Mavis Gallant’s “New Year’s Eve” (1970)

2018-08-27T10:32:51-04:00

Amabel is just a few years older than young Shirley, who lost her young husband Pete when they were newlyweds in “The Accident”; barely married, not yet disappointed. Had Amabel and Shirley been friends, able to discuss their brief experiences of married life, I wonder how their opinions might

Mavis Gallant’s “New Year’s Eve” (1970)2018-08-27T10:32:51-04:00

Michael Ondaatje’s Warlight (2018)

2018-08-02T16:41:25-04:00

If The Cat’s Table (2011) was a slow and steady unravelling of a young boy’s memories, yarn taut and tidy, Warlight is a mass of moth-eaten fragments, remnants of a finely-crafted woollen garment pulled from a trunk. A thing of beauty, yes, but the devastation is the first thing

Michael Ondaatje’s Warlight (2018)2018-08-02T16:41:25-04:00

Mavis Gallant’s “The Accident” (1967)

2018-08-14T18:29:52-04:00

It’s as if Billy, from “The End of the World”, had heard the tragic story of Shirley and Pete Higgins and used it to justify his reluctance to leave Canada. Unlike Billy, Shirley and Pete were thrilled to honeymoon in Europe, thrilled by all the ordinary things made extraordinary

Mavis Gallant’s “The Accident” (1967)2018-08-14T18:29:52-04:00

Mavis Gallant’s “The End of the World” (1967)

2018-08-08T11:10:25-04:00

It’s a hot and overcast August morning, too early for the neighbourhood to have awakened. On another morning it might seem peaceful; this morning it feels abandoned. The grass in the park next door is patchy and dry, even though the humidity is high and a woman with two

Mavis Gallant’s “The End of the World” (1967)2018-08-08T11:10:25-04:00
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