I was rather shown up at the library a week or so ago. Went in with the kids to update them on their summer reading challenge (six books in six weeks) – get their stickers and wee prizes and whatnot. When signing them up, the librarian on duty invited me to sign up to. Yes, for adults as well: they don’t discriminate. There is no good reason not to sign up to read six books in six weeks, especially when you’re standing next to your six year old child, encouraging him to do the same thing. So I did it.
But when we were updating him (three books, at the time), I was only able to report that I’d finished one: Good Omens, by Terry Pratchett and Neil Gaiman. The librarian chided me and urged me to get on with it, or no prizes for me. Well, that’s me telt. If I get more grief, I’ll just show them this blog.
Pratchett and Gaiman had muscled their way in on my plans to read this book – a new novel by one of Canada’s favourite flowers at the moment. Miriam Toews has been winning awards and CBC speaking spots since A Complicated Kindness – at least, that’s when she appeared on my radar. I know a certain set of CanLit book readers (likely a small slice of the audience for this particular blog, which doesn’t get much in the way of numbers) is waiting to ding a bell or have a drink when the word “Mennonite” first comes up in association with Toews (or maybe punch a journalist in the face… or maybe just a novelist), but it’s a hard association to avoid. She roots her fiction in the place from whence she springs, and her familiarity, her intense feelings for the tradition and community, and her complicated passion is I think no small part of what makes her fiction so good.
This one is no less rooted in the global Mennonite story, though it has plenty to say to a broader set of ears at the moment. It is a fictional rendering of a community dealing with events that really happened in a Mennonite community in Bolivia. The details are ghastly – fictional and real – and the easy themes to tag it with are violence, male domination, and female agency. Less sexily, it’s about family, loyalty, and fidelity to religiously founded ways of living. This is the kind of subject matter I have a lot of time for, and Toews includes it all fairly and well. Where Margaret Atwood’s The Handmaid’s Tale (ding! or, drink! punch!) takes a pretty blunt portrayal of religion, Toews doesn’t think her women are stupid or misguided in giving space for scripture and theology in determining their actions, though the brutal conditions they live in are pretty much on a par with Atwood’s newly refreshed dystopia. Continue reading