I have a confession to make here [pauses to take a deep, tremulous breath]. My name is Orange Swan, and I’m a L.M. Montgomery geek. I own all her books (all the novels, all the posthumous short story collections, even the expendable account of her early career, The Alpine Path). In the summer of 2004 I visited the University of Guelph’s Montgomery collection, looked at the photos Montgomery had taken of herself modelling the various ensembles from her trousseau, and got slightly breathless when I opened one of the legal-sized volumes containing her hand-written journal. I’ve been to Toronto’s Riverside Drive to have a look at the house where Montgomery spent the last seven years of her life. (Possibly my only saving grace is that I haven’t visited the tourist trap faux Green Gables in P.E.I.) And now I’ve read the last volume of her exhaustive journals, The Selected Journals of L.M. Montgomery, Volume V: 1935-1942, as edited by Mary Rubio and Elizabeth Waterston.
Surely it isn’t just my Montgomery geekiness speaking when I write that Montgomery’s journals are fascinating on a number of levels. Of course if you know her work, there’s the obvious benefit of being able to draw parallels between her life and what she wrote. But there’s so much more to them than that. The journals have a narrative drive to them that makes them very readable in their own right. I could not take my nose out of this book until I was finished because I wanted to know what happened – did her son Chester ever manage to graduate law school? Did he make things up with his wife or did he leave her for another woman? The journals are also interesting as a record of what life was like in Montgomery’s day. In this volume one gets, for instance, glimpses of Toronto in the thirties, and insights into how the first half of the twentieth century with its tumultuous changes struck a woman who came of age in Victorian era. I should never have thought that Montgomery had ever read Gone With the Wind (and been unable to put it down) or knew of (and admired) Katharine Hepburn, yet she did. They also provide a picture of the Canadian literary scene as it then was, and of Montgomery’s experience as a public figure. Montgomery was arguably the most famous woman in Canada from Anne of Green Gables’s publication when she was thirty to the time of her death at the age of 68. She met many notable Canadians and her often acerbic and satirical comments on them are a delight.
But as I closed this last volume the thought uppermost in my mind was that these books are the ultimate example of someone who endlessly and needlessly tortured herself emotionally and made her own inner life a thing of agony, to the point that I would mentally admonish her, “Good grief, woman, can’t you ever just RELAX.”
I am taking into consideration the fact that Montgomery had very real and serious problems.
I am also aware of the fact that Montgomery’s journals are not an accurate reflection of her total mental state. Montgomery used her journals as her safety valve. Many of her problems had to be kept secret, and Montgomery was born in a time when reticence and endurance were considered key virtues. When Montgomery could not – or felt she could not – confide in anyone about her husband’s mental illness or her married son’s affair with another woman she wrote about it. At the same time Montgomery was a woman of wide acquaintance and of many friendships, did have people with whom she could share her joys and pleasures, and so would not have felt the same need to write in her journal about happier times.
Even allowing for these factors, Montgomery was a woman who was wired for pain. Her expectations - of herself and of others - were unreasonable. This is a woman who tortured herself for many months over a mistaken engagement while the reader of journal entries on this topic is thinking, “So give the ring back already.” She wrote of her then small son, “Chester told me a lie today. I can never feel the same towards him again.” She walked the floor for hours in anguish over her sons’ (admittedly terrible!) university grades. In the footnotes it’s revealed that Montgomery’s son Stuart was a superlative athlete and would have been one of the delegates to the 1940 Olympics had the Olympics not been cancelled due to the outbreak of World War II. But in Volume V, aside from a few mentions of Stuart going off to his club for the day, there is not one mention of her son’s athletic prowess. In the main his mother has chosen to discuss her anxiety over his poor grades, his boils, and abscessed tooth, and his relationship with a girl Montgomery despised. Montgomery agonized over world events. She tortured herself with imaginings of terrible things that might happen and bitterly asserted that she and all those she loved were under a curse. And she reinforced her miserable view of her life by frequent re-readings of her own journals. Given how evocatively she wrote, there could have been no better way of keeping her wounds laid open to the bone.
As I sit here wondering how to end this essay, I’m entertaining thoughts of closing either with some speculation on how Montgomery could have been helped, or with some thoughts on why it is important that one not live a life of such self-induced misery, but I feel a distaste for both of these options. In the first place it seems so useless to attempt to theoretically resolve the troubles of someone who died in 1942. And in the second, I don’t like to turn Montgomery into the equivalent of Exhibit A in some exposition on cognitive therapy and the power of positive thinking. What I want to do here is to reject Montgomery’s deathbed view of her life as 68 continuous years of thumbscrew-level torture. Montgomery certainly had her share of grief and stress, but she knew happiness as well. Her friends remember her as a vivacious and witty woman, and the charm she had for others is just as genuinely a part of who she was as the despairing words she wrote in her journals. Even in her last, miserable years she was by her own acknowledgement a woman who could take pleasure in a movie or a good book, congratulate herself on having done a good piece of work when re-reading Rilla of Ingleside, lose herself in the act of writing, and find her grandchildren “altogether adorable”. It would be a shame to accept Montgomery’s bitter, final assessment of her life at face value when the totality of her life experience is not only much less negative but also so much more complex and interesting. We don’t know her, but it doesn’t follow that she knew everything about herself.
Wednesday 15 November 2006
Monday 13 November 2006
She Who Must Feel What She Feels and Zap Whom She Zaps
In She: A History of Adventure, by H. Rider Haggard, Horace Holly, an Oxford scholar, is entrusted with the guardianship of a five-year-old boy, Leo Vincey, by the boy’s dying father. Leo’s father also makes stipulations about Leo’s education and gives Holly an iron chest with instructions that it is to be opened when Leo is 25. These instructions are duly carried out, and as it happens there’s ancient familial business to be attended to. Two millennium before, an ancestor of Leo’s named Kallikrates was murdered by a sorceress in a fit of jealous rage because Kallikrates had married another woman in preference to her. This other woman, Leo’s ancestress, escaped and had a son, to whom she imparted the story (inscribed on a potsherd) and the need for revenge. After two thousand years of forbears who, it seemed, all lacked the time, inclination, or wherewithal to undertake the quest, the buck and the broken potsherd have finally been passed to Leo. So, Leo and Holly set off for Africa, as much out of curiosity as out of any real faith in the story inscribed on the broken potsherd.
Much adventure ensues. One shipwreck, encounters with large dangerous animals and pestilent mosquitoes, and wanderings within a vast swamp later, the men are taken in charge by the cannibalistic Amahaggers, and finally presented to the Queen of the Amahaggers, known to them as "She-who-must-be-obeyed". Ayesha (pronounced Assha) lives in a tremendous network of caves that are also occupied by flawlessly preserved corpses of ancient times. She can (and does) zap anyone dead where he or she stands for the slightest disobedience, and is so fabulously beautiful that she must go veiled lest the male Amahaggers fall madly and tiresomely in love with her. Ayesha is indeed the sorceress who killed Kallikrates, declares Leo the reincarnation of his ancestor, and decides that he must undergo the same ritual as she has, and become nearly immortal as she is so that they can then rule the world together.
She, originally published in 1887, was the runaway bestseller of its day, a book that “everyone” read. Critics sniffed at it, but as with almost anything that is so very widely read it had a profound effect on the public imagination. Margaret Atwood traces its influence to a number of later, more literary works – to Conrad’s Heart of Darkness, to James Hilton’s Shangri-La, to the White and Green Witches in C.S. Lewis’s Narnian series, to Tolkien’s Galadriel and Shelob.
The reason for the book’s popularity is clear – the book is a top-drawer good read, well plotted, very suspenseful, and satisfyingly thrilling. Haggard provided well for the suspension of disbelief, since he lived for a time in Africa and could provide accurate geographical detail and construct a convincing African tribe in the Armhaggers. His characters Holly and Leo have learned Greek and Arabic for the express purpose of this quest of theirs, and they converse with Ayesha in those languages – she understandably doesn’t know a word of English, much less speak it perfectly, unlike say, the aliens with zipper front suits in fifties sci-fi movies. Holly, who is the book’s narrator, keeps allowing for and challenging the disbelief of the reader by sentences like, “I am almost ashamed to submit it to you lest you should disbelieve my tale.” The supernatural occurrences are never jarringly unbelievable compared to the more realistic details in the book. Ayesha keeps insisting to Holly that her powers are not magical, that she has only attained to a very advanced knowledge of nature by working in the very primitive chemistry lab that she has set up in one of her caves. As indeed she would have had ample time to do in two thousand years, especially when there is no necessity for her to earn a living (i.e., “Bring me food or die,”) and she has numerous servants to take care of the housework, or rather cavework.
The modern reader can appreciate these qualities much as the Victorian reader must have done. And of course there are what we of the early twenty-first century would consider racist and sexist mores, but that is almost to be expected when one is reading a book written in another era. But in examining my own response to this book and in comparing it the one I imagined a Victorian reader might have had, I did find myself wondering if the Victorian reader ever split a corset or waistcoat laughing at certain passages. I did not damage any items of clothing, thanks to the modern practice of including 2% spandex in many items of casual wear, but I did laugh at things that I think Haggard never intended to be humourous.
Specifically, it was Ayesha’s 2,000-year-old case of unrequited love that I found hilarious. I did take into consideration her incredible longevity – after all, when one expects to live as many centuries as ordinary people live years one needs some sort of sustaining passion. The mortals around her would have died off with monotonous regularity and she couldn’t work in her chemistry lab all the time. But still! This woman with her incredible knowledge and beauty has spent 2,000 years living in a cave and mourning a single man, and nursing her passion and preserving her virginity for Leo Vincey – Leo, with his unfortunate if socially and historically accurate habit of exclaiming, “Hullo!”, and who may be great looking and a decent, brave, honest man but really isn’t remarkable in any other way. Holly, however, doesn’t find this sustained passion absurd at all, and in fact reflects that Ayesha’s evildoings are counterbalanced by the fact that she has other virtues, like that of constancy, in a high degree. It’s very indicative of a certain point of contrast between Victorian times and now.
The Victorian era revered fidelity so much that it was often taken to extremes. I’ve often read references to what is now described as its Cult of Death. Mourning – the wearing of prescribed black clothes and the abstinence from social events – was socially compulsory in the event of a family member’s death, even if one was really thinking how jolly it was to inherit Aunt Maud’s best jet necklace and to never have to watch Cousin Josiah spit tobacco into the corner again. People wore brooches and other items of jewellery with the hair of the departed in them. Queen Victoria mourned her lost prince for 40 years. In fiction, heroines went into attractively wan declines from broken hearts (interestingly enough, no Victorian romantic heroine ever worked through rejection or consoled herself for her grief by indulging in shortbread cookies and cherries jubilee cake as Queen Victoria did). This grief as a fixed pose was idealized. It meant True Love, which was only supposed to happen once, instead of as regularly as it does to say, Jennifer Lopez. Dickens parodied this excessive fidelity in Great Expectations. His Miss Haversham was jilted by her prospective bridegroom and remained stubbornly in her wedding dress for the rest of her life.
These days in contradistinction to the Cult of Fidelity we have the Cult of Moving On. Grief is seen as something to be overcome in stages and as efficiently as possible. We’re urged to read a self-help book, get some counselling, get over it, to let it go, progress to the next thing. I don’t find either philosophy of grief to be particularly satisfactory. In both cases, we are trying to put people on an emotional schedule.
Ayesha’s 2,000-year-old passion is admirable from the Victorian perspective and ridiculous from the modern perspective. I laughed the hardest at one particular scene in which she leads Holly and Leo into her bedchamber, where she points out the slab bearing the perfectly preserved corpse of Kallikrates and the nearby slab where she has slept for two millennium “with but a cloak to cover me. It did not become me to lay soft when my spouse…lay stiff in death.” Truly, Ayesha is the ultimate Victorian mourner. No hair-encrusted brooches or collection of coffin plates for her – she’s kept the entire corpse. In her bedroom. Where she could – and did – talk to it. Beat that, Queen Victoria.
However, I must add that Ayesha’s marathon case of unrequited love is at once both laughably excessive and a refreshing counterpoint to the modern Anthony Robbins-style mores. As with Miss Haversham, I wanted to tell her, “Damn, honey! Feel what you feel! Don’t let anyone force you into some emotional mould as constructed by some facile self-help book!” But I did wish that she’d provided herself with a more comfortable bed. After all, a good mattress and cherries jubilee cake are just as much a part of life as the grief one has to endure. Why partake of one and deny oneself the others?
Much adventure ensues. One shipwreck, encounters with large dangerous animals and pestilent mosquitoes, and wanderings within a vast swamp later, the men are taken in charge by the cannibalistic Amahaggers, and finally presented to the Queen of the Amahaggers, known to them as "She-who-must-be-obeyed". Ayesha (pronounced Assha) lives in a tremendous network of caves that are also occupied by flawlessly preserved corpses of ancient times. She can (and does) zap anyone dead where he or she stands for the slightest disobedience, and is so fabulously beautiful that she must go veiled lest the male Amahaggers fall madly and tiresomely in love with her. Ayesha is indeed the sorceress who killed Kallikrates, declares Leo the reincarnation of his ancestor, and decides that he must undergo the same ritual as she has, and become nearly immortal as she is so that they can then rule the world together.
She, originally published in 1887, was the runaway bestseller of its day, a book that “everyone” read. Critics sniffed at it, but as with almost anything that is so very widely read it had a profound effect on the public imagination. Margaret Atwood traces its influence to a number of later, more literary works – to Conrad’s Heart of Darkness, to James Hilton’s Shangri-La, to the White and Green Witches in C.S. Lewis’s Narnian series, to Tolkien’s Galadriel and Shelob.
The reason for the book’s popularity is clear – the book is a top-drawer good read, well plotted, very suspenseful, and satisfyingly thrilling. Haggard provided well for the suspension of disbelief, since he lived for a time in Africa and could provide accurate geographical detail and construct a convincing African tribe in the Armhaggers. His characters Holly and Leo have learned Greek and Arabic for the express purpose of this quest of theirs, and they converse with Ayesha in those languages – she understandably doesn’t know a word of English, much less speak it perfectly, unlike say, the aliens with zipper front suits in fifties sci-fi movies. Holly, who is the book’s narrator, keeps allowing for and challenging the disbelief of the reader by sentences like, “I am almost ashamed to submit it to you lest you should disbelieve my tale.” The supernatural occurrences are never jarringly unbelievable compared to the more realistic details in the book. Ayesha keeps insisting to Holly that her powers are not magical, that she has only attained to a very advanced knowledge of nature by working in the very primitive chemistry lab that she has set up in one of her caves. As indeed she would have had ample time to do in two thousand years, especially when there is no necessity for her to earn a living (i.e., “Bring me food or die,”) and she has numerous servants to take care of the housework, or rather cavework.
The modern reader can appreciate these qualities much as the Victorian reader must have done. And of course there are what we of the early twenty-first century would consider racist and sexist mores, but that is almost to be expected when one is reading a book written in another era. But in examining my own response to this book and in comparing it the one I imagined a Victorian reader might have had, I did find myself wondering if the Victorian reader ever split a corset or waistcoat laughing at certain passages. I did not damage any items of clothing, thanks to the modern practice of including 2% spandex in many items of casual wear, but I did laugh at things that I think Haggard never intended to be humourous.
Specifically, it was Ayesha’s 2,000-year-old case of unrequited love that I found hilarious. I did take into consideration her incredible longevity – after all, when one expects to live as many centuries as ordinary people live years one needs some sort of sustaining passion. The mortals around her would have died off with monotonous regularity and she couldn’t work in her chemistry lab all the time. But still! This woman with her incredible knowledge and beauty has spent 2,000 years living in a cave and mourning a single man, and nursing her passion and preserving her virginity for Leo Vincey – Leo, with his unfortunate if socially and historically accurate habit of exclaiming, “Hullo!”, and who may be great looking and a decent, brave, honest man but really isn’t remarkable in any other way. Holly, however, doesn’t find this sustained passion absurd at all, and in fact reflects that Ayesha’s evildoings are counterbalanced by the fact that she has other virtues, like that of constancy, in a high degree. It’s very indicative of a certain point of contrast between Victorian times and now.
The Victorian era revered fidelity so much that it was often taken to extremes. I’ve often read references to what is now described as its Cult of Death. Mourning – the wearing of prescribed black clothes and the abstinence from social events – was socially compulsory in the event of a family member’s death, even if one was really thinking how jolly it was to inherit Aunt Maud’s best jet necklace and to never have to watch Cousin Josiah spit tobacco into the corner again. People wore brooches and other items of jewellery with the hair of the departed in them. Queen Victoria mourned her lost prince for 40 years. In fiction, heroines went into attractively wan declines from broken hearts (interestingly enough, no Victorian romantic heroine ever worked through rejection or consoled herself for her grief by indulging in shortbread cookies and cherries jubilee cake as Queen Victoria did). This grief as a fixed pose was idealized. It meant True Love, which was only supposed to happen once, instead of as regularly as it does to say, Jennifer Lopez. Dickens parodied this excessive fidelity in Great Expectations. His Miss Haversham was jilted by her prospective bridegroom and remained stubbornly in her wedding dress for the rest of her life.
These days in contradistinction to the Cult of Fidelity we have the Cult of Moving On. Grief is seen as something to be overcome in stages and as efficiently as possible. We’re urged to read a self-help book, get some counselling, get over it, to let it go, progress to the next thing. I don’t find either philosophy of grief to be particularly satisfactory. In both cases, we are trying to put people on an emotional schedule.
Ayesha’s 2,000-year-old passion is admirable from the Victorian perspective and ridiculous from the modern perspective. I laughed the hardest at one particular scene in which she leads Holly and Leo into her bedchamber, where she points out the slab bearing the perfectly preserved corpse of Kallikrates and the nearby slab where she has slept for two millennium “with but a cloak to cover me. It did not become me to lay soft when my spouse…lay stiff in death.” Truly, Ayesha is the ultimate Victorian mourner. No hair-encrusted brooches or collection of coffin plates for her – she’s kept the entire corpse. In her bedroom. Where she could – and did – talk to it. Beat that, Queen Victoria.
However, I must add that Ayesha’s marathon case of unrequited love is at once both laughably excessive and a refreshing counterpoint to the modern Anthony Robbins-style mores. As with Miss Haversham, I wanted to tell her, “Damn, honey! Feel what you feel! Don’t let anyone force you into some emotional mould as constructed by some facile self-help book!” But I did wish that she’d provided herself with a more comfortable bed. After all, a good mattress and cherries jubilee cake are just as much a part of life as the grief one has to endure. Why partake of one and deny oneself the others?
Sunday 12 November 2006
You Can Think of Stars As Porchlights If You Want To, But You Might Get Severely Lost
Some months ago, I needed to buy a sympathy card, so I stepped into a nearby drugstore, where they had an entire aisle of cards for all occasions. And upon looking over their section of sympathy cards, I was taken aback by their collective atrociousness. Some seemed designed to make the bereaved feel worse, or perhaps just distracted from grief with the resulting bemusement.
One said, "When you see the stars tonight…" on the outside, and then on the inside continued, "Don't think of them as stars. Think of them as porchlights guiding your loved one home." The card was covered with glitter, some of which was clustered in star-like arrangements. That was the most spectacularly bad one, but a number of the others were also nearly as mawkish, although unfortunately for the sake of this review (if fortunately in every other respect) my mind has wiped them from my memory. They couldn’t, it seemed, just read, "We're thinking of you in this difficult time," or "In deepest sympathy". They had to hold forth about "lifted hearts", use cheesy metaphors about seashells and rainbows, discourse Chicken-Soup-for-the-Soul-style about the importance of inner strength, and express pseudo religious sentiment that it seemed to me would read as asinine to the religious and the non-religious alike. Oh, and there were sympathy cards for the loss of a pet. I didn't even open those. I’m sure my bursts of appalled laughter were already attracting enough attention to the sympathy card section.
There are sympathy e-cards that will make you wish you were the one who had died. I don’t have the fortitude to actually read them, but if you’re feeling masochistic today, be my guest.
I suppose this is what we get when we, in effect, hire others to express our thoughts and feelings. But at the same time, it seemed to me that the greeting card manufacturers really ought to do better than this. The cards were almost uniformly lovely and elegant in appearance – why wouldn’t a company expect the same level of competence from their writers as from their graphic designers?
In fairness, some allowance must be made for the pressure of market forces. The greeting card writers are probably expected to re-invent the wheel on a daily basis, to be novel and original, to produce something that will stand out from the other cards on the shelf. They also have a wide audience to cater to, and presumably there are bereaved people out there who will be comforted by thinking of stars as porchlights rather than as the huge balls of burning hydrogen and helium that they actually are. And it’s up to us, the purchasers, to choose cards suitable for our needs and tastes, and to vote with our dollars on the suitability of the cards on offer.
However, even once I’ve made these allowances, I still think the greeting card writers make the same mistake as so many of us do when trying to be sympathetic and a comfort to others. We try too hard. We say too much, when we should be listening. We make efforts to be original and memorable when we should just be simple and restrained. Grief is, after all, as old as time, and there’s not much point in trying to come up with the ultimate consolation phrase at this late date. And then, at worst, there’s the pitfall of making one’s own need to be helpful, to be the MOST HELPFUL AND SUPPORTIVE PERSON EVER, the fulcrum of the one’s attempts to help someone, with usually disastrous results (i.e., the mouth shifts into high gear and the ears shut down).
I think the next time I need a sympathy card, I’ll make one myself, or buy a note card that has attractive art on the outside and is blank within. People generally understand that the gaffes and the feet in the mouth are born out of kind and sincere if misguided desire to help, and an ill-chosen card could certainly be one of those mistakes. But a collection of these poorly written cards on display in a store, unsoftened by the kind intentions of anyone who cares about you, are merely impersonally offensive, like an undertaker who thinks making worm jokes is a good way to take the edge off. No, that’s not a fair comparison, but you get the point. I may make mistakes when trying to support someone I care about, and I understand when those who try to help me do the same, but I expect hired professionals to be competent and to produce appropriate results, and when they aren’t, I shall take my $4 elsewhere. And my discourse on the pricing of greeting cards will have to wait until another time;-)
One said, "When you see the stars tonight…" on the outside, and then on the inside continued, "Don't think of them as stars. Think of them as porchlights guiding your loved one home." The card was covered with glitter, some of which was clustered in star-like arrangements. That was the most spectacularly bad one, but a number of the others were also nearly as mawkish, although unfortunately for the sake of this review (if fortunately in every other respect) my mind has wiped them from my memory. They couldn’t, it seemed, just read, "We're thinking of you in this difficult time," or "In deepest sympathy". They had to hold forth about "lifted hearts", use cheesy metaphors about seashells and rainbows, discourse Chicken-Soup-for-the-Soul-style about the importance of inner strength, and express pseudo religious sentiment that it seemed to me would read as asinine to the religious and the non-religious alike. Oh, and there were sympathy cards for the loss of a pet. I didn't even open those. I’m sure my bursts of appalled laughter were already attracting enough attention to the sympathy card section.
There are sympathy e-cards that will make you wish you were the one who had died. I don’t have the fortitude to actually read them, but if you’re feeling masochistic today, be my guest.
I suppose this is what we get when we, in effect, hire others to express our thoughts and feelings. But at the same time, it seemed to me that the greeting card manufacturers really ought to do better than this. The cards were almost uniformly lovely and elegant in appearance – why wouldn’t a company expect the same level of competence from their writers as from their graphic designers?
In fairness, some allowance must be made for the pressure of market forces. The greeting card writers are probably expected to re-invent the wheel on a daily basis, to be novel and original, to produce something that will stand out from the other cards on the shelf. They also have a wide audience to cater to, and presumably there are bereaved people out there who will be comforted by thinking of stars as porchlights rather than as the huge balls of burning hydrogen and helium that they actually are. And it’s up to us, the purchasers, to choose cards suitable for our needs and tastes, and to vote with our dollars on the suitability of the cards on offer.
However, even once I’ve made these allowances, I still think the greeting card writers make the same mistake as so many of us do when trying to be sympathetic and a comfort to others. We try too hard. We say too much, when we should be listening. We make efforts to be original and memorable when we should just be simple and restrained. Grief is, after all, as old as time, and there’s not much point in trying to come up with the ultimate consolation phrase at this late date. And then, at worst, there’s the pitfall of making one’s own need to be helpful, to be the MOST HELPFUL AND SUPPORTIVE PERSON EVER, the fulcrum of the one’s attempts to help someone, with usually disastrous results (i.e., the mouth shifts into high gear and the ears shut down).
I think the next time I need a sympathy card, I’ll make one myself, or buy a note card that has attractive art on the outside and is blank within. People generally understand that the gaffes and the feet in the mouth are born out of kind and sincere if misguided desire to help, and an ill-chosen card could certainly be one of those mistakes. But a collection of these poorly written cards on display in a store, unsoftened by the kind intentions of anyone who cares about you, are merely impersonally offensive, like an undertaker who thinks making worm jokes is a good way to take the edge off. No, that’s not a fair comparison, but you get the point. I may make mistakes when trying to support someone I care about, and I understand when those who try to help me do the same, but I expect hired professionals to be competent and to produce appropriate results, and when they aren’t, I shall take my $4 elsewhere. And my discourse on the pricing of greeting cards will have to wait until another time;-)
So the Orange Swan Review sets sail...
I've long been wanting a blog and mulling over concepts for it. A personal blog was out. I’ve seen personal blogs about nothing much done brilliantly, as Mil Millington did with his Things My Girlfriend and I Have Argued About, and I’ve seen dreary little sites that read way too much like Jean Teasdale of The Onion. Not being a brilliant writer and having an ordinary life, I decided to avoid the all too likely result of winding up in the latter category. None of my hobbies/areas of (more or less) competency seemed to lend themselves to extensive documentation, and anyway I want to actually paint, draw, sew, knit, make stained glass items, etc., not write about them.
I then got the idea of doing book reviews, and expanded that idea to reviews of all my reading material. I love thinking about and writing about the things I read. I often found myself inflicting reviews of things I read on friends via email. I thought, hmm, instead of putting this kind of material into an email that one too-loyal-for-his/her-own-good friend will be forced to skim through, why not post it to a blog no one will read? I know I often google my reading materials to see if anyone out there has anything interesting to say about them. I thought perhaps other people likely do as well. So, The Orange Swan Review was born.
Orange Swan is my usual Internet alias, chosen hurriedly and for no particular reason when I joined Metafilter.com. I do periodic Googling on the name and can be reasonably sure that whenever you run into an Orange Swan on the Net it’s probably me. Of course it also might be a fly fishing lure.
I’m just going to review whatever I happen to read. The average item reviewed here won’t be recently published, since I’m not willing to shell out the $37.50 for a new hardcover and the Toronto Public Library’s hold system can have queues of more than a thousand painfully slow readers for a recent bestseller. Some books may be obscure or even out of print. I might review some really bad books just for the fun of mocking them. Above all, I just want to enjoy reading and thinking and writing about what I read.
I then got the idea of doing book reviews, and expanded that idea to reviews of all my reading material. I love thinking about and writing about the things I read. I often found myself inflicting reviews of things I read on friends via email. I thought, hmm, instead of putting this kind of material into an email that one too-loyal-for-his/her-own-good friend will be forced to skim through, why not post it to a blog no one will read? I know I often google my reading materials to see if anyone out there has anything interesting to say about them. I thought perhaps other people likely do as well. So, The Orange Swan Review was born.
Orange Swan is my usual Internet alias, chosen hurriedly and for no particular reason when I joined Metafilter.com. I do periodic Googling on the name and can be reasonably sure that whenever you run into an Orange Swan on the Net it’s probably me. Of course it also might be a fly fishing lure.
I’m just going to review whatever I happen to read. The average item reviewed here won’t be recently published, since I’m not willing to shell out the $37.50 for a new hardcover and the Toronto Public Library’s hold system can have queues of more than a thousand painfully slow readers for a recent bestseller. Some books may be obscure or even out of print. I might review some really bad books just for the fun of mocking them. Above all, I just want to enjoy reading and thinking and writing about what I read.
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