Margaret Craven’s Novel ‘I Heard the Owl Call My Name’ – O, Canada!

A dying priest makes peace with his fate while serving as a missionary to Indians in British Columbia

I Heard the Owl Call My Name. By Margaret Craven. Dell, 160 pp., $6.99, paperback.

By Janice Harayda

In 1965, the American journalist Margaret Craven spent several weeks in a remote Indian village in British Columbia, hoping to find material for a story. There she met Eric Powell, an Anglian priest who ministered to the Kwakiutls, a tribe whose elders were struggling to preserve their traditions as their young people left for government boarding schools or turned from ancient myths and totems to alcoholism, drug abuse and other modern ills.

Craven drew on that experience for her first novel, which became a No. 1 New York Times bestseller soon after its publication in the United States. More than 40 years later, I Heard the Owl Call My Name remains a rarity in North American fiction: a book equally sympathetic to Indians and to the white missionaries who tried to help them, little as they understood tribal customs.

The young priest Mark Brian doesn’t know he has a terminal illness –- unnamed in the novel — when he accepts a posting to the imperiled fishing village of Kingcome, which sits in a river valley below snow-tipped mountains on an inlet in British Columbia. Lonely and beset by hardships such as a ramshackle vicarage and a collision with a brown bear that hibernates under his church, Mark nonetheless faces his challenges with a steady faith, kindness and capacity for hard work. Those virtues win over the skeptical Kwakiutls, among them a tribal matriarch whose previous encounters with outsiders have led her to take the sly revenge of serving mashed turnips to visiting dignitaries because “No white man liked mashed turnips.” The Kwakiutls in turn earn Mark’s admiration for their wisdom, their perseverance amid calamities, and their willingness to help with tasks from steering a boat to building a new vicarage.

I Heard the Owl Call My Name spans nearly two years in the life of the gradually maturing priest, whose parishioners live with ever-present reminders of the death. Mark holds the hand of 46-year-old Kwakiutl woman, lying on a blood-soaked bed, who has what will turn out to be a fatal hemorrhage while giving birth to her sixth child. He trudges through the underbrush with a hunter who, if he wishes to have venison steaks on his table, must look to the woods, not a supermarket. He watches ceremonial dances that honor the customs and memory of Kwakiutl ancestors, many of whom perished in tribal wars generations earlier. Amid so much darkness, he finds comfort not just in his friendships with the Indians but in the natural splendor of the region, which Craven evokes keenly. One year autumn comes softly, with the second blooming of the dogwood trees: “Slowly, as the needles fell, the waters of the inlet grew less clear, and on the river floated the first green leaves of the alders. When the nights cooled, the little berry bush burned crimson under the great, dark cedar, and on one deep green island side, a single cottonwood turned gold.”

This brief, parable-like story lacks the moral, spiritual and literary complexity of such great novels as Death Comes for the Archbishop and Diary of a Country Priest, which may explain why it tends to appear today on young-adult shelves. Some minor characters serve mainly as vehicles for points the author wants to make, particularly about whites’ insensitivity to indigenous tribes. (When a boorish American woman arrives via yacht and asks: “How do you tell the Indians apart?,” Mark replies mildly that he did it “the same way she told her friends apart, because she knew them.”) The priest faces no crisis of the soul and expresses his faith in deeds, not creeds, and in plain-spoken messages of hope. “He was young enough,” Craven writes, “to be a little proud of his first sermon, to which he had given considerable thought: ‘It is better to be a small shrimp in the sea of faith then a dead whale on the beach.’”

But if the novel if the novel has a simple message, it is not a morbid one. Death is so common in Kingcome that Mark comes to see it as natural and at times heroic. The salmon that die soon after spawning in nearby waters provide a central metaphor for his story and suggest its theme. When a Kwakiutl woman laments that the fish perish soon after giving birth, Mark corrects her. A salmon lives a life of courage and adventure, the priest says, and dies after “having spent himself completely for the end for which he was made”: “It is triumph.” So, too, is Mark’s life. It reminds us, as George Eliot wrote in Middlemarch, that “the growing good of the world is partly dependent on unhistoric acts” of people “who lived faithfully a hidden life.”

Best line: “Now time had lost its contours.”

Worst line: “The Indian knows his village and feels for his village as no white man for his country, his town, or even for his own bit of land,” the young priest’s bishop says. In this line and a number of others, the novel romanticizes Canada’s indigenous people even as it sympathizes with their hardships.

Published: 1967 (Clarke, Irwin, Canada); 1973 (Doubleday, U.S.)

You may also want to read: The Unlikely Pilgrimage of Harold Frye, a similarly short book that resembles a parable.

Furthermore: A 1973 movie version of I Heard the Owl Call My Name starred Tom Courtenay as Mark Brian.

Jan is a novelist and an award-winning journalist who spent 11 years as the book critic for the Plain Dealer, Ohio’s largest newspaper. You can follow Twitter by clicking on the “Follow” button on this page.

© 2014 Janice Harayda. All rights reserved.
www.janiceharayda.com

A Twitter Chat on the Novel ‘Mr. Blandings Builds His Dream House’

An advertising executive is sucker-punched by his desire to own a country home in one of the great comic novels of the middle decades of the 20th century, Mr. Blandings Builds His Dream House, the subject of this week’s #classicschat on Twitter. Swept along by his ill-considered vision of a having idyllic retreat not far from his office in New York City, the intelligent but naive Jim Blandings finds himself opposed — if not fleeced — by his real estate agent, his first architect, his contractors, the original owner of his property, and many others. If you’d like to comment on the novel or the movie version with Cary Grant, please jump in at the Twitter chat I’m hosting at #classicschat.

‘Oh, Time, Strength, Cash, and Patience!’ / Quote of the Day, Herman Melville

Is any book ever “finished”? Here’s Herman Melville’s view of the subject, as described by William Pritchard:

“At the end of the ‘Cetology’ chapter in Moby-Dick, after Ishmael, or Melville, has presented us with a seemingly exhaustive classification of the various kind of whales, we are told that this ‘Cetological System’ must remain, like ‘ the great Cathedral of Cologne,’ unfinished:

‘For small erections may be finished by their first architects; grand ones, true ones, leave the copestone to posterity. God keep me from ever completing anything. This whole book is but a draught – nay, but the draught of a draught. Oh, Time, Strength, Cash, and Patience!’

“The fear is of ‘succeeding’ by writing a sentence – a book – that isn’t sufficiently a ‘mighty book’ because it’s too finished. ‘To produce a mighty book, you must choose a mighty theme,’ he says elsewhere in the novel. This means that there can be no end to expression since the whale – the world out there – is inexpressible.”

From William H. Pritchard’s essay “Herman Melville” in Literary Genius: 25 Classic Writers Who Define English and American Literature (Paul Dry Books, 2007), selected and edited by Joseph Epstein with wood engravings by Barry Moser.

Tash Aw’s Man Booker–Longlisted Novel ‘Five Star Billionaire’ – Shanghai’d

Expatriates scramble for a toehold in China’s largest city

Five Star Billionaire: A Novel. By Tash Aw. Spiegel & Grau/Random House, 379 pp., $26.

By Janice Harayda

Maylasian expats are Shanghai’d by Shanghai in this novel that resembles a collection of linked stories. The flat-footed writing never rises much about the level of “She laughed out loud in agreement when he expressed a hatred for Gaudí’s Barcelona” and “Thankfully, Walter’s moments of solemnity never lasted long, and his mood would swiftly become jovial again.” But the story has a carefully knitted plot and something to say: Shanghai is a shape-shifter full of perils for the uninitiated, and everyone is scrambling for a toehold. New arrivals read Western-style how-to books with comical titles like Sophistify Yourself. Better-off residents fortify themselves with cappuccinos and power yoga classes, and real estate developers seek favors from municipal officials who may bend the rules if a bribe includes an offer to pay to send a child to Stanford. In this cynical novel, only the most ruthless — or lucky — achieve what passes for success in China’s largest city.

Best line: “The crowds, the traffic, the impenetrable dialect, the muddy rains that carried the remnants of Gobi Desert sandstorms and stained your clothes every March: The city was teasing you, testing your limits, using you. You arrived thinking you were going to use Shanghai to get what you wanted, and it would be some time before you realized that it was using you, that it had already moved on and you were playing catch-up.” These lines are overwritten, but the image of clothes stained by sand from Gobi Desert storms is memorable. And the passage sums up a theme of the book.

Worst line: No. 1: “She laughed out loud in agreement when he expressed a hatred for Gaudí’s Barcelona – too obvious, too obviously weird; he couldn’t stand it that people who liked Gaudí thought of themselves as ‘offbeat.’” No. 2: Shanghai buildings are not all the same: “Each one insists itself upon you in a different way, leaving its imprint on your imagination.” No. 3: “Thankfully, Walter’s moments of solemnity never lasted long, and his mood would swiftly become jovial again.” Nos. 4, 5 and 6: “When she laughed, she was aware of a tinkling quality to her voice, like the happy notes of a piano in the lobby of an expensive hotel.” “The late-night bluesy tinkling of the piano made him wish he were somewhere else.” “At last he began to hear the cheap tinkling of notes played on an electric piano.” Note: the “tinkling” of a piano is a cliché and falls especially wide of mark in reference to an electric keyboard, which makes a different sound than the ivory keys of a standard piano do.

Published: February 2013 (Spiegel & Grau/Random House hardcover). Spiegel & Grau erback due out in July 2014.

Furthermore: Five Star Billionaire made the longlist for the 2013 Man Booker Prize. Philip Hensher reviewed the entire longlist in an article in the Spectator. As Hensher notes, Five Star Billionaire has little that would tax the fans of Arthur Haley, the author of pop fiction bestsellers such as Airport and Hotel. And its Man Booker longlisting seems further evidence of the markup to prize-caliber of middlebrow fiction.

Consider reading instead: Yiyun Li’s wonderful Gold Boy, Emerald Girl, the gold standard for recent English-language fiction about China.

Jan is an award-winning journalist and former book critic for the Plain Dealer in Cleveland. You can follow her on Twitter by clicking on the “Follow” button at right.

© 2014 Janice Harayda. All rights reserved.
http://www.janiceharayda.com

Bad Literary Manners Erupt on Twitter

Few of us would be so gauche as to walk up to an author we hadn’t met at a party and say in front of other guests: “Hey, I just reviewed your book! Let me tell you how much I hated it.” But the digital equivalent occurs on Twitter whenever people tweet links of negative reviews to the authors of the books they’ve panned. David Duhr, the books editor of the Texas Observer, asked six critics, of whom I was one, to comment on the practice. You can see our answers in his post on Publishing Perspectives.

What I’m Reading … James Wolcott’s Comic Novel, ‘The Catsitters’

“What I’m Reading” is a series that describes books I’m reading that I may or may not review on this blog

What I’m reading: The Catsitters (HarperPerennial, 2002), the first novel by James Wolcott, the longtime cultural sharpshooter at Vanity Fair.

What it is: A light comedy about the romantic misadventures of an unmarried man in Manhattan before the hookup culture rolled in. Narrator Johnny Downs is a mild-mannered bartending actor who tries a desperate approach to finding love after being dropped by his latest his-and-run girlfriend: He takes advice by telephone from a friend in Georgia who, after spending her teenage years in New Jersey, blends “a Southern belle’s feminine wiles with a Northerner’s no-nonsense direct aim.” The title of the novel has a double meaning: It refers to the caretakers for Johnny’s beloved cat and to the women who eddy around a “cat” — as the Beats might have said — who hopes to turn himself into plausible husband material.

Why I’m reading it: I enjoyed Wolcott’s new Critical Mass: Four Decades of Essays, Reviews, Hand Grenades, and Hurrahs (Doubleday, 2013), a showcase for the virtues that have distinguished his work since his early days at the Village Voice: wit, moral courage, and a high style. That collection drew me back to this novel.

Quotes from the book: A priest describes an artistic sensibility he has observed in New York: “These days, any time I attend something cultural, I dread what might be in store. I don’t mind shock effects as much as I resent the notion that they’re  for my own good, to roust me out of my moral slumber. One thing I learned from my work as a military chaplain is that in real life, shock numbs people, and the worse the shock, the deeper the numbness. After a while, your response system shuts down.”

Furthermore: The Catsitters is, in some ways, Seinfeld-ian: It involves a nice New York man caught up in day-to-day mini-dramas — not turbo-charged conflicts — and abounds with witty one-liners and repartee, such as:

“I can’t picture the men of Decatur, Georgia, handing out understated cream business cards.” “You’re right, they don’t. Most men down here introduce themselves by honking at intersections.”
“You’re fretting about the cost of dinner and flowers? You’re not adopting a pet from the animal shelter, Johnny, you’re in training to find a fiancée and future wife.”
“I don’t think I could handle a threesome.” “You’re not ready to handle a twosome yet.”
“Would you mind if I took off my shoes? My feet are about to cry.”
“We continued chatting, and by the time the train pulled into Baltimore I knew enough about her life to produce a documentary.”

Jan is a novelist and award-winning critic who has been the book columnist for Glamour and the book editor of the Plain Dealer. You can follow her on Twitter by clicking on the “Follow” button on this page.

© 2013 Janice Harayda. All rights reserved
www.janiceharayda.com

‘Toms River’ – Why Did So Many Children Get Cancer in a Jersey Shore Town?

A real-life environmental detective story about toxic wastes suspected of causing cancer in children

Toms River: A Story of Science and Salvation. Bantam, 538 pp., $28.

By Janice Harayda

Thirty years ago, New Jersey was the capital of hazardous waste dumping in the United States, and Toms River stood at a crossroads of that dark enterprise. In this stellar environmental detective story, the gifted science writer Dan Fagin tells how a toxic disaster befell and — after decades of political and legal wrangling — ended in a Jersey Shore town better known for its Little League World Series champions.

Toms River abounds with the sort of cloak-and-dagger exploits more often found in suspense novels: midnight dumping, anonymous tips, criminal sabotage, indifferent government officials, and corrupt executives – in this case, at Ciba-Geigy, once a major air and water polluter in the area. But the emotional heart of the book lies in its account of the unusual number of children in town who developed cancer, especially leukemia.

Many of the victims’ parents suspected that the problem lay in the toxic wastes dumped by or emitted from the smokestacks of Ciba and other polluters, and they spent years trying to prove it. Their efforts had impressive results — a government investigation, a cleanup of dump sites, and more rigorous testing of the town water. But the parents received no financial settlement from polluters until their legal team expanded to include Jan Schlichtmann, the brash lawyer whose gladiatorial fight for leukemia victims in Woburn, Mass., inspired A Civil Action. In 2001 he helped to negotiate an estimated $35 million payout to the Toms River families, a sum Fagin calls “unquestionably the largest in a residential cancer cluster case, dwarfing the $8 million Woburn settlement of 1986.”

Schlichtmann does not appear until page 349 of the story, and when he does, he has mellowed enough to urge the victims’ relatives to stay out of court. And his late and subdued arrival — and Fagin’s penchant digressing into epidemiological history — make Toms River a slower-paced and less splashy book than A Civil Action. But it is perhaps a more valuable one. Its focus on science and citizen action, not on a go-for-broke lawyer, shows more clearly than Jonathan Harr’s bestseller how difficult it is — even for prosecutors and environmental agencies armed with subpoena power and sophisticated databases — to determine what caused a cancer cluster.

Fagin notes that “Toms River had an extraordinary amount of toxic pollution and a discernible cluster of childhood cancer, and the two seemed to line up, roughly, in what looked like a cause-and-effect relationship.” But the case that the victims’ families hoped to make against polluters was impossible to prove:

“Even with all the pollution and cancer in Toms River, the apparent association could never be confirmed definitively because of the unanswerable questions about long ago exposures and also because of the enigmatic nature of cancer, which struck so unpredictably and had so many possible causes.”

Toms River has cleaner water than it did 30 years ago and no leukemia cluster, but whether other towns could marshall the resources that enabled it to make those gains is doubtful. The main legacy of Toms River, Fagin notes, “has been to solidify government opposition to conducting any more Toms River–style investigations.”

Best line: In 1983 the Environmental Protection Agency posted its first official list of the country’s most dangerous toxic waste dumps, known as “Superfund” sites because a “superfund” would pay to clean them up if the government couldn’t force the dumpers to do it: “Sixty-five sites on the original Superfund list were in the undisputed capital of hazardous waste dumping in the United States: New Jersey, which had 24 more sites than its closest rival, Michigan. With nine dumps on the list, Ocean County alone had more Superfund sites than 36 states.” Two of the Ocean County sites were in Toms River.

Worst line: Ciba-Geigy blundered when it faced unflattering news stories about all the treated wastewater it was pumping through a pipeline into the Atlantic Ocean a half-mile offshore from Ortley Beach: “The company responded with all the finesse and humility of Marie Antoinette on the eve of the French Revolution.” That might be true, but the image is tired.

Furthermore: Learn more about Toms River on Dan Fagin’s website. Wonder how close you live to a hazardous waste dump? Click on your state on this Environmental Protection Agency map of Superfund sites.

Jan is an award-winning journalist and former book editor of the Plain Dealer. You can follow her on Twitter by clicking on the “Follow” button on this page.

© 2013 Janice Harayda. All rights reserved.
www.janiceharayda.com

Coming Soon – A Real-Life Environmental Detective Story

Suppose that an unusually large number of children in your town developed cancers that seemed to result from an environmental hazard such as air or water pollution. What would it take to prove it? A group of parents in Toms River, NJ, found out when their children were diagnosed with cancers that they believed to have been caused by toxic wastes dumped by the town’s largest employer. Dan Fagin describes their fight for justice in Toms River: A Story of Science and Salvation (Bantam, 2013), an environmental detective story that involves midnight dumping, criminal sabotage, and other subterfuge. A review of the book will appear soon on One-Minute Book Reviews. 

William Logan’s ‘The Undiscovered Country,’ Award-Winning Poetry Reviews

What winner of the National Book Critics Circle Award most deserved the prize? My favorite honorees include William Logan’s The Undiscovered Country: Poetry in the Age of Tin, a collection of essays and reviews on poetry, and I explain why in a post on the NBCC blog that begins:

“William Logan once heard a poet say that poets in the 1950s were afraid of three things: ‘Randall Jarrell’s reviews, Robert Lowell’s poetry, and the atomic bomb.’ Today’s poets have three different fears: William Logan’s reviews, John Ashbery’s poetry, and not getting tenure. [read more] “

Why Does the Horseman Have No Head in ‘The Legend of Sleepy Hollow’? — Quote of the Day / Amanda Foreman

Is a classic American story about the danger that any man might lose his head over a woman?

A lot of us have enjoyed “The Legend of Sleepy Hollow” as simply a rousing tale of a schoolmaster undone by his vision of a headless horseman. But is there more to it? Washington Irving’s schoolmaster is the superstitious Ichabod Crane, a gold digger who hopes to marry Katrina Van Tassel, a rich farmer’s daughter. Katrina has also caught the eye of the prankster Abraham “Brom Bones” Van Brunt. One autumn night, Crane goes to a party at the Van Tassel’s at which Brom Bones and others tell ghost stories, and on his way home, he sees a headless horseman who flings his missing head at him — an act that so terrifies him that he flees town for good.

An unanswered question of the story is: Why does the horseman have no head? Literary monsters typically have fangs, claws or other menacing elements added to their bodies. The headless horseman has had something subtracted. The historian Amanda Foreman indirectly suggests an explanation for it in an her article, “Headless, and Not Just the Horseman,” in the Nov. 2–3 edition of the Wall Street Journal. Could it be, she asks, that Ichabod Crane’s Katrina symbolizes the danger that any man might lose his head over a woman? “To some,” she adds, “the mere possibility is a fate worse than death.”

– Janice Harayda