McClelland's Experiment, Newfeld's Art

Mad Shadows [La Belle Bête]

Marie-Claire Blais [Merloyd Lawrence, trans.]

Toronto: McClelland & Stewart, 1960

An antidote to Friday's post.

Isabelle Hughes' review of The Double Hook has had me revisiting McClelland & Stewart's 'unusual experiment' of the late 'fifties and early 'sixties. Encyclopedia of Canadian Literature (note: not The Encyclopedia...) devotes a surprising amount of space to the venture in its entry on Sheila Watson:

In 1959 and 1960 the Canadian publisher McClelland and Stewart published its first two paperback originals, choosing two newcomers to advance the guard: the second book was Mad Shadows, the translation of Marie-Claire Blais's first novel, published a year earlier when she was 20 years old. The first, by a few months, was The Double Hook. Both books were designed by Frank Newfeld, who would become the first notable postwar book designer in Toronto, and they would openly declare the primacy of innovative book design.

These words, penned by George Bowering, aren't quite right. For one, they fail to mention that these titles appeared in simultaneous cloth and paper editions. I might also point out that Irving Layton's M&S debut, Red Carpet for the Sun (1959), hit the stores in both cloth and paper during the nine or so months that separated The Double Hook and Blais' Mad Shadows. Still, Bowering does recognize an important element ignored by Hughes – that being the creative contributions by Newfeld. The entry continues: 'Adepts might have thought about Wyndham Lewis and Marshall McLuhan. The proper text of The Double Hook begins after 12 pages of highly noticeable front matter.'

While there was nothing at all standard in Newfeld's designs – Red Carpet for the Sun began with six pages of colour illustrations – I find his approach unwaveringly reminiscent of being eased into a movie through the opening credits. Here, for example, are the first thirteen pages of Mad Shadows. It isn't until part way down the fifteenth page that the novel's first sentence – 'The train was leaving town.' – appears.

(My copy was signed by the gracious Ms Blais one fine chilly Vancouver evening in the autumn of 2001.)

Gustafson's Good or Bad Novel

Ralph Barker Gustafson

16 August 1909 - 29 May 1995

In recent months, I've come to realize the importance of nineteen-aught-nine to the poetry of Anglo-Quebec. A.M. Klein was born that year, as were Ralph Gustafson and John Glassco. Three very different poets and, I dare say, three very different men.

Today belongs to Gustafson. I'm sometimes hesitant when acknowledging anniversaries here – it may be argued that the poet didn't always receive the recognition he deserved, but his writing wasn't exactly suppressed or ignored. That said, there is one work, No Music in the Nightingale, that could be considered forgotten. Much of what I know of this unpublished novel comes from Jack, A Life in Letters, James King's 1999 biography of Jack McClelland. Its history is curious, one where publication, which at first seems certain, becomes less likely with each new draft. We're told that in 1953 the publisher approached Gustafson, then under contract with Viking in New York, hoping to win Canadian rights. Three years later, the manuscript arrived at McClelland and Stewart's offices, generating an 'enthusiastic letter' with detailed comments from fiction editor Conway Turton.

Then... silence.

Three more years passed, during which M&S published Gustafson's well-received collection of verse, Rivers Among Rocks. The poet wrote McClelland asking him to reconsider the novel. This time, however, the reception was muted. 'We have read it here and are reserving judgement', he wrote. 'It's either very, very good or very, very bad. I'm damned if I know which.' These words, to Little, Brown editor Alan D. Williams, were part of an ill-fated effort to find an American co-publisher. What happened to the early contract with Viking, King doesn't say.

Gustafson tried again in 1965, sending a McClelland a revised version of the novel. This time, John Robert Colombo weighed in with a reader's report that featured a fatal line: 'As a poet he is a consummate craftsman – but as a novelist: ugh!' In response, Gustafson wrote McClelland: 'I was deflated by the readers' reports and haven't got up enough courage to read through the novel again – I know I should, in fairness to you, and I know it needs one revision. I suppose, on the whole, after the reader's "ugh," you better ship the thing home to me, alas.'

The unpublished novel is held at the Queen's University Archives.

A POD Publisher's Alternate Universe

I've taken more than a few swipes at print on demand publishers. And why not? The industry has yet to complete its second decade and already these firms are responsible for a great percentage of the ugliest books in existence. Blurred scans, scored texts and missing pages only add to the unpleasantness. However, much was forgiven today – if only temporarily – after I happened on the latest post by J.R.S. Morrison at his always interesting Caustic Cover Critic blog. Mr Morrison brings to our attention English POD publisher Tutis Digital, whose covers feature the most bizarre pairings of title and image I have ever seen.

A quick visit to the company's website brings photographs of Jacques Cartier's nuclear submarine, the Samurai War between Canada and the United States and the tropical paradise that is Quebec. I present the following without further comment, adding only that Tutis offers an alternate edition of The Backwoods of Canada, one that features a handsome cover image of the majestic mountains of Peterborough, Ontario.

Related post:

It's Tutis Time!

POD Cover of the Month: Romany of the Snows
POD Cover of the Month: The Sky Pilot

The Modern Canadian Novel at Fifty

A bit late, but it was only yesterday that I happened upon the above, placed in the 16 May 1959 edition of the Globe and Mail. Can't imagine Jack McClelland was too happy with the investment – the very same page features a review titled 'Left Hook, Right Hook, KO!'

While critic Isabelle Hughes begins by praising the experimental nature of the book, her compliments are directed at the publisher, not the author:

By far the most interesting thing about The Double Hook – which is a first novel by Canadian writer, Sheila Watson – is that it represents an unusual experiment in Canadian publishing. The book is available in two covers, one paper and one cloth. This arrangement, which seems eminently sensible, gives the reader a choice between buying a new book at a reasonable price if he does not wish to add it to his permanent library, or investing a larger sum in it if he does.

It is extremely doubtful, however, whether The Double Hook was a happy selection with which to introduce this experiment. Obscure in style, eccentric in punctuation, and with a plot that is difficult to follow, it is permeated by an odd atmosphere of unreality; it has the quality of a distorted, not especially vivid dream.

...

The Double Hook is by no means an easy book to read. Certainly, it cannot be described as entertainment in any sense of the word. And surely a novel, of all forms of literature, ought primarily to entertain the reader, or at least to draw him into a world which for the time seems real to him. However profound and thought-provoking a novel's thesis may be, if it is not intelligible to the average discerning person who likes an absorbing story, then that book fails as a novel.

The reviewer's words remind me of Earle Birney, who had two years earlier written McClelland to say that he'd found the novel 'monotonous, self-conscious, artificial and lacking in real fictional interest'. He advised McClelland not to publish, complaining, 'I just don't know what the damn novel is about, or I didn't until it was almost ended.'

A year after publication, McClelland told the Montrealer that he hadn't expected to break even on the novel. In fact, it had already turned a profit. Good man, that Jack McClelland.

Beauty Neglected

From time to time, by which I mean every other day, I receive emails from various online book marketplaces pushing titles that they somehow think I'll be wanting to buy. Most are ignored, but I usually have time for the folks at AbeBooks, who seem alone in recognizing my interests. Their latest – subject line: '30 Beautiful Old Books We'd Buy For the Cover Alone' – points to a visual feast comprised of titles published from the end of the 19th century to the beginning of the 20th. Who would've thought that a volume titled The Book of Bugs could look so attractive?

Among the other beauties is A Japanese Blossom, the 1906 novel by Winnifred Eaton, published under her nom de plume Onoto Watanna. I've written a good deal on Eaton in print, and don't really want to repeat myself here, but I continue to be mystified by the lack of recognition she's received in this fair Dominion. Eaton's story is remarkable on so very many levels, beginning with her birth in 1875 Montreal to an English silk merchant turned landscape painter and his Chinese wife, herself the orphaned child of circus performers. One of fourteen children, Winnifred grew up near poverty, yet managed to become one of the wealthiest Canadian writers of her day. No doubt some inspiration was derived from her older sister Edith, who in recent years has been described repeatedly as the 'mother of Asian American literature'. Winnifred's own literary career began at the age of fourteen with the sale of a short story to Montreal's Metropolitan Magazine. By the fin de siècle she'd embraced Japonisme and, as Onoto Watanna, arrived in New York, where she presented herself as the daughter of an Englishman and a Nagasaki noblewoman. Her second novel, A Japanese Nightingale (1901), sold over 200,000 copies, was adapted to the Broadway stage and inspired a silent picture.

There is a great deal more to Eaton's story, including a career in Hollywood and her return to Canada as the wife of a wealthy Alberta rancher, but it's unlikely that you'll find any trace at your local public library. The Canadian Encyclopedia has no entry on Eaton, nor does she figure in The Oxford Companion to Canadian Literature. However, she is the subject of a very fine biography, Onoto Watanna: The Story of Winnifred Eaton (2001), written by her granddaughter. There's also a biography of her sister, Sui Sin Far / Edith Maude Eaton (1995). Both published by the University of Illinois Press, they're part of an a revival that has seen number of Watanna books reprinted in the United States. To these I recommend the University of Virginia Library's Winnifred Eaton Digital Archive, which features a growing number of her fiction and non-fiction writings. The biographical sketch provided by the site makes no mention of Canada. Perhaps we deserve nothing more.

A good many ugly-looking books have been featured in this blog; consider this small sampling of Watanna titles an attempt at redressing the balance.

A Japanese Nightingale

New York: Harper & Bros., 1901.

The Heart of the Hyacinth

New York: Harper & Bros., 1903.

Daughters of Nijo

New York: Macmillan, 1904.

Tama

New York: Harper & Bros., 1910.

Pay No Need

Canadian Bookman, March 1922

Gay and Withdrawn

Gay Canadian Rogues: Swindlers, Gold-diggers and

Spies

Frank Rasky

Toronto: Thomas Nelson & Sons, 1958

Bought for a buck twenty years ago, Gay Canadian Rogues has stayed with me from Montreal to Vancouver to Toronto, then back to Vancouver and, finally, the picturesque town of St Marys. Cover and title have ensured its survival during those nasty culls that invariably accompany moves.

It's a fast read, not much more than a collection of disjointed chapters, each dealing, more or less, with the sorts of folk described in the subtitle. They're not particularly gay, in any sense of the word, nor are they necessarily Canadian. A few fail to meet any definition of the word 'rogue' – and it is here that the author may have dug himself into a bit of a hole. In 1000 Questions About Canada, John Robert Colombo writes that Gay Canadian Rogues was withdrawn by Thomas Nelson & Sons 'within weeks of publication':

The publishers were responding to the threat of legal action. The author of the book, journalist Frank Rasky, had devoted one chapter to Igor Gouzenko, the Soviet defector. Gouzenko did not object to the innocent use of the word 'gay' in the title – it had yet to take on other connotations – but he did object to being lumped in with rogues, swindlers, and gold-diggers. Once withdrawn from publication, the book was never reprinted.

Hmm... Not to quibble, but Rasky devoted two chapters to Gouzenko, and the book was reprinted... by Harlequin... that very same year... with a cover that owed everything to the original.

Assuming Colombo is correct about the withdrawal of the first edition, I'll add that it really is a shame; particularly since the Gouzenko chapters – 'Gouzenko, and Whisky, and Wild, Wild Spys' and 'Gouzenko's Escape from the Red Atom Spies' – rank with 'Dog Detectives of the R.C.M.P.' as the weakest. There's much better payoff in reading about Cassie Chadwick or the author's account of the time he infiltrated a farcical gang of Vancouver juvenile delinquents. Readers of Canadian literature are directed to Rasky's writing on Red Ryan, the criminal cause célèbrewho inspired Morley Callaghan's More Joy in Heaven. The author tells us that Ryan had been signed to write Crime Does Not Pay, a biography that was left unfinished when he was gunned down by members of the Sarnia Police Department. I wonder where that manuscript is today.

Object and Access: Well-bound, printed on heavy stock, it's saddled with a dust jacket this is thin and fragile. The book isn't common, but it's not expensive either. Four of the eleven copies currently listed online include letters from the author to various members of the media and can be had for under C$40. At the high end we find one Toronto bookseller offering the book – sans letter – for C$75. Condition is not a factor. A Calgary merchant goes even farther in attempting to flog a copy – again, sans letter, and with 'heavy wear on dust jacket' – for C$100. But then, this same bookstore is asking C$2,500 for a 1995 bargain book about cats. No joke.