09 March 2018

Reviewing W.E.D. Ross



Online mag Book Marks has a new feature, "Secrets of the Book Critic," which takes the form of interviews with American "books journalists." I've begun following, in part, because of its promise to cover "overlooked recent gems." Sometime San Francisco Chronicle critic Alexis Burling kicked things off last month, by recommending Claire-Louise Bennett's Pond, Montpelier Parade by Karl Geary, All the News I Need by Joan Frank, and our own David Chariandry's Brother.

Good suggestions all, I'm betting – I know the Chariandry is – but what really caught my attention was this:
BM: What is the greatest misconception about book critics and criticism? 
AB: How about the idea that everyone can be a book critic? That all it takes to write a worthwhile review is just a quick read of a book and then a dribbling out of your off-the-cuff opinion? Anyone who contributes to this column can tell you that reviewing a book is definitely not an easy, zippy process. There’s research involved – reading an author’s past work(s) to put the current book in context, maybe reading an interview or two to see where the author was coming from when he/she wrote the book, plus keeping on top of what else has been or is being published about the subject. Then there’s the taking notes while reading (well, I do that) and the working and reworking of sentences and paragraphs that hopefully come together into a cohesive and un-stuffy package that will do the book justice. Maybe it sounds a bit like I’m tooting the collective book-critic horn, but as with any profession, the job requires training, humility, and lots of practice 
And, might I add, here’s a newsflash about book critics in general: Just because many of us read all day for work, that doesn’t mean we are always in our pajamas. Because: gross.
I doubt many people think anyone can be a book critic, just as I doubt many critics spend all day reading. Much as I like to picture book reviewers –  some anyway – in pyjamas and other sleepwear, I was troubled by Ms Burling's assertion that other works are always read. It got me wondering if my recent CNQ review of W.E.D. Ross's Lust Planet had been unfair, in that it had been written without my reading so much as one of the author's 357 other novels.


This question hung over me as I read Backstage Nurse, which Ross wrote under his Judith Rossiter pseudonym. Published in 1963, the year after Lust Planet, it was a transitional novel, written with some coaching from the author's second wife, nurse Marilyn Ross (née Clark). Backstage Nurse is important as Ross's entry into the nurse romance sub-genre. It was followed by fifty-seven more, ending two decades later with Nurse Marsha's Wish.

My review of Backstage Nurse has just been posted on the Canadian Notes & Queries website. Here's a small taste:
Dying American theatre legend Oliver Craft wants to spend his few remaining days touring a production of a new play, The Cardinal, a Cold War tragedy in which he plays the lead. Tall, imperious Doctor Trask of Boston’s Eastern Memorial Hospital looks to make it possible by casting about for a nurse to accompany the ailing actor. 
The role falls to beautiful Shirley Grant for no other reason than she had once pursued a stage career herself. At eighteen, she’d attended theatre school, and by nineteen was performing on Broadway. But then her father, a medical doctor, died in a plane crash, leaving her an orphan. “And so, although she still loved the theatre, she had decided to become a nurse. In this vocation, she could follow in the footsteps of her father in being of service, and find fulfillment she knew now the theater could never give her.” 
I suggest that another reason Shirley Grant seems a good fit for the role is that she has no social life.
The complete review can be read here.

Backstage Nurse hasn't change my mind about Lust Planet.

I recognize that I still have 356 W.E.D. Ross novels to go.

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05 March 2018

The Pyx Censored!



I spent a couple of hours this past weekend researching John Buell's second novel, Four Days, first published fifty-five years ago by Farrar, Straus & Cudahy. And why not? Buell is one of our finest novelists – Edmund Wilson thought so – but he is also one of our most unjustly neglected. I was honoured to help usher his debut, The Pyx, back into print last year as part of the Ricochet Books series.

The Pyx was roundly praised, enjoyed numerous translations, and was adapted to the screen in a not so bad film starring Christopher Plummer and Karen Black. Four Days too was praised. It has always been in the shadow of Buell's debut, and yet it is the better novel. In fact, Four Days is the author's best novel and is one of the greatest novels set, as least partly, in Montreal.

Why was I researching?

I'll leave you to guess.

An unexpected discovery came from an unlikely source, Anne Montagnes' review of Four Days in the 24 February 1962 edition of the Globe & Mail:
This, Mr. Buell's second novel, is of a texture with his first, The Pyx. Both reveal his careful study of Graham Greene – the concern with outlaw characters, the struggle between good and evil, the ever-narrowing pursuit both spiritual and physical, the compassionate Catholicism that appears before even those who spurn it, the violence, the pity. Unlike Mr. Greene, Mr. Buell writes with an economy of viewpoint and action, a simple unfolding of his story. Furthermore, Mr. Buell is never off-colour, as Mr. Greene sometimes is, making it even stranger that at least one branch of the Toronto Public Library has, because of vociferous complaints, removed The Pyx from its open shelves.
This is the first I'd learned of The Pyx being attacked by the censors... and in Protestant Toronto, no less. Further research uncovered this Letter to the Editor (6 March 1962):


The Toronto Public Library website informs that six copies of the Ricochet Books edition are in circulation. Only one copy of the Farrar, Straus & Cudahy edition survives.

It's reference only.

A coincidence, I'm sure.

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01 March 2018

'March, 1918' by H.C. Mason


Canadians outside Lens, France
March, 1918
A century-old poem by Great War veteran Harold Campbell Mason (1895-1976), gunner with the 72nd Battalion, CFA. This version comes from These Things Only..., his lone volume of verse, published in 1953 by Thomas Nelson.

March, 1918 
"Stranger, go tell the Lancedaemonians that we lie here, obedient to their commands." 
               When at long last the strife is done
                    And you who live look back on war,
               And sadly enter, one by one,
                    The items the grisly score —
               Whatever weakness you deplore,
                    Whatever failings mar our sheet,
               Write in one credit, if no more —
                    Canadians did not retreat. 
               When stalled the tank and stilled the gun
                    And silenced all the barrage roar,
               When you shall know what's lost and won
                    And who the brunt of battle bore.
               And whether Peace we struggled for
                    Be peace indeed or but a cheat,
               Add then this learning to thy lore —
                    Canadians did not retreat. 
               Whether we live to see the sun
                    Flame through the maples as before,
               Whether the death we seek and shun
                    Shall lay us here in the mud and gore.
               Whatever the future hold in store
                    Of stern success or made defeat
               We cannot know — but know we swore
                    Canadians did not retreat. 
               Canadian, in the deep heart's core
                    When life and peace again are sweet
               Keep this of us, if nothing more —
                    Canadians did not retreat.


The poet was a student at the Ontario Agricultural College when he enlisted. Mason returned after the war, earned a graduate degree, and served some time as a lecturer. He eventually settled on a dairy farm in Wilton Grove, now swallowed up by the sprawl of London, Ontario.


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22 February 2018

Not to Be Confused with Bust Planet



The new issue of Canadian Notes & Queries has arrived, bringing with it my long promised review of W.E.D. Ross's Lust Planet (1962), Canada's very first work of science fiction erotica. I found the novel every bit as good as expected.

Collectors of Canadian literature are advised to pick up this France' Book – oddly-named imprint of Hollywood's International Publications – while they still can. As I write, I see just one copy listed for sale online. To those requiring further enticement, I offer this: something I neglected to mention in the review is that Lust Planet features three intriguing illustrations. Intriguing because they have no connection at all with the text.


The other two are even better.

As I say, get it while you can. Better yet, subscribe to CNQ... easily done through this link at the magazine's website.

This issue's contributors include:
Madhur Anand
Jason Dickson
Jesse Eckerlin
André Forget
Cecil Foster
Stephen Fowler
Alex Good
Dominic Hardy
Ann Ireland
Penn Javdan
Samuel Johnson
Colette Maitland
Dominic Martinello
David Mason
Dakota McFadzean
Rebecca Rosenblum
Kate Sherren
JC Sutcliffe
Derek Webster
Bruce Whiteman

In addition to the cover and design, Seth reflects on CANADA official handbooks of days gone by (including this one): "I find these books fascinating, in a doctor's office kind of way. They have a sort of sublime dullness about them. A quality hard to put into words. Pleasing. Comforting. Sleep-inducing."

Editor Emily Donaldson not only put the whole thing together, she contributed a review of  David Chariandy's Brother.

This issue marks the second time I've shared pages with John Metcalf. Friends will recognize how much this means to me. Coincidentally, it was through John that I first learned of W.E.D. Ross.


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19 February 2018

Wither the Nurse Novel?



Much of this past weekend was spent reading Backstage Nurse, a W.E.D. Ross novel published in 1963 under his "Judith Rossiter" pseudonym. The book is 220 pages long, the print is of good size, and yet I'm nowhere near finished. I'm taking time to pause and consider because Backstage Nurse is my first nurse novel. By great coincidence, it was also the author's first nurse novel. He went on to write fifty-six more.


Rightly or wrongly, I've always associated the subgenre with Harlequin. However, if the back cover of Backstage Nurse is anything to go by, it had some pretty significant competition.


Must say, Jane Corby's Staff Nurse doesn't do much for me, but doesn't Dr. Jeffrey's Awakening sound interesting? And what about Jane Arden, Space Nurse?

Sadly, Avalon is no more; Amazon bought it for its backlist in 2012. Its last nurse novels – Everglades Nurse and Nurse Misty's Magic – were published in 1987, by which point the Harlequin nurse novel was long a thing of the past.

The rise and fall of the Harlequin nurse novel is reflected in this bar graph I put together over the weekend:

cliquez pour agrandir
I do like a good bar graph – "an understatement," says my eye-rolling wife – but this one doesn't give a complete picture. As with Avalon's "NURSE STORIES" – Susan Lennox's Doctor's Choice, for example – not all nurse novels published by Harlequin had "Nurse" in the title. "Hospital" featured frequently, and "Surgeon" sometimes, but the most prominent after "Nurse" was "Doctor."

As I've discovered, more often than not, doctors are the object of a nurses longing.

Interestingly, the first doctor to appear in a book published by Harlequin was a woman; the beautifully-named Serenity Parrish, heroine of Joseph McCord's His Wife the Doctor (1949), the publisher's thirteenth title. No longing nurse in this one, sadly.

The first nurse as heroine doesn't appear until Registered Nurse by Carl Sturdy (Charles Stanley Strong), which was published in 1950 as Harlequin's forty-seventh book.

As far as I've been able to determine, the heyday came in 1961, which saw forty-eight Harlequins featuring nurses as the main character.

The last new Harlequin to feature "Nurse" in the title was Roumelia Lane's Nurse at Noongwalla, which hit the racks in January 1974:
Alex had always been fascinated by Australia and went out there from England to get a job as a nurse. 
There she met the autocratic boss of a logging camp, Grant Mitchell, who told her, "There's no padding around in this job, Miss Leighton. Just dust and drought and a twenty-four-hour day." 
She would show him she wasn't scared of hard work, or of him!
And she did. She showed him.

Curiously, in the early 'eighties, Harlequin revived several of it's old nurse titles – General Duty NurseQueen's NurseResident NurseNurse BarloweNurse TemplarNurse AideNurse in WhiteNurse of All WorkA Nurse is BornNurses Are People, The Nurse Most Likely, and Staff Nurse (not Avalon's Jane Corby classic) – in its short-lived Harlequin Classics Library and even shorter-lived Harlequin Celebrates series.

Meanwhile, across the pond, the nurse novel continued on without a hiccup in Harlequin's Mill & Boon imprint. It does to this day in M&B's Medical Romance series. Released just last year, my favourite title is Kate Hardy's Mummy, Nurse... Duchess?:
The duke and the single mom! 
Nurse Rosie Hobbes knows charming men cannot be trusted. Visiting pediatrician and sexy Italian duke Dr. Leo Marchetti is surely no exception! Her toddler twins are now the centre of her life, and she expects Leo to run a mile when he meets them. Instead his warmth leaves her breathless!
Not just a doctor, but a duke. Sexy to boot! Looks like he showed her!

Are we on the cusp seeing a nurse novel revival? I ask because select titles in the Medical Romance series have begun appearing in Canada, though only in bastardized "LARGER PRINT" editions.

Yes, bastardized.

Look what they've done to Mummy, Nurse... Duchess?


Mommy?

I blame Rupert Murdoch.

Commercial break:


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12 February 2018

HBC as Murderers of Men and Killers of Dogs



The Land of Frozen Suns
Bertrand W. Sinclair
Chicago: Donohue, 1910
309 pages
A Scottish transplant by way of the United States, Bertrand W. Sinclair wasn’t Canada’s most prolific pulp magazine writer; I know of two hundred and ninety-four appearances, which is nowhere near the fifteen hundred or so (I lost count) logged by Ontarian H. Bedford-Jones. Sinclair isn’t our best-known pulp writer, either; that title belongs to Thomas P. Kelley, author of The Black Donnellys, Vengeance of the Donnellys, I Found Cleopatra, and, of course, The Gorilla’s Daughter
Sinclair’s distinction rests in being our best pulp writer. Though his plots are invariably marred by melodrama — a prerequisite in pulps — he usually brought something to his stories that shook convention. My favourite Sinclair novel is The Hidden Places. Serialized in The Popular Magazine (Oct 7 - Nov 20, 1921), it concerns a disfigured war veteran who seeks sanctuary on the remote BC coast from Vancouverites disgusted by his appearance. By great coincidence, he finds his nearest neighbour is his wife, who believes he'd died in battle. She is now married to another man. 
As I say, melodrama.
So begins my latest Dusty Bookcase review, posted today on the Canadian Notes & Queries website. Here's the link.

The Land of Frozen Suns was Bertrand W. Sinclair's second novel. It tells the tale of a Texas rancher's son who eludes American frontier justice by fleeing to Canada. Once there, he must contend with a company of murderers from which I once purchased a Braun coffeemaker.


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08 February 2018

Margaret Millar en français (et une petite histoire)



Several years ago, I had the idea of including Margaret Millar in the Véhicule Press Ricochet series. My plan was to revive every one of the out-of-print novels she'd set in Canada: The Devil Loves Me, Wall of Eyes, The Iron Gates, and Fire Will Freeze. I was hoping to find some way of adding An Air That Kills, her last with a Canadian setting, though it was then in print from Stark House Press.

By great coincidence, I knew Millar's literary executor; we'd first met decades ago, when the author was still alive. Response to my query brought the news that Syndicate Books had just negotiated the rights to reprint every single Margaret Millar title.

As a series editor, I was discouraged; as a fan, I could not have been more excited. At long last, I'd be afforded the opportunity to read uncommon Millar novels like The Invisible Worm, The Weak-Eyed Bat, Experiment in Spring, and Wives and Lovers.


The first volume of Syndicate's seven-volume Complete Millar, was published in September 2016. Titled The Master at Her Zenith, it includes Vanish in an Instant, Wives and Lovers, Beast in View, An Air That Kills, and The Listening Walls. Four more volumes have followed, returning a total of twenty-two novels to print. I've been pacing myself. The last two volumes of the Complete Millar will be published this year.

"Arguably the most talented English-Canadian woman writer of her generation, as a genre writer who lived much of her life in the United States Millar is often ignored by Canadian critics," I wrote in Millar's Canadian Encyclopedia entry. Had it not been for Gabrielle Roy, "English-Canadian" would've been unnecessary.

Is Roy still well known amongst Anglophones? The Tin Flute is studied, which is more than can be said about anything by Millar. This month, Roy's Street of Riches and The Road Past Altamont are being added to Penguin's Modern Classics series.

Sixty-seven years have passed since the publication of The Invisible Worm, Millar's debut, and she has never once had a Canadian publisher. Now is the time for French-language publishers of my home province to embrace her. Nearly every Millar mystery has been translated by Parisian publishers... and nearly all are out of print. As a starting point, I recommend Omelette Canadienne, the translation of Fire Will Freeze, the only Millar novel set in Quebec.

I'll leave you with four favourites.

La femme de sa mort [Vanish in an Instant]
Paris, Presses de la Cité
Mortellement votre [Beast in View]
Paris: Presses de la Cité, 1957
Un air qui tue [An Air That Kills]
Paris: Presses de la cité, 1958
Au violeur! [The Fiend]
Paris: Gallimard,1966
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30 January 2018

Margaret Millar Makes Something of Herself



The Invisible Worm
Collected Millar: The First Detectives
Margaret Millar
New York: Syndicate, 2017
We had a very Canadian eagerness to make something of ourselves.
— Kenneth Millar, 1971
The cover of this most recent volume in Syndicate Books' Collected Millar suggests that Paul Prye was the author's first detective, when the distinction really belongs to William Bailey. The novel opens with his sister, Amanda, being awoken in the wee hours by a disturbing phone call. A woman named Eve Hays has found a dead man in her stairwell – heart failure, she thinks. An indignant Miss Bailey suggests that a call an undertaker, and not the Inspector of the Mertonville, Illinois, police department, would've been more appropriate. A few minutes later, Miss Hays phones back to apologize for her little joke, confessing that she'd had too much to drink.

Then a body turns up in the lake behind the local country club.

Because Mertonville hasn't seen a murder in many a year, Bailey recognizes that the call is no coincidence, and heads over to the Hays residence. The house is never described, but we know it's very large because it serves as residence to no less than fifteen people, including a butler, a cook, a housekeeper, a maid, and a chauffeur. Eve, the girl who made the call, is the daughter of George and Barbara Hays, who own the digs. Christopher Wells, Eve's fiancé, is a frequent houseguest, and stayed over on the night of the murder. Richard Vanstone, second cousin to Barbara, is firmly installed, as is a woman named Angela Breton, who looks to be making a play for Simon, Eve's nineteen-year-old brother. George Hays' junior partner Peter Morgan and his newly wed wife Sally nearly complete the household census, but there is one more: psychologist Paul Prye, who George has been brought in to diagnose his somewhat unstable wife.

I found Prye irritating from beginning to end. This exchange with Bailey comes at that beginning:
"You are a physician?"
     "Well, more or – Yes, I am. But my practice for the last ten years has been in the field of mental abnormalities: neurology, psychoneurology, abnormal psychology, psychoanalysis. I'd rather be called a quack, however. It puts people at ease."
     "But you have a medical license?"
     "A medical license, a dog license, a driver's license. I even bought a marriage –.
     "You are whimsical, I see," the inspector said dryly.
     "Yes, indeed. 
            "The angel that provided o'er my birth
            Said, 'Little creature formed of joy and mirth...' 
      So you see how I stand."
I like Blake as much as the next guy – perhaps more – but Prye's habit of quoting the great man irritated. The humour, lighter and less sophisticated than in Millar's other novels, infects the dialogue, as in this interview between Bailey and the Hays family butler:
"Name, please," he said sternly.
     "Joseph Butler."
     "Joseph Butler?"
     "Joseph Butler," Joseph repeated firmly.
     "Sure, it's possible, Chief," Sergeant Abbott said eagerly. "I knew a broad once who was called Broad!"
     "A most striking analogy, Sergeant, but this is hardly the time for amorous reminiscences." Bailey turned to Joseph. "Now, Joseph, I'd like to point out to you that it is your duty to lay whatever information you may have before the police, even though it may seem to be damaging to your employers. I appreciate your loyalty but I must have truth."
An upstanding man with little time for nonsense, Bailey initially seems the very model of what one would want in a detective. However, as things progress, we come to recognize serious lapses in judgement, the most obvious being his acceptance of Prye's intrusion in the investigation. Bailey's biggest mistake is to place those living in the Hays' residence under something resembling house arrest. Ignoring the legality of the edict – Millar does – this doesn't prove in the least bit effective; in fact, the body count increases as a result. One character collapses from a poisoned digestif, while another is found dead in the kitchen pantry.

Bon Appétit!

The Invisible Worm was Margaret Millar's debut, but it's not the place for the uninitiated to begin – that would be An Air That Kills (1957). I can't quite bring myself recommend this novel, putting me at odds with the reviewers of its day, but there's enough of the writer Millar would become to make it worthwhile to her admirers.

For example, I saw something of future Millar characters in Amanda Bailey, the inspector's sister. Like the aptly-named Prye, she interferes in the investigation, but only with the best intentions. Amanda is certain that a woman will confide in another woman before any man, and so sets out to visit the victim's widow. She plans to present herself as "a representative of the ladies of the Presbyterian congregation," blind to the fact that the widow, Dolly, is an adulterous former burlesque performer.

I was sorry that Millar didn't do more with Angela Breton, Simon's love interest. At thirty-four, the houseguest does all she can to appear younger by dying her hair and hiding the fact that she holds a degree in medicine from the University of Toronto. For reasons that aren't fleshed out, Angela (née Anna) also hides the fact that she is French Canadian.

The Invisible Worm has some workhorse passages – more than any I've encountered in a Millar novel – but there is also wonderful writing, like these opening sentences:
Mr. Thomas Philips smiled happily. Not every man can afford to retire at the age of forty-five; in fact, not every man in Mr. Philips's business lived to that age, The mortality rate in certain professions tends to be high, and Mr, Philips was planning an extended trip to South America.
     There was nothing of malice in his smile. He intended to retire gracefully. Old grudges were forgotten, and the past was a lucrative, even a pleasant, memory.
     He made an excited little gesture with his hands. He was going away and he was never coming back, and it was rather nice to be saying good-by to someone. Tomorrow, Mr. Philips explained, he and Dolly would be on their way, perhaps on the water by this time. It was very late, and he was tired. He scarcely felt the pinprick on his neck, and by the time the hand closed over his mouth it was too late to do anything about it.
     The pinprick and the hand... South America.... Dolly... and Mr. Philips's heart stopped beating.
Before The Invisible Worm, the earliest Millar I'd read was Wall of Eyes (1943). A remarkable novel, written with a sure hand, it could have been included in the Collected Millar volume that Syndicate titled The Master at Her Zenith.

It's that good.

To think that Wall of Eyes, her fourth, was published just two years after The Invisible Worm. Recognizing this, I'm looking forward to reading Millar's second and third novels – The Weak-Eyed Bat (1942) and The Devil Loves Me (1942) – even if the publisher describes them as "The Paul Prye Mysteries."

Trivia I: The Invisible Worm was written in response to a challenge from husband Kenneth; it was he who came up with the basic idea. The Doubleday, Doran contract lists the couple as co-authors.

Trivia II: In establishing Bailey's character, Millar writes that the detective was irritated by his sister's gift of a book titled Keeping Fit at Fifty for his forty-seventh birthday. No such book exists, though a much-referenced and much-reprinted Samuel G. Blythe article with that title was published in the January 15, 1921 issue of the Saturday Evening Post.

Object and Access: A bulky, 541-page tome printed on substandard paper. The type is small, as are the margins, and yet I'm happy to own a copy. I'd wanted to read The Invisible Worm for years, but it was inaccessible. The  first edition, published in 1941 by Doubleday, Doran, enjoyed just one printing. Unlike most Millars, there has never been a mass market paperback. Apart from the Doubleday Doran, the only other time it appeared in the United States was as a Chivers large print edition.

The first and only UK edition, published in 1943 by John Long, misspells Millar's surname on the dust jacket (but not in the book itself). Uncommon, an Australian bookseller is offering a copy (left) at US$650.

Well worth the price, I say! Librarians, particularly those involved in rare books, are asked to take note of the seller's card. Strike now, before it disappears!

Library patrons will find The Invisible Worm difficult to access; Library and Archives Canada and the University of Toronto have copies of the Doubleday, Doran first, but that's it. I can't find one listing for Collected Millar: The First Detectives in a Canadian library – including that serving Kitchener, Ontario, Margaret Millar's hometown.

L'invisible ver, a French translation by Laurence Kiefé, was published in 1996 by Librairie des Champs-Elysées. Its cover is nowhere near as interesting as the attractive, if inept, 1943 John Lang edition.


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