than fans waiting on George R. R. Martin ’s next book.
With his engaging writing and personality, Moalem has created a key opportunity for those literary enthusiasts with an interest in history, physiology, and human genetics to indulge their curiosity in an accessible and entertaining way. While you may not think you look good in your genes, chances are you may not even be aware of what kind you had to begin with, or what condition they’re in today.
Genes tell the story of your life, and you are the main character. Hopefully you find it to be a great read.
The House of Anansi Poetry Bash was something special. It was hosted by David O'Meara and included presentations by Garth Martens, Sarah Lang, Anne-Marie Turza and Matthew Zapruder, all of whom had tremendous chemistry throughout the evening.
If you've ever had poetry read to you in a church, then you'll understand what Matthew Zapruder meant when he said, "All poetry should be read here until the end of time. It should be illegal to do it anywhere else."
All four writers had incredible stories to share and it felt less like a staged event and more like a reunion among friends, which is all part of the magic at the Ottawa Writers Festival. There were discussions, debates and thoughtful commentaries which arose from the conversations during the night. It is always a pleasure to hear kind words of encouragement from authors and this evening was no exception. The poets urged writers to create problems to solve, to question "what can poetry do?", and to allow an editor to completely annihilate your work.
Some highlights of the night were Garth Martens' poem, "The Bug Unit," Sara Lang's poetic advice in "For Tamara," Anne-Marie Turza's "The Veil," and the first poem in Matthew Zapruder's book, "Sunbear."
Given that it is Poetry Month, the bash allowed for the authors to present an abundance of styles under the poetic umbrella. There was lightness, darkness, humour, a mosquito gracing ears and a letter written to God.
A lamp gave out when the authors were on stage but that didn't stop the artists from saying two things:
One; that a poetry book is an interior world in which we should wander around in.
and Two; a true poet will forget about making you look for double meanings.
I'll take poetic advice like like that any day.
The next poetry event is the Poetry Cabaret at 8:30 PM on Saturday, April 26
Meeting and listening to Jonas Bengtsson made for a very enjoyable and interesting pre-launch event to the Spring edition of the Ottawa International Writers Festival. This event was presented in association with the Royal Danish Embassy, The Canadian Nordic Society and The Danish Club of Ottawa, with the Danish Ambassador and his wife and members of the two locally based organizations in attendance. Some of them knew Bengtsson well and had, evidently came to the event having already read his book. We filled the large dining room in the Army Officers' Mess to full capacity. Most of us, at least as far as those not reading Danish in the audience were concerned, had not heard of Jonas Bengtsson and his newly translated novel, A Fairy Tale . Our guest, however, is well-known in his home country, has written two other novels and has been the winner of several Scandinavian literary prizes. I am convinced that, with A Fairy Tale , now available in Canada in English, as translated by Charlotte Barslund, through Anansi Press, his popularity will increase considerably.
Neil Wilson, Founding Director of the Writers Festival, took over as the host to step in for Laurence Wall, who was not able to attend. He jumped right into the discussion of one of the central themes of the novel: the complex relationship between father and his young son made more challenging by them "living at the margins of society." Written in the voice of a young boy, it could not have been an easy voice to maintain. How does an author succeed so brilliantly to get s into the mind of a six year old and grow with him and his voice into young adulthood? It was a privilege to listen to the stimulating exchange that followed these questions.
Jonas Bengtsson answered openly and candidly to Neil's and audience's questions. He admitted that he found writing this novel more difficult than anything he had written before. In fact, when he had started, he'd planned to write a very different novel altogether. He had never attempted anything similar before and didn't really want to write the kind of novel it turned out to become. So, what changed in the process of writing? Life, in short.
His own son, who was slightly younger than his character at the time of writing, had moved in with him more than they previous part-time arrangement they'd had, and they were spending considerable quality time together. He had to make adjustments to his routines (he writes at night usually) but that was a small price to pay for what he gained. For example, the recognition of the total trust a child has in his parent, the beauty of it, but also the realization of the profound responsibility that comes with this recognition. All of this made him reflect more deeply on his role: how would one educate their child, pass on to them knowledge, experience and social norms? How does one instill stability and routines that the child expects while also encouraging creativity and a certain amount of risk taking? How to balance the fundamental need to keep his son safe while leaving him room to grow into his own increasingly independent person? Not surprisingly, many of these reflections have found their way into his novel.
Having read the book prior to the event, I found Bengtsson's very personal connections to his novel moving. It goes without saying that he created a father figure in the novel who does not represent him. The fictitious father has other issues to deal with also and does not, or cannot, take quite such a balanced and considerate perspective on raising his son. Still, while his deep love for his son speaks from every page, here again, life has ways of interfering that make his efforts more complicated and challenging. Bengtsson also brings in an element of magic to his story – the Fairy Tale – and at least one central character, who, in addition to the father, can create a magical world for the son.
Much more could be said about the evening and the great discussions with Jonas Bengtsson but it must suffice to encourage everyone to pick-up, read and enjoy his novel. Neil Wilson reflected the view of many in his closing remarks when he expressed his hope that the successful collaboration with the Danish Embassy and the other partners can bring more Danish writers and talent to the Writers Festival in the future.