L’enfer c’est les autres: Crad Kilodney, 1948–2014

It's my honour to present this guest post, a tribute to the late Crad Kilodney by his friend Ruth Bradley-St-Cyr. The photo of Crad comes courtesy of Lorette C. Luzajic.

Crad Kilodney and I became friends about 1980, the day he walked into the Kentucky Fried Chicken takeout where I worked, looked me square in the eye, and asked, “Do your chickens die in a state of grace?” To a geeky teenager with a quirky sense of humour, this was irresistible. “I certainly hope so,” I replied.

Crad lived in my North Toronto neighbourhood around Avenue Road and Wilson. After I moved to Hamilton, I had a dream about him and wrote to tell him about it. I dreamt that he had moved to a new basement apartment on the south side of Old Orchard Grove, about six houses down from Avenue Road. He wrote back and asked me to pick his lottery numbers for him, because he had just moved, exactly where I had said.

But Crad didn’t need the lottery. Lotteries are for poor people. Smart people invest in the stock market. So when Crad’s Long Island grandparents died and left him money, he invested in gold stocks and told me to do the same. Excellent advice. I wish I had had the money to invest, though I was leery of the social benefits of mining companies.

With his stock market dividends, he moved downtown to a rooming house, retired from standing on street corners, and divested himself of the tools of his trade. One souvenir is an original cardboard sign, complete with the shoelace he hung around his neck, which hangs now on my bookshelf. One side says, “CHANEL DOG ENEMAS $5-$12,” the other, “BOOKS FOR U. OF T. DUMMIES $5-$10.” When he asked me which sign I would like, this one particularly spoke to me, since I went to Glendon and York.

I have all of his books, mostly signed, up until 1992’s The Second Charnel House Anthology of Bad Poetry. A copy of his Worst Canadian Stories (volume 2, I think) was stolen in Nicaragua in 1988 and presumably is still in circulation there. His titles were always provocative, my favourites being Blood-Sucking Monkeys from North Tonawanda and Suburban Chicken-Strangling Stories. My favourite inscriptions are on The Green Book – “To Ruth, Avoid inhaling. Discontinue use if rash develops” – and on Human Secrets: Book Two – “To Ruth, Last copy of this book I will ever sell. Glad you got it.”

Yes, he was cranky. How could he not be? He sold his books not at fancy author signings with self-selected literary groupies, but on the streets of downtown Toronto, exposing himself day after day to the inanity of people who couldn’t even read his signs, never mind his books. “SLIMY DEGENERATE LITERATURE,” read one sign, and some illiterate soul asked if he was selling detergent. But Margaret Atwood talked to him whenever she saw him, and that was something of a balm to his wounded genius.

His best pokes at the literary establishment were two pranks, one of which I helped with. In the first prank, he took selected poems of Irving Layton, put a pseudonym on them, and submitted them to publishers. Nobody, except Layton’s own publisher, picked up on this; the other publishers rejected the work. The second prank, requiring the assistance of his friends, was to submit rather bad stories from great writers to the CBC literary competition. I got to be Maxim Gorky. All the stories were rejected but, again, without anyone identifying any of the real authors.

Kilodney’s style was brooding, raw, and spare. He always struck me as a man already in purgatory. But he was always happy to meet a kindred spirit, and he was not entirely solitary in his publishing endeavours. Besides his own Charnel House imprint, he also published with Black Moss Press, Coach House Press, The Canadian Fiction Magazine, The Carolina Quarterly, Descant, Lowlands Review, and others. Some of his correspondence can be found in The Canadian Fiction Magazine fonds (Box 16, file 131) at the McMaster University archives. But his own extensive papers (26 archival boxes/5 linear metres) he donated to the Thomas Fisher Rare Book Library at the University of Toronto.

Some of his letters – along with his “street tapes,” noir films on VHS, and a couple of vanity press books he had worked on, including one about a barber – is no doubt buried in one of my own bankers boxes of CanLit archives. Crad and I were always happy to run into each other – he kept box 281 at the Avenue Road post office – but I moved away from Toronto a dozen years ago and left him to his gold stocks. His real name wasn’t Crad. I think it was Lou, but I’m not sure now. He had beautiful hands. He claimed not to be a draft dodger. He has a sister somewhere who he never contacted. I’m sure she doesn’t acknowledge him either, but he was a wonderful, unforgettable, eccentric character and Toronto is poorer without him.

Ruth Bradley-St-Cyr
Embrun, Ontario

A Poem for May Day by Gay Page

Image and verse from The Workshops [sic] and Other Poems (Fort William, ON: Times-Journal, 1919) by Gay Page, otherwise known as Florence N. Horner Sherk. All, poet included, come from a not so distant past in which Ottawa saw Canadians as more than mere hewers of wood, drawers of water and bearers of bitumen. It was a time in which the labour of a single worker could "win bread for mother and child". 

Imagine.

Related post:

Christmas Greetings from Gay Page!

A McGill Student's Mild Summer of Love

Expo Summer
Eileen Fitzgerald
Toronto: Doubleday Canada, 1969

Eileen Fitzgerald's Expo Summer began forty-seven years ago – 28 April 1967 – with the opening of the World's Fair. Mine began the very same day. I was four years old, living with my parents and little sister in suburban Montreal; the author was a second-year McGill student who had just moved into a flat in the city's downtown. I'm fairly certain that our paths crossed.

Expo Summer? Fitzgerald's memoir begins with the solstice more than fifty-five days in the future, yet she manages fewer than 163 pages, a good deal of which have to do with events that occurred in March, during which time she lived in residence at the university's Royal Victoria College.

"Bubbly", says the Province. I wonder what other adjectives they used. The Gazette went with "good":

16 August 1969

Eileen Fitzgerald was not of Montreal, but Eastchester, New York. Her writing in Expo Summer suggests a sheltered life lacking in inquisitiveness. I quote from the pages in which the author and her two girlfriends hunt for off-campus accommodation:

We wandered out of the Guy Street station somewhat lost, since at that time our world in Montreal didn't stretch much further west than Mountain Street.

Now, I point out that Guy is only two stops from McGill. Guy Street itself is just eight blocks west of the university campus. The trio find a flat on Mackay, which is invariably referred to – thirty-two times – as "MacKay Street". The Décarie is "DeCarie" and Cedar Avenue is "Cedar Street". The author's flatmates, Lyn and Gate, are just as clueless:

No one knew the exact location of Place Bonaventure except that it was a Metro stop, so we took the Metro from McGill east to the Berri-de Montigny [sic] transfer, and then back west on the other line until we found ourselves in Bonaventure station. Clearly, it was going to be a lively night.

Expo 67 aficionados, of which I am one, will recognize Place Bonaventure as the venue in which François Dallegret held his pre-Expo Super Party, which featured Lothar and the Hand People, Suzanne Verdal, Tiny Tim, and the Blues Project.  Juan Rodriguez wrote a very good piece on the event here, but Eileen Fitzgerald's is much more succinct:

They finally did show up on the roped-off stage, which looked like a little boxing ring rising out of the crowds of teenyboppers, costumed hippies, young sophisticates and just passers-by. But by the time we had tuned in to their sound sufficiently to tune out the steady roar of the hall, they had already finished playing and had hurried toward the periphery of the Salle Bonaventure.

You really can't expect much by way of observation from a person who doesn't know the name of the street on which she lives.

It's always a mistake for a reviewer to criticize a book for not being what he wanted it to be, but  Doubleday did deceive:

A COLLEGE GIRL TELLS US HOW IT WAS AT THE GREATEST WORLD'S FAIR EVER

Expo Summer doesn't have a whole lot to do with Expo 67. Fitzgerald worked there for a bit selling postcards, and she did visit a few pavilions, but this book is more about getting that first apartment, hassles with Hydro Québec, friends crashing on couches and making meals on a budget. I have my own stories, each every bit as interesting as Fitzgerald's – some more! –  but none worth writing down.

She attaches herself to a band called the Service Entrance, I think because she has something going on with one of the guitarists. For a couple of dozen pages I thought this might lead to something interesting. The band shares the bill one night with Tim Buckley at the New Penelope, but it ends up as their only Montreal gig. Author and guitarist don't so much as kiss.

Still, it's a memorable summer:

A Swiss chocolate ice cream bar stood right across the way from a Brazilian counter where they sold flavors of sherbet which no one who wasn't a Brazilian had ever heard of before, and we couldn't decide what to get, or forget them all and have Dutch ice cream. Seymour had black raspberry, and I had banana, and Lyn had pineapple rum. Mat volunteered to try the Dutch chocolate across the way. And they all were great.

I too ate sherbet at Expo, and though four, had tasted pineapple rum.

The critics rave:

Young Miss Fitzgerald is a student at McGill University and golly, didn't she just practically drool to be in Montreal at Expo time. With her friends Lindsay (the moneyed one) and Gate (no one ever called her Mary) Eileen shares an apartment, works off and on at an Expo postcard palace, and pals with Mat, Josh, Eric, etc., students who were hoping to make a go with their electric rock group, the Service Entrance. Discouragement, and Mat cuts out, but there's a zoomy offer at the close and Mat returns. An occasional cut-up and jolly jape — sneaking into Labyrinth; copping a swim in an alien pool by hopping a rooftop; and the gosh-awful day when Lindsay's mother visits and discovers a boy or two in the bedroom (all innocent as a cub den). Eileen, bless her busy little pen, is undoubtedly the only member of her generation who admits to putting on a "gay summer frock." Dull as dishwater and pure as the drivelling snow.

— Kirkus, 3 July 1969

About the author:

A bonus: Not by Suzanne Verdal, but about her.

Object and Access: A slim hardcover in black and brown boards, my Fine first edition copy was bought in January from a bookseller in Woodbury, New York. At US$20, I did well. As of this writing, just one first edition – price-clipped, Near Fine – is listed for sale online (C$25). After that, you're left with a lone book club edition (US$15), and two less than pristine copies of the uncommon Curtis paperback (C$4 and US$4 – take your pick).

Toronto has the only public library to carry a copy. Eleven of our university libraries come through. Expo Summer is not to be found at  the author's alma mater.

Related post:

The Little People of Expo 67

Related plea:

All these years later, I'm still looking for a copy of Winston Smith's Sexpo '69 (North Hollywood: Brandon House, 1969).

C'mon, someone's gotta have a copy.