“Deep Holes” is a short story by Alice Munro. You can find it in the June 30 2008 edition of The New Yorker. I’m very much reminded of Into The Wild by Jon Krakauer and the real life of Christopher McCandless.
My reading of “Free Radicals” by Alice Munro (2008) is highly metaphorical. To me, this is a story about the Kubler-Ross stages of grief, and the new vulnerability older women feel when their male partner dies before them.
Read literally, though, and this is the story of one woman’s brush with a serial murdering intruder — a rare crime story from Alice Munro.
“Fiction” is a short story by Alice Munro (2009). From the title itself we might expect it to be metafictional. Sure enough, there are constant reminders to consider the role of fiction in our lives.
The following interview, from 2006, offers some extra insight into the story, and why Munro may have written it. For a few years she owned a bookstore and people used to come in to the store and tell her, as a matter of pride, two things: They don’t read Canadian books and they don’t read fiction. However, she also says that is no longer the case.
I don’t want to map Munro’s fictional Joyce onto Munro herself, but there are some parallels:
Like Joyce, Munro divorced her first husband during the hippie revolution. Though unlike Joyce, Munro explains that ‘everyone was doing it’ during this era and people who didn’t seemed ‘almost apologetic’ for staying together. Joyce does not feel like that at all. She feels grief and anxiety.
“Passion” is a short story by Alice Munro, published 2004 in The New Yorker. This story has much in common with “What Is Remembered“. An elderly woman looks back to when she was young, in a vulnerable psychological state. In both, the younger woman gets into a car with a ravishing bad-boy doctor, contrasting against the hum-drum of life with her fiance/husband.
I’m making these stories sound like erotic romance, but in these short stories the focus is on character psychology. “Passion” is partly playing on the erotics of abstinence, seen also in works like Pride and Prejudice and Twilight. Will they or won’t they? Salacious interest is partly what gives the story its narrative drive. Continue reading “Passion by Alice Munro”
Looking back as an old lady, this short story focuses on several days across one young woman’s life in which she hooks up with a doctor she meets at her husband’s friend’s funeral. The memory of this event sustains her, imaginatively, for the rest of her life, and allows her to lead this parallel imagined life in which she remained single and more adventurous. In this way, “What Is Remembered” reminds me of Bridges Over Madison County.
Structurally, “Silence” is a mythic journey which spans approximately half of a woman’s entire life. The story opens with Juliet off on a trip in order to find information. Along the way she meets allies, opponents (most are a mixture of both), then returns ‘home’ a changed person after solving part of the mystery and learning something important about herself.
Usually when I break down a story into classic seven step structure, there’s a fairly clear line between each step. One masterful thing about work of Alice Munro: the lines are not there. “Silence” makes an excellent case study of a short story in which the ‘Self-revelation’ phase melts in to the ‘New Equilibrium’ stage. The reader keeps having revelation after revelation, then bang, there’s the big gut punch, right at the end. Continue reading “Silence by Alice Munro”
Walter The Farting Dog is an example of a book that took a long time to find a publisher.
Kotzwinkle and Murray conceived the idea for the first book in 1990, inspired by a real-life dog named Walter, whose owner fed him doughnuts and beer and who was prone to foul-smelling flatulence. With assistance from Kotzwinkle’s wife, Elizabeth Gundy, they devised a story about a dog who overcomes two burglars with his smelly farts. Eleven years passed before they found a willing publisher, North Atlantic Books, and the right illustrator, Audrey Colman.
My theory on what happened there: The culture needed time to catch up. This is a book given to my daughter by my parents, who would never have stocked their own children’s bookshelves with this kind of material, but who have given their granddaughter a range of poo and fart themed stories, including this one and I Need A New Bum, and Christmas decorations which are a model of Santa’s bare backside farting ‘We Wish You A Merry Christmas’ etc etc. Unbelievably, as kids of the 80s we weren’t allowed to say ‘fart’ — we had to say ‘blow off’, which is actually more hilarious, if only for its much wider application as a verb. No one can use that perfectly fine compound verb now without me associating it with farts. We weren’t allowed to say ‘bum’, either, by the way. We were required to say ‘bottom’, which is far more wide-reaching in its impact upon perfectly non-scatological conversations.
They say the great thing about being a grandparent is you can give the child back. Addendum: You can also give your grandchildren slightly annoying toys… and books, and you, yourself, won’t have to read said book more than once or twice. As for me, the mother, I’ve read this book quite a number of times because, let’s face it, it’s a hit. Though the other night when it was requested I did turn it down, because actually… I confess… it’s not the farting plot line that gets to me. It’s the super creepy artwork. For some reason I don’t find the artwork of Wolves In The Walls creepy, but I do find these ones to be so. Yet they are both of a similar style — a mixture of collage and photorealistic faces, morphed slightly, as if looking into a distortion mirror at a travelling circus. The colour palette of Walter The Farting Dog is a grimy rainbow in which every scene looks like a fart. It’s really quite an achievement on the part of the illustrator that when I look at these pictures I have an almost synesthesicolfactory reaction. *looks around for the dog*
STORY STRUCTURE OF WALTER THE FARTING DOG
Walter is smelly. He needs to stop assaulting other people’s noses with his farts.
He wants to stay with this new family because otherwise he goes back to the pound.
At first glance the opponents are the burglars who break in, but no — the opponent who makes this story work is the father. It’s the father who threatens to send Walter back to the pound unless he can stop farting.
The children take Walter to the vet, but that doesn’t help. They try all sorts of different diets, but still nothing works.
The battle comes one night when two burglars break in. Walter has just eaten a big bag of food and is able to release a poisonous gas which renders the burglars weak and drives them out of the house with nothing. Outside, the burglars just happen to be apprehended by a police officer.
The whole family, plus Walter, learn that his farts come in useful after all. His annoying difference is accepted. We’re given big clues about the message of this book right at the beginning when we see this dedication:
Walter stays with the family. We see them all sitting on the couch in a Simpsons shot. Walter is a permanent part of this picture now.
These are not your typical picture book burglars. Usually, children get two men dressed as if they’ve just escaped from prison, in unambiguous black and white jumpsuits, wearing eye masks and perhaps carrying a torch and a sack. Here we have some of those aspects of the archetype: Two men, one short and stocky, the other taller and thinner, and they are indeed carrying a sack and they are indeed stealing the very things that fetch nothing on eBay — lamps and whatnot — they’re not taking things of true value, like favourite teddy bears. But they also look like real individuals. One of them is definitely a junkie.
We’re yet to see female burglars in picture books, unless someone can show me that it’s already been done. Two women breaking into a house would be the story in its own right. The archetypal burglar is still very much the male duo. They are older than the typical house thief, too, who in real life tend to be in their teens.
THE WALTER SERIES
Walter the Farting Dog has been a huge commercial success and more have been produced. What next for Walter? It is a requirement of storytelling that Walter leaves the house to go on a home-away-home adventure.
Walter the Farting Dog: Trouble at the Yard Sale came next in 2004. I prefer the UK title: Walter the Farting Dog Farts Again. Interestingly, it was published as Walter the Farting Dog: Trouble at the Garage Sale here in Australia. It’s true, we don’t have ‘yard sales’ here.
I’m reminded of listening to You’re So Vain by Carly Simon as a preschooler (the first song I remember listening to) thinking (for many years) that she was singing, “You walked into the party like you were walking into a yard.” That was just a pronunciation difference. Obviously I knew already what a ‘yard’ was.
I don’t believe the sequels have been as successful as the original, which tells me I’m not the only parent who will put up with a bit of farting in picture books, but how many versions do you really need, when kids are perfectly happy to read the same story over and over… and over.
As in every children’s book series, you know at one point Walter will take to the air.