Severn Thompson’s stage adaptation of my novel Elle is on the short list for a Dora Award in the Outstanding New Play category. The Doras are given out by the Toronto Alliance for the Performing Arts.
Read the May 30 Globe and Mail announcement @The Doras 2016: The best in Toronto theatre have a distinctly Canadian flavour.
The new Cambridge Companion to Alice Munro, edited by David Staines, is just out. It includes a Douglas Glover essay “The Style of Alice Munro.”
This Companion is a thorough introduction to the writings of the Nobel Prize winner Alice Munro. Uniting the talents of distinguished creative writers and noted academics, David Staines has put together a comprehensive, exploratory account of Munro’s biography, her position as a feminist, her evocation of life in small-town Ontario, her non-fictional writings as well as her short stories, and her artistic achievement. Considering a wide range of topics – including Munro’s style, life writing, her personal development, and her use of Greek myths, Celtic ballads, Norse sagas, and popular songs – this volume will appeal to keen readers of Munro’s fiction as well as students and scholars of literature and Canadian and gender studies.
From the essay:
“We have here to speak of style in a double sense: style as the basket of syntactic moves habitual to an author, but also style as tilt, the characteristic lean or bearing of the author as she represents herself through her writing. Call the latter personality, power, or panache. Alice Munro comes from a part of the world that challenges both eccentricity and ambition (and is not necessarily able to tell the two apart). Who do you think you are? the townspeople of her fictional southwestern Ontario town ask. As if in response to this challenge, Munro forges her style in the furnace of opposition. She plays with expectation and denial of expectation; she insists upon difference. My sense is that she doesn’t compose so much by reference (to a notional reality) as by dramatic antithesis. A statement provokes a counter-statement or a counter-construct, subversion, or complication, and the sentences, paragraphs and stories advance by the accumulation of such contraventions. The initial statement, the facticity of the story, then, by steps and counter-steps, implicates itself in a series of deferrals that render it less unequivocal and more inflected as it progresses. The truth is never the truth but a truth with codicils, conditions, caveats, perorations, and contradictions.”
Vermont College of Fine Arts has just announced the creation of a new Artists Development Fund based on an initial $1 million donation from the Martin Foundation. A portion of the endowment allocated to writers, authors, & publishers has been named the Glover Fund in honor of Douglas Glover, a long-time faculty member in the MFA in Writing Program at VCFA, author, and editor of Numéro Cinq Magazine.
January 14 – 31, 2016
Adapted by Severn Thompson
Directed by Christine Brubaker
Starring Severn Thompson & Jonathan Fisher
Production Design by Jennifer Goodman
Sound Design by Lyon Smith
A Theatre Passe Muraille Production
In the TPM Mainspace
This is an adaptation of a Governor General award-winning novel by Douglas Glover. Based on a true story from the life of Marguerite de Roberval, Elle chronicles the ordeals and adventures of a young French woman marooned on the desolate Isle of Demons in 1542 at the time of France’s ill-fated third attempt to colonize Canada.
The Sieur de Roberval abandons his unruly young niece, her lover, and her nurse on the Isle of Demons. With real bears, spirit bears, and perhaps hallucinated bears, with the residue of a somewhat lurid religious faith, and with a world of self-preserving belligerence, the voluble heroine of Elle does more than survive. Elle brilliantly reinvents the beginnings of this country’s history: what Canada meant to the early European adventurers, what these Europeans meant to Canada’s original inhabitants. While Marguerite de Roberval’s experience of Canada in 1542 is not as well known as Jacques Cartier’s, her open-minded engagement with that environment and its people was ahead of its time, and is certainly more relevant and inspiring for us today than Cartier’s attempt to colonize and conquer.
Goose Lane Editions had its 60th birthday in September (2014). Part of the celebration was the publication of a little boxed set of similarly designed small books, six@sixty, one short story each by esteemed Goose Lane authors over the years: Giller Prize winner Lynn Coady, Mark Anthony Jarman, Alden Nowlan (whose house I used to visit when he was alive, back when I was a reporter at the Evening Times-Globe in Saint John, New Brunswick), Shauna Singh Baldwin, and Kathryn Kuitenbrouwer, as well as me. All the books look like mine but in different colours. It’s a lovely gesture, a limited edition, simple and elegant. Also mine is very cute, like a book you can keep as a pet.
My story, “Woman Gored by Bison Lives,” is from my book A Guide to Animal Behaviour, which Goose Lane published in 1991. It was shortlisted for the Governor-General’s Award for Fiction that year.
It’s a melancholy love story about a lesbian couple in Saskatoon. They watch an English tourist gored by a bison, and subsequently one of the lovers dies of cancer. I was learning to write aphorisms in those days. The story ends with a little run. This is the surviving lover talking to a three-year-old child: “There are certain things you have to know. Suicide is not an option. Life is always better under the influence of mild intoxicants. Masturbation is healthy, the sooner started the better. It’s a sin not to take love where you find it. That is the only sin.”
New story collection published fall 2013. Now out in paperback. Click on the image.
“This was, hands down, the best book I read in 2013.” Steven W. Beattie National Post
“Douglas Glover, the mad genius of Can Lit…” Caroline Adderson Globe and Mail
“I, your admiring reader, report myself ever again restored to find in hand the company of your righteous sentences, shout hooray, shout hooray, even splendid, splendid, splendid (borrowing from the great poet Jack Gilbert), like loins, he wrote, like Rome, he wrote . . . .”
— Gordon Lish, author of What I Know So Far
“What unifies this collection is the characteristic excellence of Douglas Glover’s prose. Otherwise the book is hugely, even shockingly varied in its narrative strategies, its settings, its tones, and its characters, who range from broadly comic figures to a killer so warped by war that he makes the psychotic Judge in Cormac McCarthy’s Blood Meridian look benign. This book is urgent, ardent, obsessive, and remarkable.”
— Steven Heighton, author of The Dead Are More Visible
“Savage Love provides more evidence: nobody alive constructs more perfect stories than Douglas Glover. His art is exquisite, conclusive, stainless — but also wide-awake and breathing. That is to say, he’s no mere craftsman. In Savage Love, he manages somehow to be both Geppetto and the magic life-giving kiss.”
— Darin Strauss, author of Half a Life
Photographs below were taken by Douglas Glover except for the ones in which he appears, which were taken by Jacob Glover (Nova Scotia beach pictures), Katharine Abbott (father & son photo), and Melissa Fisher (British Columbia beach picture).
“And I thought how Proust teaches us that all love resides
in anticipation and not the beloved,
that love achieved is only on loan,
that we are martyrs to our desires, which are endless.”
Douglas Glover, Savage Love