When David Antrobus set out on a personal, reflective solo road trip from the Pacific Coast of Canada to New York City, he picked a random date: Tuesday, September 11, 2001. This coincidence, despite the horrors of that day, proved oddly serendipitous in the sense of the author's struggle for understanding of his own relatively small trauma, which he was then only beginning to face. Evocations of the quiet melancholy of the landscape alongside poignant descriptions of grain elevators, motels, convenience stores and gas stations as he heads eastward across the Canadian Prairies are complemented by the dawning reality of New York City's wounded presence looming ever nearer. Upon arrival, the author is at first haunted by the visceral horrors that remain just days after the attacks on the World Trade Centre, yet finds unexpected comfort in the people of the city as they relate their own personal trauma stories.
Some aspects of human experience are universal. This excerpt takes place long after I'd left New York City and had stopped in the Badlands of South Dakota, well over halfway home. Everything at that moment and the ensuing days making my way through Wyoming and Montana back to British Columbia emphasized to me anew how connected we all are, that a butterfly crushed in Malaysia can make kittens cry in Saskatchewan, or something. Or, to put it more seriously, that planes flown into buildings full of strangers in New York have a disproportionate impact on an equally gorgeous Tuesday morning on the west coast of Canada, as well as all the other Tuesday mornings everywhere. The faces change, the seasons change, the landscape changes, the language changes, but the impact of pure empathy is so incredibly profound and is perhaps the most likely part of humanity to save us, if indeed "saved" is ever on the cards.
This segment reveals, for me, the rough poetry of the American road: its visceral physicality, its immensity, its vistas and weather, even the muscular beauty of its place names. I like how it revels in the storm, almost drowning in wordplay, before it brings us back abruptly and soberly to the reason I'm even there: the ominous and wounded mega-city lying just ahead. That final word (atrocities), with its echo of "cities" rings like an alarm, and literally signals a new chapter.
This is the very opening section of Dissolute Kinship. It ties together the uniquely personal nature of this story and the universal trauma of what occurred that day 3,000 miles from my home.
There are writing manuals... and there are writing manuals. Endless Joke casts a somewhat ironic and satirical eye over the current state of publishing, very much from one independent writer's perspective, but certainly far from a partisan one. It pokes affectionate fun while genuinely wrestling with some of the complications produced in the wake of traditional publishing's seismic changes. But don't be fooled: it somehow manages to be both punk-rock irreverent and devout as a choirboy—while often funny, and at other times filled with the kind of awe that a lifelong love of writing will generate, you will learn much from this book. About lists. About movies. About how to begin a story and how to end one. And ultimately, about how to stay in love with writing amid the flood of new authors marketing their books, upon the new battlegrounds created by the e-publishing revolution. You will laugh. Maybe even cry. And you will enjoy every moment. Except for maybe a couple low points about halfway through.
Even though I still don't think I nail it fully here, this is one of the clearest pieces I've written on why I believe writing is essential. To me, floating out there in abstract land is some kind of equation comprised of the following component parts: communication, imagination and love. And that they somehow add up to why writing is a sacred act. Only I can never fully do the math. Sure, I'm part way there, but I can't help feeling this bedrock Newtonian instinct needs the stellar blast of an Einstein.
It's a collection. Of essays. It's funny. It's irritating. It's the book you never realised you needed. But you do. If you want to stay safe (not to mention sane) between the twists and turns and death throes of the old publishing monster and the anarchic new killing fields of epublishing, this book will help in that regard. It's basically equal parts passion, humour, angst and a kind of bewildered, contemplative awe.
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