A Red in the White House?

Their Man in the White House

Tom Ardies

Toronto: McClelland & Stewart, 1971

198 pages 

One of the wealthiest men in the United States is running for the presidency, and intelligence agencies are concerned because Russian operatives are exercising influence. Do they have something on him? Does blackmail play a part? And what are we to make of the peculiar relationship between the candidate and his blonde adult daughter?

So begins my review, just published online at Canadian Notes & Queries.

A novel for our times, don't you think?

You can read it here:

Cold War, Warm Bed

Do not judge this book by its cover.

Related posts:

A Russian is Coming! A Russian is Coming!

George Segal Gets His Man

In Search of Margerie Scott

The Windsor Daily Star, 10 April 1951

Following last week's review of Margerie Scott's The Darling Illusion.

Until this year, I'd never heard of Margerie Scott. Her name doesn't appear in The Canadian Encyclopedia, The Dictionary of Canadian Biography, The Oxford Companion to Canadian Literature, The Cambridge Companion to Canadian Literature, or the Enyclopedia of Canadian Literature. Three of her five novels were published by McClelland & Stewart – once "The Canadian Publisher" – but I'd never come across copies. My introduction came by way of an American, Scott Thompson of Furrowed Middlebrow, who mentioned her in this February post. "It's possible that Margerie Scott belongs on a Canadian women writers list," writes Mr Thompson.

Margerie Scott was born in 1897 at Leeds. If her publishers' author bios are correct, she received some part of her education in Belgium. Edith Margery Waite was her name at birth; "Scott" was added when she married Canadian Hubert Scott. According to the author, she lived in Canada ten years between the World Wars. During the second conflict, she served as chief billeting officer for the London borough of Chelsea. When the fighting stopped, she worked briefly for the Entertainments National Service Association before returning to Canada for another decade.

Throughout both Canadian stints, Windsor served as her home. She threw herself into society, volunteerism, and amateur theatre. Margerie Scott's name appears in nearly two hundred editions of the Border Cities Star and Windsor Daily Star, this from the 18 September 1956 edition of the latter being an example:

Scott also wrote theatre, film, and book reviews for the Star. My critique of Andre Langévin's Dust Over the City is at odds with hers.

The Windsor Daily Star
24 Sept 1955

I'm not sure we would have much agreed on things literary. In her lecture "The Short Story and Its Place in Modern Letters," covered in the Border Cities Star (22 September 1931), Margerie Scott described O. Henry and Rudyard Kipling as the greatest short story writers of the day. An Anderson, Fitzgerald, and Mansfield man, I take issue.

And then there's this:

Until recent years, the short story has been somewhat despised [emphasis mine]. The novel was the real work. But today, people are giving most of their time to perfecting the technique of the short story, which includes concise presentation of an idea, with an introduction, climax and completion.

More often than not, the Border City Star and Windsor Daily Star refer to Margery Scott as a short story writer. I've managed to track down twenty, most of which were published in long-dead magazines like Breezy Stories, Young Realistic Stories, Britannia and Eve, and The Canadian. One source records that she is the same E.M. Scott who  contributed "The Voyage to Kleptonia" to the October 1928 edition of Amazing Stories.

I don't quite doubt it.

Because her stories were never collected, I think of Margery Scott as a novelist. Life Begins for Father (1939), her debut, appears to have been written off; it received no mention in her subsequent books. In his surprisingly long 22 April 1939 Windsor Daily Star review, "Windsorite Resembles Dad in Novel," critic Angus Munro praises the novel as a "first class story of life in modern London."

My own first book dealt with people who inspired characters in Canadian literature, so you can understand my interest in this paragraph:

A Yorkshireman himself, Tom Waite emigrated to Canada in 1927, settling in Windsor. His profile in the January 1928 edition of Canadian Golfer is quite impressive.

There's more to be learned about Margery Scott. I've only started digging.

For now, the question remains: Does Margerie Scott belong on a Canadian women writers list?

I would say so. How about you?

Related posts:

They Fell in Love With the Actress

Another Handful of Dust
Love During Wartime

They Fell in Love With the Actress

The Darling Illusion
Margerie Scott
London: Peter Davies, 1954
246 pages

Olivia Thompson's dead body lies in a slowly growing pool of blood, an apron belonging to her housekeeper, Mrs Baker, covering the head. Looking down, Inspector of Detectives John Sims believes the death a suicide, but Doctor Jordan Plant, the coroner, suggests otherwise: "I've been thinking—John, have you ever known a woman to shoot herself in the face?"

Olivia's final days favour the doctor's opinion. A young actress who had spent much of the Second World War in London, she'd returned to her Canadian hometown only four days earlier. In the short time between arrival and death, Olivia had purchased and moved into her childhood home. She'd hired Mrs Baker, ordered new furniture, and had started in on plans to renovate. No, nothing speaks to suicide, which made this reader question the inspector's rush to judgement. I didn't know what to think of the coroner, who has this to say about the murderer: "It's more likely to be a woman than a man to do a thing like that to another woman."

Is it? I honestly have no idea.

Save the housekeeper, Olivia had no contact with anyone except Louise Brand, Edith Temple, and Mary Anne Nesbit, each of whom had visited in the days leading to her death. Names from Olivia's past, they all have reasons to hate her. The novel's structure, coupled with Dr Plant's conviction, encourages the expectation that one of these women did the bloody deed. But which one?

Don't look to Doctor Jordan Plant or Inspector John Sims for the answer, they feature only in the first of the novel's five sections. "Louise," the second section, serves to introduce a living Olivia and her family. Mother Meg, was a music hall performer in the Old Country. Father Tom was a smitten medical student, disowned over his choice of mate. Together Meg and Tom emigrated to a small Canadian city (read: Windsor), where they raised their children, Olivia and Gerry, and earned a reputation as a couple of carefree oddballs.

But what of Louise? Though this is her section, she features hardly at all. It's instead given over to Reg Barnes. The son of a rumrunner who made a fortune during American prohibition, he's expected to marry pretty, buxom blonde Louise Williams, a member of a prominent family that had achieved its riches in the very same manner. The Barneses and Williamses have money and pretense, but Reg is attracted to Meg and Tom's way of life... and their daughter. On the eve of the announcement of his engagement to Louise – invitations are back from the printer – he asks Olivia to marry him. She declines, Reg marries Louise, and in the section's climax, calls out Olivia's name on his wedding night.

"Edith," the novel's second section is named for Edith Temple. A frigid widow with a fetish for cleanliness, she'd once married a younger man, and had endured sex until pregnant. Her unfortunate husband was mercifully shot to death whilst running rum to thirsty Americans. Edith gave birth to a son, Jack, whom she raised with her cold, cold heart. It's no wonder that he's drawn to Meg and Tom's warm, loving home. Like Reg, he develops a thing for Olivia. Things take a turn when Jack learns of Olivia's plans to study theatre in London. He pleads with her to stay, is met with derision, and kills himself.

Though only sixty pages in length, "Mary Anne" may be worthy of a paper. Historians will find interest in its portrait of a family, Meg and Tom's, in wartime London, but the real value comes in its depiction of homosexuality and attitudes towards same. We begin in Canada. Mary Anne Nesbit and younger brother Bill are orphaned in their early teens. Against all odds, with the use of an otherwise useless aunt, they manage to maintain their independence. When comes the war, Bill is sent to fight overseas. Mary Anne joins the Canadian Red Cross so as to be closer to her brother. On leave, Bill visits Meg and Tom, now living in London, and surprises everyone by proposing to Olivia. She accepts, only to frustrate her betrothed by deferring the wedding for the stage. Bill goes on a bender, ending up in a King's Road pub. A man named Christopher Bentley sidles up to him at the bar and, when Bill gets too drunk to stand, takes him back to his flat. From this point on, despite initial "self disgust" on Bill's part, he and Christopher become a couple.

Mary Anne cannot accept her bother's new relationship, as evidenced in this exchange:

"It's your fault, " Mary Anne jumped up and stood facing Olivia, her face working, her hands balled into fists. "I didn't want him to marry you because I knew you'd never make him happy; I know as much about you as you know about me, and I know you'e selfish and cruel and always have been, but you did get engaged to Bill and you should have kept your promise instead of making him so miserable that he went off and got drunk and took up with... this..." she paused, thinking, and Olivia said with deadly sweetness:
     "Is 'pansy' the word you're looking for?"

Citing this passage out of context is deceiving; Olivia can be mean, but here she's defending Bill. His relationship with Christopher is not only accepted, but embraced by Meg, Tom, Olivia, their upstairs neighbour... really, everyone except his sister.

Olivia's defence of Bill is made more interesting in that it is so uncharacteristic. She's depicted as a dislikable, selfish, self-centred, uncaring woman whose only desire is stardom on the stage. In this she's supported by her parents. Meg and Ted's return to England has nearly everything to do with helping Olivia to achieve her dreams, though they'd be quick to point out that it also has something to do with the overseas wartime service of their son Gerry.

Remember Gerry?

The male characters in The Darling Illusion serve no purpose other than to propel the plot. Ted is nothing more than the most adoring of husbands, happily supporting his wife's whims, including her sudden decision to return to England. Gerry, at best the ghost of a character, provides additional reason for Meg and Tom's relocation. Once his parents are reestablished in London, he is – quite literally – killed off. Reg, Jack, and Bill exist only to provide Louise, Edith, and Mary Anne with reasons to hate Olivia.

It wasn't until I'd finished the novel that I read this in the jacket copy: "The Darling Illusion is not a thriller or detective story, but a penetrating novel of character."

A bold claim, it is both true and false.

It's true that The Darling Illusion is not a thriller or detective story; Inspector of Detectives John Sims and coroner Jordan Plant are nowhere to be found after the eighth page. It is not true that The Darling Illusion is a penetrating novel of character. Of its population, only Meg, Edith, and Mary Anne live. This is an unusual novel in that its protagonist, Olivia, exists as little more than a sketch; she's not nearly so realized as the secondary female characters. In this lies the novel's great flaw. Reg, Jack, and Bill all fall in love with Olivia, but the reader will be hard pressed to understand.

Midway through the novel, the omniscient narrator shares this about Bill's feelings for Olivia: "He loved her, but didn't like her."

I've never quite understood how that works.

I didn't love her, I didn't like her, and I didn't hate her; she never seemed real. It's no wonder then that Louise, Edith, and Mary Anne didn't kill Olivia.

I spoil little in revealing that her death can be blamed on a mouse.

I'll leave the rest to your imagination.

Epigraph:

The lines come from Roberts' "The Tantramar Revisited," first published in 1883.

Query: In the years after the war, would Olivia have been able to fly into Canada with a loaded revolver?

The novel's final page hinges on the answer.

About the author:

In fact, The Darling Illusion was the author's third novel, following Life Begins for Father (London: Hutchinson, 1939) and Mine Own Content (1952).

Object: A slim hardcover featuring mustard-coloured boards. The jacket illustration is uncredited. I think the artist captured something of Olivia, a woman whom Dr Plant describes as a woman who "could give the impression of beauty."

My copy was purchased for nine American dollars from an Australian bookseller in mid-March. It arrived two weeks ago. As you might imagine, I'd pretty much given up.

It features this book trade label:

Access: Davies' The Darling Illusion enjoyed only one printing. There was a McClelland & Stewart edition, but I've never seen it. Copies of the novel can be found at Library and Archives Canada, Bibliothèque et Archives nationales du Québec, and nine of our university libraries. Serving the city in which the author lived, the Windsor Public Library holds none of Scott's novels, though it does have Beyond All Recompense: The Story of the Honourable Profession of Nursing in Windsor (1954), a booklet she wrote for the Windsor Centennial Festival.

Three copies of The Darling Illusion are currently listed for sale online, the least expensive – ten Australian dollars – being in "Good+" condition. Were I to revisit my March purchase, I'd be tempted by the American bookseller offering The Darling Illusion (M&S edition) and her subsequent novel, Return to Today (Peter Davies edition), for forty-four American dollars.

My thanks to Scott of Furrowed Middlebrow for bringing Margerie Scott to my attention. His writing on the author can be found in this post.

Related post:

In Search of Margery Scott

What's This?

I purchased Robertson Davies' What's Bred in the Bone upon publication, the exchange taking place in 1985 at the old Coles bookstore on the corner of St Catherine and Stanley in downtown Montreal. The second book in Davies' Cornish Trilogy, it is the earliest Canadian edition of a Davies book to feature a cover by Anna Bascove. Prior to this, she'd provided illustrations for the American editions of The Rebel Angels and High Spirits. Following What's Bred in the Bone, her work came to take over Davies' Penguin backlist. It also graced his final novels.

High Spirits (Toronto: Penguin Canada, 1982)
and High Spirits (New York: Viking, 1983)

Whoever hired the artist deserves recognition; Bascove and Davies were a perfect match. In my mind, they're forever linked.

I've been thinking about Davies because this year marks the twenty-fifth anniversary of his death. His star shone so brightly back then... but not so much now. Some Davies titles are still in print, though most are not.

I don't think of Davies as a neglected writer, which is why he hasn't featured much in this blog or in my books. Here and there, I've mentioned that Davies' What's Bred in the Bone shares its title with Grant Allen's 1891 Tit-Bits £1000 award-winning novel. How odd, then, that I happened upon this rip-off being sold by a print on demand vulture using CreateSpace.

Someone call a lawyer. Anna Bascove is owed recompense.

Related post:

A Nineteenth-century What's Bred in the Bone

V is for Vulture: The Bad Luck of Ginger Coffey

An Obstinate Virgin Turns Old-Fashioned Girl

The Obstinate Virgin
Sinclair Murray [Alan Sullivan]
London: Sampson Low, Marston [1934]
314 pages

In Essentially Canadian, his 1982 biography of Alan Sullivan, Gordon D. McLeod dismisses The Obstinate Virgin in two sentences:

The most devastating word applied to some of Sullivan's fiction is "ephemeral." It accurately describes The Obstinate Virgin, the only novel published by Sullivan in 1934.

And so, of course, I turned to The Obstinate Virgin as the next title in my exploration of things Sullivan.

The titular virgin is Mary Hellmuth, twenty-one-year-old step-daughter to Mr Henry Bentick, late of Kent. Step-dad is dead. His demise, quite recent, quite unexpected, must surely came as a shock, though no tears are in evidence. Mary's mother – known only as "Mrs Bentick" – had remarried for money, which is not to suggest that Mr Bentick wasn't most kind and considerate. "I wanted the right sort of home for you," she tells her daughter. "I don't complain about the last four years in any way at all, and you shouldn't either." "I'm not," replies Mary, "but naturally just at the moment I can't pretend to be overcome with grief, and equally naturally, I'm looking ahead."

This exchange takes place on the train to London, where they meet with family solicitor Mr Spillsbury of Spillsbury, Burkonshaw and Clewes. Mrs Bentick's expectation is that has inherited an annuity of £5000, the same amount enjoyed by her late husband. It is the solicitor's sad duty to inform that with Mr Bentick's death the entitlement has been transferred to another; the widow can expect no more than an annual payment of £250 drawn from investments made on her late husband's life insurance. This unpleasant news is coupled with the revelation that the grand Bentick house and estate were leased. Of a sudden, mother and daughter are without a home.

Mary takes the news much better than Mrs Bentick; where the daughter is disappointed in having to give up her dreams of a carefree life in London, the mother suffers the horror of having married for money that never existed. Sullivan shows kindness in not passing judgment on either woman.

Mrs Bentick retreats to a modest rooms in Bayswater, demonstrating little concern regarding the daughter for whom (she claims) she had (in part) married Mr Bentick.

Mary's initial searches for steady employment are not at all successful. However, fortunes turn – or do they? – when she responds to an advert placed by Mrs Hathaway, a middle-aged American woman in need of a secretary. It soon becomes clear that the obstinate virgin is hired for looks alone.

But why?

The location shifts to Monte Carlo, where it becomes clear that Mrs Hathaway hopes Mary's beauty might lure Hugo, her mentally unstable son, away from femme fatale Tonia Moore. Looking on is plain American girl Ann Mason who, being incredibly rich, has followed him across the Atlantic.

Monte Carlo, 1934

Mrs Hathaway holds slim hope that Ann might capture her son, though it's hard to see that there's much of a chance when compared to Tonia, "a sinuous, graceful, provocative creature who, when she moved, seemed to have no bones." Mrs Hathaway encourages Mary to chase Hugo, all the while making it clear that that she'd prefer wealthy Ann as a daughter-in-law:

"I've always been fond of her, and she's a fine girl, but she doesn't make any effort to attract, just thinks that it's enough to be natural. She was always like that. Of course, if you're a born beauty" – here she shot a different kind of glance at Mary – "no special effort is necessary, but believe me in Ann's case it is." 

Ouch.

Hugo never gives Mary so much as a second glance, though she does attract considerable attention from lively Italian Conte Guino Rivaldo and a rather serious Englishman named James Brock. The former can really cut a rug, and is recognized by all as Mrs Hathaway's gigolo (though no one suggests that they are lovers). Brock, who appears out of nowhere, somehow manages to attach himself to the group, despite being a right killjoy. As Guino woos the young virgin, Brock pooh-poohs her gambling, criticizes her use of make-up, advises her against swimming in cold water, and discourages her budding friendship with a certain Mme Gagnon. Within two weeks of arriving in Monte Carlo – and with considerable excitement – Mary accepts a proposal of marriage from one of these two men.

No points for correctly guessing which.

As a young woman who had expected an inheritance, had received nothing, and is left to make her own way, Mary Hellmuth is a familiar character. Her predicament is mirrored in Grant Allen's Juliet

Appleton (The Typewriter Girl; 1897) and Lois Cayley (Miss Cayley's Adventures; 1900), but Mary lacks their smarts and enterprise. She's more like the orphaned Monica Madden in George Gissing's The Odd Women (1893): a not-so-bright girl whose beauty tempts disaster. In short, Mary is a Victorian heroine moving through a Depression era novel. Reading The Obstinate Virgin, I kept having to remind myself that it was published the same year as Tender is the Night and The Postman Always Rings Twice. It is so old-fashioned that the passing of an automobile seems incongruous. Mention of a commercial aeroplane flight in the final pages was positively jarring.

This being 1934, Mary being twenty-one, I'll accept that she is a virgin – but obstinate? Mary, a free-spirit, is open to anything, which explains how she gets along with everyone, save spoilsport James Brock.

The last chapter is rushed. Should anything be made of the fact that the page count of The Obstinate Virgin and is nearly identical to that of What Fools Men Are!, Sullivan's previous novel for Samson Low, Marston?

Mary, loses all her money at the roulette table, and goes into debt to Mme Gagnon... who, it turns out, is a white slave trader. Just as she's about to whisk Mary off to Paris, using the promise of a position in a fashion house, the madame is arrested.

No points for naming the person who tipped off the police.

No points, either, for the naming the person who ends up saving Mary from drowning.

A half-point for naming the woman who is revealed as Guino's estranged wife.

As everything goes south, Mary flees north to London. Arriving at Victoria Station, she encounters Brock: "'Hallo!' said he, "'better come with me and have a cup of tea: you look a bit washed out.'"

In the nine remaining pages, Brock explains his motivation in being in Monte Carlo, justifies his actions in the principality, and insists they be married:

Already he was arranging everything for her and she had the complete conviction that he always would, and could see him standing on the hearth after dinner planning the day to come, but for some strange reason instead of vexing it now made her thankful. That practically, was all she knew about him; he would always arrange things, and she, just as regularly, would be glad he should.

As I've more than hinted, Mary is none too smart.

Bloomer: In speaking of Ann's devotion to her son Hugo, Mrs Hathaway has this to say:

"Why she still loves him – frankly, I don't know – but she does just the same. He's queer. Sometimes I think he's frightened of women."

Trivia I: The Bank of England informs that £5000 in 1934 is the equivalent of over £360,500 today. Mrs Bentick's more modest annuity of £250 amounts to something more than £18,000.

Don't know about you, but I'd be pleased as Punch with that kind of money.

Trivia II: Is it not interesting that Gordon D. McLeod describes The Obstinate Virgin as "the only novel published by Sullivan in 1934"?

The only novel? Should we have expected more?

Well, yes.

From 1925 to 1933, Sullivan published an average of nearly three novels a year:

1925

The Crucible

The Jade God

John Frensham, K.C. 

1926

Human Clay

The Days of Their Youth

In the Beginning 

1927

Brother Blackfoot

The Splendid Silence

The Verdict of the Sea

The Whispering Lodge 

1929

The Broken Marriage

Double Lives

The Story of One-Ear

The Training of Chiliqui 

1930

A Little Way Ahead

The Magic Makers

Mr. Absalom

Queer Partners 

1931

Golden Foundling

The Ironmaster

No Secrets Island 

1932

Antidote

Colonel Pluckett

Cornish Interlude 

1933

Man at Lane Tree

What Fools Men Are!

I wonder what happened in 1928. McLeod provides no explanation.

Between 1934 and his death in 1947, Sullivan appears to have relaxed, publishing seven novels, one collection of short stories, and a translation of Félix-Antoine Savard's Menaud maître-draveur.

Object: An unremarkable hardcover, identical in design to Sullivan's What Fools Men Are! (1933). The novel itself is followed by eight pages of advertising for the publisher's "POPULAR CHEAP EDITIONS," consisting chiefly of titles by Jeffrey Farnol, E.C.R. Lora, Leonard A. Knight, Moray Dalton, Silas K. Hocking, Richard Starr, Henry St John Cooper, Donn Byrne, and Faith Baldwin. My copy lacks the dust jacket, but within its pages, I found what may be the rear flap. It appears to have been used as a bookmark.

Anyway, I used it for that purpose.

Access: If WorldCat is an indication, no Canadian library has a copy; the only copies it lists are held in the British Library, the National Library of Scotland, and Dublin's Trinity College Library.

As of this writing, just one copy, a later Sampson Low sixpenny paperback with paper cover (below), is being offered online. At £9.90, it's a steal. Heads up, Library and Archives Canada!

Related posts:

Grant Allen Dons a Woman's Blouse

The Adventures of a Globe-Trotting Girton Girl

A Queer Thing, Nationalism
Stranger in a Strange Land

Canada Reads 2020: "Shouts Out to Tara!"

After much delay, Canada Reads 2020 has come and gone. Congrats to Samra Habib, whose memoir We Have Always Been Here won the game show and was crowned "The One Book to Bring Canada Into Focus."

I listened with as much interest as ever, and was surprised to hear from people asking my opinion. This may have had something to do with "No Country for Old Books," an article I wrote last year for Canadian Notes & Queries. If so, the head doth swell.

As in other years, my thoughts take the form of complaints, like the 2014 decision to focus on the new.

Canadian Notes & Queries #104, Spring 2019

For those keeping track, all but one of the titles in this year's competition was published in 2019, the outlier being Eden Robinson's Son of a Trickster, which appeared in bookstores in 2017. The average age of a Canada Reads 2020 title was 13.5 months.

Canada Reads' preference for the front list was something I discovered through a letter CBC Books sent to publishers. An eye-opener, you can read it in "No Country for Old Books." In researching the game show, I've found CBC Books to be less than forthcoming. Imagine my interest when host Ali Hassan revealed, just yesterday, that Canada Reads has a style consultant named Tara Williams.

I remind that Canada Reads is a radio show.

My main quibble with Canada Reads remains. In its early years, panellists chose the books they wished to promote. In 2002, Leon Rooke, argued on behalf of The Stone Angel, a novel he'd read many times. The same can be said for Denise Bombardier, who in 2007 championed an old favourite in Gabrielle Roy's Children of My Heart.

This year, each of the "defenders" revealed that they had not read their respective books before being asked to participate.

We Have Always Been Here was a national bestseller before it made Canada Reads. It had won a Lambda and had been longlisted of the RBC Charles Taylor Award. The memoir was the subject of a Globe & Mail feature and a subsequent review. It was a 2019 "Globe 100" title. Published internationally, We Have Always Been Here was featured on The Next Chapter, and in the pages of  the Toronto Star, NOW, Stylist, and something so distant as the Tampa Bay Times. CBC Books had been pushing We Have Always Been Here for more than a year, beginning with its excited 3 June 2019 article "10 Canadian books coming out in June we can't wait to read."

And yet... and yet, in making her case, Amanda Brugel, its defender, stated: "I wouldn't have been aware of this book until it had been brought to my attention via this competition."

Isn't this a sad state of affairs?

One last thing:

Ali, "The One Book to Bring Canada Into Focus"?

In 2020.

You're a comedian.

Was it too obvious?

Full disclosure: I wanted Eden Robinson's Son of a Trickster to win.

Related post:

No Country for Old Books

CNQ: Spring? Spring Ish

“When a day that you happen to know is Wednesday starts off by sounding like Sunday, there is something seriously wrong somewhere.”

The same might be said of a magazine's Spring Issue landing in July. Something is seriously wrong, though I dare say we're getting used to it. Yesterday, I donned a mask, looked about, and felt good that others waiting to buy beer had done the same.

What a long, strange year this has been... and it's barely half-way done. I like to think the arrival of this new issue of Canadian Notes & Queries signals a return to better times. There's a whole lot to look at, like this issue's What's Old, which features:

Here I remind readers that my birthday is next month.

The Dusty Bookcase column in this issue concerns Robert W. Service's thriller The Master of the Microbe. Published in 1926, its hero, an American expat living in Montparnasse, stumbles over a plot to unleash a deadly virus that attacks the respiratory system. Its earliest pages are as interesting and entertaining as anything I've read this year.

You'll also find Bruce Whiteman on George Fetherling, whose The Writing Life (Montreal: McGill-Queens UP, 2013) I edited:

I'm all in with Nigel Beale, who sounds off on the disregard this country demonstrates toward its literary heritage:

David Mason is spot on: There's no such thing as book hoarding.

The embarrassment of riches continues with Colette Maitland's contribution:

And then there's Cynthia Holz's memoir, 'Out of the Bronx':

Other contributors include:

Jeff Bursey

Page Cooper

Elaine Dewar

Meags Fitzgerald

Stephen Fowler

Ulrikka S. Gernes

Basia Gilas

Douglas Glover

Alex Good

Brett Josef Grubisic

Alex Pugsley

Seth

Kelly S. Thompson

Shelley Wood

and

editor Emily Donaldson

An unexpected treat, the copy I received included this insert:

Again, my birthday is next month.